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.
Angry Birds Comics #1
Written by Paul Tobin
Illustrated by Paco Rodriques & Stefano Intini
Reviewed by Matthew Garcia
“Angry Birds Comics” #1 isn’t the worst. At the same time, it’s also not really anything special. Yes, it’s a blatant cash-grab tie-in comic, hoping to generate interest in the property before the new movie comes out. It’s desperately trying to create a world out of a mobile geometry game, and there’s definitely a feeling that the environment hasn’t been fully developed yet. It’s also specifically a kids’ comic and the gags, situations, jokes, and structure seems to be targeted toward something kids will like. It’s missing the emotion, questions, and energy of all-ages licensed books like “Adventure Time” or “Avatar: The Last Airbender”, but it also doesn’t seem interested in courting any of that. “Angry Birds Comics” #1 is a cartoon that you watch because it’s on and you’re too lazy to turn the channel, not bad but entirely forgettable; a comic you’d get your niece or nephew or favorite student or child or whatever because you’d be hard pressed to find anything else.
Like with their Disney series, IDW divides the comic into short stories. The first one deals with the red bird searching for his friends and then destroying the pig’s camp. The second is a parody of The Three Musketeers. There’s nothing really inspired in the delivery: the script moves from place to place and the art never strays from model. Nothing offensive happens, but then again, nothing creative or interesting really happens either. This book may have been more interesting were it a colossal train wreck, rather than a timid and slight collection of jokes that will satisfy its audience (and maybe that’s a sign it’s successful?) but won’t branch out beyond.
Final Verdict: 5.0 – It’s bright and colorful and familiar and does offer some chuckles, but that’s about it.
Archie #5
Written by Mark Waid
Illustrated by Veronica Fish
Reviewed by Stephenson Ardern-Sodje
Mark Waid’s run on the recently rebooted “Archie” series has, thus far, been a pretty lighthearted romp through Riverdale. Waid found a great tone for the series, weaving a well-balanced, delicate teen Rom-Com, that for its first four issues introduced us to a range of cool characters and a surprisingly perilous high-school status quo. Issue five brings yet another player to the forefront, potentially the first true ‘villain’ of the series, in the form of Reggie Mantle.
Archie’s fully in the thrall of Riverdale’s newest heiress Veronica, and, desperate to save him from himself – and ‘Ronnie’s clutches – Archie’s best friends Jughead and Betty, enlist an unlikely ally to split up Riverdale’s hottest new couple. But, as hormones start riding high and old enmities flare again, it’s unsurprising that things don’t go quite according to plan.
Issue #5 also marks the artistic début of the coincidentally named Veronica Fish. Fiona Staples’ first three issues definitely set the visual tone for this reboot, and Fish’s interpretation of the newly imagined members of Riverside are similarly impressive. She gives the characters a slightly more cartoonish spin and the result is a slightly goofier issue that still manages to pack an emotional punch. Fish also utilises a much more dynamic form of panelling that allows for the framing of this issue to add to the physical element of the storytelling; yet another stylistic technique that feels like a nod to the classic, more kinetic narrative of the original “Archie” books.
Waid is channelling the spirit of classic nineties coming-of-agers like Saved by the Bell,and his incarnation of Archie is a bit of a dopey dreamer, but he’s more than loveable enough to make you root for him through the self-inflicted scrapes he gets himself into. Waid’s scripting is slick, and natural, with a confidently hazy handle on chronology that allows for his Riverdale to feel at once classic and cutting edge. The way Waid pulls elements from classic “Archie” stories, coupled with his willingness to combine anachronisms with modernity means that “Archie” is brimming with the kind of common threads that have run through teenagers’ lives since time immemorial. Waid manages to harness the awkward emotions of puberty that have plagued us all at one point or another while still keeping the book as silly, slapstick, and wholesome as classic books that inspired it.
Continued belowFinal Verdict: 8.1 For anyone who’s ever felt helpless, or helplessly in love. Waid and Fish show that lovestruck teens and hapless hi-jinks know no era.
