They manage to get some really poignant scenes into the issue, including Seth’s difficulty with doing what he sees at the right thing. Brisson manages to make it clear that it’s not that Seth doesn’t want to do right so much as he simply doesn’t know what to do. This is perfectly illustrated where Seth tries to explain himself to other characters. It’s been established that Mark is the talker in the team, so when Seth tries to use his words, he ends up stumbling over them or not being able to find the right ones. It’s a subtle move by Brisson that goes a long way to showing how nervous and out of his depth Seth is with the situation he’s created for himself.
However, Brisson also has the great talent of knowing how when to balance storytelling through dialogue and when it’s better to step aside and let the pictures do the talking. Thankfully, Walsh is more than able to step into that role of visual storyteller, providing the perfect complement to Brisson’s written script. Walsh shows great skill in the way he frames conversations between characters, which continue to be an important part of this story. He has an eye for choosing dynamic angles for his panelling that makes ever scene feel like there’s plenty of movement, even when characters are standing still. Character expressions and body language are another of Walsh’s strong suits, as it’s always clear what characters are feeling, even without the dialogue.
The first major whack of the issue is detailed in a panel with a stark white background that acts to really emphasize the brutality and the blood on the page. It’s an incredibly effective choice and also shows some great work by series colourist Jordie Bellaire as that white makes the whole thing pop, drawing tons of attention to the act. In fact, Walsh and Bellaire actually use this tactic a second time in the issue, and the repetition actually makes the second instance more effective. The second time around, the pristine white background is soiled by the blood and gore, showing the impact of this sudden brutality on the world itself and hinting that it’s only the beginning of things to come. It’s a small detail, but it speaks volumes for the book as a whole.
Small details are what this book is all about. Whether it’s Brisson writing, Walsh’s art, or Bellaire’s colours, there’s an intense attention to detail that adds up over the course of each and every issue. These creators put a lot of thought into what happens and what’s on the page, resulting in a dense and rich book that is filled with interesting things to parse and dissect. This review is but a scratching of the surface of everything that’s going down in Comeback #3 and that depth makes the reading experience that much more satisfying.