After yet another lengthy delay, Surviving Megalopolis has finally produced its culminating issue. Is it good?
Leaving Megalopolis: Surviving Megalopolis #6 (Dark Horse Comics)
Six issues, ten months. The mini-series that started in the first couple weeks of 2016 has now finally come to an end, and considering the decline in storyline, it might be a good thing. I’m sure you’re asking yourself: “How could they wrap up all the loose ends in just one issue?” to which I would reply, “Good question, but they don’t.” There were far too many subplots to accommodate a clean ending, but that’s not to say Simone didn’t try. Here’s what she was able to accomplish, spoiler free.
As expected, there is a huge action sequence in this final issue which has been mounting since issue one. Between the underground team of villains headed by Mr. Valiant, the crazed Super-villains, the rescue team, and Mina and the Crimson Shadow, there’s an all-out blood bath. It’s these kinds of fast-paced action sequences that the series has been lacking and after looking at what Calafiore was asked to do with the visuals, I’m not surprised the issue was delayed. In fact, I would have preferred every issue to hit the shelves a month late if we got this kind of raw chaos like we saw in Leaving Megalopolis.
While the issue starts with a large cast of characters, the number significantly diminishes by the end of it which helps alleviate a lot of plot complication. However, by the end of the issue we’re still left with questions and plotlines left hanging which means it’s either the worst ending ever or…wait for it…there’s going to be another volume. This issue could have ended with the completion of the mission, thus leaving the need for another story arc more ambiguous, but Simone made it apparent that there’s still a lot of story left in the series. So if you plan on continuing the series, this issue is a necessity, but if you’ve stuck it out this long, this “finale” is still worth it for the art.
I’ve been singing the praises of Calafiore’s art this entire series and this issue serves as the exclamation mark for Jim’s (and colorist Jason Wright’s) work. Between vehicles being thrown through the air and arms punching clean through bodies, it’s certainly an issue worth ogling over. The colors are incredibly vivid and the sequences themselves are diverse and border on grotesque at times. It’s excellent. My only wish is for the story itself to be more appealing.
Is It Good?
With the sixth and culminating issue, we get a finale that doesn’t feel so “final.” While a lot is cleared up and a huge cast of characters is wiped out, there’s still a lot left on the plate and the intention to continue the series in another upcoming volume is clear. While the story leaves you wanting more, the art itself more than satisfies with some amazingly detailed and complex panels. Despite each issue declining throughout the arc, the series ends on a higher note.