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.
Captain America #30
Written by Ta-Nehisi Coates
Illustrated by Leonard Kirk
Colored by Mat Milla
Lettered by Joe Caramagna
Reviewed by Elias Rosner
Coates’ run on “Captain America” ends with issue #30 and while it is an odd note to conclude on, I find myself liking the open-ended nature of this conclusion. Cap has been put through his paces during these last thirty issues as Coates and crew interrogated what it means to represent America in the 21st century, what the american dream really looks like, and the fragility and necessity of ideals. Rather than conclude on a note which resolves all the explicit narrative beats – Sin’s reactivated psychic powers (and new name,) the return of the Red Skull, the daughters of liberty & Alexa’s betrayal – we end on a table-setting for future writers to take these narrative beats and explore new and different ideas with them. It’s the kind of ending to a long run that embraces the next with open arms and many avenues, rather than a clean, fresh start and while I am left unsatisfied with aspects of this choice, on the whole I like this approach.
This ending does, however, resolve the themes of his work thus far, in how hate can be defeated but also how it is pernicious. How even good people can make big mistakes and how the powerful may be taken down, but never for long, but how the fight is still important. How the American Dream may be so very flawed in practice and, perhaps, in construction, but that doesn’t mean the underlying ideal of equity and compassion to others is flawed.
We also go out on some of the strongest art of the series, with Leonard Kirk & Matt Milla bringing a clean simplicity to the visuals. It’s striking and reminiscent of Chris Samnee’s style, especially in how Milla colors any flashback or montage scenes in purple, pink, or blue overlays. I also really like how restrained the paneling is during both the fight leading up to Cap’s big confrontation with the Red Skull and the conversation itself. The action is dynamic, with Cap and his Shield breaking out of panels to convey the intensity of the fight, but the rhythm is controlled rather than sprawling, intercut with Sin’s past & present to add an extra layer to the scene.
While I find issue #30 wanting as a result of past issues’ handling of its narratives, I do not find it wanting as a commentary of the character of Captain America nor America as a nation. Coates’ “Captain America” managed to balance the superheroics and the socio-policial conversation around Cap & this country’s recent history and it went out in the same way.
Final Verdict: 7.7 – A fitting conclusion to Coates’ uneven but always thoughtful run on the character. It may not end with a neat bow but that just means the next person will have an easier time opening the gift.
Crush and Lobo #2
Written by Mariko Tamaki
Illustrated by Amancay Nahuelpan
Colored by Tamra Bonvillain
Lettered by Ariana Maher
Reviewed by Brian Salvatore
Occasionally, a first issue delivers such a punch that the second issue can feel a little limp by comparison. “Crush and Lobo” #2 suffers, not from a lack of quality art or compelling storytelling, but from retreading a bit of the same ground as its debut issue without offering too much more in return.
The biggest change from the first to second issues comes from the increased focus on Lobo who, instead of getting just a cameo, is upgraded to a full sequence in the second issue. The idea of a kindler, gentler Lobo is nothing new (Hello, “52!”), but it is a device that usually works, due to the relative absurdity of the concept. Lobo in group therapy is a new idea, and one that manages to be pretty fun in its brief usage.
Continued belowThe best sequence in the issue is a flashback to when Crush and her now ex-girlfriend Katie both are indulging their inner 8-year olds by going ape on a playground. Amancay Nahuelpan’s artwork here pops off the page with vigor and unadulterated fun. Both Crush and Katie know that this isn’t meant for them; they are too big and too old for the slide, but they know themselves enough to be ok with still going full speed down it. Katie, in particular, is drawn with a level of self-confidence that really works for the title. She’s proud of who she is, as is Crush, but they are drawn carrying themselves entirely differently.
The one blemish on this issue is the repetitive nature of the story. Most of what we knew about both the characters and the overarching plot were established in the first issue, and so “Crush and Lobo” #2, while enjoyable, feels slight. Hopefully, now that the titular duo has been brought together, the series can proceed at a brisker pace.
Final Verdict: 6.8 – A solid, if familiar, tale.
Masters of the Universe: Revelations #1
Written by Kevin Smith, Rob David & Tim Sheridan
Illustrated by Mindy Lee
Colored by Rico Renzi
Lettered by Deron Bennett
Reviewed by Alexander Manzo
This opening chapter, and prequel story, for Netflix’s new Masters of the Universe tv show is a story for everyone. Nothing needs to be known beforehand; if someone were to pick this up from just the cover or namesake, they would have all the information they need. The readers are introduced to the land of Eternia and some historical tales through time travel. The writers also throw in some biblical themes by having King Grayskull make a deal with the devil for the sake of protecting his children. There’s a lot thrown at the reader, but the narration helps guide everything, so it doesn’t feel overwhelming.
