“Nowhere, Nothing, Never” wraps up, and we get one of the most intense looks into Johann’s life that we’ve ever seen. Be warned, spoilers abound.
Written by Mike Mignola and John Arcudi
Illustrated by Peter SnejbjergJohann returns to the grave of an agent who died under his watch, only to discover the death was worse than he knew.
David: The end of the Johann-centric arc is here, and with it come big tidings on the horizon and some closure for recent storylines. It’s from the team of Mike Mignola, John Arcudi, Peter Snejbjerg and Dave Stewart, and Brian, I’m curious what you think. Did it hit you like a sledgehammer or did it leave you feeling cold and lost like a ghost?
Brian: I think this issue had some incredible moments, and showed us sides of Johann that have only previously been hinted at – this was, perhaps the most complete view we’ve had of Johann in years, if ever. What say you?
David: Totally. It was a great way to get some insight into where he is while also filling him with new purpose. Obviously we’ll talk about the Sledge suit in a bit, but it was a great moment seeing Enos for one last time and seeing him at peace despite what had happened to him, and I don’t think I was the only one who appreciated seeing that. It capped the arc quite nicely, though, and acted as both a great character piece and a nice step in a big move forward.
Plus, that whole scene at the motel was genuinely creepy. The way Snejbjerg drew that little girl Leticia’s face when she thought she was pulling one over on ol’ Johann went to eleven in creepiness. She was creepier than the legitimate monster she was releasing!
Brian: Let’s talk Enos for a second – was that really him? He tells Johann after their chat that he clearly wasn’t in that grave. Is Johann just projecting what he wants to hear from Enos? Or as that really him, but he’s simply done with talking to Johann when he departs?
David: I have no idea. I honestly don’t think it really matters. It’s textbook Enos to say it might not be him to fuck with Johann, but it could honestly not be him. Really, it was just something Johann needed to go through to move on from that experience, and the idea that it was or wasn’t Enos matter less than the experience and message.
That said, I do think it was Enos. He was just being a dick and I don’t think Johann is capable of channeling that type of laissez faire attitude without the guidance of his actual spirit. What do you think?
Brian: I personally don’t think it was him, but I agree with your assessment. It really doesn’t matter if it was actually Enos or not, it was about Johann’s personal journey of discovery. I think that the assessment he gives Johann, essentially “you couldn’t drive my body if my soul was here,” is a valid one. What also bolsters that argument is how he knew about what Johann did at the Stanovoy Mountains, which would seem to predate their acquaintance.
Regardless, that experience really played into Johann’s guilt, which is an emotion we don’t typically see from him, who can be cold and detached.
Let’s circle back to something you said earlier, about how Snejbjerg creeped us out so perfectly with the way he handled the little girl, attempting to play Johann. Snejbjerg has really been on his A-game here – though, frankly, when isn’t he? – and in this issue he managed to really turn up the creepy mojo. The motel folks have been an interesting little group to focus on for the past few issues. They are equal parts creepy, sad, and relatable. They seem like they’ve settled into a very ‘real’ situation that would arise in this crazy world.
David: Yeah, as you know, I really like it when they focus on the more real elements of this world. It’s why I loved the issue about the dude who worked at the coffee shop a while back. It helps take a step back from the more military side of thing and give us some perspective as to how the average person in the world might react to this type of disaster. We’ve seen before that people worship the monstrous creatures the new world order has brought on, and we’re seeing that again in a different way.
Continued belowIt’s super creepy, and the way Snejbjerg handles it is so pitch perfect. I really loved the frantic sequence where Johann is trying to turn a car into a bomb against the creature as well. The way Snejbjerg illustrated it made Johann’s fear palpable, which is amazing because in his own way, he’s the Bureau’s man without fear.
Let’s jump into the big event, though. This issue showed that my guess was correct. Johann will be moving into the Sledgehammer suit. How cool is that?
Brian: I think it is pretty, pretty awesome. It is one of those occurrences that makes so much sense, but was never really guessed until recently (at least, not by us). This, to me, seems like Johann’s endgame – where does he go from here? Once you have the Vril suit, it seems to me that you’ve powered up to your limit.
I wish there was more I could say about Snejbjerg, but we’ve been heaping praise on him for this whole arc. But I’ll go back to what I always say with him – the dude does the best eyes in comics. His eyes tell such a story – specifically when a character is surprised, Snejbjerg tells you everything you need to know just just using the oculars.
Anything else you want to add before we grade it?
David: Not really. I think the book is super on point right now and it feels like they’re just getting some of the chess pieces in the right place before something big. I’m really excited to find out what that is. Do you have anything else?
Brian: Nah, that just about sums it up for me as well. At this point, the story feels like it’s all plot – everything is leading up to something big and, as a reader, that’s just so damn fun.
This is an 8.5 to me – what about you?
David: I wouldn’t say it feels all plot, as this issue was very much character driven, but there is definitely a lot coming on the horizon. It’s an exciting time to be a Mignolaverse fan. I’ll give it an 8.0, though. It’s a very, very good comic.
Final Verdict: 8.25 – As David said, this is a very, very good comic.
