Wrapping Wednesday: Micro Reviews for the Week of 6/15/16

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.

“All-New Inhumans” #8
Written by James Asmus
Illustrated by Stefano Caselli
Reviewed by Stephenson Ardern-Sodje

While most of the Inhumans popping up all over the globe in the wake of the Terrigen bomb are ‘Nu’ to their powers, Asmus and Caselli introduced us to a secret society of ancient Inhumans in last week’s issue. #8 gives us our first on depth look at Utolan and the latest addition to the Inhuman legacy.

Snatching the crown from Wakanda as most secretive nation in Africa, Asmus’ Utolan is a splintered sect of Inhumans who have been hidden in Mozambique since prehistory. Offering up a similar Afro-Futurist aesthetic to Black Panther’s kingdom, the Utolan Inhumans show off a familiar isolationist mindset to many of the hidden fictional nations of the Marvel universe. Asmus shakes things up a bit in regards to their politics however, offering up a matriarchal governance system that views Terrigenisis as a more religious experience than our mainland Inhumans. But the focus of this issue, wisely enough, isn’t on world building, but on examining the complicated emotional connections between Flint and his newfound family. Asmus handles the multiple new relationships between Flint, his mother, sister, and wider Utolan family naturally and empathetically. His work with the NuHumans’ varied emotional responses to their new lives has been great throughout his run, but this issue is a nuanced highlight for me.

As previously mentioned, thus new world feels vaguely similar to Wakanda, but the more holistic visual elements that Caselli has chosen, combined with the mountainous surroundings, allow for a distinct enough set up for it to stand on its own. It feels more reminiscent, perhaps, of Wundagore mountain, or even Themyscira, on re-examination.
Issue #8 is a slow burner in terms of action, with individual plot points for Ana, Flint, and Gorgon all being set up through conversation-heavy scenes. But Caselli manages to keep these speech-bubble-saturated panels light and lively through his strongly emotive facial work and strong understanding of what needs to be pulled to the forefront in each panel. Flints reunion with his mother is both tense and endearing, and there’s a levity brought through a specific conversation with Ana in which the teenage Inhuman finds himself distracted by her… assets, that reads as innocent and humorous where a less deft artist might have come off as sleazy.

Final Verdict: 6.9 – smooth and subtle, this title deals with the emotional fall-out of familial shifts while still offering up superheroic stakes throughout.

The Astonishing Ant-Man #9
Written by Nick Spencer
Illustrated by Ramon Rosanas
Reviewed by Robbie Pleasant

Who doesn’t love a good heist? The planning, the skillful execution, and the inevitable moment where it all goes wrong – the “Ant-Man” movie was so great thanks in no small part to the heist elements, and this issue attempts to do the same.

Scott Lang and his rag-tag bunch of hired miscreants have a simple goal, so half the fun is in seeing the execution, the other half in seeing how it all goes wrong. That’s handled quite nicely with Machinesmith’s “How to do an award-winning heist, in twenty two easy steps,” which transitions very nicely from the execution to the bumps in the road, including such key steps as “Step 13: guard wonders why new guard is wearing a bear suit.”

Ramon Rosanas’s artwork accompanies these scenes nicely. While the backgrounds are quite bare, the character designs all stand out nicely, and he brings these admittedly ridiculous situations to life quite well. There’s little in the way of action this issue, although the few action scenes are framed very nicely, albeit feeling a bit static. Still, the art suits the tone and style of the issue very well.

With all the various criminals, mercenaries, and I suppose even a few heroes, Nick Spencer ensures that everyone’s voice remains strong and unique. There’s some great moments of comic relief, good timing with the dialogue pacing, and some nice snarky remarks and good one-liners. Overall, a fine addition to the current “Ant-Man” run.

Final Verdict: 8.1 – a strong issue, with great dialogue and heist elements, and advances the story smoothly. Anyone who jumps in here will have a quick intro to get caught up, then it’s time to, as the issue puts it, “Cue Ocean’s Eleven soundtrack.”

