Luke Cage 1 Featured Reviews 

Wrapping Wednesday: Micro Reviews for the Week of 5/17/17

By | May 22nd, 2017
Posted in Reviews | % Comments

There is 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.

4 Kids Walk into a Bank #4
Written by Matthew Rosenberg
Illustrated by Tyler Boss
Colored by Tyler Boss and Clare Dezutti
Letters by Thomas Mauer
Reviewed by John Schaidler

After a lengthy hiatus, Paige, Berger, Stretch, and Walter are back. Thank goodness. I really missed these lovable misfits.

That said, I’m gonna concede right away that at first glance this book might seem like another prototypical nerds-lose-their-innocence story. Action figures and role playing games? Check. Tooling around town on a bicycle? Check. A widowed father with a dark, mysterious secret and money problems? Check. Spitfire female hero with more chutzpah and more balls than her male counterparts? Check. In fact, pretty much every coming of age trope is here, while descriptors like “groundbreaking” and “wildly imaginative,” not so much. Thankfully, none of that matters because the characters are so damn relatable, the dialogue so fresh and engaging, the artwork so consistently stellar that you’re instantly and totally hooked.

It’s not the ingredients that make “4 Kids” kick ass, it’s the masterful way they’re assembled.

In fact, the brilliant first scene – which simultaneously works on multiple levels – can serve as a microcosm for the entire issue. Ostensibly, the four friends are working out the logistics of a bank heist, using a ragtag collection of action figures, broken toys and a smiley-faced rock to rehash their plans. Almost immediately, they begin to bicker amongst themselves, arguing over who gets to be which toy and debating how a Lego with no hands can even handle money in the first place. Brilliant.

Matthew Rosenberg’s dialogue is laugh-out-loud-funny and revealing, driving the narrative forward, while Tyler Boss’s incredibly detailed, brilliantly rendered ensemble of childhood relics invites us to dig even deeper, exploring complex layers of backstory and interpersonal dynamics. At this moment, the toys don’t merely reflect each of the different characters, they are living, breathing embodiments of these four friends. And if there’s even a vague chance of things getting a little too cutesy or whimsical, Boss’ faded, almost creepy palette of sickly earth tones is there to remind us this isn’t a game. The antagonists aren’t mere bullies, they’re real life criminals and, as Stretch bluntly reminds Paige, “We’re kids. They’ll kill us.” “It sounded like fun to me,” adds Berger, clearly dejected.

Balance. Timing. Subtlety. Ultimately, that’s power of this issue and the book’s entire run. Just look at kitschy, somewhat twisted wallpaper on the inside front cover: a broken off doll arm, a dagger, a bandaged Teddy bear, dollar bills. None of the pieces is particularly new or unexpected. When combined in fresh, somewhat idiosyncratic ways, however, they become something more – a revitalizing take on a fairly predictable tale. One that strikes a brilliant balance between comedy and drama, childlike wonder and adult disillusionment, high stakes criminal intrigue and four kids who just want to have fun and not be bored. Trust me, in the hands of Rosenberg, Boss and Mauer, it’s a great combination.

Final Verdict: 9.2 Lively dialogue and stellar, detailed visuals combine in fresh, unexpected ways to create an inspired take on the classic tale of four nerds coming of age.

Archie #20
Written by Mark Waid
Illustrated and Colored by Pete Woods
Lettered by Jack Morelli
Reviewed by Nicholas Palmieri

You know that feeling when you’re reading or watching something and it’s clearly leading to something big? And not just big in an artificial way, but big in a way that signifies something that will define the series for years? That’s how this issue of “Archie” feels.

Taking all of the best aspects of the past nineteen issues, Waid gives each of the major players a small moment to shine while using those small moments to build towards a bigger plot. In structuring the story this way, it provides a great entry point for new readers and gives returning readers memorable moments for the characters they already know and love. Betty’s the gearhead, Veronica’s the rich stuck-up one, Archie is the guy stuck between the two as best friend and boyfriend, and Reggie is the troublemaker. In the same way, he did when first rebooting the series, Waid distills every character to their essence in a clear, entertaining way. At the same time, every moment ultimately ties into the drag race, pushing the story towards its intense final pages.

