Script Kelly Sue DeConnick
Art & Cover Emma Ríos
Coloring Jordie Bellaire
Lettering Clayton Cowles
Backmatter Laurenn McCubbin
Editor Sigrid Ellis
Managing Editors Turner Lobey & Lauren Sankovitch
Production Tricia Ramos
“The Reaper of Vengeance seeks the Reaper of Cruelty? God save the world.”
In This Issue: Butterfly and Bunny contemplate fear and its effects can be felt from any side of a situation.
Sissy and Fox discuss the progress made in the World Garden since Sissy took up the mantle of Old Death and became The Gardener. Progress or no, Sissy still despairs—she is Death, after all. Fox points out that though she is death, she is also life. She tends the garden, makes it grow. It’s all about perspective.
Frank Fields and Ginny, the Reaper of Vengeance, work out a deal. Ginny offers Frank three days of her time to find justice for Clara. They decide to start with Jack Kaufman, the director. Apprehending him on a film studio lot, they find an unoccupied film set, complete with a swimming pool, which they use to persuade Kaufman to talk.
Clara had come to Kaufman when he was at the end of his tether, and he saw her as a means to get himself back to the top of the Hollywoodland elite. Clara’s artistry captivated him. He made a deal with her; she would help with Kaufman’s new film, uncredited and in secret, and as soon as Kaufman was back on his feet he would reveal Clara as the secret behind his newest successes and make her a star. He pushed the reveal back—one film, then two films—and when the studio wanted a third, Clara was gone.
But her soul was never delivered to The Garden.
My Two Cents: Working on three layers as it does, Pretty Deadly: The Rat somehow manages to pack an astounding amount of storytelling into a relatively short piece of work. The creative team accomplishes this with inventive and fastidious use of space. There are very few ‘traditional’ layouts in this book. The images bleed into each other—they’re woven together in a meticulous fashion so that this enormous plot can be disseminated clearly and concisely without sacrificing artistry. It could easily be overwhelming, but it isn’t. It’s easy to follow—even the more drastic and immediate change of scene isn’t jarring in the slightest. It’s difficult to argue with such an exquisite amalgamation of art and language…so I won’t.