Batman #1
Written by Tom King
Illustrated by David Finch
Reviewed by Keith Dooley

After a relatively subdued yet exceptional “Rebirth” issue co-written with Scott Snyder, new “Batman” writer Tom King begins flying solo with the nail biting intensity of “Batman” #1. King and artist David Finch brilliantly stage a seemingly doomed Bat-rescue. King ably balances action, intelligence, and heart in the opening of the book’s first arc that feels both classic and fresh. Following the team of Scott Snyder and Greg Capullo may have seemed like a daunting task, yet King demonstrates the prowess at characterization that he has shown in such titles as “Grayson” and “Omega Men”.

The interactions between Batman and his allies are the highlight of “Batman” #1. The love and respect given to Batman from Commissioner Gordon, Alfred, and Duke Thomas is affecting without being maudlin. We believe in their relationships because of King’s knack for sincere dialogue. King instantly imprints his unique voice with this issue and then shocks us with an ending that is sure to defy expectations. One thing seems like a sure bet when it comes to the future of this book: King is going to remain focused (like James Tynion IV has done with his debut issue of “Detective Comics”) on a Bat-family dynamic while spotlighting a hero that is unlike any in the DCU.

The biggest surprise of “Batman” #1 is David Finch’s art. The quality of his work has never been consistent and, based on his recent work on “Wonder Woman”, I was more than a bit leery about him being one of this twice-monthly book’s artists. He brings detail and care to his linework in this issue, with Matt Banning’s inks contributing greatly to the art’s success. These two men bring a reality to their work that ramps up the intensity in King’s script. The simplicity in the art is effective, with small details caught throughout the issue. The facial expressions convey so much, from fear, resigned happiness, and determined grit. Finch and Banning have put their passion on display.

Jordie Bellaire, colorist extraordinaire, deserves credit for transforming Finch’s art into some of his best work. Bellaire’s muted palette and constant use of orange and yellow raise the stakes for the contents of “Batman” #1 because of the real-world feel that her coloring brings to the proceedings. We care more about what is happening on the page and are dragged into the story because of Bellaire. There’s a reason why Bellaire is one of the best (if not the best) at what she does.

“Batman” #1 may not be revolutionary. It is, however, still an impressive issue because the creative team is practicing at the height of their craft. They love Batman, love great storytelling, and are passionate about combining the two in a gift for Bat-fans both veteran and newbie.

Final Verdict: 8.5 – Tom King met expectations while David Finch went beyond them. Because of that, “Batman” #1 satisfies in various and exciting ways.

Black Widow #4
Written by Mark Waind and Chris Samnee
Illustrated by Chris Samnee
Reviewed by Liam Budd

Full disclosure: I am a huge sucker for spy stories, and while I think there is certainly a place for the more bonkers, sillier affairs, I genuinely don’t think I devour anything as ferociously than a well structured, taut spy thriller. So you can imagine just how happy Mark Waid and Chris Samnee’s “Black Widow” book makes me, because that is exactly what they’re delivering us. Issue #4 sees a hurt and weakened Natasha breaking into the Dark Room, an updated version of the organisation that created her, to steal a list of past students for the mysterious ‘Weeping Lion’. It really has it all; a clandestine mission, secret documents, a shadowy organisation and of course, a cold yet highly skilled protagonist with a shady past. Though it doesn’t feel like they’re doing anything particularly new, there is nothing wrong with doing something simple and executing it this well.

Waid and Samnee continue to craft a very sleek and stylish thriller that always feels tightly controlled, sometimes what a book needs is the room to breath, but the claustrophobic and carefully structured tone works here. The issue begins with a cramped, 9 panel page containing Natasha’s limited view as she lingers onto consciousness, while the employment of shadow and light shows us only how much we need to see; rather than wasting space with unnecessary images, he cuts it off completely. This works so well because the plot itself is not suited to a wide and rambling form of storytelling, Natasha is on her own her with only a limited amount of resources, it’s almost a fight for survival where she constantly seems one step behind. She’s not facing some huge, intergalactic menace, but a very personal and very human threat. There is no room for grandstanding and excess and that’s what makes the artwork and the clipped, economic dialogue so perfect. We mustn’t forget the work of colourist Matt Wilson either, he adapts too by limiting his palette to a handful of colours that sometimes appear washed out and faded. His colours further suggest the classic spy thriller the book is hinting at, think Orson Welles’ The Third Man.

