As for Edlunds art, it plays with the stereotype as much as every other aspect of the book. The Tick, of course, is the stereotypical over muscled man who is more brawn than brain and characters like him are constantly encountered, including the other Tick, who cannot compete with the original Ticks impenetrable shield of ignorance and stupidity. As I mentioned earlier, the comedy can appear in different places physically within the frame, with Edlund maximizing space through silent pieces of humour in the background, like the destruction of the Daily Planet globe. While The Tick has since moved to colour, the black-and-white used here, probably being more of a financial choice than anything else, is still very well done. Its crisp and clear, doing exactly what it needs to without any sort of indulgence. No panel feels quickly gone through in any way, with each one looking as if Edlund seriously considered it important and worthy of attention. Too often less important panels are Read Full Review
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