Wrapping Wednesday: Micro Reviews for the Week of 02/20/19

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.

There are three kinds of Hunters: The Hunters of the Workshop, the Church Hunters & the Hunter of Hunters.

Up to this point, Ales Kot, Piotr Kowalski, et. al have crafted stories in the Bloodborne world that felt tangential to the plot of the game, more interested in relating thematically with occasional cameos from characters in the game. With the beginning of their third arc, “A Song of Crows,” they begin a dive into one of the most interesting (not to mention powerful) characters in the video game: Eileen the Crow, the Hunter of Hunters. The solitary executioner of other Hunters who have succumb to the madness of the Old Blood.

There is a risk of trying giving an origin to such a character, however, Kot’s scripting keeps it very obtuse. It has a framing device of The issue reads more like poetry, Eileen’s stream of consciousness as we move through scenes both past and present (and back again), both visually and Eilleen’s own questioning of “When am I?” That phrase repeats over and over, from Eileen’s childhood to a time where her bones feel so old.

Kowalski and Simpson’s artwork continues to wonder on this book. Kowalski’s paneling as we shift through the timeline is something to note. It is something that keeps us on our toes without ever being jarring. Within that paneling, the gritty style continues to paint the drab, dying version of Yharnam, from the city itself to the lone Byrgenwerth college. The drabness is further enhanced by Simpson’s coloring. A scene in particular that pops is in Eileen’s past on a frozen lake. Simpson’s use of greys and whites still manages to communicate the dread of this world, in spite of the rare brightness.

Final Verdict: 7.9- Kot, Kowalski et. al begin their focus on Eileen the Crow with the same love and attention to detail that makes their “Bloodborne” stand above other game adaptations.

“The Circus” is a one-shot on Comixology Submit, always nice to venture sometimes beyond the confines of the direct market, made by relatively unknown Lidan Chen; there were apparently some works with Boom! Studios (and you can certainly see the stylistic match) but I can’t seem to find them. The story sees a young boy, Albert, trying to join the circus only to discover the ringmaster is not the nicest of gentlemen.

It’s aimed at a younger audience, the age range is 9 or older, though there is at least one bloody scene that made me think of older readers. There’s a strong Miyazaki vibe here, especially noted in the semi-Historical-European design of world and characters which brings to mind works like Castle in the Sky or Howl’s Moving Castle. There are bits and pieces in which Chen seems to skimp on the details, faces in the background tend to get smudged unless they are expressing something plot-related, and the lettering never raises above ‘decent,’ but otherwise it’s a very good-looking book, pleasant to go through and observes character, world and movement.

The plot is definitely the weaker side, and not because it seems to borrow a bit too much from the circus section of Pinocchio (“Hellboy and the Midnight Circus” did well enough while aping that story), but because the tone seems unsure of itself; the nightmarish element, a boy imprisoned and transformed against his will, is not dwelt on enough and the final part is less a matter of any character choice than pure luck. Add to that some inappropriate dialogue, someone actually uses the word ‘dude,’ and you can see a book that definitely needed some farther editing.

Still, the art is the real star here and I really hope to see more from Chen in the future.

Final verdict : 6.0 – better than most circuses, really.

On this closing issue of “Errand Boys,” the creative team of Kirkbride, Koutsis, and Cvetkovic complete their interesting view and debate on the values of family, in the middle of a fantastic space heist story, with truly unique visuals, even if a bit bland on its overall final message.

Where “Errand Boys” is at its strongest is on how outlandish and creative Koutsis has been on designing deep science fiction material, from how certain worlds are depicted and how races and characters are portrayed, and yet keeping it anchored to what is expected of certain situations. The character of Bear, for instance, is completely original, but take a couple of looks at him and readers can understand the role he is playing in the story.

Having Koutsis work on colors as well also adds a further dimension to the issue and series, as this particular strong point of inventive world-building is made complete by a thorough artistic package, from the eye colors of the protagonists, to how different planets Old and New Ebb are from one another.

