Marvel Zombies: Black, White and Blood #1 is an enervating, hard-charging, uncompromising tale that leaves the reader begging for more.
Marvel Zombies: Black, White and Blood #1
Rafael Albuquerque (Cover); Ashley Allen (Writer); BjÖrn Barends (Cover); VC’s Clayton Cowles (Letters); Gabriele Dell’Otto (Cover); Mike Deodato Jr. & Rachelle Rosenberg (Cover); Javi Fernandez (Art); Garth Ennis (Writing); Leinil (Cover); Carlos Magno & Chris Sotomayor (Cover); Justin Mason (Art); Alex Segura (Writing); Rachael Stott (Art); Francis Yu & Sunny Gho (Cover)
Marvel Comics
October 25, 2023
Zombie apocalypses are rarely an excuse for mirth. Marvel Zombies — the comic giant’s fourth attempt at turning their superheroes into the shambling undead — is open-a-vein serious, unlike their previous stabs at things. If you’re depressed you definitely won’t want to read this one, but on the other hand, this is the best-written set of zombie tales since the original line reared its ugly head. Fantastically written and well-drawn, this anthology will be a top-shelf pick if you’re in the mood for terror and heartbreak.
The first tale, “Undefeated” (Ennis/Stott), sees a zombified Matt Murdock turned into a cage fighter. With an undefeated streak a mile long and his mind obliterated by zombification, he has become nothing more than a monster. Frank Castle offers him a way out, but can they pull it off? Stott’s art here is incredible – plasticine and gooey with blood, yet flooded with creative ideas (The Punisher portrayed as an empty, dotted outline is kind of perfect). The writing is crisp, sharp, and filled with wit and a bright-shining knowledge of the human condition. This is my second favorite tale in the book; it accomplishes so much with a few words, a few panels, and a few ideas.
“Hope” (Segura/Fernandez) is fantastic and has some of the best writing I’ve seen in a Marvel Zombies story. Peter Parker (in full Spider-Man regalia) tries to protect his colleagues at the Daily Bugle from the nearly insurmountable onslaught of zombies. Peter has to put down familiar face after familiar face, and the notion of help arriving becomes less and less likely. This is a horrifying story about the slow death of hope, and that makes it one hell of a horror tale. Fernandez’ fierce art — which underscores just how young Peter is in the end in a haunting, powerful way — undelights everything and heightens Peter’s sense of despair.
The third story, “Deliverance” (Allen/Mason) finds Marc Spector doing what he can to protect the final human lives left in his world. Unfortunately, he encounters an undead Tony Stark – allowing Khonshu to finally claim control of his vessel. The standout here is Mason’s art, which has a meaty Silver Age look. That art makes up for a story that’s a bit pat and route, with a simplistic conclusion to the perpetual fight between Spector and the being using him as its avatar.
The issue consists of vignettes, so for those looking for an established continuity, this series is more episodic. It doesn’t go into detail about the virus, what caused it, or what it really is. But since the company’s last attempt at telling a zombie story spent a little too much time in the weeds without making any emotional impact, this is an excellent improvement. Marvel Zombies: Black, White and Blood #1 has me shambling towards the next issue.
