I’ve briefly mentioned Pretty Deadly before on the blog, but it’s never been the subject of a Friday Feature. Part of my reasoning behind not featuring it until now was that I wasn’t certain about where it was going or how I felt about it.
Before issue #1 came out, Pretty Deadly had already experienced a higher-than-average hyping up. Part of this came from writer Kelly Sue DeConnick, who was excited to be working with artist Emma Rios on an all-female creative team.
Who can really blame her? Female creatorship is still pretty rare in the industry and having a creative team that passes the Bechdel test is even more unusual than having a book that does.
But the other side of that coin is that a lot of the hype came for this book just based on her excitement to be working with another woman. Again, not a bad thing, but we didn’t really know anything about the story (unless you dug deep through comics journalism) until after the book debuted.
Plenty of people ordered the book just because of the creative team with no other information. I was one of them. I wanted to support these creators (and publishers that support their creators and let the creators keep ownership of their work).
But when I read issue #1, I was a bit confused at the end of it. I liked what I saw, but I didn’t really have a good idea of where the story was headed. Debut issues of new comic titles are difficult – you have to both sell the audience on a new story and end on a compelling enough cliffhanger that they feel like they’re going to get their money’s worth out of the next issue.
I’m not totally sure that Pretty Deadly #1 did that. But after finishing issue #5 this week, I’m certain that despite my early misgivings Pretty Deadly is a solid book that lives up to promises it made in issue #1 that I didn’t even realize it was making.
DeConnick and Rios create a new mythology of the wild west in Pretty Deadly. With characters like “the Mason,” his wife “Beauty,” Death and his Daughter, Molly Raven and Johnny Coyote – this book his strongly on prototypically mythological beats. Gods or godlike characters clash with one another in a cosmic drama that plays out before us, with ramifications on a human scale.
Pretty Deadly is still somewhat of an all-or-nothing book. Most people either love it or hate it. The haters out there are saying that not enough happens, the characters are too vague, or that DeConnick is trying to mask a lack of drama with poetic writing.
They’re outright wrong about not enough happening. The pace of the book is variable, but there’s never an issue when the plot doesn’t advance. As far as vague characters and poetic writing go, these are characteristics of mythologies. No one story can tell you everything about a deity, why should we know everything about Ginny (Death’s Daughter) after one comic arc.
The art of Pretty Deadly is unparalleled in the industry. One of its primary colors is orange – which paints beautiful sunsets and assigns color to the arid feel of the western plains. Aside from the use of color, Rios’ penciling is beautiful, detailed, and emotional.
All in all, I think Pretty Deadly is one of the best books on shelves these days – but it does appeal very strongly to my taste for the mythic. Many will think the art is worth the cover price, and I would agree there, but if you look for story in your comic book purchase, know what you’re getting into.