In Major Issues, we look at one newly-released comic book each week. Now updated Mondays.
Written by Justin Jordan
Art by Kyle Strahm
Published by Image Comics 7/6/2014
The post-apocalyptic story seeped into the cultural consciousness at the end of the nineteenth century with Mary Shelley’s novel The Last Man, and has been retold in countless incarnations since. We’ve our plague-pocalypses, zombie-pocalypses, pocalypse-pocalypses (this hasn’t been done yet?), all serving to sate our need to punish ourselves in fiction for how great of a job we’re doing fucking everything up. In such an over-saturated apocalypse narrative market, what must a new narrative do to stand apart and be successful?
Not much, apparently. Spread’s first issue sold out its first two printings and is heading into its third, and the second issue sold out immediately. So what’s it about? How does it stand apart? Combining elements of John Carpenter’s The Thing, Cormac McCarthy’s The Road, and the baby-as-narrator device from Saga, Spread is an amalgam of things guaranteed to work. In a world ravaged by parasitic organisms capable of banding together into larger mega-organisms, a man named No must protect the world’s only hope: a baby actually named Hope, whose tears have the power to dissolve the parasites’ bodies. I’m not suggesting that Spread is bad. It’s actually a lot of fun. It combines the right elements of visceral art, disgusting monsters, creepy characters, and heady pacing. But if you’re looking for a fresh take on post-apocalyptic stories, look elsewhere.
The story is strong and has been diligently introducing the right elements. In this issue, writer Justin Jordan introduces some new characters. First we meet Ravello, the Fabio-esque leader of a group of bandits. Unlike the other scarred, dirty characters of this world, Ravello is an unscathed Adonis–the visual antithesis to issue 1’s creepy thin man who has the power to spawn additional parasites. Then we meet the series’ first mega-parasite (pictured on the issue’s cover). And finally, baby Hope’s mother Molly, a totally capable mother who is in no way balls-out crazy. Though the story elements are strong and balanced, the story’s chief flaw is in taking itself too seriously. It rides too many familiar elements to not be self-aware and poke fun at its own premise.
The art is bloody and visceral, and probably the series’ best element. Artist Kyle Strahm can handle anything Jordan throws his way, including parasites exploding from eyeballs and multi-mouthed worms. If there’s anything in this series that can be said to be funny, it’s in the gratuitous use of violence. It’s funny in the exploitative way of John Carpenter and Quentin Tarantino movies.
The old parasite chewing through the eyeball bit. Too funny.
Should You Get It?
For post-apocalypse junkies only. You won’t find anything necessarily fresh in its pages, but if you need to feel that psychic catharsis by seeing humanity punished for all its mistakes, you could do worse than Spread.
Gardner Mounce is a writer, speaker, listener, husband, wife, truck driver, detective, liar. When asked to describe himself in three words, Gardner Mounce says: humble, humble, God-sent. You can find him at gardnermounce.tumblr.com or email him at firstname.lastname@example.org