With “iZombie” coming to a conclusion in August, it’s no surprise that “iZombie” #24 is moving the series into its endgame. Chris Roberson and guest artist Jim Rugg do that by way of the 1970s as Agent Kennedy from the Dead Presidents shows us what happened the last time someone tried to end the world.
Roberson’s spotlight on Kennedy and the previous apocalypse attempt is one of those stories better in concept than execution. It’s a fun idea, mixing ’70s music and science-fiction authors into an attempt to rip open a dimensional gate and let the ancient ones in, but there’s something about Kennedy’s narration that makes it feel non-energetic. This should be more daring and climactic, but the entire ’70s sequence meanders along.
Fortunately the framing sequence in the present day has much more pep; how can you not love a fast food restaurant having its employees possessed by other-dimensional creatures and attacking the customers? It helps that Rugg draws these creatures as looking quite alien, between their crab pincher arms, far too many eyes, and tentacle mouths. The urgency missing in the middle of the comic is present there, at least giving you a start opening and closing to the issue.
In general, I loved Rugg’s art in “iZombie” #24; “iZombie” has done a great job of picking guest artists and this go-round is no exception. His art merges well with Laura Allred’s pop art colors and a purple rift with tentacles drifting out ends up looking far more menacing than one would expect. Rugg’s drawings of the fantastic are, in general, worth the price of admission. Perhaps that’s what the ’70s portion needed more of; big crazy monsters and creatures from mythology for Rugg to draw.
It’s a shame that “iZombie” is almost over, but it’s been an awfully fun series in general. Still, this issue makes it clear that Roberson is shifting it towards a big conclusion and that’s a nice consolation. As a gateway to the final endgame, “iZombie” #24 achieves its purpose well.