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Wrapping Wednesday: Micro Reviews for the Week of 10/07/2020

By | October 12th, 2020
Posted in Reviews | % Comments

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.

American Ronin #1
Written by Peter Milligan
Penciled by ACO
Inked by David Lorenzo
Colored by Dean White
Lettered by Sal Cipriano
Reviewed by Elias Rosner

Peter Milligan is known for narratives that mess with reality and concepts that seem concrete. ACO is known for art that bends perception and breaks the page in slick and cool ways. Put the two together and we’re in for a ride, even if the details on what that ride will be is a bit fuzzy.

“American Ronin” #1’s strongest aspect is the art. ACO, Lorenzo, and White craft a seedy world dripping with charisma and style. Rather than the sterile minimalism of most corporate dystopias, this is a universe of obscene wealth and the preening peacock people who hold it. The gilded age is alive and well with tigers and pill and desperation for fulfillment that money and power only make deeper. ACO’s rhythmic panels drive us forward, keeping a tight focus on characters’ expressions, building tension in conjunction with Milligan’s alienating dialog. It’s effective at setting the stage for the series without bogging us down in exposition.

That said, it’s difficult to figure out what’s really going on or, more importantly, why it is we should care about what’s going on. The former builds the mystery, even if the explanation for this American Ronin’s powers is head tilting, not to mention the titular term’s dubious usage, while the latter is a problem for a mini-series with an otherwise strong first issue. It’s easy to buy into a disconnected initial adventure in a Bond film because the rest is there already. It’s harder when you have to wait a month and pay another $4 for the next section.

But AWA and the creatives on the team have a proven track record for paying off on their first issues, even when off to a somewhat shaky start. We’ll just have to see if the writing can live up to the art’s stylistic successes.

Final Verdict: 7.6 – Held back by some of Milligan’s inconsistent dialog and confusing plot elements, “American Ronin” has the potential to be a great espionage thriller with a visual style all its own.

American Vampire 1976 #1
Written by Scott Snyder
Illustrated by Rafael Albuquerque
Colored by Dave McCaig
Lettered by Steve Wands
Reviewed by Jim Malakwen

An enduring theme of vampire literature is the exploration of immortality. When gifted, or rather cursed with superhuman abilities and an extended lifespan, what effect does this have on an individual? Does the vitality of life ever run out? These are a few of the ideas writer Scott Snyder and artist Rafael Albuquerque present in the final volume of their sprawling saga.

After an intriguing prologue set in colonial America, “American Vampire 1976” #1 depicts Skinner Sweet, the charismatic antihero from previous installments in the series, having reinvented himself as an Evil Knievel-type stunt performer. Since becoming mortal at the end of the last story arc, Skinner is far from the young, sadistic outlaw he was prior to becoming the first American Vampire. Instead, he’s become world-weary and yearns for the release that only death can bring.

The writing on “American Vampire 1976” #1 is excellent. Scott Snyder is adept in his use of captions to get into the headspace of his characters. Moreover, he doesn’t overwhelm the artwork with excessive prose. This book is a seamless fusion of writing and artwork.

Speaking of artwork, Rafael Albuquerque’s pencils are outstanding as always. He begins with a very conventional panel layout before dazzling the reader with a well-rendered stunt sequence conveyed via high-contrast compositions that vividly capture the thrill of the moment. Colorist Dave McCaig further enhances Albuquerque’s work through his use of a predominantly warm color scheme. The vivid reds and oranges in the stunt sequence contrast with the cool blues of a brief Alaskan interlude before transitioning to the garish, neon-lit, vice-ridden streets of 1970s Times Square.

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The story was well-paced and presented a glimpse at what the major players have been up to in the decades since we last saw them. With the reveal of a formerly dead character at the end of the issue and the promise of a daring heist to come, it’s clear that “American Vampire 1976” #2 will offer way more thrills and surprises.

Final Verdict: 8.7 – A thrilling entry in the “American Vampire” series and a seamless fusion of writing and artwork.

Archie’s Halloween Spectacular (2020) #1
Written by Francis Bonnet, George Gladir, Dan Parent, & Henry Scarpelli
Art By Jeff Shultz, Jim Amash, Bob Bolling, Dan Parent, Stephen Oswald, & Craig Baldman
Colored by Glenn Whitmore & Barry Grossman
Lettered by Jack Morelli, Phil Felix, & Vickie Williams
Reviewed by Jodi Odgers

“Archie’s Halloween Spectacular (2020)” #1 is the kind of Archie collection that comic readers of all ages have picked up in stores for decades to dip into and check in on what the residents of Riverdale have been up to.

“Archie’s Halloween Spectacular (2020)” #1 reprints three previously-released Halloween-themed stories – 2019’s ‘Pranktober 31st’, 2008’s ‘The Mystery of the Museum Sleep-In’, and 2003’s ‘Monster Bash’, and the one-page ‘Archie Zone’. While all of these stories were initially released in the new millennium, they all have that old-timey Archie veneer, as if (barring a couple of mentions of cellphones) they could just as easily have been released fifty years prior. The stories and art style are straight out of the Archie comics of decades past. The plots are simple, innocent, and charming, and Archie and his friends are rendered in their classic looks.

