Hello loyal fans and new readers! This week I’m discussing Deadman and the Flying Graysons #3, the final title in this Flashpoint series. I reviewed issue #1 back in June and issue #2 in July, and loved them both. Did this title live up to my expectations or did it end up dead in the water?
The story continues as aerialist Boston Brand, acrobat Dick Grayson, contortionist Ragdoll, and resistance-fighter Vertigo attempt to protect the powerful Helm of Nabu from vicious Amazon warriors who seek to use it to win their war with the Atlanteans. Our heroes desperately dodge the flames of Starfire, an Amazonian lieutenant in this continuity (rather than the alien powerhouse of Teen Titans fame), who seeks to torch the entire city of Kalisz, Poland. All the while, the once egotistical Boston finds himself torn: he swore to Dick’s dying father that he would protect his son, yet the selfish circus performer desires to save his own skin and get as far away from the enchanted headpiece as possible. With enemies closing in, however, Boston is forced to make the ultimate choice…and the ultimate sacrifice!
J.T. Krul once again weaves the story expertly, combining elements of action, drama, and suspense to create an enjoyable read. This issue is the culmination of Boston and Dick’s journey, and the transformation of the characters is evident during this final installment. Dick becomes more responsible and hardened following the death of his parents, while Boston is filled with inner turmoil over whether to stay on the selfish path he has followed his entire life, or to take a risk for someone other than himself. The climax of the story is amazing (though not entirely surprising) and everything ends with a note of hope. In a way, I wish the story could continue beyond this issue, but perhaps it is best to leave audiences wanting more rather than stretching a story and allowing it to become stagnant.
Fabrizio Fiorentino’s art is once again pleasing and well done. His disjointed, blocky style is not amazing, but I enjoy how different it is from what we see in many comic titles today. As in issue #2, scenes from a distance often appear hastily drawn and poor quality, while close-up scenes are more detailed and look good. I have to reiterate, however, that while the art is creative, it is only slightly above average and nothing too amazing. This comic is sold by its story, but the art does help to evoke the sense of terror and confusion of civilians caught in a war they do not understand against foes they cannot hope to defeat. Fiorentino, however, did ensure that the last few pages of this comic consisted of heroic images that stay in the reader’s mind. Kyle Ritter and Ander Zarate do a decent job as colorists, the colors appearing somewhat chalky in some scenes but vivid and astounding in others. The cover is once again the star of the show, mimicking a 19th century circus poster, working perfectly to draw interest at first glance. I have to say that, while the art is not the star of the show, it certainly enhances the narrative and is, at the very least, something far from the beaten path.
Deadman and the Flying Graysons #3, and the entire series in general, was overall a great read. I enjoyed it from start to finish, and am glad I decided to follow it this summer. The story progressed wonderfully with excellent character development and drama, and the art, while not high-quality, did fit the story and set itself apart from normal fare. I’d suggest this series to anyone looking for a good read: the series is rather short and thus is neither expensive to purchase nor takes a long time to read. It also requires next to no knowledge of DC continuity whatsoever, a big plus for anyone who is interested but fears complex comic backstories. Give it a shot, and I think you’ll be pleasantly surprised!
Brett Simon is a twenty-one year old recent reconvert to the world of comics. He’ll be on the lookout for potential superheroes next time he’s at the circus.
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