There’s a lot to cover on Wednesdays. We should know, as collectively, we read an insane amount of comics. Even with a large review staff, it’s hard to get to everything. With that in mind, we’re back with Wrapping Wednesday, where we look at some of the books we missed in what was another great week of comics.
Let’s get this party started.
Future State: Aquaman #1
Written by Brandon Thomas
Illustrated by Daniel Sampere
Colored by Adriano Lucas
Lettered by Clayton Cowles
Reviewed by Gregory Ellner
Despite the vast majority of its page count being used for a flashback to tell how the new Aquaman got where he was, and why he was in his latest predicament, Brandon Thomas’s writing on “Future State: Aquaman” #1 doesn’t explain enough to fill in the gaps. If anything, the use of his protégé in a rather stereotypical manner, coupled with a lack of much in the way of context or any innate reasoning for why any of it is happening beyond “it is,” will likely leave readers feeling more confused than connecting with the triumphs of the underwater hero. Instead, they may be left asking why they should care about the newer additions to the Aquaman story, as well as wondering, especially in light of some admittedly interesting developments around the antagonists of the plot, what Aquaman is even doing here.
Daniel Sampere does a rather good job making up for the writing problems. With close-ups, he shows a wide variety of emotions on the faces of the antagonists, Aquaman, and the latter’s partner, a distinction that is very important in such an emotion-centric story. Most notably, many, perhaps even most, of the shots are either of Aquaman close up, or are close in from his own perspective, giving a very “in the moment” feeling. Such a feeling is especially important when it comes to the aforementioned flashback, which is explored from his own point-of-view. By concentrating on him and his reactions, or only looking at things to which he is reacting in the first place from his visual perspective, Sampere helps readers to get into the mind of the hero and empathize with his pain.
While the illustrations and writing set the stage, it is Adriano Lucas’s colors that help to set the tone overall, especially through the use of light and shadow depending on whether a scene is above the surface or deep in the ocean. Darkness in the underwater segments helps to point out Aquaman’s dour emotional state, while the brighter lights on the surface harken to a happier time. These differences are important, but it is when these implicit connotations are shattered, be it through horrific violence in the open air or intense, borderline psychedelic bioluminescence down under the sea that the tone is truly important, feeding into Aquaman’s surprise or horror in much more focus than the pencils or writing alone.
Final Verdict: 6.5- Although elements of this first half of “Future State: Aquaman” are intriguing, the art alone is not enough to bring together this first half of ‘The Confluence.’
Future State: Superman vs. Imperious Lex #1
Written by Mark Russell
Illustrated by Steve Pugh
Colored by Romulo Fajardo Jr.
Lettered by Carlos Mangual
Reviewed by Alexander Jones
‘Future State’ gives the DC Universe a chance to explore different facets of continuity readers wouldn’t usually see in the space of DC. Writer Mark Russell is taking advantage of this opportunity by melding the character of Superman with satire and political conflict. “Future State: Superman vs. Imperious Lex” #1 introduces a council of planets where familiar faces like Lois Lane ponder whether to offer Lex Luthor’s planet (aptly named) Lexor to join this council. What follows is a critique on what could happen if a corrupt authoritarian was allowed the kind of control you could only experience in the space of comics. Russell and collaborator Steve Pugh are free from the shackles of mainline continuity and have the space to let Luthor’s wildest ambitions take hold of an entire planet.
Some of Russell’s strengths as a writer return from other projects for “Future State: Superman vs. Imperious Lex” #1. We still see the same biting level of satire from Russell’s other projects like “Prez” and “The Flintstones.” If you don’t pay attention to the background details and hidden messages a portion of the payoff towards the end of this title may be lost on you. This is just another example of how Pugh and Russell work together so well. Russell makes an effort to engage readers and actively reward them for paying close attention to the story. Most Superman stories are combat-focused while giving Superman a moral issue allows for a much different direction for the character. Going forward, I want to see Russell and Pugh on the main Superman titles because this issue strikes a perfect tone. Russell shows readers how Superman is devoted to helping others with passionate speech serving as a framing device for the comic.
