The Wicked and The Divine-Commercial Suicide A Review
Story By: Kieron Gillen
Art By: Jamie McKelvie
Art By: Kate Brown
Art By: Tula Lotay
Art By: Stephanie Hans
Art By: Leila Del Duca
Art By: Matt Wilson
Art By: Mat Lopes
Art By: Brandon Graham
Art By: Clayton Cowles
Cover By: Jamie McKelvie
Published by Image Comics
The Wicked and the Devine is by nature a confusing comic book. It’s hard to tell what’s going on and what’s real when even some of the key players don’t seem to agree. The convoluted plot that we’ve come to in the third volume Commercial Suicide is a bit hard to explain to the uninitiated. But the basic idea is that every 90 years the God’s are reincarnated for 2 years. In the world of the comic, it’s happening again, but something seems to be going wrong. I’m going to try to keep this as spoiler-free as possible for those who haven’t read it yet and talk about the comic in more general terms.
The last volume ended with the death of a pretty major character (this is getting to be the Game of Thrones of comics so don’t pretend that’s a spoiler) but where we pick up in the third volume doesn’t really deal with that at all. As usual one of the god’s gets the blame– kind of– but there’s as much hard evidence of it as there is in any of the other murders. Then we move on to a lot of comics delving into the backgrounds and histories of the other gods all with little pokes and prods at the current plot. With the speed that the plot had been moving it’s almost nice to take a step back. The backstory also makes the current plot richer in some instances. I won’t lie and say that every character’s backstory held my attention but the ones that did were well worth it.
One thing that really makes this volume different from the others is the lack of Artist Jamie McKelvie and colorist Matthew Wilson. They had to take a break to work on a different project so twelve other artists and colorists were brought in. In cases like Issue 13 Looking Good Girl drawn by Tula Lotay the art is not only beautiful the style fits the attitude of the focus character. While some artists seemed to have a harder time rendering such a large cast in distinct ways.
Even when you have characters that all dress the same the viewer should still be able to tell them apart because everyone’s faces are different. The fact that some characters are so interchangeable in not only their clothes but their speech patterns as well it comes off as a little lazy. It can be really confusing to read. For the most part the characters’ designs are so unique that it’s not that big of a problem, but all of your characters shouldn’t need literal stars on their faces to show some variance.
The best and worst part of Commercial Suicide is that it’s going to leave you wanting more pretty immediately. The story is still compelling but it feels like we learn so little in this volume that moves the plot along that I feel ready to pick up the pace. Here’s hoping I remember the seemingly little that really happened in this trade by the time volume 4 comes out in October.