Review: Nearing The End Of The Line In ‘We Live’ #4
by Brendan M. Allen
‘Humbo’s plan for escaping the Acceptists might not be enough for the group to make the train headed to Megalopolis Mother 9. This might be the end of the trip.
The fragile fantasy world created by Tala for her little brother Hototo finally crumbles under the cruel weight of reality. Tears are the only language left between them. The long journey to the extraction point suddenly reveals the open wound.’
Hototo, Tala, Humbo, and the purple gorilla made it out of the facility where they were being held, and are back on track to reach the train yard in time for the two with bracelets to board the train. Except, there’s the small issue of that heavily armed cult that will do anything to disrupt the plan. With only ten hours left until global extinction, it’s looking less and less likely that these kids are going to catch a break.
This chapter is basically one big chase scene, with a gut wrenching pop at the end. Whatever weirdness was going on in the last installment, Inaki and Roy Miranda really pulled it back together here. The bonds between Tala, Hototo, and their new friends Humbo and Alice are strengthened as they literally have to fight and claw their way through each of the remaining few stages of their escape.
Inaki Miranda and Eva De La Cruz are still killing it on the art side. Miranda’s conservative linework and De La Cruz’s bright, shiny palette work shockingly well for all the ultraviolence in this month’s installment.
I said in my review of chapter three that I was really hoping we’d get back on track this month, and we have. We Live #4 is an intense ride, from start to finish, and there’s an impossibly ugly swerve in the last sequence that really twists the knife.
We Live #4, AfterShock Comics, 20 January 2021. Written by Inaki Miranda and Roy Miranda, art by Inaki Miranda, color by Eva De La Cruz, letters by Dave Sharpe.
I was really hoping we’d get back on track this month, and we have. We Live #4 is an intense ride, from start to finish, and there’s an impossibly ugly twist in the last sequence that really twists the knife.