Continued belowIn a comic focused on politics of the far future, Russell needed someone who is comfortable with long talking head sequences. Former Russell collaborator Steve Pugh is the perfect antidote to this problem. Pugh does an excellent job getting harsh and decisive expressions from aliens ranging across the DC Universe. This is a wordy script that requires a lot of attention to detail with solid page composition and expressions. I get a sense this creative team has a solid idea of what they are looking to accomplish on the page due to past projects they have worked on. Pugh is also able to mix up the flow of the story opting for humor at some points and a stoic depiction of Superman in other scenes. “Future State: Superman vs. Imperious Lex” #1 is a great Superman story that addresses real-world issues with interesting script and art that show a different side of Clark Kent.
Final Verdict: 8.5 – Mark Russell and Steve Pugh draw satire out of modern politics to show off Superman’s compassion in “Future State: Superman vs. Imperious Lex” #1.
Post Americana #2
Written and Illustrated by Steve Skroce
Colored by Dave Stewart
Lettered by Fonografiks
Reviewed by Quinn Tassin
“Post Americana #2” is almost too focused a comic book. See, the fundamentals of this post-apocalyptic United States are surprisingly strong. Rather than taking the route that most stories like this one do, it follows a path that feels relevant to this political and cultural moment but not necessarily based on it. This is a universe where racism, class stratification, militarism, and any number of other American vices have run rampant. In the moments where it focuses on the self-installed president, his tyrannical actions and their impact, this really works as a comic. But that ends after all of 4 pages.
It’s not that the actual story told in this issue is lacking in eventfulness or intrigue. Carolyn and Mike’s escape from the blood cult is certainly fun, especially the fight in the pit and the flying A.I. limbs. Plus, it is interesting to get an in-depth look at what things look like on the ground of Steve Skroce’s wasteland. And yet, the fun of it all simply doesn’t have all that much resonance. Mike and Carolyn are fine characters with a reasonably entertaining dynamic but they’re hard to really latch onto as a reader. Again, it’s not bad, just doesn’t live up to what it can be.
Skroce and colorist Dave Stewart delivers some truly disgusting art in “Post Americana #2” and I mean that as a genuine compliment. They seem to have no interest in making this post-apocalyptic landscape cool, instead opting for an aesthetic that puts the grimy, hideousness of the world on full display. Each and every cannibal, and especially the giant man in the fighting pit, is lumpy and weird, with nasty skin. Even the landscapes are over-cluttered and designed in uneven, hard to look at ways. This all serves to make the dystopia feel genuinely dystopian.
“Post Americana #2” is a fine comic. It’s fun enough and the art is great. But its flashes of potential leave me wanting for quite a bit more.
Final Verdict: 6.5 – “Post Americana #2” is entertaining enough but its greatest strengths deserve more space to shine
Sweet Downfall #1
Written and illustrated by Stefano Cardoselli
Colored by Panta Rea
Lettered by Bram Meehan
Reviewed by Brian Salvatore
There are comics that are so meticulously constructed, that their soul can be lost in the minutia. There are other comics that are free-wheeling and bursting with creativity, but lack truly great art, as it seems like the artist’s hand can’t keep up with the script. “Sweet Downfall” #1 manages to be both an incredibly intricate piece of visual art and a madcap sprawl of ideas, with only minimal damage from either approach.
While the script is, perhaps, overly vulgar for no good reason and a little slight, Stefano Cardoselli’s linework more than makes up for the script’s limitations. Cardoselli packs each panel with manic energy and incredibly attention to detail, which allows the reader to get almost all it could possibly need from the visuals. Though gruesome at times, Cardoselli’s work never does gore for gore’s sake; when people have their faces partially blown off, it is to illustrate the indiscriminate violence that populates this world.
Continued belowThere are a fair amount of tropes shoved into one book, whether it is the framing device of the issue being a bedtime story, or the mob boss’s headquarters being a restaurant. But the central premise – mafia robot goes into business for himself – is fun and unique enough that it excuses such clichés. Panta Rea’s coloring does a really admirable job of popping certain elements out of the crowded, dense soup on each page. Bram Meehan’s lettering is the most straightforward aspect of the book, and while that may not seem like a complement, it is actually one of the most important decisions made in this entire issue. By having the lettering be centered and somewhat staid, it allows the action around it to bounce off in every possible direction without losing its tether to the basic elements of the story.
Final Verdict: 8.4 – A visual feast that overcomes convention by sheer force of artistic triumph.
