Deadly Class #11 is rife with loads of gruesome and shockingly violent action, horrible language, and blood, all of which a cool spectacle in its own base way. It never lets up and gets progressively more and more disturbing, with great structure that ramps things up in lockstep with a quick pace. There’s a particular reveal that is almost certainly the screwiest thing in this series yet, and one of the most messed-up things I’ve seen in a comic in recent memory. What’s so special about this comic, however, is that even with all of this boisterous content are character development and monologues that stick out and demand attention. Deadly Class is bursting at the seams with thrilling and sensational sleaze, but issues like this arc-ending chapter show that the backbone anchoring it all is its fascinating characters.

Because of the way this issue is done, focused entirely on a big brawl with light implementation of dialogue and narration that remains tied to a single setting, the art is very important for this issue working. As always, it does not disappoint.

The visuals go a long way in nailing the tone, atmosphere and pacing. Whenever a sword pokes through someone’s face, causing an eye ball to pop out of place, skewered on the blade, it looks like a ridiculous kind of cool rather than an uncomfortable kind, thanks to a style that remains a bit cartoonish. Layouts are done in such a way that sends one’s eyes zipping around the page in unconventional directions, with just enough panels to create a quick sense of movement. The pace is barreling, aside from scenes that creep with suspense building into something fast again. Often stunning use of highly contrasting coloring keeps things interesting, but more importantly gives the visuals a bit of a surreal bent, moving things away from the uncomfortable realm of realism.

This is all massively important for the kind of experience Deadly Class is; despite everything that happens physically being so disturbing, the atmosphere is kept fun. All of the dark, discomforting storytelling is kept to in the characterization, all of which faithfully believable. At its core, Deadly Class is a remarkably relatable character study.

Deadly Class as a whole tells things predominantly from the protagonist Marcus’s perspective, but this issue deviates from this entirely. This issue hosts interaction between Saya and Maria as well as respective bits of narration devoted to both. The two serve as foils for each other when it comes to their views on romantic attachment and independence, all based around their own relationship to Marcus. Trying to figure out their thoughts was interesting before because readers were locked into Marcus’s bias, but the more direct approach to characterizing them here manages to be fresh, thanks to the contrast.

Deadly Class #11 is filled with loads of shock and sleaze that entertain a simpler part of the human psyche, but that aspect is immensely impressive because of the intricate and careful execution. Thought-provoking and harsh words are caked in these light and nutty pictures. Rick Remender and Wes Craig didn’t forget the beating heart of this series, that being the fascinating characters. Each issue makes me care more and more about these infinitely complex little deviants.

Story: Rick Remender Art: Wes Craig
Story: 8.25 Art: 9.5 Overall: 8.75 Recommendation: Buy

Image Comics provided Graphic Policy with a FREE copy for review

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