Published on March 30th, 2016 | by JCDoyle0
Postal #11 – Review
Molly isn’t making any friends; not in the last issue of Postal and definitely not in the latest chapter. She thinks she’s all that, untouchable, above even the laws of a town like Eden but she hasn’t got everyone figured out and she’s not as safe as her boasts.
In case you’ve not been keeping up, there is a handy ‘story so far’ page to bring you bang up to date. The thing is, this introduction might give you the impression that this issue is going to be an action packed, revenge fuelled issue but you’d be wrong. At least, partly. The majority of this issue is taken up with conversations between the central characters of this arc, each trying to find out exactly where the others stand. Mark is the central point to this because he has the most to gain, or lose, in the coming weeks.
Maggie has been left unconscious and hospitalised with an uncertain future but she’s not dead because if Molly wanted her dead she wouldn’t have made it to the hospital. Molly says as much to Mark; not to show off but to illustrate just how confident she is that she’s untouchable. In response Mark is beginning to drift. Although he doesn’t show his emotions, underneath he’s a powder keg waiting to explode. But first he has to find out where he stands and why Molly is so secure. After a visit to his mother, the Mayor, he is convinced that nothing is going to be done so he starts to take matters into his own hand.
This is a very cleverly written issue with layers of meaning heaped upon the script. The seemingly simple conversations break apart as the issue unfolds and the deeper meanings and insinuations begin to become clear. There is a lot of double talk and carefully constructed lies built into every speech bubble. All of this is orchestrated brilliantly by Bryan Hill who conducts the movements of the characters from one scene to the next.
Isaac Goodhart deals with a difficult chapter of the story very successfully by packing each panel with emotion whether it’s a close up of a regretful Mayor or a long shot of Mark, head down, cast in the disappearing light of day. He uses simple visual images to enhance the script and replace the nuances that would be brought to the speech by an actor. A fork breaking the yolk of an egg is a stronger image in the situation as two pages of text; a picture does indeed speak a thousand words when the picture is perfectly timed in the narrative.
I posted my colours to the mast a long time ago with this series and with each issue it continues to drag me further into the murky criminal town of Eden. The characters are endearing or easy to despise in equal measure, in fact some of them will invoke both reactions in the reader over time. This week’s issue is a brilliantly crafted set up chapter for the mayhem I am expecting to come as Mark goes against his mother’s wishes. But in all honesty, one of the delights of this series is, I never know what’s going to happen next.
Publisher: Top Cow
Writer: Bryan Hill
Artist: Isaac Goodhart