Mindy Lee does an excellent job of making the art look similar to the original animation style of Powerhouse. Whether someone who has been watching He-Man for decades or a new fan, they’d be able to see the style and relate it to the visuals you would associated with He-Man. The style balances a Saturday morning cartoon and realism due to the great detail Lee gives the characters. If a young kid picked this issue up off the rack, they’d be flipping the pages to see what happens next, but a teenager or adult may notice the lack of blood and guts. The action scenes show the sword being swung and slicing a piece of the creature off, but it’s conveniently cut-off where it could be bloodier. The decision to make it less gory is good because He-Man’s audience bridges the gap between young and old, and crossing that line might be too far for the younger readers.
Lee doesn’t just focus on the characters, she also puts great detail into the backgrounds and settings. When King Grayskull stabs the snake creature, the reader can see the bodies of other creatures dead, and the monster still ravaging.
Final Verdict: 8.7 – This is an issue that anyone that has either a vested interest in He-Man or curious about the new remake coming should check out.
Nice House on the Lake #2
Written By James Tynion IV
Illustrated By Alvaro Martinez Bueno
Colored By Jordie Bellaire
Lettered By Andworld Design
Reviewed By Henry Finn
Trapped in a luxury estate on a lake hidden from a world on fire, the characters of “Nice House on the Lake” #2 start asking questions. Even as we are given more context, the mysteries only deepen as writer James Tynion IV masterfully adds mystical and menacing layers to the story. Is it a post-apocalyptic sci-fi, fantasy, or horror? How about a little of all of the above?
What really stands out about this issue is Tynion’s ability to pack in information without taking away from the rhythm of the storytelling. He combines narrative storytelling with transcripts of conversations and security cam footage to not only add dimension to the characters, but subtly remind us someone (or something) is always watching. He also adds an element of non-linear storytelling, as we witness a somber future broken-down version of Rick explain how he met Walter, and signs he should have paid attention to. Tynion also turns the book into a character study by showing how their individual responses reveal how they are coping with the stress based on their character type.
Continued belowThe combination of illustrator Alvaro Martinez Bueno and colorist Jordie Bellaire is a wonderful compliment to Tynion’s story. Bueno grounds his illustrations in realism in structure and form, but simultaneously creates a world of dreamy horror by using brush textures that are rough or chalky. He also excels in making sure the house is always a character in the scene. Whether he is using window panes to create separate framing for people or allowing light and shadow to guide our eyes, every single panel has a mood and texture to the background. Every single page has a thoughtfully laid-out progression of panels that break up intimate moments into even more detailed information.
Bellaire splendidly completes the storytelling artistry by also using moody, textured colors. There’s always a logic informing the lighting and textures, but that logic isn’t always based on architecture or environment. Often it is the mood of the characters or interactions that separate them from each other that inform the decision to use a blue or a pink wash.
Final Verdict: 8.5 – “Nice House on the Lake” #2 is an issue that turns up the mystery and adds extra genre influences into the story.
Ordinary Gods #1
Written by Kyle Higgins
Illustrated by Felipe Watanabe
Colored by Frank William
Lettered by Clayton Cowles
Reviewed by Gregory Ellner
The idea of gods as ordinary people, or infiltrating modern society, is hardly new. It has been done time and again, including superheroes being seen as the modern version of what were once called gods. However, in the case of “Ordinary Gods” #1, Kyle Higgins does delve into some familiar territory in that direction with his script, but simultaneously reaches out down new, exciting paths. The characters, while not particularly overtly explained, have just enough detail to leave readers intrigued and wanting more. The actual discussion of the eponymous gods is both extensive and barely scratches any of the surface, despite being a sizable percentage of Higgins’s page count, also lending itself to intrigue about what may be revealed going forward.
Felipe Watanabe does a very good job at setting the tone in his artwork, with an exciting range from realism and horror to elements of higher-flying action. Some of the horrifying gods are given extensive detail and nearly inhuman proportions (in a good, effective way), while the moments in modern times, in mundane scenarios, are much more calming by their sense of normalcy that can break in an instant. The gory injuries or murders illustrated by Watanabe are highly effective, showing the nature of this story as definitely not for the faint of heart.
Frank William’s colors help to solidify each tone. The dark colors around a quasi-Herculean god of sorts emphasize his nature as an agent of what the reader can construe as evil, while more natural coloration around others can variably show others as either completely mundane or more associated with heroism. These color choices may be deceptive, but they still absolutely send a message about the various figures in “Ordinary Gods” #1.
Final Verdict: 7.0- Not explaining much but being interesting in its own way, “Ordinary Gods” #1 is a solid debut.