Over at plot and script, while it has been clear since some issues back, Kirkbride was commenting on the nature of family and, particularly, siblings, and how certain events can pull them apart or together. It is a heartfelt tale and one that surely rings true in this chapter, as peace is made on a number of topics that were open from when “Errand Boys” started.

Having said that, the resolution to some of these elements perhaps deserved a bit more time and focus to be fully fleshed out. There are some shortcuts the script chooses to go through that diminish how the character themselves are dealing with those feelings, leaving the series’ audience with a sense that it could have been handled better.

All in all, “Errand Boys” delivers on its promise of space opera, combined with an estranged family dynamic. It should have made readers care for these characters enough for an eventual return, and, hopefully, to see this resolution further dealt with.

Final Verdict: 7.0 – Beautifully designed and conceptually interesting, “Errand Boys” might stumble a bit on how it closes some doors, but it is still a worthy read.

Coming into an issue of “Exorsisters” without a comedic cold open is an unusual experience, but not exactly an unwelcome one. The change of pace allows for Ian Boothby to explore some elements of the series before diving into the existential threat that looms over all, while also allowing some of the more serious elements of “Exorsisters” #5 to take center stage before allowing the humor to drive a lot of what happens from there on in. The fluid changes in tone help make this issue just as much as the artwork, the work in tandem typical of this series that makes it so beloved.

Speaking of said artwork, Gisèle Lagacé leaves nothing to chance, using her highly animated style to both drive home despair and raise up comedy, especially where it comes to Kate Harrow. Even the darkest abyss is made a little lighter by Lagacé’s style, a little more palatable even as the horrors come up in higher quantities.

Pete Pantazis uses his colors to help augment the already stellar art, with dull or muted hues in the First Shadow’s flooding and in dour flashbacks, contrasted against brighter ones in other situations. Altogether, it gives a feeling of wanting to escape the past and the dark… but that might not always be the best of options for our heroines.

Final Verdict: 8.0- Boothby, Lagacé, and Pantazis work together to forge a fitting conclusion to this arc of “Exorsisters.”

“Hulkverines” #1 takes a side-step from the currently on-going “The Immortal Hulk” to show part of Banner’s struggle between his battle with the Avengers and his time in hell. As the greater world discovers that Banner and the Hulk are indeed alive, and learn of his new powers, they look for new ways to take him down.

Lots of exposition and catch-up make up most of the text in this issue and while helpful, it makes for a mostly dry introduction. Pak has to remind casual readers or those who never followed “Totally Awesome Hulk” who The Hulkverine aka Weapon H aka Clayton Cortez is and also introduce new readers to the classic baddie The Leader. The action and classic Marvel story vibes are what carry this issue along with a smashing-good time towards the end. Leaving us on a nice cliffhanger for the next issue of this three-part miniseries, more characters come into the fold for what will surely be a huge battle.

Anindito’s sketchy and fast-paced style of penciling works for this kind of story, but more than one page ends up just looking unfinished. Colors by Hollowell and Crossley pick up some of the pieces left by Anindito to give it a more put-together look, but overall nothing about the art is noteworthy. A few good action set pieces work, but compared to the other Hulk title currently on shelves this pales in comparison.

Final Verdict: 6.0 – A good action romp with some ties to the greater Hulk story, but is light on any true importance and ultimately forgettable in the sea of superhero comics.

Chances are if you’ve watched cable TV during the holiday season, you’ve caught a Bond movie or two. The more you’ve seen, the more the formula becomes apparent: From his martini preference to how he introduces himself, from the cars and technology to the beautiful women and…well, you know the rest. For better or for worse, “James Bond 007” follows this formula.

The challenge with the “James Bond 007” IP is making it feel fresh and new, even when it’s formulaic. Greg Pak’s talent and experience rise to this challenge. He knows it’s not simply 007’s charm, but how he utilizes it to further his goals. It’s not simply beautiful women, but how they throw off Bond’s best-laid plans. Pak doesn’t ignore the tech, the cars, the martini, and the potentially toxic masculinity. He simply weaves them into the story he wants to tell.