The Fade Out #12
Written by Ed Brubaker
Illustrated by Sean Phillips
Reviewed by Keith Dooley
“The Fade Out” #12 is the final curtain on a magnificent series that was yet again another great collaboration between writer Ed Brubaker and artist Sean Phillips. Elizabeth Breitweiser’s colors added a gritty yet dreamy Hollywood(land) sheen to the duo’s tale of deception, murder, mystery, and the glamorous underbelly of old-time Hollywood shenanigans. With this finale, Brubaker brings us an ending that brilliantly ties together the plot and characterization to a natural end. The dialogue is addictive, the mystery is unveiled with added surprises, and the detail he brings to his scripts is yet again evident in this issue.
Phillips continues to demonstrate why he’s a natural partner for Brubaker. In “The Fade Out” #12, Phillips perfectly expresses the anguish and tension inherent in both the characters and the tinseltown fakery of their city. He conjures the right amount of evocative subtlety through his art in order to make us feel the emotions emanating through his character’s eyes, facial expressions, and body language. Our “hero”, Charlie Parish, bleeds desperation and pleading for the truth that is hidden by the Hollywood lie machine.
Breitweiser’s color palette in “The Fade Out” #12 continues to be subtle and naturalistic while a supernaturally shadowy glow underscores every panel. She breathes palpable atmosphere into Phillips’ art that generates life on the page. Breiweiser, like Brubaker and Phillips, are deserving of such lavish praise.
“The Fade Out” #12 is an example of the best of what comics can accomplish over any other artistic form. Life, mystery, and subtlety are brought to these pages by these three artists in such vivid and masterly ways.
Final Verdict: 10.0 – One of last year’s best series has a fitting ending in “The Fade Out” #12. Here’s to hoping the next collaboration between this team is just as thought-provoking and fun.
Spider-Man/Deadpool #1
Written by Joe Kelly
Illustrated by Ed McGuinness
Reviewed by Jess Camacho
I’ll be the first to admit, I’m not the biggest Deadpool fan and I haven’t regularly read a Spider-Man comic in a few years. “Spider-Man/Deadpool” #1 is not a comic that is marketed to me but it made me laugh many times throughout the issue. “Spider-Man/Deadpool” #1 finds the two characters teaming up (mostly through Deadpool’s forcing it) to fight Dormammu and Hydro-Man. The two of them clash on every page in the most sarcastic ways you can imagine but they still get the job done when push comes to shove. This works as a comedy, for the most part, because writer Joe Kelly goes all in on the banter. The jokes go from tame puns to more wild sexual innuendos and only in a couple of small places does it feel like a little much. The story is incredibly easy to follow even if you’re not reading the characters’ series on the regular and it feels like more straight forward action fare than many of Marvel’s other series. Ed McGuinness doesn’t do anything too new here so this very much has the clean, polished Marvel look. The action scenes are expertly crafted if not brand new and the character reactions, despite the masks, come through just fine. Morales’ inks are heavy and it adds a cartoony quality that matches well with the comedic writing. Jason Keith’s colors are bright and have just the right amount of lightness to them without losing the high stakes of the fights.
Final Verdict: 7.0 – Fans of these characters will revel in this but for everyone else, it’ll serve as a nice change of pace from the rest of the Marvel Universe.
Unfollow #3
Written by Rob Williams
Illustrated by Mike Dowling
Reviewed by Kevin McConnell
Being a tech guy in my day job, stories about tech always interest me. For obvious reasons, I do not want to read about technology run amok. However there are few stories where technology is somewhat of a red herring. “Unfollow” is exactly that kind of book, parts technology and The Most Dangerous Game. The tech ironically takes a backseat to some human story.
Continued belowThe third entry in the series begins with a flashback to Ferguson, Missouri. David & Devon are in the middle of protest, where the police have launched tear gas. Both realize they are part of a losing battle, with Devon noting, “How many rich folk do you see in Ferguson right now?” David continues on his journey meeting Courtney, which is exciting for him. Meanwhile, as other of the 140 make their way to the Bahamas, Larry Farrell reveals his goal for the project.
Rob Williams serves things up in a very organic way in this issue. All of the characters Introduced in the previous issue come to the same location. Their interactions are minimal, but that particular element of the story is now out of the way. Things pick up at the end, when Farrell explains that if there is one of the 140 left, they will inherit everything. Williams makes the intentions clear, he wants to see if people are really animals. Will they kill for all the money, or will the lucky ones do as Farrell and give their fortune away? It is a great hook, setting up for some very interesting future issues.
