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“The Gods are always beautiful. And the Gods are always dead.” There is so much about this that I loved, but it didn’t quite come together enough to make me care about it all that much. Ewing’s imagination is terrific, and the world he’s developing here is dense, fascinating, and steeped in anti-capitalistic ideals (among other timely themes) that I’m all about. But the character work is painted in broad strokes, and motivations never coalesce in a way that makes them feel tangible. I like th
Small butcher-spacecraft carve up the corpses of dead gods floating in space. But then one of these small butcher-spacecrafts decides to “go rogue” and see a live god. Which is against the rules for some reason so a space cop chases after them. This was awful. I mean… what?! People carving up god corpses for meat - could there be anything more banal as a premise!? For food. Do the people of the future not have cows or chickens anymore? They’ve mastered warp speed but haven’t figured out how to m...
Looks nice, but the story telling was a bit confusing for me.
I read this as individual issues as it was released. The premise was intriguing and I liked what I had seen of the art from previews so I subscribed. Overall I've enjoyed this first arc and I think there's alot of promise here. I felt like the pacing was uneven at points and a coupe issues in I nearly gave up on the book but glad I didn't. I really picked up again near the end. In alot of ways I'd label this one as a space soap opera but not entirely in a bad way. This art is gorgeous and even i...
Beautiful, beautiful art that is dark and muddy enough that it actively obscures the story. That's pretty much the core problem of _We Only Find Them When They're Dead_. It was unfortunately enough to distance me from what otherwise looked like a good story.I mean, maybe the premise is a little cliched. Giant aliens ("gods") found dead in space and carved up for resources. It's shocking, it's body horror, and it's a little on the nose.But it's kind of neat too, along with the idea of searching f...
These scavenger ships mine the flesh of dead Gods floating in space. They are monitored by overzealous space cops, one of which has a grudge with our captain. It's an intriguing setup, but not nearly enough world building yet. The series is severely decompressed, it felt padded out for four issues finally delivering the history between the Georges and Richtor in the fifth issue. There's also some confusing time hopping going on. Still, I'm intrigued.Simone Di Meo's art is gorgeous. My only compl...
The first issue is astonishing and breathtaking. The whole premise is inconceivable and the consequencies immeasurable!Then, an unneeded family drama bushwacks and hits heavily the whole plot. Until the last issue, it's an unfortunate trainwreck...
Al Ewing finally drops his first creator-owned comic, and it plays into the big cosmic stuff with which he demonstrated such flair at Marvel, giving us a society centuries hence built around mining the bodies of gigantic space-gods; as per the title, nobody has ever seen a live one. I'm not sure how long it's been in the works, but the notion of a world where the only way to scrape a living is to find things of awe and beauty, and then render them down for parts, is profoundly 2020s, especially
I own this book. I wanted to pick this book up after seeing the artwork on Twitter and I have no regrets. This book follows a crew of scavengers almost who get money by harvesting the bodies of dead Gods who find their way into their patch. Tied by rules and regulations, Malik and his crew decide to go and search for something more. A meaning to it all. The Gods are always beautiful, and the Gods are always dead. Why are they always dead? Malik and his crew decide to go searching in the depths
Al Ewing's first creator owned effort at Boom! follows the crew of a salvage ship that liberates pieces of dead gods in order to sell them and keep the universe running. The rules around salvaging these body parts are tight, and there's an unspoken history between the captain of the ship that we follow, and the captain of the guard that unfolds across this first arc as both parties do the unspeakable.WOFTWTD is the most ungainly acronym I've had to type in a while, but it's a damn good book so I...
I really thought I was going to like this in the first couple of issues. Cool idea, beautiful artwork, etc. But it got less and less clear as it went along, both story AND artwork, which started to devolve into a bunch of colorful blobs that were almost impossible to make sense of. I guess I might try the next volume, but hopefully it will improve...
Editorially this was a nightmare. The pacing is slow and it's stuffed with filler, someone crack the whip on Ewing please. - The art is great, but the color pallet is so dark that stuff gets lost/looks muddy. Also the panel layout/arrangement makes this really difficult to follow at times and the Hoopla app made it a nightmare to read some of these in zoom.There were some interesting ideas floated through here, but at the end of the day it was a weird family drama that didn't seem to care about
The art us glorious. The story a big mess. The world building is so confusing. The time jumps and parallel stories are too jumbled to resemble a full story. I'd read the first 2 issues and decided to jump on board for a tpb..was dissapointed
Some notes:Focuses a lot on a chase, but only makes the emotional stakes clear about that race in the last issue/chapter. Feels much too late, by then.A lot of jumping in time, and it does get confusing - characters aren't distinct enough, or aren't introduced clearly enough in different times.Too stingy on the worldbuilding.. why are these called gods? Is that a literal thing? Is it because of their size? How does this dead-god-based economy actually work? Nobody has ever wondered why they're a...
Every once in a while I come across a graphic novel series that makes me scratch my head. I’m no genius, but I’m not particularly dumb either, so I’m not sure why I didn’t get Al Ewing and Simone Di Meo’s “We Only Find Them When They’re Dead”, (which is my vote for, at the very least, the coolest title).While colorful, Di Meo’s artwork reminds me of photo-stills from the ‘70s anime series “Battle of the Planets”. The whole thing has that kind of “anime” vibe to me, a style that isn’t my favorite...
meh thinks it’s cooler than it is
The issue-by-issue format claims another victim, as a lovely premise gets bogged down by unnecessary cliffhangers and confusing time jumps, rushing from one mystery to the next readers as long as the readers keep buying.So, there are giant dead gods floating in space, and humans are decomposing their remains for food and technology. The intriguing setup is unfortunately the highpoint of this comic. Soon we are off down the well trodden path of evil corporations, struggling space miners, and gene...
I’m a huge fan of Al Ewing and, true to form, the story here is really good. There are some great ideas here and some really emotionally powerful scenes as well as a nice plot twist towards the end. If I had one complaint it would be that it suffers slightly from bloat; this story could have been told equally well in three issues, rather than five.As for the artwork, well, the line work is really good but I’m not a fan of the colouring. There’s a disturbing trend in comicbooks at the moment to u...
I was incredibly disappointed in this one, especially with my high expectations given Ewing’s terrific run on Immortal Hulk. I was hoping to get some weird Space Opera stuff along the lines of Outer Darkness, Vol. 1: Each Other's Throats, but this doesn’t compare. It’s basically that scene from Guardians of the Galaxy when they go to Knowhere, which is the decapitated moon-sized head of a dead Celestial that various aliens are mining for who-knows-what-purpose. Or how they use all the stuff from...
Started off full of promise but sadly wound up a confusing mess