Review by Ian Keogh

Of Grim’s preceding three volumes the least satisfying was the second, Devils & Dust, because it gave the impression of stalling. Much of Eve of Destruction is definitely stalling, but a far more absorbing experience for focusing on characters rather than rushing from one place to the next.

This may prove frustrating for some, as a fine state of affairs has been reached, what with the Original Sin having been let loose on Earth. This is in addition to death having been brought to a halt on account of Death dying. The presumption, then, would be of Stephanie Phillips picking up where Lust for Life ended. She does in the sense that everyone who matters is still in the diner, but instead of planning what to do about what’s been let loose, we’re instead given the backgrounds of cast members, and a fair selection box they prove to be. We’re treated to a war story, a Western, a trip to the early 1960s, and Eddie’s life as a 1980s rock star, a revelation maybe overdue.

Beginning with a relatively new introduction is a surprise, but the priest one imagined was merely there to challenge the Fates first takes the spotlight with their Afghan war experiences. It might not be what you want, but the emotional impact is deep. Far deeper in fact than Eddie’s story of ego and betrayal, although given his personality to date, it shows how little might have been learned.

Amid the histories, Phillips inches the main plot forward, which involves taking a look at what Annabel has become. Deciding how to represent the Original Sin is an interesting challenge for Flaviano. He’s opted for a being formed of plant life, the apple being the first temptation, but not the Arcimboldo fruit person, which would have been a viable option. Instead Annabel is a towering construction of bulging pink plants, tendrils and a fearsome mouth. As is the case throughout Grim, Rico Renzi’s colours are essential.

The series may be titled Grim, but Phillips includes a fair bit of sly humour. Other than the first, it manifests in every chapter here at some point, the best example being Death consulting Sigmund Freud after a disturbing sexual experience. One doesn’t image the person who ends all things being capable of shock, yet the more we see Lilah Harrow, the more shocking she is. That begins a final chapter in which there’s another revelation, and it’s a possible game changer.

Whether or not Eve of Destruction lives up to the title will be determined by how far Phillips and Flaviano are from the series end. As entertainment, though, it’s very fulfilling.