Continued below

Pete Woods handles pencils, inks, and colors here, and I’d say it’s some of his best work in a while. He has a firm grasp on anatomy and a penchant for interesting angles, giving “Archie” a look that is at once realistic and exciting. He shows here that he’s equally adept at handling whatever Waid throws at him, from the character interactions to the big action-heavy moments to the smaller visual gags. His art can get scratchy at points when drawing smaller panels from farther distances, but even then his staging and anatomy maintain the quality of the other panels. In coloring the book himself, he also employs the strategy of coloring his inking lines of the details inside characters and objects, like the brown wood grain on a tree or the blue wrinkles on a pair of jeans. His singular artistic vision and success at working with Waid’s script mean this book succeeds artistically.

With an accessible character-based plot and some wonderful writer-artist collaboration, this issue of “Archie” truly feels like the start of something special.

Final Verdict: 8.8 – The start of something special for both new and old readers.

Batwoman #3
Written by Marguerite Bennett and James Tynion IV
Illustrated by Steve Epting
Colored by Jeromy Cox
Lettered by Deron Bennett
Reviewed by Forrest Sayrs

I am not loving the current run of “Batwoman.” Maybe some people are enjoying the “James Bond-esqe” international adventure, but the book feels like a retreat from the things that made Batwoman strong in the first place: queer pride and a top-tier supporting cast. And while Epting is a competent artist, he lacks the flair that made the New 52 “Batwoman” so memorable.

The core issue is probably pacing. Flashbacks can be a useful storytelling device, but in the limited medium of the comic, it can be hard to balance backstory with narrative progress. Three issues in, and “Batwoman” still hasn’t given us enough of her Coryana history to make any of Kate’s internal angst feel important or her conflict with Tahani/Knife to feel meaningful.

Which is not to say there aren’t any bright spots. Julia Pennyworth continues to be the breakout character of the run, bringing some much-needed wit and charm to a book that largely consists of moody flashbacks and stilted dialogue. There are also a lot of plot elements that could work to redeem this story arc in the next issue. The creepy twin heads of the Kali Corprotation are awesome, and the Many Arms of Death could make a great replacement for the Religion of Crime, if they ever step out of the shadows.

It’s really easy to rag on Epting’s art because very few artists are JH Williams III. “Batwoman” has an incredibly stylish legacy that is almost impossible to stand up to. That being said, Epting is actually fine. But just fine. His character work and combat sequences are solid. There’s an interesting sequence where Batwoman does a very anime, mid-air hookup with some of her drones to fly away from a battle that’s gotten off to a bad start. It’s a great concept, but the execution is a little choppy. This is emblematic of the art across the entire issue: good ideas, but lacking the overall quality that elevates a book to memorable.

Final Verdict: 6.2 – One issue of this might have been effective, as evidenced by the excellent #1, but “Batwoman” needs to step it up.

Curse Words #5
Written by Charles Soule
Illustrated by Ryan Browne
Colored by Ryan Browne & Michael Garland
Lettered by Chris Crank
Reviewed by Jake Hill

And just like that, we’ve come to the end of the first arc of “Curse Words.” It feels like it ended in a flash, but at the same time the wait between issues has been excruciating, and now there’s going to be an even longer wait while the trade comes out. The good news is, if you haven’t jumped on board with “Curse Words” yet, this is the perfect time to catch up.

This final issue in the arc finally puts Wizord against his ex-girlfriend and fellow wizard Ruby Stitch. That means there’s a little bit less in terms of mind-bending magic spells, but a lot more in terms of bombastic visuals. Those familiar with Charles Soule’s body of work will know him to be a talented writer, and those who have been following this series have seen him show off. In this issue, he steps back a bit and lets Ryan Browne take the lead.

Continued below

That’s always a good sign. A good comic writer knows how to pace a plot and write a catchy turn of phrase, but a great comic writer knows how to trust an artist. Browne is extremely talented, but more than that, he’s imaginative. Every issue of “Curse Words” is filled with magic and monsters beyond what I could imagine, but Browne turns the chaos into coherence. On top of all of that, he’s a talented visual storyteller. The team shines when Wizord uses Las Vegas gambling addicts belief in luck to power up his magic.

I would be satisfied with “Curse Words” even if it entered a holding pattern. These last few issues, the Dark Lord Sizajee has sent his magical assassins after Wizord, who has had to power up his magical mojo by drawing upon the beliefs of the people of Earth. Browne and Soule make a convincing case for the magic of casinos and airplanes and the movie Titanic, and following the adventures of Wizord would make for a fun comic. By the end of this issue though, its clear that the book is about to reinvent itself. That should feel scary, but I’m confident that whatever Soule and Browne have planned for us next will be just as wild as what they’ve brought to us so far.