But, Mike Dowling is a weak link in this series. But I will say it is not for lack of trying. Dowling’s work when it comes to objects and the lush backgrounds is wonderful. The details are plentiful and everything is rendered clearly. This unfortunately does not translate to the individual characters. Williams sets up each with a distinct personality, but Dowling makes everyone look like fuzzy ink splotches. Given that a few individual characters get page time, it can be difficult to figure out who is who. This is especially true of everyone minus Courtney, the only female character in the 140 thus far. This is a very disappointing for such a thought provoking story.
Alas, “Unfollow” is saved from excellent writing with subpar art to match. If you can distance yourself from the art flaws, the story will keep you guess. The social commentary is very biting, without being preachy. And with the cat out of the bag, now business is about to pick up.
Final Verdict: 6.1 – A well written story lost is a sea of scratches passing off as comic art. Disappointing, but readable.
The Vision #3
Written by Tom King
Illustrated by Gabriel Hernandez Walta
Reviewed by Brian Salvatore
Being married to/created by the Vision is not exactly an ideal situation to find one’s self in, and Virginia is really struggling to find her place in the world. In fact, the way that she’s most human is in her rage – her considerable, sometimes deadly rage. Throughout this issue, we see Virginia trying her best to be the ideal suburban mother and wife – wearing a teddy for her husband, scolding her teenage son for being lazy – but we also see her handling each situation with more anger than might be expected.
The Vision himself has always been more of a cool character – see the way he threatens Tony Stark’s life without really changing his posture or raising his voice – and so to see his wife be such a different type of synthezoid, especially when considering that Vision created her – it really makes the book very unexpected. Seeing her try to use sex as a weapon is similarly interesting and unusual. King’s script, with its hint towards the future and its bizarre, macabre rituals, is really something to behold.
Walta’s art continues to walk the thin line between terrifying and mundane, and gives the book a truly uneasy feel. The blank expressions on the Visions’ faces seem tranquil, but quickly reveal themselves to be more suspicious and duplicitous. Jordie Bellaire’s colors on this issue, specifically, the trip to Mount Wundagore, are stunning. That sequence manages to reflect the flashbacks in the early issues of “The Manhattan Projects,” where Bellaire’s colors served as the moral arbiter of the issue, identifying good from evil. The pair, taken together, create an issue that uses color to amplify the things we already know and fear.
Continued belowFinal Verdict: 8.8 – Marvel’s best book just keeps adding new reasons to adore it.
X-O Manowar #43
Written by Robert Venditti
Illustrated by Robert Gill
Review by Ken Godberson III
The last few months have been chaotic for Aric of Dacia. Between the fallout of the Armor Hunter invasion, the attack of Master Darque in “Book of Death” and acting as a shepherd to bring the now homeless Vine, once his captors now allies, to Earth under his protection, change has been on the horizon. I know most recognize his name for “Green Lantern” and “The Flash”, but pound for pound, this is Robert Venditti’s best book. And now, X-O has to team up with superspy/ninja errr… Ninjak to take out hostile plantings (Human/Vine hybrids) that want to reignite tensions.
It really goes to show how well Venditti has handled the development of Aric since issue #1. This isn’t the same warrior king from that time, and it shows in his relationship with Ninjak. Aric has gained more honor, less likely to snap into fighting at first notice. Much less of a pragmatist like the ruthless Colin King, especially after witnessing the spy in action during “Book of Death”. They do create an interesting dichotomy that is both similar and completely different to their previous cooperations.
Venditti reteams with his “Book of Death” partner Robert Gill for this arc, with colorist Ulises Arreola. Seeing Gill continue to improve over this last year has been a treat. My first thought was that he has a similar style to other Valiant artist Clay Mann, but it has a bit more fluidity and smoothness to “movement”. I will say, the best scene they depicted, for all the cool sci-fi action, was the scene between a Vigoth child and a Vine youth. Gill and Arreola are able to convey a lot of small emotions in this budding generation that can hopefully move past the grudges of old.
Final Verdict: 8.0- Venditti, GIll and Arreola do a real good job in the opening salvo of “The Kill List”.
