Published on July 31st, 2014 | by JCDoyle


The Massive #25 – Comic Review

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Ragnarok, the end of days or to be more precise, the end of the end of days, at least that’s the suggestion made at the start of this month’s The Massive.

It opens with a quick recap of the events from the Crash but infers this was only the beginning and, for reasons not yet explained, a large rock hangs above the ocean. The story finally returns to the Kapital and the plight of the Ninth Wave after three issues following Mary in the Sahara. The crew are monitoring reports from all over the world and none of them look good. Everything is reminiscent of the first signs of the Crash two years earlier and while they try to record as much as they can, Callum retreats to his cabin and away from his responsibilities. He is still having problems coming to terms with Mary leaving and has given up the fight.

A freak electrical storm around the Kapital knocks out all of the power and the reluctant captain. When Callum comes round he takes his anger out on Ryan, who is just trying to help, but is then put back in his place by Mag. He heads to the bridge to show his face and give his crew some hope but he is given something more in return, a telephone call from Mary.

The Massive #25 insert

Brian Wood leads the reader into the final arc of his Post Apocalyptic opus and lays on the devastation pretty thickly: for the world and for Callum Israel. It would seem that the closer Callum gets to death, the more he is eaten away by his cancer physically and mentally, the closer the world comes to utter destruction. But there is a possible light at the end of the tunnel in the form of Mary’s child, although how exactly she might change anything has yet to be explained.

Wood has painted a desperate figure in the form of Callum Israel who has degenerated throughout the 25 issue run of this comic. The script displays a man at the end of his tether and the art by Garry Brown illustrates this perfectly. If you were to compare the man in this issue to the man in the first story arc you would barely recognise him and this is down to the talent working on each page. Brown uses heavy black lines to illustrate Callum creating a dark and brooding lost soul while using more delicate pencil work on the other characters as a contrast.

The colouring is also instrumental in reflecting the current mood of the central character. The blue-gray of the storm and the murky yellow of the sickbay portray the helplessness and illness inside the Captain which is then juxtaposed with the clear yellows and bright blues of hope at the end of the issue.

The Massive is finally reaching the end of its story but none of the creators involved have lost their passion for telling the tale in the best way they can.  This has been a strong, consistently good comic from the very beginning and shows no sign of letting up before the end.

The Massive #25 cover

Title: The Massive

Publisher: Dark Horse Comics

Writer: Brian Wood

Artist: Garry Brown

Colourist: Jordie Bellaire



Lover of comics and Art and Sci-Fi in multiple media. Currently teaching my kids the ways of the Geek (while protecting my first editions)

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