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.
Lovesick #1
Written, Illustrated, and Colored by Luana Vecchio
Reviewed by Quinn Tassin
So…wow. If there’s one thing you can say about “Lovesick” #1, it’s that t’s an effective comic. Very few series come out of the gate so boldly and with such confidence and “Lovesick” deserves a whole lot of credit for that. Moreover, it’s incredibly successful at establishing an almost overwhelming sense of atmosphere. From the first panel, it’s clear that this is not a book for everyone. Exploring some of the darker depths of the internet, the story, such as there is one, follows Domino, a violent dominatrix with a large following on her stream: The Lovesick Club. An even more interesting wrinkle—the majority of her followers appear to be intensely misogynistic.
All of those qualities add up into something with incredible intensity and a real sense of identity. The thing is, it’s all vibes. Vibes are all well and good but it’d be nice to see some real substance somewhere in there. Sure, you could argue that the substance is inherent; that portraying a woman who dominates horrible men for money and seems to take joy in it is thematically rich. To a certain extent, it’s true. The thing is, that richness is about the premise of the “Lovesick” #1, not the substance of it. You can get a similar amount out of hearing the premise of the series and looking at a singular preview page as you can actually reading this issue. It’s commendable to be this bold but I can’t help but think that shock value is the most important aspect of this debut. Maybe that’s just a method to draw us in and the deep stuff is coming up next. Those last moments of the issue are interesting after all, with Domino showing some real tenderness once the cameras are off. But ultimately you shouldn’t have to wait on the substance for a whole issue.
While artwork is clearly central to any comic, it’s truly the engine that “Lovesick” #1 runs on. All of that gore and those evocative moments mentioned above? That intense atmosphere? All of that is visual. Sure, there’s some intense language thrown around throughout the issue but without graphic visuals it would all be for naught. There’s a smart visual decision made here to present things like we’re watching them through a computer screen. There’s a green hue over everything making the issue more immersive. The backgrounds are thoughtfully constructed, filled with enough detail to be interesting but intentionally sparse enough to keep readers focused on the violent performance at hand. The splashes of blood are bold and gruesome, making you squirm in your seat as you read. It’s not quite a highlight given what it evokes but the visual apex of the issue is clearly Domino stabbing her follower, biting his skin off, and carving a message into his chest. It’s gory, awful, and a genuine spectacle. It’s also representative of the whole issue: extremely effective and confident but not enough to obscure the lack of any real characterization or story.
Final Verdict: 5.7 – Confident but missing an actual story and so intense that it almost distracts from deep thinking.
Vanish #2
Written by Donny Cates
Penciled by Ryan Stegman
Inked by JP Mayer
Colored by Sonia Oback
Lettered by John J. Hill
Reviewed by Alexander Manzo
This second issue of “Vanish” reads like a hangover issue for the protagonist by having Donny Cates continue giving exposition into his background and the messed up tactics that his “school” had put him through to indoctrinate them into soldiers preparing for war. Cates is in his wheelhouse with a flawed main character, Oliver, with a righteous mission in his mind but less than tactical game-planning. This issue doesn’t have any of the gore and in-your-face attitude as the first, but it’s more of Oliver realizing there is a storm coming from his actions, and he is not only trying to justify it to the reader but to his loved ones as well. There is an interaction that Cates shows between Oliver and his old friend Deacon that has a blink-and-you-’ll-miss-it moment about how Oliver is taking his current life for granted by going back into a war they’d gotten out of. This is an essential piece because it helps show the reader that this is something internal inside Oliver that he will never be able to let subside. Instead, it will cause him to make reckless moves putting everyone in danger. The ending isn’t quite a cliffhanger, but it does give a glimpse into the antagonists and how they are starting to see the true power of Oliver and how they will respond.
Continued belowRyan Stegman and JP Mayer’s art in “Vanish” has this gritty old school Image comics vibe to it with his thick linework, textured details, and ability to give depth to a character’s emotion. During the scene between Oliver and Deacon, some prime shots of Deacon’s fur coat and the emotional manipulation start to unfold. Stegman’s ability to hone in on Oliver’s emotions and share them with the reader correctly also becomes a vital tool for Cate’s story-telling. It adds this manipulation factor for Oliver to convince his friends, or anyone else, to join him. Sonia Oback is also a key component for this dark, gritty story because her colors have this slightly dull factor to them that even though this issue takes place during the day, there is this sense of dread that something dark is coming.
Final Verdict: 8.5 – Action isn’t needed for this issue as the reader follows the protagonist in his quest to prepare for the impending response from the group of antagonists.
Wild Cards: The Drawing of Cards #4
Written by Paul Cornell
Penciled by Enid Balam
Inked by Lee Townsend
Colored by Ruth Redmond
Lettered by VC’s Cory Petit
Reviewed by Alexander Jones
The Wild Cards franchise occupies a really interesting space among other titles in Marvel Comics. This series is based on a shared Universe from writer George R.R. Martin and others. “Wild Cards: The Drawing of Cards” #4 is a fascinating issue that finally manages to explore the after-effects of a virus turning people into superpowered Aces or villainous Jokers. Writer Paul Cornell does a wonderful job illustrating the unconventional personality of Dr. Tachyon in the issue’s opening scene alongside artist Enid Balam. Tachyon’s candid look and irreverent but sad conversation with Croyd Crenson starts the issue off on a nuanced first look.
“Wild Cards: The Drawing of Cards” #4 is a heart breaking issue vividly illustrated by Balam. Balam’s art utilizes angular lines and facial expressions to carry across the subtext from Paul Cornell’s script to great effect here. This issue is trying to highlight the flaws of Croyd’s personality but Balam must be careful to ensure that Croyd never looks too angry in these scenes. When Croyd changes shape the issue finds joy in exploring the gritty details of how his transformation isn’t working properly. Balam is great at carrying expressive characters that emote but still look polished on the page.
Overally, I’m thrilled by how Marvel’s “Wild Cards” adaptation has committed to the characterization of the individual characters. Also, I’m glad that “Wild Cards: The Drawing of Cards” #4 is finally able to get past the introductory phase of the series and tell a character-based story committed to fleshing out Crenson’s character. I hope that Balam and Cornell are able to return to the “Wild Cards” property with a new series at Marvel very soon!
Final Verdict: 8.0 – “Wild Cards: The Drawing of Cards” #4 is finally able to move past the premise and tell a beautiful, character-based story.
