The more of Shutter one reads, the more the book strays from its original narrative premise. The comic book isn't even about self-discovery in a world of others anymore; rather, it's a conflagration of conflicts wrought by silly egoists with an untenable lust for control of the one game piece they have over-rationalized as the key: Kate Kristopher.
Kate is dragged to and fro -- bombed, shot, stabbed, and/or kidnapped in every issue -- with little inkling as to why. Her frail and moderately functional twentysomething life disappears in a flash, and all that remains are distant relatives claiming an inheritance she herself doesn't care to own. Kate's family wants her dead because she was spoiled. They also want her dead because she's the key to learning, from their long disappeared parents, why she was the spoiled one. Kate couldn't care less . . . all she wants is meet her next deadline.
SHUTTER: WAY OF THE WORLD doesn't do much in the way of telling an actual story anymore. It's unfortunate, because the globetrotting, the monster action, and the vainglorious speeches about human consequence would, in just about any other context, actually mean something.
All that happens in this volume are: 1) instances of Kate being taken advantage of by others; 2) Kate swearing, vowing her innocence; 3) further violence against Kate; and 4) Kate's verbal rebuke. It would be nice if this gave readers a resolution of consequence to identify (e.g., What is Kate specifically fighting against and why?), but that's not the case. Instead, the book conjures more and more meteoric disruptors, which instead of bringing clarity to an increasingly wayward tale, merely string things along (e.g., Kate's never-heard-of sister, Kalliyan, is narrow-mindedly focused on reconnecting with another character readers have little investment in, Kate's mother).
The evolution of this book from a hypnotic fantasy adventure into a hyper-real net of the bizarre (e.g., filthy dreamscape giants, murderous Winsor McCay clowns), the illogical (e.g., characters reappearing after not dying some five issues ago), and the abstrusely cabalistic (e.g., red-robed cultists) is odd, though not unprecedented. The book would be fun if it weren't borderline nonsense.
Shutter has beautiful art, and every third character is intellectually inspiring, but it behooves to reason how and why it all gets mangled and mashed together in an incomprehensible sci-fi epic with no end in sight.
Perhaps this is the comic's largest detriment: it just keeps snowballing. In WAY OF THE WORLD, resolution isn't deferred, it's completely removed from the puzzle. Instead of allowing characters to negotiate their will in the face of conflict or uncertainty, the creative team instead pushes these characters into even worse scenarios than before, ultimately compounding (not layering) the conflict. Not all conflicts are obviously or acutely irresolvable; and yet, when such conflicts worsened through a lack of narrative sensibility (or crumbling narrative architecture), the likelihood of a conscionable conclusion ever coming into play precipitously dwindles. And when that happens, the story is no longer enjoyable . . . Because why read a book that has neither the interest nor the capacity to maintain the intellectual or emotional dynamics it initially put forth?