The Unwritten: Dead Man's Knock v. 3 [Paperback]

Mike Carey and Peter Gross continue their terrific Vertigo comic series with this third volume, "Dead Man's Knock", collecting issues 13 to 18 of the ongoing title. "The Unwritten" has from the start been about literature and its interactions with the real world, with particular emphasis on J. K. Rowling's "Harry Potter" and the other major fantasy writers of our age. Similar in various respects to both Neil Gaiman's "The Sandman" and Bill Willingham's "Fables", "The Unwritten" continues to be the crown jewel of Vertigo's current output ("Fables" is still going fairly strong, but by now it's fairly familiar, even if still quality). Spoilers follow.

The protagonist of "The Unwritten", Tom Taylor, was used by his father Wilson as the basis for a series of fantasy novels that became worldwide classics (the books are obvious analogues for the Harry Potter franchise, while Tom and Wilson's relationship is clearly based on "Winnie the Pooh" author A. A. Milne and his son Christopher Robin) - but now, it seems that he may actually be the character in those stories, and finds himself thrust into a world of strange magicks that all revolves around literature. Now accompanied by Lizzie Hexam and Richie Savoy (versions of the fictional Tommy Taylor's friends Sue Sparrow and Peter Price, themselves analogues for Hermione Granger and Ron Weasley), he investigates the impending release of an apparent fourteenth Tommy Taylor novel, while an ancient conspiracy continues to circle. And Wilson Taylor continues to pull the strings toward some unknown end.

Carey continues to make this series a tremendously fun read for fans of fantasy literature. We continue to get excerpts from the "real" Tommy Taylor novels, written in pastiche of J. K. Rowling's famous adventures; now in this one we get excerpts from the fake and intentionally bad fourteenth, which is written as a blatantly obvious ripoff of Phillip Pullman's "His Dark Materials" trilogy. Further afield, Carey draws on Charles Dickens (whereas previous volumes included forays into Kipling and an ersatz Beatrix Potter). This also involves issue 17, the most dramatic format variation Carey has yet employed in the series. Turning the page layout horizontal (which is a little annoying in trade paperback form, compared to the original issue), he and Gross create an imitation of the 'choose your own adventure' format for the backstory of Lizzie Hexam, which offers a few different suggestions for her backstory and the motives of various players. Carey perhaps doesn't go quite as far with this as he could (there are only two real narratives, one of which is obviously incompatible with the series), but it's quite fascinating.

The artwork of Peter Gross continues to be absolutely perfect for the series, and one hopes that he will continue with this series through to the end, giving it an artistic unity that some other series (such as "The Sandman") never had. His versatile style shifts from the fairly realistic present to authentic-seeming atmospheres for such varied works as Charles Dickens' "Our Mutual Friend" and the various styles of fantasy novel glimpsed.

Terrific stuff.

A New York Times bestseller ranking No. 1 on the paperback graphic book list, volume three of the ongoing Vertigo series The Unwritten has garnered two additional 2011 Eisner Award nominations for Best Cover Artist (Yuko Shimizu) and Best Lettering (Todd Klein). Collecting issues #13-18 of Mike Carey and Peter Gross' book, Dead Man's Knock may not be as cohesive an edition as either volume one or two in regards to story development and progression, but it remains an entertaining addition to the series as well as a necessary bridge between the two strong debut trades and the continuing, monthly title.

Dead Man's Knock covers a lot of thematic territory from the manipulation and control of stories to the awareness and utilization of Tom Taylor's gifts at literary geography. At times, however, some readers may find this encompassing approach slightly unfocused or underdeveloped in certain aspects coming off the book-end tales of "Jud Süss" and "Eliza Mae Hertford's Willowbank Tales" in Inside Man. Opening on the sinister machinations of the Cabal to rouse the secluded and reclusive Wilson Taylor from the security of his hidden locale, the efforts and the methodologies of the organization appear in fits and starts throughout the book but tend to hover mostly in the background until the final chapter. Unfortunately, while this allows Dead Man's Knock to come full circle, it somewhat reduces the impact of the engagement between Pullman and Callendar. Sequences such as the hunt and discovery of Lizzie Hexam via the Dickens' penned Our Mutual Friend or the moments with Sibyl at the end give glimpses into the powers and abilities of the Cabal; however, for some audiences, these may be too shallow or surface-only explorations rather than the emotional and narrative investment expected at this stage. As such, while Carey increases the mystery and intrigue surrounding his villains, any connection or comprehension of their motivations beyond merely being cast as an opposing force to Taylor remains ambiguous.

