Palahniuk is continuing to grow not only the characters from the original book, but all the systems put into place at the time. He’s really gone far into thinking of Project Mayhem operating with algebraic or, in some instances, geometric growth, stretching throughout the country, if not the world. Every aspect has continued and is massively more invasive than we’ve seen before, and yet the little tasks are still inventive and dangerous, continuing to sprout more ideas and mayhem. I don’t want to ruin one of my favorite parts of the issue, but let’s just say that breakfast tasting sweeter sometimes has a high price to pay.
Cameron Stewart keeps the visuals graphic and precise with the world we see. The house on Paper Street looks perfect, and the casual overlay graphics come back at strategic points, heightening the connection to the . . . well, disconnection. I’m struck this issue more and more with the look of Tyler; not only do we get to see his younger self, but he seems to be taking some outright d-bag looks in this series. I loved the look of Pitt throughout, and though his final act costume was designed to be strange, this Tyler looks like a guy you really want to take a swing at. Point of fact, he looks much like the comic representation of Affleck’s character from Mallrats (that we get to see in the credits, Buttman I believe), a guy you just really want to hate. I’m not sure how that sits with me, but I’m interested to see what kind of point it will make further down the line.
What I’m really most interested in seeing is how this series will play out. Will it have smaller arcs like the comics series it is? Or will there be a massive through line that will culminate in the finale issue. It’s really cool to see this story dropped into the new media, and I think the layout lends itself to the mind-bending quality of Palahniuk’s work spectacularly. This thing is far from finished and promises to have some great stuff in store for us.
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