X-O Manowar #4
Written by Dennis Hopeless
Illustrated by Emilio Laiso
Colored by Ruth Redmond
Lettered by Hassan Otsmane-Elhaou
Reviewed by Matthew Blair
The life of a 5th century barbarian thrust into modern times with the most powerful suit of armor on Earth is a challenging one. One minute, you’re fighting Ukranian terrorists in New York, the next you’re battling a nanite grey goo monster in the middle of the Atlantic Ocean. It’s a hard life, but if Aric of Dacia has anything to say about it, it’s an honest one.
The greatest strength of “X-O Manowar” #4 is the way writer Dennis Hopeless handles the character of Aric of Dacia and the people around him. Aric is such a powerful character that he runs the risk of becoming boring and unrelatable, we know he’s going to always win. Hopeless gets around this by centering the main conflict of the issue around public perception and opinion of a godlike superhero against Aric’s pride and barbarian honor, and watching an ancient warrior king handle the modern news cycle is very engaging and compelling. On top of that, the issue is well organized, well paced, has plenty of action, a great introduction to ensure that the reader is all caught up on what’s happening, and ends on a very engaging cliffhanger.
Emilio Laiso provides the artwork for “X-O Manowar” #4 and it’s very good artwork for a superhero comic that puts the story and characters first. Laiso is at his best when focusing on emotional closeups of the character’s faces, they’re all very realistic and it’s very easy to tell what they are thinking. The two big action scenes are energetic and do a great job of showing the hero’s martial prowess, and the iconic suit of armor looks and feels appropriately alien and metallic. Special mention goes to Ruth Redmond’s colors which make the comic look a little bit hazy, but enhance gorgeous explosions, flames, and liquid monsters.
“X-O Manowar” #4 is a fantastic single issue that is the textbook definition of what a great superhero comic can be. It’s a great hero with a great creative team behind him and definitely worth reading.
Final Verdict: 9.7- If you are not following the adventures of Valiant’s super armored Visigoth, you should.
X-Men #17
Written by Jonathan Hickman
Pencilled by Brett Booth
Inked by Adelso Corona
Colored by Sunny Gho
Lettered by VC’s Clayton Cowles
Reviewed by Luke Cornelius
If you’ve been reading Hickman’s current run on “X-Men” and thinking that there desperately needs to be a space mystery wrapped in an late 80s-early 90s aesthetic, look no further than issue #17.
Set against the backdrop of galactic turmoil is a mystery surrounding the disappearance of the Shi’ar Empire’s “majestrix in waiting,” Xandra Neramani. This storyline features some of Hickman’s New Mutants, but is accessible throughout the issue with the use of some funny expository data pages. Hickman’s script also has an introduction of the galactic situation for the benefit of Cyclops, Jean Grey, Storm and the audience. It’s simple and straight to the point. The heroes are “in a saving-the-day kind of mood,” they want to do some superheroics, and that’s exactly what Hickman’s script delivers.
Continued belowIf this issue is meant to signal a shift in the series’ direction in ‘Reign of X,’ with the introduction of a Krakoan X-Men team who will go back to basic superheroics, there’s perhaps no artist better than Brett Booth. Throughout “X-Men” #17, there’s an undeniable nostalgic quality, one that harkens to the late 80s and early 90s, that starts with Booth’s linework. There’s a thinness to each defining mark and a softness to his shadows, both of which are inked superbly by Adelso Corona. Each character is highly accentuated and it pushes them away from a sense of relatability and realism out into the realms of inspirational and awesome, which works for the story being told. The inclusion of Cyclops and Jean’s “X-Factor” costumes cannot be overlooked either.
More widely, Booth’s panelwork is strong and brings a simple and effective energy to the book, with a couple of fantastic layouts, most notably when Jean is telepathically scanning everyone’s minds; Booth places her in the center of the page surrounded by fragmented panels of the individuals’ profiles. Sunny Gho’s color palette brings a fullness to all of the artwork, but on this page, the glowing effect added to Jean’s telepathic form gives her a great ethereal quality. A similar glow emanating from Storm’s lightning visually strengthens her powers too. There’s often a glossiness to many of the characters that deepens the nostalgic visuals.
By the end of “X-Men” #17, after plenty of action and humor, the standalone superhero adventure is brought to a wholly satisfying conclusion, marking the start of an exciting new direction for the series.
Final Verdict: 8.6 – “X-Men” #17 brings highly enjoyable superheroics wrapped in a nostalgic aesthetic.