The end of an arc should feel like a season finale of a good TV show. This issue isn’t quite that. It feels more like a middle installment, transitioning us from one plot to another. While a lot of new and intriguing mysteries are teased, the ending doesn’t have the huge impact that perhaps it should. Still, every issue of “Curse Words” has been hilarious, fun, and a visual treat. This one is no exception.

Final Verdict: 8.8 – The first arc of “Curse Words” has made it one of the most exciting new series to follow.

Dead Inside #5
Written by John Arcudi
Illustrated by Toni Fejzula
Colored by André May
Lettered by Joe Sabino
Reviewed by CLA Bindery

We reach the climax of this mini-series. After being undermined multiple times throughout her investigation, Arcudi shows us that Detective Linda Caruso can regain her confidence and take action to save her injured friend Deputy Diaz from the prisoners that are holding him hostage, giving a strong close to this story arc.

Fejzula and May’s art throughout this issue present the main characters of each panel with clean, defined line art and solid colors, while the surrounding people and background are shown more faded with rougher line art and non-solid colors. This allows the reader to easily focus on what is happening, while also giving a surreal feeling to each page. Also, throughout the climax when Linda is surrounded by inmates, Fejzula accentuates the tension of the scene by using extreme perspectives within the panels. This is done by presenting the perspective in the panel from a very high angle looking down and inward to the page, or from a low angle looking up and outward toward the reader.

May also colored many of the pages as if each page were its own piece of art using the same color scheme across all panels. This is a unique way to color pages and made for a beautiful reading experience without hindering the story. May also changed this up during the climax as he started using multiple color schemes per page and per panel to make the transition between panels faster for the reader in order to heighten the action at the end of the story.

Final Verdict: 8.0 – A strong ending to this five-issue series that leaves you wanting more.

God Country #5
Written by Donny Cates
Illustrated by Geoff Shaw
Colored by Jason Wordie
Lettered by John J. Hill
Reviewed by Kent Falkenberg

In “God Country” #5, Donny Cates and Geoff Shaw finally get around to the epic brawl between Emmett Quinlan and Aristus that was teased back in the second issue. Cates gives Shaw a tense moment to splay his scratchy, windswept artwork across a double-page spread, as the two titans stare each other down across acres of the Quinlan farm. Storm clouds brew and broil in the sky. The tension is as highly charged as the constant barrage of lightning, which ignites the horizon.

Continued below

So when the two finally war on one another, it’s a sight that resonates out from the page. Each one of Shaw’s motion lines carries weight as if you can feel the character’s momentum. Cate’s narration verges on being overwrought. But Shaw makes it all work as each strike of their mighty weapons makes an impact that flattens the surroundings. “The ground swelled and and broke like ocean waves,” Cates describes the blows raining down from Aristus’s hammer. And Emmett wields Valofax with such ferocity that he “chopped a goddamned lightning bolt clear in two.”

But “God Country” #5 is much more than a simple fight comic. As it begins, Cates and Shaw hurtle us galaxies away and eons back to the Kingdom of Always to witness the great forging of Valofax. Cates paints a history of this cosmic realm in which Attum, Aristus’s father, snuffed out the light of a star to power his forge. And when the ravages of time itself turn inevitably on Attum, he exhausts nearly all his power to protect his life and a fraction of his once great kingdom.

It’s a rich, textured history that draws a direct parallel to Emmett himself. Attum was not willing to accept that his time had past and so he forsook all he had to cling to a tiny crag with a tired throne. Whereas Emmett’s dependency on the power Valofax bestows, blinds the old man to the reality that perhaps his life too, has outrun its days. And this fact finally seems to dawn on him after he sees what Attum’s obsession with the sword has reduced Aristus too, and then compares it with Valofax’s wake in his own life and the path of smoke and rubble that’s marred his own son’s once quiet farm. There’s a deeply personal revelation that the creators manage to capture through mainly expression alone, with only the barest hint of dialog.

Overall, Cates and Shaw serve up grand cosmic stakes with deep personal turmoil. It’s a wonderful, southern-fried plate. The flashback itself seemed tethered to an aesthetic through-line that threads back to the glory days of Marvel’s Asgard. And once Emmett and Aristus finally throw down in “God Country” #5 the sensibility becomes overt as hints of Kirby crackle and Simonson sizzle scorch the edges of Shaw’s art. And while it does have a bombastic feel, it’s still as dusty, rough and weathered as 30 miles of gravel road.

Final Verdict: 8.0 – When the smoke clears and the dust settles, this will easily be one of the best minis of the year.