Stephen Mooney’s true-to-life style and a cinematic eye for framing a panel bring a story usually seen on-screen to the page in a visually appealing way. Like the Bond character, Mooney’s pacing in “James Bond 007” is measured and professional throughout. The one exception is the fight scene toward the end of the issue with its jagged, disproportionate borders. It’s a highly effective use of the medium to elevate the action.

Par for the course for Triona Farrell, the color work in “James Bond 007” #4 is above-and-beyond, merging Mooney’s true-to-life line art with thematic color palettes based on the mood of the scene, or room, or just helping show the difference between multiple locations.

Also, a delight in this issue is Ariana Maher’s lettering work. Her word balloons are tight and well-placed, her sound effects are unique without taking you out of the story, but it’s how she portrays the karaoke scene that was the real treasure. She could easily have used simple word balloons, but the way she elevated the song turns the moment into a scene that’s larger than the panel, enchanting and immersing the reader.

This latest run of “James Bond 007” isn’t revolutionary – not yet anyway. But it does manage to make an old formula still interesting, which is truly a testament to the hard work of a talented team.

Final Verdict: 7.4 – A superbly talented creative team breathes new life into an otherwise tired franchise.

After an intriguing first issue, “Lucifer” has taken its time in building tension, but with an endlessly shifting POV thanks to a large cast, the book hasn’t entirely landed all its revelations. Issue #5 is a nice antidote to that as we see exactly why Stingy Jack’s so angry, and Sycorax begins to recoup some of her agency.

Watters is doing some interesting work in this book but the gyre’s been too wide. This issue weaves some of the outlying threads together, which draws more tension into a story that’s been a bit flat. The comic has always been circular given our protagonist’s self-obsession, but this premise has felt more cluttered than it should be. Even with some streamlining, we’re still left wondering what’s really at stake. That’s down to too many characters to feature properly and a roving POV that deflates Lucifer’s torment. Stingy Jack’s origin reveal isn’t quite enough to explain the world-altering damage this charade has done thus far.

The Fiumara’s art is fantastic, with craggy, dessicated characters and backgrounds. The art is reminiscent of Eastern European woodcuts, and McCaig’s subtle colors and careful contrasting help accent precisely how blasted and uncaring each landscape is, be it inside or outside of Lucifer’s predicament. The art and colors shoulder a bit more work than they should to help the often chaotic story maintain its tension and its bleak mood, but they do it well thanks to the Fiumara’s and McCaig’s respective skills. Wands’s lettering is good, with a nice take on the classic Lucifer font that’s easier on the eyes, and effective styling on Caliban’s speech and Sycorax’s interdimensional phone call. Wands has a lot of work to do with such an intricate plot and heavy dialogue and does it very well.

Nearly every story that’s spawned from the Sandman Universe goes after that long-form, meandering storytelling Gaiman did to such good effect in the original series, with varying results. Overall, “Lucifer” is enjoyable, but could benefit from some streamlining to deliver a punchier experience without sacrificing the cleverness we’ve come to expect from previous runs.

Final Verdict: 7.0 – “Lucifer” #5 starts putting the narrative pieces together that’ve been somewhat lacking, with engaging art, colors and good lettering.

“Mars Attacks” #5 is an odd conclusion to an odd mini-series. Jam-packed with melancholic humor that pervades its cartoony, brightly colored alien invasion, Starkes and Schweizer manage to comment on the cyclical nature of war while also fitting in a dog named Butthead. What began as a journey of a father and a son through the utter annihilation of the human populous becomes a story about a son, overwhelmed by the enormity of the war, just trying to do one thing right.

The four splash pages depict this beautifully. The majority of the pages are taken up by the background, where the army is fighting off a giant flea-like creature. In the front, tiny but deeply prominent, is our main character, his dog, and the Martian he’s capture. And then they walk. It is this juxtaposition that sums up perfectly why this series, and this ending, succeeded where the Mars Attacks movie did not.

