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.
Barbaric: Hell To Pay #3
Written by Michael Moreci
Illustrated by Nathan Gooden
Colored by Addison Duke
Lettered by Jim Campbell
Reviewed by Alexander Manzo
Michael Moreci’s “Barbaric” story continues the heroic journey of our anti-hero, Owen, as he continues his journey in hell to return to the living. His journey, alongside Frogly and Deadheart, has reached this black sea that, if killed, will not bring them back like in the wargame-filled land they were previously at and thus raises the stakes to something new. During the voyage, Frogly has a heart-to-heart with Owen about not being cursed or following his “destiny,” but the cold truth that he may enjoy doing the right thing for people whether he knows them or not. Moreci’s depiction of Owen has always painted him as a begrudging warrior forced into someone else’s journey, but in this issue, the reader can begin to see his true heart of him and how it makes him feel. The ironic twist from Frogly’s advice is that once the three finish their voyage on the sea, the evil surrounding them overtakes him and turns him into a nearly mindless creature used to capture Deadheart and Owen. Moreci does provide Owen with some solace by giving him the deity he’s been searching for in how to return to the land of the living. Still, he, unfortunately, has also been captured and can only point him in yet another direction for answers if they can escape. The big-picture storyline feels a little dragged out compared to the 3-parter Moreci did in the previous arc, but since there is the Soren/Axe storyline, it makes sense for it to go one more issue.
Speaking of Soren and Axe, their storyline feels a little rushed in that the audience witnesses a fun and sorcery-filled battle with Owen’s ex, only to use her as an “enemy of my enemy” type of situation by the end. Axe’s illicit commentary in search of blood and carnage is always entertaining but feels more comical than helpful in this issue.
The artwork by Nathan Gooden continues to deliver this epic and bloody adventure that is “Barbaric.” The battles with Soren and the other witch provide this mystical-powered back and forth that keeps the reader engaged but doesn’t give the fiery quickness it alludes to. The tension between the two is more palpable than the actual battle itself and is what helps Soren get the ultimate win. Gooden also gives the reader a Sauron-like demon during Owen’s adventure, preparing to take the crown and become a king of hell after the ritual is completed. Addison Duke also deserves some shine for this issue, with the two storylines’ contrasting darkness and light tones to help build distinct styles and keep the reader focused on which one is currently happening.
Final Verdict: 8.0 – The main story is moving along at a good pace, and Moreci has built up enough credit to have the reader root for Owen’s eventual escape and Soren/Axe to run into more issues in trying to bring him back too for the final issue of this arc.
The Giant Kokju #1
Written by Gerry Duggan
Illustrated by Scott Koblish
Colored by Hi-Fi
Lettered by Joe Sabino
Reviewed by Quinn Tassin
Good grief, this is really awful work. The opening frames of “The Giant Kokju” #1 make it seem like we might be in for a decent parody of kaiju stories. There’s immediately a clear comedic tone but the idea that humanity is overdue for retribution for destroying the planet fundamentally works. Even if the message is secondary to the humor, that makes for a solid foundation. The comic we get a tease of ends swiftly, though, as we’re quickly exposed to the titular giant monster defecating all over San Francisco. Moments later, he drags himself across the ground like a dog on a carpet. Then, of course, because this attempt at a joke can never end, new, small monsters start sprouting from the poop and attacking people. The joke’s ending is a real monkey paw moment, though, because it turns out it’s mating season and the kaiju’s first target is a skyscraper.
Continued belowI describe all of that clinically because there’s little to nothing worth analyzing here. As a metaphor for climate change, it makes absolutely no sense. Sure, the point is wanton destruction is coming but the execution here really negates any sense that we’ve brought this upon ourselves. Then there’s the fact that there’s not really a story here. There’s a scientist who seemingly predicted this happening who’s being kidnapped by the government to fight the kaiju but we don’t get anywhere near enough material to latch onto here. This is a first issue not a first pancake; you can’t afford to just toss it out but that seems to be what the creative team has done here. But most importantly, “The Giant Kokju” #1 is plainly not funny. To be clear, that’s not because the humor is dumb and gross; there’s plenty off room for dumb and gross jokes in good humor. But there aren’t any actual jokes being told here and the extended “comedic” situation that takes up this entire issue lacks any traits that would actually make it funny. Why should we laugh at a monster pooping everywhere and trying to mate with a building like a giant, poorly behaved dog? When you laugh at a joke or a station, you’re not just laughing at the thing, you’re laughing at what comes before the thing. Here, there’s no before the thing so there’s no laughing.