Luke Cage #1
Written by David F Walker
Illustrated by Nelson Blake II
Colored by Marcio Menyz
Lettered by VC’s Joe Sabino
Reviewed by Matt Lune

With this latest debut issue, “Luke Cage” #1 rounds out the cast of Netflix’s Defenders receiving their own solo series. It always seems strange to examine a comic, especially one with a well established, decades-old character like Luke Cage, through the lens of a TV show, but the influences definitely run both ways with this new series. Walker’s approach to the ex-Hero for Hire with unbreakable skin is decidedly more measured than previous, more superheroic series, yet the character of Cage is stronger than ever.

The focus of the story is to draw on elements of Luke’s past and origin story, specifically the scientist that gave him his powers and of Luke’s relationship with him. Those fans coming from “Power Man and Iron Fist” will notice the tonal shift, but fans of Walker’s previous character studies such as “Nighthawk” for Marvel or his “Shaft” series for Dynamite will recognise the beats, and it’s exciting to see him turn his hand to one of Marvel’s more nuanced and adaptable heroes. The pacing may be more subtle than some of his previous appearances, but the wit, and strength of character on display make this unmistakably a Luke Cage story.

Blake’s (and Menyz’s) artwork is sharp and crisply detailed, almost McKelvie-esque in its clarity. There’s a keen eye towards structure and tone also, something that shines brightest in their depiction of the two action set-pieces of the book. An early full page spread depicting Cage working his way through some thugs at a local bar, moving from top left to bottom right down a cross-section of a staircase is wonderfully entertaining, and undoubtedly appealing to the Netflix crowd in its emulation of the single-shot, close-quarter brawls that are common on the various Defenders series.

Continued below

Luke Cage isn’t a character to show his emotions, which is a good character trait but a nightmare for an artist. Luckily, Blake has a way of depicting emotion that feels almost effortless. His detailed, subtle facial expressions show a character struggling with complex emotions, and one scene in particular where he’s being thanked for saving the son of a man he’s never met is especially strong. Luke looks physically uncomfortable with the praise, and clearly has no idea how to respond, and that is almost all Blake. Cage is drawn as a man out of his comfort zone, his body language tense and his brow knotted.

“Luke Cage” #1 is a strong first issue and one that has an entire creative team dedicated to presenting a different kind of Luke Cage story. This is a more nuanced, character-driven affair that feels a long time coming, and the hints of the conflicts Cage faces in this issue aren’t ones that can easily be punched away. Physically and metaphorically he’ll be tested in ways that feel new and engaging, all wrapped up in a book that feels fresh for long-time comics readers and brand new Netflix fans alike.

Final verdict: 8.0 – A slow burn debut issue for the unbreakable Defender, with a character-driven plot and bold, crisp art.

Ninjak #27
Written by Kevin Mauer
Illustrated by Cafu
Colored by David Baron
Lettered by Dave Sharpe
Reviewed by Michael Mazzacane

While Matt Kindt’s run on “Ninjak” was largely serialized for multiple reasons – primacy of the trade paperback being chief among them – the character of Ninjak is tailor made for one off and shorter run stories. Which is what made “Ninjak” #27 from writer Kevin Maurer with artist Cafu and David Baron so promising, it’s just another mission for Colin King. I just wish it were executed a bit better.

Overall, this issue is nicely structured and is self-contained, with a couple of allusions to the forthcoming “Rapture”. It is the page by page execute that is a little off at points. Mainly Ninjak talks too much. I mean, this is a guy who has ‘Ninja’ in his name as well as being a spy. There is a certain expectation of sneakiness. Radioing into Neville every panel to narrate his actions isn’t sneaky and further undercut by later developments, it’s cumbersome. Maurer’s script tells the reader what the artist’s imagery already shows them. Part of the cool factor of espionage characters is watching them infiltrate. “Ninjak” did a whole issue built around that concept already with the silent issue #22. The friction Maurer’s repetitive dialog creates was distracting.

While there isn’t anything super flashy about the art in issue 27, it’s very well paneled. At one point Ninjak, in the middle of fighting a brother-sister duo of Lizard Ninjas, cobbles together a smoke bomb from spilt lab equipment. We see all those items setup in the paneling leading to the impromptu bomb. That kind of execution for an action sequence is just plainly good. Paneling in for the pages isn’t dense or overstuffed, the important actions are clearly shown. This goes a long way to giving the book just right flow of easy read, but with artistry and execution that is worth taking one’s time on. If the flow wasn’t as good, the unnecessary dialog wouldn’t feel as egregious.

Final Verdict: 6.5 – Good art, overall structure, and Lizard Ninjas, make up for an issue that gets in its own way at times.

