Jack, our time traveling operative, regains consciousness in a Nazi prison cell while his compatriots attempt to fulfill the mission–destroy a Nazi bioweapon that will doom the future.
There’s a great, whopping deus ex machina in this issue of Time Bomb that would normally drop a book down a grade, but Jimmy Palmiotti and Justin Gray balance out this unforeseen benefit to the time travelers’ escape plan with a fitting and most unexpected ending. It’s not the only surprise.
I kept trying to predict where Palmiotti and Gray would take the story, but I mostly failed. For instance, I expected that one period character would return with the time travelers. That happens, but it wasn’t the one I surmised. I thought another character would die, but that person didn’t.
The nudity, however brief and tasteful, took me off guard. One of the reasons why Paul Gulacy is so lauded is that he always appears to be illustrating for adults. Sensuality defines Gulacy’s work.
In Time Bomb, it looked like he was holding back as he would for a general audience Marvel comic book. Gulacy normally implies nudity through silhouette or hides the naughty bits with strategic body movements, but in two panels, he let’s it all hang out. I found the explicitness refreshing. Time Bomb is clearly marked “Mature Readers.” So, be mature.
Gulacy visually narrates Time Bomb as if it were a big budget movie and nudity frequently appears in critically acclaimed darlings. For instance, Kate Winslet stripped for Titanic. Why should it be any different for a comparably rated comic book? Gulacy is equally skilled when depicting violence and that is the bread and butter of comic books. Nazis die in scores and Gulacy makes each death spectacular. Kudos also to the fiery colors of Rain Beredo.
Time Bomb succeeds as a joyful slaughter of Nazis and as a time travel story that banks on genuine science fiction theory.