I am so thankful that this team still has an ongoing at Marvel, their collaboration on Daredevil was too good for the publisher to let it go. The pair are natural storytellers that excel in carving out a niche for characters that have lost their way. This is the spy book that has been missing from either of the ‘Big Two’, not only is “Black Widow” a fine example of a mainstream, superhero book, but a solidly good espionage tale. However, can it appeal to those who are not fans of spy stories? I’m not too sure, it is a book heavily influenced by the conventions and tropes the genre is known for. Though if you care for well told, suspenseful tales, this issue is a fantastic example and definitely worth your time.

Final Verdict: 8.0 – A tightly told story, trimmed of excess. A true, blue spy thriller but has enough to appeal to fans of the genre and newbies alike.

Descender #12
Written by Jeff Lemire
Illustrated by Dustin Nguyen
Review by Ken Godberson III

“Descender” makes its return this week and -taking a page from “The Wicked & the Divine”- is using this new arc (“Singularities”) to slow down the moving plot and instead focus each issue on a specific character. In this case, the doppelganger to our protagonist, the deeply traumatized and possibly homicidal TIM-22. Lemire weaves a tale ingrained in the past of this world, where 22 had an almost mirror experience with organic life than TIM-21 has had. Weaved within are 22’s complications with his own self-worth and uniqueness and, more importantly, what happens when he feels his uniqueness is threatened. All the while having to endure some of the worst aspects of organic life on the cusp of the War and up until he is found by Psius. That threatened uniqueness is enough to differentiate 22 from other “Evil Counterpart” characters and it interests me enough to want to see more of his story.

The tiredness, confusion, loneliness and eventual rage in Nguyen’s artwork is heartbreaking in a good way. This is especially prevalent in his coloring; the dark blues, greys and then especially the reds at the end compliment the words so much of someone so at their end with everything around them. Beyond the colors, how Nguyen depicts 22’s deteriorating face is eerie. Not so much as being damaged as it is crumbling. All the while, despite the trauma and his eventual actions, Nguyen still manages to convey an innocence in 22 that makes you want to hug him instead of seeing him get a comeuppance.

Final Verdict: 8.0- Lemire and Nguyen sacrifice plot development to focus on character work in a good way.

The Spire #8
Continued below

For the longest time, I was wrong about “The Spire”. I assumed it was just a fantasy comic with a humorous twist thanks to Simon Spurrier’s writing and a unique, not-quite-steampunk visual style thanks to Jeff Stokely’s artwork. What I didn’t expect in reading through the whole series in one go is that it’s actually a very nuanced, very thoughtful noir-style mystery with criss-crossing moral conflicts, a messy coverup of a past misdeed and a strong political vein that leads to this issue being one of the most interesting issues I’ve read this year. Of course, that also means I can’t say much about it here without giving anything away.

Suffice it to say, “The Spire” might mark the best writing of Simon Spurrier’s career. He’s always been a writer I’ve admired who’s largely (and unfairly, I think) flown under the radar for most readers, but this miniseries contains some very nuanced writing from him. Sure, the broad British humour is still in there, but the character work borders on Greek tragedy. This last issue is genuinely heartbreaking in various places as everything comes to a head and the story meets its final fate. With eight issues, Spurrier and Stokely have been able to really dig into the cast of characters and create fully realised people that you care about and this issue really tugs at the heartstrings as a major revelation about a character completely changes how you thought the story worked.

If this is some of the best writing of Spurrier’s career, it might also be some of the best artwork of Stokely’s career. Joined by colourist Andre May, everyone pulled out all the stops for this issue. It is stunningly gorgeous with a two-page spread just two pages into the comic that would otherwise mark a high point for the art in any other book, but that’s just par for the course for this issue. Stokely’s rough, sketchy lines and exaggerated perspectives lead to one of the most thrilling chase scenes I’ve ever seen in comics. The colours from Andre May range from soft, pastel palettes to deep greens and purples throughout the course of the issue as the tension ramps up with each page. The colours bring Stokely’s art to life in a way that gives “The Spire” a strikingly unique visual identity. The final page, especially, uses the artwork and the colours as a contrasting punctuation to the story which leaves the reader on a very bittersweet note. It’s the kind of final image that will remain with you for a long time after closing the issue.

