Earlier this year I enjoyed reading and reviewing the first four issues of Don't Look Now Comics title Longpig. The link to that review is just below
Longpig gets the Shift review treatment. – The Shift Anthology Shop
From the outset it must said Issue five is a little bit special. The page count is substantially higher than previous four, rather than being a traditional stapled affair this issue boasts a neat black spine complete with title and issue number.
Issue four left readers expecting a shootout between all the factions so carefully developed. There is law enforcement, there's a very dysfunctional family of lunatics, a brother seeking his sister and other faces with ulterior motives and hidden agendas.
In the hands of skilled film director issue five might only amount ten to twenty minutes of screentime, but (oh-boy) it would be a damn interesting twenty minutes.
Writer Grayham Puttock's script is exceptionally restrained and controlled this time out. He clearly prefers on this outing to follow the writer's rule of "show, don't tell."
The dialogue here as before is incredibly naturalistic, yet it still demonstrates a flair for the setting that feels utterly authentic. Certainly this is a case of less is more, and quality over quantity.
The superstar here is Adam Jakes on art duties. This finale of Longpig is clearly a statement of bold intent from Jakes, it is a promise of greater thing to come. We are spoilt to a frenetic balletic performance that is akin to a John Woo inspired blitz of gunplay and bloodshed. It is possible some may find the action hard to follow, it is dramatic and fast paced. This is not bad storytelling, rather this is just a title that demands the reader to go with the flow, and pay attention at the same time.
Elsewhere much credit is due to Aljosa Tomic and Ken Reynolds.
Tomic's colours are subtle, and ground proceedings, they let Jakes' art do the walking and talking. Reynolds letters are professional and flow succinctly from page to page.
A note of recognition must been given to Lyndon Webb for his excellent variant cover that is available on another edition of issue five. It is a slight pity it is not included as an extra in the standard edition.
The final few pages feature a few well chosen words from Adam Jakes as he describes his working relationship with the models used to help create his sublime art.
As for the future? It has already been announced that there is more Longpig to come, another serving of intrigue and suspense. I am sure it will be even more tasty than the first course. The final page hints at more to come indeed. Bon appetit.
