Royal Nonesuch takes a look at 28 Days Later #7, by Boom! Studios!
28 DAYS LATER #7 (A)
28 DAYS LATER #7 (B)
Written by Michael Alan Nelson
Drawn by Declan Shalvey
SC, 24 pgs, FC, SRP: $3.99
COVER A: Tim Bradstreet
COVER B: Sean Phillips
Diamond Code: NOV090666
The new heart-stopping ongoing from BOOM! continues! Great Britain is quarantined. The Infected overrun the land. What the world doesn’t know is that uninfected people are still trapped inside. They live, although in no way resembling their former lives. When Selena, Clint and Derrick find these lost souls, the question is posed: What do these people do when they run into strangers?
Bridging the gap between Danny Boyle's feature fllm and its sequel, Boom! Studios 28 DAYS LATER focuses on the human drama of life in a post-apocalyptic wasteland by leaving any critters and creatures on the outskirts of the story. The threat is always present, even if it doesn't show up explicitly in the comic itself. Simply witnessing the larger societal effects of the devastation is enough to drive he point home.
Thus, we have 28 DAYS LATER #7, wherein hard traveling heroes Clint, Selena, and injured Derrick encounter a small town of fellow survivors. A series of events cause Clint and Selena to march into a possible death due to a measure of manipulation at the hands of Kate, the head of the survivalist camp. It's an interesting contrivance, as the story is truly about how man's selfishness and underhandedness can not only survive, but be amplified to a murderous degree. If the world were to be overrun by zombie/vampire creatures, man would use said creatures for their own ends. And why shouldn't they, when survival is at stake? Certainly, Kate's motive for her deceipt does have a measure of nobility as well as desperation. It is an interesting treatise on human nature, and how we protect the things that are important to us.
Declan Shalvey is apparently new to comics, and the artwork here is loaded with potential. Though the art isn't particularly flashy, it serves to illustrate the world of 28 DAYS LATER very ably. The panel work could use some innovation. The book is basically page after page of stacked, fully wide panels with very little to punctuate the bigger moments along the way. Consistency in storytelling is one thing, monotony is another.
Speaking of consistency, the figure work is a great strength here. It's appropriately detailed and expressive, and doesn't conform too much to any likenesses from the film. The muted color palette also complements the pencils very well.
28 DAYS LATER has proven to be an all too human look at a post-zombie apocalypse, in every sense.
8 of 10
The Outhouse is sponsored this week by Late Nite Draw. Recently featured on ComicsAlliances' Best Art Ever, he is a Chicago-based commissioned artist with a self-published Digital+Print one-shot coming out in October about the abominable snowman called ABOBAMANIMABBLE, and is also available for commissions. Check out some amazing art by clicking here or by clicking the banner at the top, and support the people who support The Outhouse.
Comment without an Outhouse Account using Facebook
Note: while you are welcome to speak your mind freely on any topic, we do ask that you keep discussion civil between each other. Nasty personal attacks against other commenters is strongly discouraged. Thanks!
About the Author - Royal Nonesuch
As Senior Media Correspondent (which may be a made-up title), Royal Nonesuch tends to spearhead a lot of film and television content on The Outhouse. He's still a very active participant in the comic book section of the site, though. Nonesuch writes reviews of film, television, and comics, and conducts interviews for the site as well. You can reach out to him on Twitter or with Email.
More articles from Royal Nonesuch