While the visual humor and jokes about Martians wanting to eat dogs, rounded, cartoony artwork, flat colors, and wobbly, san-serifed lettering evokes the silly, campy aspects of the Topps cards and B-sci-fi films this franchise is based on, the somber, quiet moments of contemplation provide the heart needed to sustain the rest. The humor brings lightness to a very silly situation while the danger and friction between the father and son bring the necessary gravity to make the humor all the more welcomed. It is a tough balance to strike but “Mars Attacks” managed to do so.

While the ending scenes may have muddied some of the thematic messages, especially with regards to our main character’s feelings on war, it provided the right amount of resolution and fit with the genre tropes this series was playing with.

Final Verdict: 7.8 – “Mars Attacks” goes out with the war in the background and the human drama at the forefront, providing a fitting end to a wacky, heartfelt mini-series.

The new creative team for “Miles Morales: Spider-Man” #3 is pushing the title in a much different direction than it was in previously thanks to the vision from writer Saladin Ahmed and artist Javier Garron. Ahmed has a much different take on the more regal approach to the hero than creator Brian Michael Bendis established in the early issues. This new installment of the series is no exception and features a team-up between Morales, Captain America, and the Rhino. Ahmed has wisely continued the trend of exploring Rhino’s potential as a hero and gets a fascinating level of back-and-forth between Steve Rogers and Miles Morales following the harrowing events of “Civil War II.” Ahmed has a great time operating in the space between the continuity of a shared Universe to craft a really interesting story that could only be told right now in this specific context.

Unfortunately, the issue begins to falter when readers start to consider some of the characterizations for the leads and the material missing from the issue. While Rogers carries a lame, do-good attitude inherent within the character, the more cerebral and regal nature of the character isn’t quite captured in the issue. At the end of the day, readers get a story that doesn’t show some of the most interesting sides of Rogers. The same goes for the Rhino who only has a surface-level element of characterization. Ahmed does a good job crafting a compelling narrative for the issue to explore but it doesn’t excuse the lack of nuance within the story and writing. When the mystery is finally solved, readers are given a disappointingly simple and uninteresting resolution to the core conflict.

Ahmed is striking a much lighter tone in his script than some fans are used to. Artist Javier Garron does a great job finding those elements of the script and bringing them to the forefront of the story. As a result, the issue can come off as too light in certain moments. However, the art has a quirky nature by design thanks to the characters making up the cast of the issue. Garron depicts each protagonist with a quirky demeanor and does a great job finding the silly aspects of the narrative. However, these characters don’t feel as if they are grounded in a certain level of reality. It would be great to see an artist ground the character in a stronger basis of reality in future issues.

With really sudden plot twists and turns that overcomplicate the narrative and goofy characterization for the main heroes, “Miles Morales: Spider-Man” #3 is far from a perfect comic book. However, the series makes up for its shortcomings with a charming, expansive narrative that establishes a rapport between Miles Morales, the Rhino and Captain America.

Final Verdict: 6.0 – “Miles Morales: Spider-Man” #3 is a comic on the precipice of telling a truly compelling story marred by subpar characterization and familiar genre elements

Since I was about twelve years old, I’ve loved genre writing. From reading Anne Rice’s Interview with the Vampire to the Brothers Grimm. The writing that has always moved me most is the writing that could tackle real-world problems in a heightened reality. It was dipping into these worlds, their beauty, and their parables that (like many others) I found myself. This in turn (along with my love of visual art) led me to comic books. I had heard good things about “Monstress” but really who listens to good things? This comic is the reason I should start.

I wasn’t overly familiar with Marjorie Liu’s work outside of comics, but there were definite reasons why I should have been. When I read Marjorie Liu’s writing it felt like going back in time. Her work feels very much in the vein of a J.R.R. Tolken or Anne Rice. It not only moves the story forward but does so in a lyrical soothing pace. When reading her dialogue there is the feeling of a much bigger world at play. This may be alienating to some readers, but to others it will leave them craving more.