The artwork is the one thing about this issue that works. Sure, the things being illustrated are awful to look at and almost any reasonable reader would avert their eyes around page 6, but it’s all very competent. The pacing is strong thanks to strong layouts and the blocking is incredibly clear which is a real achievement given the scale of the story we’re reading. The city is well-illustrated and the kaiju design is actually very strong. And as much as the gross stuff is hard to look at, it’s actually rendered shockingly well; the coloring is bold and the destruction it causes is detailed and impressive. The character design, too, is relatively effective. Unfortunately it’s all in service of one of a truly dismal comic book.
Final Verdict: 3.0- Juvenile and deeply unfunny, it’s hard to come up with any reason for “The Giant Kokju” to exist.
The Great British Bump Off #1
Written by John Allison
Illustrated by Max Sarin
Colored by Sammy Boras
Lettered by Jim Campbell
Reviewed by Ryan Fitzmartin
Baked goods and blood converge in “The Great British Bump Off” #1, an amusing parody of the Great British Bake Off. John Allison’s script sees a contestant bite it in the big tent, and a spunky young student named Shauna on the hunt to investigate. Hijinks ensue, and the skewering of classic tv cooking competition tropes is pretty over the top. The contestants, judges, and hosts are all pretty wacky, and the comedy leans towards the absurd. The judges are described as veterans of the baking wars, and host Noel Fielding has been replaced by a cat. The comedy is all very funny, but it’s a bit overwhelming to the point where the story hits the backburner, and the central mystery isn’t all that enticing.
The art keeps the tone light, with bright colors and exaggerated characters. Max Sarin’s cartoonish style leans into visual gags, with wild facial expressions and stylish displays of emotion. It almost verges on old school Looney Tunes at times. Everything about the art is energetic and helps keep the pace and the heightened reality of the comic up. If the premise were to drop even for one panel it wouldn’t work, but Sarin and Boras are relentless. Even Jim Campbell’s lettering is exaggerated, with flashy, highly creative sound effects.
The writing may lean more into goofy gags than incisive satire, but the aspects of a cooking competition, especailly The Great British Bake Off are very effectively captured. Cooking show fans who appreciate this style of humor will find more than enough laughs in this first issue.
Final Verdict: 8.4 – A creatively goofy parody with wild energy.
X-Men #21
Continued below
Written by Gerry Duggan
Illustrated by Stefano Caselli
Colored by Federico Blee
Lettered by VC’s Clayton Cowles
Reviewed by Alexander Jones
The X-Men and Captain Marvel have been fighting The Brood on multiple fronts. The Brood were supposed to be a peaceful alien race thanks to the psychic influence of Broo. Unfortunately, there are multiple factions of Brood who have gone rogue and waged war against several Marvel Universe heroes. Will the X-Men be able to intervene and stop The Brood from attacking, find out in our review of “X-Men #21”!
“X-Men” #21 has tons of action that is depicted with vigor from artist Stefano Caselli. Watching Caselli’s depiction of Jean’s fight with Nightmare in the issue made the sequence visually engaging thanks to the extreme expressions from the character. Caselli’s depiction of The Brood shedding the skin was a horrific sequence that showcased Caselli’s detailed art well. On the X-Men’s ship, there is a great extended moment where the X-Men are fighting with each other. In this scene on the ship Caselli is able to depict the animosity between the characters perfectly through the facial expressions.
One interesting part in the tale was the sequence where Cyclops and Jean fought each other late in the issue. I would argue that this moment felt a little forced and showed an error of judgment on the part of Scott. While Scott has shown strange judgment in the past, I’m unsure as to why he makes this decision to battle other X-Men in the issue.
The script for “X-Men” #21 is paced in a strange way. It almost seems like the X-Men resolve the conflict of the arc before the issue ends. While I enjoy that Jean Grey was able to get a bit more characterization with Broo, the final moment of the issue makes me unsure if this thread has been resolved. Elsewhere, I did like how some of the plot threads to this story spill into “Captain Marvel” in an organic way. My favorite sequence in “X-Men” #21 was the moment where Synch and Talon team up on the X-Men’s ship to try and stop the rest of The Brood. Aside from strange pacing issues, this is an enjoyable, action-packed issue of X-Men with beautiful art.
Final Verdict: 7.5 – The unexpected tension between heroes in ”X-Men” #21 is puzzling but complex.
