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.
Archie vs. Predator #2
Written by Alex De Campi
Illustrated by Fernando Ruiz
Reviewed by Jess Camacho
“Archie vs. Predator” is living up to all my expectations. This issue is where it really hits the fan. Once back in Riverdale, the gang goes to Pop’s Diner to relax and unwind after their trip. Unfortunately for them, the Predator has followed them back because Betty took something that belongs to him. Cheryl and Jason are dead and once the kids find out, Pop Tate gets taken out and all hell breaks loose in Riverdale. “Archie vs. Predator” is doing things I didn’t think it would. It’s a combination of the classic digest stuff and “Afterlife With Archie” with the art matching the old and a level of violence matching the new horror line. The difference between the horror line and this book is that De Campi keeps it light. There are plenty of decapitations and other violent actions but she is writing the kids as kids. They are snarky and kind of rotten but still have some clueless innocence in tact. Betty and Veronica come off like the young women in Heathers and the effect is very humorous.
Fernando Ruiz’ art takes some getting used to because it doesn’t quite fit with the tone of the story. However, in a weird way, that’s why it works. It truly feels like the Predator has left his world and come into the world of Archie and the gang. The characters are really expressive and what I got a kick out of was the violence. Because it’s done in this style, the violence is very cartoony but so, so graphic. Watching someone’s head explode in this art style is jarring but it lightens the mood a bit. “Archie vs. Predator” #2 is a mix of things that shouldn’t work but it does and it’s shaping up to be a darkly humorous miniseries event.
Final Verdict: 8.3 – Sometimes opposites do really attract
Donald Duck #1
Written by Romano Scarpa, Bruno Sarda, Kirsten de Graaf, Mau Heymans and Dick Kinney
Illustrated by Romano Scarpa, Andrea Maccarini, Mau Heymans and All Hubbard
Reviewed by Matt Dodge
After decades of playing second fiddle to a mouse, Donald Duck steps into the spotlight in a self-titled from IDW. The publisher is continuing the long tradition of Duck comics from Disney, many of which have achieved world-wide popularity and even inspired Ducktales (WOO HOO!). The four stories collected in this first issue span many eras and styles, and provide a really good overview of the different interpretations of the extended Duck family.
The first and largest story in the issue, ‘Shellfish Motives’ harkens right back to the classic Carl Barks era with a zany, sprawling and fun adventure. Donald becomes an investigative journalist and soon gets caught up in a plot involving a world-renowned professor, a team of dangerous kidnappers and a demand for shrimp in lobster sauce. It is good introduction to the larger Duck-world, and demonstrates to the reader the rapid pace and loose commitment to physics that is present throughout the issue.
The other stories follow Donald as he interacts with his famous cast of supporting characters. There’s Uncle Scrooge, Daisy, and Huey, Dewey, and Louie are here, along with less famous characters like Uncle Gideon and Cousin Fethry. All the writers present Donald as his traditional anger-prone self who gets no respect from anyone, and each manages to make his outbursts far more amusing than scary.
Each artist puts a different visual spin on their story, and encompasses the different eras of Donald and the Duck family. In certain stories he looks identical to the classic shorts, while in others the artist pay homage to the initial slimmer head/longer peak character model from the 1930’s. The art is certainly bright and cheery, and mimics the fun tone of the stories while being easy to follow.
Continued belowFinal Verdict: 7.5 – Fun, entertaining and worth a read. If you were a Disney kid, this issue will definitely put a smile on your face.
The Fade Out #6
Written by Ed Brubaker
Illustrated by Sean Phillips
Reviewed by Keith Dooley
In “The Fade Out” #6, screenwriter Charlie Parish and his blacklisted screenwriter pal Gil Mason continue their dangerous search for clues through early Hollywood’s underbelly in order to solve the mysterious death of a famous starlet. Over the course of the issue, Brubaker sprinkles his fascinating and winding tale with conversation between characters about events and tinsel town luminaries that were making a splash during this period. He is an expert at noir and utilizes many tools of the trade to infuse this genre into the story while making something that also feels unique. For instance, instead of predictably using first person narration, Brubaker seamlessly (and in a surprisingly intimate way) uses third person narration to get inside the complex minds of his characters.
Brubaker’s intimate tale of mystery and lives hidden in shadows gains an even greater effectiveness through Phillips’ strikingly realistic, yet dream-like, art. Men mingling at the famous Musso and Frank Grill aren’t just out for a good time. A conversation between Mason and a famed writer at the restaurant is fraught with intrigue and unsaid motivations. Like Brubaker, Phillips adds extra layers to his artistry by experimenting and defying expectations. In one particularly gorgeous scene, Charlie is reminiscing about the deceased starlet. The past is juxtaposed with the present in three panels, where Charlie’s vision of Maya is in black and white and the art has a distinctly cleaner and more realistic feeling than the rest of the issue.
Elizabeth Breitweiser proves, yet again, why she’s one of the best colorists. The orange and yellow that colors the bar scene illuminates the room and gives the appearance of actual light peaking from the page. The purple hue of two panels that take place in the past highlight the fact that it’s a reminiscence without being obvious. And, in yet another brilliant touch of atmosphere that permeates every corner of this issue, there is so much that can be read in the shadowy yet crisp teal-colored room where Gil determinedly pounds away on a typewriter.
“The Fade Out” #9 is an exercise in subtlety through every aspect of its creation. Words, art, and color come together to create yet another chapter of a mystery that is slowly building into something intimate, complex, and spellbinding.
Final Verdict: 8.8 – “The Fade Out” #6 cements the fact that this series is a masterpiece deserving of all its kudos.
“Kaptara” #2
Written by Chip Zdarsky
Illustrated by Kagan McLeod
Reviewed by Matt Garcia
We’re only two issues in and already “Kaptara” is proving itself to be something special. Zdarsky’s bizarre and idiosyncratic humor infuses every panel while amalgam McLeod’s soft, wavy lines deliver this new universe in a way that’s intriguing and exciting. This is a fun book to read.
The narrative is still very much in its early stages so it feels to me like the backstories are still being woven. The characters are interesting enough but they haven’t yet gone to the place where they are as memorable as the planet Kaptara itself. From the casual bits of info and exposition Zdarsky and McLeod throw in, though, it’s probably only a matter of time before these get flushed out. But this is a book that’s firing on all gerbils and it’s pretty damn wonderful.
Final Verdict: 8.5 – Still starting out but that doesn’t stop “Kaptara” from being an all out adventurey blast.