Dead Man's Knock is also a volume of major revelations about Hexam and Savoy, as well as Tom Taylor's prowess to connect physical landmarks with literary references in unraveling the puzzle of Wilson Taylor's whereabouts. Yet, with the exception of Hexam, the other character tales read as somewhat rushed vignettes that tease greater intrigue than they actually deliver. Although much more is revealed about Savoy's intentions in shadowing Tom, the eventual encounter between Savoy and the resurrected Count Ambrosio and subsequent fight with Tom is anticlimactic given the tragedies that befell Chadron in the last volume. Even the arrival of a major character on the scene is hurried. While Carey does not succumb to reader desires to flesh out the relationship between Tom and this new figure, the hastily composed nature of the sequence limits the emotional impact of what eventually transpires.

By far the strongest episode in Dead Man's Knock is "The Many Lives of Lizzie Hexam." Told in a choose-your-own-adventure format, this story is to volume three what "How the Whale Became" and "Eliza Mae" were to volumes one and two--the hallmark, quirky contribution that distinguishes the series from its competitors and illustrates Carey and Gross' creative abilities. Selecting a landscape layout for the pages, Gross deserves the lion share of credit and audience acclaim for the success of the "Pick-a-Story" design because of how he constructs the panels and individual pages. All too often, readers unintentionally discover and comprehend plot elements that were originally created as cliffhangers or significant plot revelations either by flipping through a graphic novel or merely allowing their eyes to wander across the pages without digesting the narrative. Here, Gross' use of space and gutters allows the story to flow sequentially but is not weakened by the reader-selective input that determines story progression. While there are no abrupt or shocking moments where picking a certain outcome inevitably leads to Hexam's mutilation or demise as some readers have found in the choose-your-own-adventure style in short fiction novellas, rereading the neglected panels afterward only increases audience connection with the narrative and provides the character development lacking in some of the other portraits in the volume.

As with volumes one and two, the art is strong and the story is well-conceived in Dead Man's Knock. Although the actual execution may leave some audiences wanting more, Carey and Gross have provided enough visual and narrative capital in all three editions to maintain reader interest and highlight the diversity and talent for which the Vertigo imprint is recognized.

-- Nathan Wilson

Only two days until the long awaited 14th Tommy Taylor novel is released! Callendar and his group meet, while the world speculates as to the contents of the newest tome from the pen of the missing writer, Wilson Taylor. Tom is taking a huge risk even being in London, which Lizzie keeps trying to tell him, but he's convinced that his father is going to show up at the book launch, and there's a lot of things he would like to discuss with dear old dad. What has Lizzie yanked off a street post, that's got her white as a sheet, and why is she keeping it hidden from Tom and Savoy?

Tom can't get hold of Swope--is his agent avoiding him? Leaving Lizzie a note, he goes out for a drink and runs into the Creature again. Savoy has problems of his own in the form of Count Ambrosio/Chadron, and Lizzie is trying to contact Wilson with questions about Jane Waxman--who is she and why does she look like Lizzie? Her actions raise an alarm; they know that someone is touching the grid. Now they just need to find her. The answers to her questions may just lie in Our Mutual Friend.

Tom thinks he's figured out where his dad will be, and he and Savoy go there, but there is a very weird turn of events. Callendar reveals himself as the actual author of the soon-to-be released Tommy Taylor novel, and Pullman goes to see the publisher. While Lizzie negotiates the truths of her existence, Tommy is brought face-to-face with his own mortality, trying to make sense of what he hears.

The long-awaited novel is here at last, Lizzie is lost inside herself, and only Tommy possesses the power to bring her back--can he do it without being caught in the process? And what are Savoy and Lizzie to him--really?

The third volume of the series continues in the same strong vein as the first two. I find myself intensely involved in the story and the characters, anxiously turning pages to see what will happen next, because I have no clue. The action is fast and furious and impossible to second-guess. I especially love the literary references, and the parallels between Tommy Taylor and Tom Taylor, their lives and stories intertwining more than Tom Taylor might wish. Much is revealed in the third volume, but also more questions remain unanswered, for future books. The artwork is spot on, the writing is impeccable. I can't think of a single bad thing to say about this series. It's incredibly awesome and a definite keeper with your favorite graphic novels. If you haven't read the Unwritten yet (in which case, why are you reading a review of the third book, go back to the first), do so, it's a must read series.