Moriarty #7 takes a much needed break from the dragging story arc "Lazarus Tree" with a lot of back story on Moriarty and his world travels. The story and artwork are very different from the usual Moriarty story, and the results are not as great as those from the first story arc, but Moriarty #7 still has an interesting story and solid artwork with a few awkward quirks.In this issue, Moriarty recounts some of his time with the currently MIA Morley and how he came to control Kingston, with the help of an assassin simply called Mr. Moran.The idea to make almost this entire issue a flashback was a good one: The last issue of Moriarty was the lowest point of the series and readers needed a break from the complexity of it all. While the transition into and out of the flashback is abrupt, but also features a great and quick recount of the last issue on the first page that albrings readers up to speed, and which shows Moriarty's personality very well through language.Daniel Corey's writing style in this issue still has great word choices, with Moriarty always sounding like the pompous smart-ass he is. Reading his constant quips was great, and the best moments in this issue were when he interrupts Mr. Morley's meeting with little care for the consequences and a full packet of quips in his pocket.
There is also some great humor between Moriarty and his assassin that adds a playful touch to the issue, a touch which feels somewhat foreign to the series, but was still a nice touch to the issue.The dialogue did not feel like it dragged in this issue. There was little narration, which usually feels like the length of a novel in Moriarty, and several pages had no dialogue or narration at all. These pages tried to tell the story inspiringly through only pictures, but had mixed results.The first and last pages served as bookends to this issue, and both had the usual artwork done by Anthony Diecidue. But the rest of the issue was drawn by Mike Vosburg, and he is another refreshing (if not impeccable) change. The idea to have the past in a completely different art style was a creative and enjoyable one. The dialogue-free pages were lacking, but the colors done by Anthony Diecidue helped make the artwork more effective than they were last time, with this issue featuring splashes of red silhouetting people and many panels displaying an old-fashioned feel with a mixture of brown-colored backgrounds.At the start of the flashback, however, the art is at its lowest point. The character designs look somewhat cartoonish and there is an odd transition form blue coloring to brown that is done awkwardly. But afterwards, the repetitious brown glow is great. There are some odd and annoying character quirks, like some characters who have their cheeks tinged pink ,resulting in some off-putting imagery. The only time this tinge was a positive aspect of the art was when we see the reddish-pink tinge on the nose, making a man look like a convincing drunkard.Moriarty's expressions are pretty good, if a little cartoonish, but you can clearly see the devious gleam in Moriarty's eyes, while everyone else has expressions that sometimes don't seem to fit the context or are too awkwardly drawn. The structure of the buildings are also lacking with many looking chintzy.This issue had plenty of quirks and a more interesting art style than a story, but was also a much needed break from the "Lazarus Tree" story arc and could be read in place of the last issue while losing very little (other than the splitting headache from the overload of unnecessary knowledge). The story in this issue felt very formulaic, but was executed well, and it makes the reader look forward the next issue of Moriarty.
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The idea to make almost this entire issue a flashback was a good one: The last issue of Moriarty was the lowest point of the series and readers needed a break from the complexity of it all. While the transition into and out of the flashback is abrupt, but also features a great and quick recount of the last issue on the first page that albrings readers up to speed, and which shows Moriarty's personality very well through language.
Daniel Corey's writing style in this issue still has great word choices, with Moriarty always sounding like the pompous smart-ass he is. Reading his constant quips was great, and the best moments in this issue were when he interrupts Mr. Morley's meeting with little care for the consequences and a full packet of quips in his pocket.
There is also some great humor between Moriarty and his assassin that adds a playful touch to the issue, a touch which feels somewhat foreign to the series, but was still a nice touch to the issue.
The dialogue did not feel like it dragged in this issue. There was little narration, which usually feels like the length of a novel in Moriarty, and several pages had no dialogue or narration at all. These pages tried to tell the story inspiringly through only pictures, but had mixed results.
The first and last pages served as bookends to this issue, and both had the usual artwork done by Anthony Diecidue. But the rest of the issue was drawn by Mike Vosburg, and he is another refreshing (if not impeccable) change. The idea to have the past in a completely different art style was a creative and enjoyable one. The dialogue-free pages were lacking, but the colors done by Anthony Diecidue helped make the artwork more effective than they were last time, with this issue featuring splashes of red silhouetting people and many panels displaying an old-fashioned feel with a mixture of brown-colored backgrounds.
At the start of the flashback, however, the art is at its lowest point. The character designs look somewhat cartoonish and there is an odd transition form blue coloring to brown that is done awkwardly. But afterwards, the repetitious brown glow is great. There are some odd and annoying character quirks, like some characters who have their cheeks tinged pink ,resulting in some off-putting imagery. The only time this tinge was a positive aspect of the art was when we see the reddish-pink tinge on the nose, making a man look like a convincing drunkard.
Moriarty's expressions are pretty good, if a little cartoonish, but you can clearly see the devious gleam in Moriarty's eyes, while everyone else has expressions that sometimes don't seem to fit the context or are too awkwardly drawn. The structure of the buildings are also lacking with many looking chintzy.
This issue had plenty of quirks and a more interesting art style than a story, but was also a much needed break from the "Lazarus Tree" story arc and could be read in place of the last issue while losing very little (other than the splitting headache from the overload of unnecessary knowledge). The story in this issue felt very formulaic, but was executed well, and it makes the reader look forward the next issue of Moriarty. 