Part of me wants to see this story bound in leather and gold leaf. It feels that close to a dark fairy tale. Sana Takeda’s illustration does little to contrast this. The images are one of the most powerful things about this story. “Monstress” is nothing short of eye candy from beginning to end. The illustration although beautiful, wouldn’t lend itself to just any comic but here it works in perfect harmony with the story.

Final Verdict: 8.9 – On the outset, it can seem as if “Monstress” is a pretty story about pretty people doing pretty things, but there is so much more there. It’s one of those comics that relies heavily on the dynamics of the character interactions. It also begs the reader to become immersed in the world it creates.

“Old Man Quill” #2 is a fun read even though not all that much happens. The issue’s main goal is to set up all the pieces and give some exposition. It felt sort of like a really good trailer for a coming attraction. If “Old Man Hawkeye” is any indication, the coming attraction should be pretty great too.

In this issue, readers learn about the antagonists the title will feature down the line while Old Man Quill (and the Old Men Guardians) learn just how bad life is in the Wastelands. Peter may be the titular character but he doesn’t get the same focus he got in the first issue. A little PTSD for a brief moment but that was it. It feels like an ensemble book that could just as easily expand its focus to all of the Guardians.

The book’s writer, Ethan Sacks, fleshes out the world with interesting little details. ‘It’s Clobberin’ Time!’ is a cry for rebellion in Doctor Doom’s territory. Captain America teddy bears are worth a lot of money on the black market since Red Skull shut down production. People have no idea who the Avengers are. This Piledriver thinks his Wrecking Crew goon grandfather was some great hero. That bit was hilarious to me. I actually laughed out loud, still am. The panicked expression that artist Robert Gill draws on the idiot’s face really hammers the joke home.

Gill’s art definitely hammers the horror home too. This book takes place in a dystopian future and its pretty grisly. I’m not particularly squeamish but the decapitated head floating in the fountain gave me pause. The Wrecking Crew all die gruesome deaths as well. Also, the rocks that make up Doom’s throne look a lot like the rocks Ben Grimm was made out of. At times it can come across as excessive and that may turn off some readers. It’s nowhere near as bad as “Old Man Logan” though. Remember the inbreeding Hulks?

Final Verdict: 7.0 – It’s worth it for the Piledriver joke alone…

Dynamite’s latest “Turok” series continues to scrape by on a passing grade. While the book is by no means a terrible read, it does feel somewhat juvenile in its execution. This issue picks up directly after the first, with Turok and his brother Andar jumping through a mysterious portal to suddenly find themselves in a land inhabited by dinosaurs. They are followed by the cavalry of American soldiers that were pursuing them, one of whom quickly meets their end in the jaws of a T-Rex – who could have expected that?

From that point onwards, the plot of “Turok” #2 continues to be relatively basic and predictable. An uneasy alliance is born following more dinosaur carnage, but the dynamic between these characters isn’t anywhere near as interesting as it should be. The surviving band of American soldiers is about as generic as they come, to such an extent that they look near-identical in the illustrations by Roberto Castro.

Clearly, the script by Ron Marz isn’t attempting to be a serious exploration of nineteenth-century race relations, which is perhaps a logical choice given this is a story about a dinosaur hunter. That said, there definitely could have been more effort put into making these characters feel real, which would have resulted in a more engaging comic overall.

Opting for action-heavy thrills does hold some entertainment value, but ultimately “Turok” isn’t visually stimulating enough to support this decision. As previously mentioned, many of the characters lack a strong identity, seeming hastily pasted into the background of scenes to serve purely as cannon fodder. The action sequences feel a little disjointed, possibly in tribute to the title character’s pulpy 1950s origins, but it sadly doesn’t translate well to a modern context.

It’s difficult to imagine anyone except die-hard fans of the character truly loving “Turok.” While the series welcomes new readers with its absence of existing continuity, it seems unlikely that many of them will stick around for a story so simplistic and plain.

Final Verdict: 5.9 – This reimagining of “Turok” feels like anything but, failing to produce anything that you won’t have seen before.