Final Verdict: 8.8 – A grand finale to a superb book that may mark the greatest work Simon Spurrier has produced as a writer with gorgeous artwork from Jeff Stokely and Andre May from cover to cover. Do yourself a favour and read this series.

Tales From the Darkside #1
Written by Joe Hill and Michael Benedetto
Illustrated by Gabriel Rodriguez
Reviewed by Brian Salvatore

I’m old enough to remember when Tales from the Darkside was in re-runs; if my memory serves, it wasn’t quite as moralistic or fable-like as The Twilight Zone, and far creepier than Amazing Stories. It is a show that is absolutely due for a revival, and that is what the CW tried to do a number of years ago, when they hired Joe Hill to relaunch the series. Sadly, it never came together, but Hill has partnered with IDW and his “Locke and Key” running mate Gabriel Rodriguez to bring the series to comics, with Michael Benedetto adapting Hill’s TV scripts.

This first issue deals with the story of a young man, Ziggy, who falls asleep while lifeguarding and lets a woman die on his watch. After this, he is cursed with the ability to have people fall asleep when they see his face. This is such a perfect Tales from the Darkside plot, that my initial feelings are that of disappointment, because the series could have been something really special on TV. But, then we wouldn’t have the fantastic Rodriguez artwork to marvel art.

Rodriguez imbues a variety of emotions in Ziggy’s face as he changes throughout the issue, from over confidence to guilt to terror to exhaustion. The subtleties of his work are what really sells the issue, as he is able to ground the book a little from some of the cornier aspects of the dialogue. While I understand the need to skip some nuance to drive home a point in an effective manner, a few bits of dialogue are Garden State level cheesy. But Rodriguez is able to bring so many different emotions and tones to the relatively ‘normal’ surroundings that the whole issue feels somewhat otherworldly. He does what every great horror/suspense filmmaker does – through his unique talents, he makes the ordinary full of dread.

Final Verdict: 7.7 – A solid introduction to what hopes to be a really fun series.

Vote Loki #1
Written by Christopher Hastings
Illustrated by Langdon Foss
Reviewed by James Johnston

Hey

I tried to write a review of “Vote Loki.” I really did. I tried to approach it from a bunch of angles. First, I tried to actually review it and cover how devoid of life the characters felt and how it did nothing but remind me that “Journey Into Mystery” and “Agent of Asgard” are no longer things. Then I tried to get sarcastic and act like the book’s vapid politics were groundbreaking ideas. They’re not, and the idea of covering a comic book that claims to be satire when it’s just namechecking a bunch of political phrases exhausted me. So instead of actually reviewing “Vote Loki” I’m going to just point out a bunch of other stuff you could do with your time.

– Watch the “Douche vs. Turd” episode of South Park.

– Read that last “Prez” series by Mark Russel and Ben Caldwell.

– Make sure you’re registered to vote in November.

– Make sure you’re going to vote in the midterms and will keep voting after November.

– Tell someone you love them.

– Hunt down Jon Stewart and make him get back to The Daily Show.

That’s all I’ve got, sorry. I really did try to review “Vote Loki” #1 but it just filled me with the kind of apathy in a way that a book half-heartedly cashing in on the 2016 election could do. It’s a satire in the laziest way and considering that every other goddamn thing in media right now is a satire on Trump or Clinton, I don’t have the time or patience for something that’s going to enter that territory and not actually run with it. “Politicians are liars! And they are bad!” Loki says, enamoring the public with a candidate who’s a real straight shooter. They make memes about him, urge him to run for president, and take him seriously. You know what’d happen if someone said that? We’d make fun of them and ask if they’re Banksy. The Loki in “Vote Loki” #1 is Banksy in a shitty little horn hat.

I’ll give “Vote Loki” this, though. For a comic that has a character talking about how politicians say the same generic thing over and over, they have a lot of balls not adding anything to the conversation.

Final Verdict: 2016/10 – I’d rather listen to someone explain to me how Hillary stole the election for four hours than read this.