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.
Batman vs. Robin #5
Written by Mark Waid
Illustrated by Mahmud Asrar
Colored by Jordie Bellaire
Lettered by Steve Wands
Reviewed by Quinn Tassin
It’s fitting that “Lazarus Planet,” a saga that began in “Robin,” a series predicated on the severely strained relationship between Bruce and Damian Wayne, would end with “Batman vs. Robin” #5. This issue certainly wraps the greater Nezha story up effectively, but it’s more notable for the fact that it completes a now years-long arc for Robin. The Nezha stuff is fine; the car chase is great, as are the couple of fights against possessed Batman. But there’s a certain awareness that the creative team seems to have that it’s not the main thing anyone is focused on here. It’s clear from the jump that the whole issue is really about what Bruce means to his son and the lengths Damian will go to to save him. Robin’s inner monologue invokes his father and his own history in the Bat-family at least as much as it does the “Lazarus Planet” story.
Moreover, the biggest moments in the issue really have nothing to do with “Lazarus Planet” at all. The Bat-family and multiplied Robin fighting a possessed Bruce is a fight against Nezha on the surface but the imagery evokes deeper emotions informed by the history of this group of characters. Batman’s revival, brought on by everyone in Gotham City giving up just a smidge of life force to repay him for all he’s done for them (a moment extremely evocative of Dragon Ball Z) is moving because we know what it means for Gothamites to do that and we know what it means for Damian to be making this request. And, of course, Batman and Robin reuniting is a moment that readers have been waiting years for. These characters, often defined by their coldness, showing such affection and even smiling as they go on patrol together, is a beat that lands fine if you’ve read “Barman vs. Robin” but feels all the more sweet when you’ve been reading the many stories that fed this one.
The artwork is a bit of a rollercoaster ride, with high highs and middling lows. For the most part, “Batman vs. Robin” #5 really delivers visually. Nezha piloting the Batmobile and chasing down Damian is a genuinely thrilling sequence and that first reveal of the Batmobile bursting through flames is something to behold. The framing, layouts, and coloring communicate the urgency and desperation of the moment perfectly and the fact that it doesn’t let up even when a new character is introduced into the fold is reflective of the relative strength of this issue’s art. At the same time, there are moments that take on a rushed quality, particularly during the Bat-family fight against Nezha-Batman. While the fundamentals are still solid, finer details present in the rest of the issue suddenly fade away. The sequence certainly still works but what should feel massive is dulled, at least a bit. Still, the most important moments land, especially that lovely, expressive Bruce/Damian hug.
Final Verdict: 8.5- A clear sense of emotional purpose and the weight of history make for a strong conclusion to “Lazarus Planet”
Hallows’ Eve #1
Written by Erica Schultz
Illustrated by Michael Dowling
Colored by Brian Reber
Lettered by VC’s Joe Caramagna
Reviewed by Alexander Jones
Janine Godbe is a character that has largely existed on the fringes of the main “Amazing Spider-Man” series but thanks to Marvel’s recent ‘Dark Web’ crossover, Godbe has her own mini-series to call home at Marvel! “Hallows’ Eve” #1 is an exploration of the next steps of Godbe’s life after her long-time love interest Ben Reilly has taken the fall for ‘Dark Web.’ Writer Erica Schultz and artist Michael Dowling pick up the plot threads from the main “The Amazing Spider-Man” title to explore what Janine’s life looks like after the story. Thankfully Schultz and Dowling are able to characterize Godbe in fascinating ways, depicting the series with an incredible amount of subtext.
Continued belowJanine feels tense in the pages of “Hallows’ Eve” #1 thanks to the direct and sobering art from Dowling that renders Janine deep in despair and paranoia. Dowling’s despondent facial expressions are the perfect pair for Schultz’s subtle writing seen throughout this issue. Dowling is a great artist at Marvel that does not get recognition for turning in beautiful pages evoking a strong tone for the dark Marvel series. When Dowling draws Janine’s powers “Hallows’ Eve” #1 takes a bit of a stylistic shift that calls upon an element of humor in some moments. Dowling paces the art in this issue incredibly well with panels that naturally draw the eye towards the next page for the reader. Also, I love the expressions Dowling renders for Janine when she switches her masks.
Janine’s paranoia fuels so much tension in “Hallows’ Eve” #1. Janine’s tense captions almost read like an Alfred Hitchcock film in certain moments. Janine is desperately trying to keep a low profile in this series despite the fact that New York is reeling from the Limbo invasion of ‘Dark Web.’ Schultz and Dowling capture so many nuanced elements with the tense narrative moments throughout this issue. “Hallows’ Eve” #1 is a strong expansion of Spider-Man’s publishing line that should inform future Spider-Man tales with even more context.
Final Verdict: 8.0 – “Hallows’ Eve” #1 utilizes plot threads from Spider-Man to characterize Janine Godbe with nuance.
I Hate This Place #6
Written by Kyle Starks
Illustrated by Artyom Topilin
Colored by Lee Loughridge
Lettered by Pat Brosseau
Reviewed by Alexander Manzo
The latest issue of “I Hate This Place” starts off with a new arc for Trudy and Gabby to deal with, along with their haunted property. Kyle Starks doesn’t pick up right where he left off in the previous issue, but he does give new readers some solid context clues about what they need to know to stay with it. This is an excellent strategy due to Starks providing flashbacks to the background of Trudy and how it connects to where the story is going now. Starks shows this cult commune/prison in that her father is the judge and jury and controls the executioner to have things go his way or kill anyone who defies him. Her escape from that place adds a new level of respect and strength for her ongoing fight with the spirits on the property she now calls home.
At the beginning of the issue, the reader is shown Trudy’s father and his grunts having a casual conversation about snacks inside a convenience store then it’s revealed the cashier has been killed. By showcasing the aftermath, the reader can feel the brutality and wonder how they’ll act after kidnapping Trudy and Gabby. The new struggles presented to the reader push the hooks even further to see what else will happen.
Artyom Topilin has this rat-fink grungy style when it comes to his artwork, where it’s got this dirty and messy look, but when the reader focuses, they can see the intricate details and purpose. There is this excellent fluidity when it comes to Topilin’s art that despite the quick-reactive movements, such as in the battle with spiders or sneak attacks Trudy, the reader isn’t confused or disoriented. The old-school elements of muscular characters ready for combat and fun onomatopeia help keep the out-of-this-world storyline sharp and interesting. The colors by Lee Loughridge did a fantastic job keeping the tone and feel throughout the book. During “calm” moments between Trudy and Gabby, this fresh and calm vibe keeps the reader guessing what monsters or spirits could be on their way. The only downside was that there was no distinctive color shift for the flashback, and it took a few pages to establish it’s in the past.
Final Verdict: 8.5 – The troubles continue in this horror thriller that touches on its protagonist’s past but maintains a strong future for what is to come.
