Publisher: Dynamite Comics
Writer: Kyle Starks
Artwork: Chris Schweizer
Colours: Liz Trice Schweizer
Release Date: 24th October 2018
The world is coming to an end, the Martians are here and we’re all going to die. Generally, life kind of just sucks. But let’s have some fun while the world burns, let’s look at the adventures of a man and his father while the whole goes to hell.
Comedy’s pretty hard to pull off. To craft something that can make an audience laugh is not easy, but if there’s one topic that’s perfect for dark comedy, it’s the end of the world. As such, Mars Attacks works well as a hilarious extended joke.
We watch Spencer Carbutt as he visits his Dad in a retirement home as the world falls apart. Completely oblivious to this Spencer and his dad argue about how much of a failure Spencer is while his dad moans about dying and losing bingo. It’s all pretty standard fare from writer Kyle Starks until this book comes alive at the halfway point. Then things get crazy when the world ends.
This kind of comic is difficult to review, as there’s only so many ways you can say that something is either funny or unfunny. Generally though, this is really funny in a dark, twisted kind of way. Free euthanasia for all and all other topics gets brought up in a way that’s both funny and oddly relatable as the world comes to an end. There’s also an especially funny joke at the end featuring the president.
The art and colours are provided by Chris Schweizer and Liz Trace Schweizer and their minimalist yet exaggerated style works well here. The over the top deaths allow the books to keep the tone light while still allowing it to deliver the gory violent kills. The bright colour pallet also stops the book from descending into the point of bad taste.
If you need something funny or you’ve got an appreciation of the film then you should enjoy this, it’s harmless black comedy and that’s pretty refreshing from time to time. It’s not going to set the world on fire, but definitely give it a read if you want something to laugh about.
The writer of this piece was: Jonathan Mullen
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