Secret Empire #2
Written by Nick Spencer
Illustrated and Colored by Andrea Sorrentino and Rod Reis
Lettered by VC’s Travis Lanham
Reviewed by Alexander Jones

After the big jump of issue #1 “Secret Empire” has started to take a definitive shape. The series has pushed ahead and stabilized into a linear timeline where the broken, battered heroes of the Marvel Universe are coming together to stop an impossible regime.

Now that the “Secret Empire” is draped over the Marvel Universe, this issue places the emphasis on the heroes picking up the pieces. Watching just how desperate this cast of characters are and catching up to all the strange places where Nick Spencer initially placed them on the field is a great deal of fun. Even though the subject matter of this story is as bleak as it gets, there’s an odd sense of humor at just how dour this story has become. Also, with The Champions getting a starring role in this event there’s more than a few jokes scattered about his chapter of the book.

Continued below

Captain America is an icon and nobody is better at depicting Rogers as an evil emblem than Andrea Sorrentino. Sorrentino explores the themes and ideas of this comic with mixed media, bold color choices and stiff poses that make me wish the artist had gotten the chance to draw this entire event series. Some of the different styles and ways this book comes together wouldn’t have been possible without his eye that he lends toward the book. With every project Sorrentino embarks on he always takes huge chances with the medium of comics and with his biggest audience yet on “Secret Empire,” Sorrentino lives up to incredibly high expectations. Some of the same limitations of his art are still present. Most noticeably, the colors here are both muddy and muted, and even though “Secret Empire” is a dark story, moments with characters like The Champions look a little too sinister.

This chapter ends with a strange twist that only adds some new pieces to the table. Trying to tell how this plays into the story or where it stands in the narrative is pure speculation at this point. The only conclusion or critique I can offer is that it was a welcomed surprise. Another aspect of the comic is this issue draws a straight line from the events of “Avengers Standoff”.

If I had to lob a complaint at the issue its that I didn’t get the depth I wanted from some of the Captain America scenes. Readers have a loose understanding of how his operation works, but this story gives a far greater focus on the heroes of this story and I hope that there is plenty of time to focus in on both sides. Based on the number of heroes on the opposing side, it is hard to tell how Captain America was able to battle each and every hero and I wish there was a greater emphasis on those moments.

Nick Spencer and Andrea Sorrentino fill the pages of “Secret Empire” #2 with an assortment of surprises and passion. While at this point, it is difficult to see where the series is going next, “Secret Empire” feels like a methodical but beautiful end of an era for Captain America. In the coming issues of the series, Spencer does need to place a greater emphasis on Rogers’ current operation and his state of affairs as the ruler of Hydra.

Final Verdict: 7.5 – “Secret Empire” #2 is filled with creativity and passion, getting readers ready of the next steps of the Marvel Universe.

Star Wars #31
Written by Jason Aaron
Illustrated by Salvador Larroca
Colored by Edgar Delgado
Lettered by VC’s Clayton Cowles
Reviewed by Gregory Ellner

Jason Aaron continues the collaboration between his comic and “Doctor Aphra” by showcasing the differing morals of both series. By emphasizing Aphra’s focus on selling her archaeological find over Luke Skywalker’s safety, he shows her greed, but also demonstrating her to be amoral, not immoral, when it comes to saving his life (and her own) if need be. By contrast, Luke’s friends are much more focused on saving him, giving a kind of “grey versus white” moral structure in terms of the darkness of their conflict.

Aaron allows the rogue archaeologist to take an equal place to the main characters of the comic, even referencing a bit of her past. Rather than rely on slapstick humor, as was the case in ‘Vader Down,’ he seems willing to let personalities and backgrounds take the fore.

Through the pencil of Salvador Larroca and the colors of Edgar Delgado, every image seems like it could be a work of art all its own. Faces are highly detailed, with light glinting off of the eyes in such a way that the characters seem alive in spite of being mere panels. Light and darkness also play a distinct role in their artwork, as the darker scenes, such as Aphra and Skywalker walking down a hallway, appear very foreboding, making the horrors shown in the daylight all the more shocking.

In all, this issue seems an excellent way to develop ‘The Screaming Citadel’ crossover and shows the strengths of all involved.

Final Verdict: 7.0 – An interesting ensemble piece that brings together the clashing personalities of the casts from both “Star Wars” and “Doctor Aphra” very well without showing too much preference toward either side.


//TAGS | Wrapping Wednesday

Multiversity Staff

We are the Multiversity Staff, and we love you very much.

EMAIL | ARTICLES



  • -->