Using fine pen lines with minimal shading, Adlard's panels all look as if they were lit by hospital fluorescents. For the first few pages of story, I have to admit the approach made my eyes slide across the page without taking much in. But once I got into it, Adlard's visual control of his characters held me. There are a lot of scenes of our hero sitting around either waiting to receive or receiving his worsening medical prognosis — Adlard keeps 'em interesting throughout. (A comparable moment set in an abortion clinic waiting room is especially fine.)
As his work in the ongoing zombie survivalist series The Walking Dead shows, Adlard is fully capable of crafting good full-blown horror action scenes. Here, he proves himself even better at visualizing quiet horror, reflecting it through the distress of those around Thomas as they watch their friend or former lover ossify.
Really, really fine storytelling, in sum, that'll linger long past many more flashy efforts. Even if it doesn't (unlike Casey's popcorn-y werewolves-in-space AiT GN, Full Moon Fever) attract the attention of the Hollywood optioners.
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