This collection doesn’t break any new ground for Archie (it doesn’t even include any content that hasn’t already been published). However, it could still provide readers who are new to or long absent from Riverdale a spookily-themed glimpse into their antics, or a welcome reminder for those who have been following the characters for years.

Final Verdict: 7.0 – “Archie’s Halloween Spectacular (2020)” #1 may not contain anything new, but it is still a fun look into the innocent world of Archie Andrews and his friends.

BANG! #4
Written by Matt Kindt
Illustrated by Wilfredo Torres
Colored by Bill Crabtree and Naoyoung Kim
Lettered by Nate Piekos
Reviewed by Ryan Fitzmartin

“Bang! #4” finds writer Matt Kindt on familiar ground, meshing sci-fi with sixties spy-action. Bang! blends Nick Fury and Man From U.N.C.L.E. style spy escapades into one Kindt’s trademark mind-bending stories. Brainwashing and false memories co-exist alongside remote island lairs and ninja assassins. Kindt is a good fit for this material, and he brings the same detail and creativity that made Mind MGMT and Dept. H so memorable. Bang! is considerably pulpier than his other works, which shouldn’t be a surprise given the title. There are more action and clever dialogue, compared to the intellectual, ethereal, and psychological qualities his other work possesses.

The issue opens with a colorful and clever homage to Agatha Christie, which transitions smoothly to superspy flashbacks and an insidious plot to destroy the world. The story moves fast in the second half and therefore doesn’t feel like it has much weight. This isn’t a huge issue, as the characters are distinct and the art is quite pleasant. Torres’ lines are competent, if not eye-popping. There are clear homages to classic spy stories from Marvel and DC here, but the comic lacks a unique style or design of its own. Crabtree and Kim’s art is bright and colorful and does add an extra pleasant dimension.

Matt Kindt is a superb writer, and “BANG #4” doesn’t quite hit the heights of his other works. It’s clear he’s doing an exercise in branching out, but it feels somewhat shallow. This issue contains some great ideas, but they’re trying to fit a specific mold and tone, and I’m not sure it works as well as if Kindt just did his own thing. This is a decent, and entertaining comic, but it doesn’t quite hit the bar I was hoping.

Final Verdict: 7.1 – A mildly underwhelming effort by Matt Kindt to embrace his pulpier side.

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Justice League #54
Written by Joshua Williamson
Illustrated by Xermanico
Colored by Romulo Fajardo Jr.
Lettered by Tom Napolitano
Reviewed by Alexander Jones

If you are heavily invested in the DC Universe “Justice League” #54 is a fascinating experiment. Writer Joshua Williamson and illustrator Xermanico are using DC’s latest event, “Dark Nights: Death Metal” to give readers a new team of heroes. On top of the issue’s eclectic cast, the continuity and worlds within this new arc entitled ‘Doom Metal’ put this team in a whole new context. This cast is just starting to get to know each other and are also still coming to grips with the time they lost with each other. Williamson also pulls on a familiar DC villain and each cast member starts remembering their history with each other from decades ago. Despite the fact that this is yet another issue of the “Justice League” there is still a vast amount of subtext just beneath the surface of the plot here.

Williamson’s decision to put this team of heroes against Starro is an issue all about DC continuity has a few key references to DC stories like Alan Moore and Dave Gibbons seminal Superman story ‘For the Man Who Has Everything.’ With Superman being absent from the issue and a few extra decades of continuity to pull on, Williamson and Xermanico have a lot of fun here. Over the past couple of years at DC, Nightwing has been through a lot of turmoil. Williamson pokes fun at Richard Grayson and directly addresses a few years of questionable publishing decisions through the subtext of his scenes with Starfire. Martian Manhunter is the first cast member to recount his demons in the issue. J’onn J’onzz of course is extremely hard on himself and is regretful and ashamed of his past decisions.

Xermanico’s art captures the nuance and subtlety that this script calls for. There are moments where characters ascend through different costume changes and continuity moments. These panels are not confusing and add greater depth to the issue. When Xermanico draws different character designs the intent of his ambition is clear. Xermanico and Williamson are surprisingly ambitious in their execution of what could have been your average “Justice League” issue. Xermanico is also a really great artist to render the visuall diverse aesthetic of “Dark Nights: Death Metal” which calls for apocalyptic landscapes. There are occasional visual blemishes in the artwork, particularly on the occasional depiction of facial features. In the present-day sequences, some detail can be lacking as well. “Justice League” #54 carries impressive execution and detail.

Final Verdict: 8.0 – “Justice League” #54 is a delightfully subtle “Dark Nights: Death Metal” tie-in with strong execution from both the art and script.

The Marked #8
Written by David Hine and Brian Haberlin
Illustrated by Brian Haberlin
Colored by Geirrod van Dyke
Lettered by Francis Takenaga
Reviewed by Gregory Ellner

From the start, David Hine and Brian Haberlin’s “The Marked” #8 has a major problem: its lack of accessibility to anyone new. There is no space for newcomers to latch on beyond a vague idea of how at least some of the magic works, involving some form of enchanted tattoos. Relationships between characters go unexplained, the method to the madness remains weird without explaining how any of it works at all on aside from the most basic level possible, and certain weirder characters go without much in the way of explanation at all beyond a few jokes or otherwise comments regarding their appearance. Of course, ‘Lovecraft in the Underworld’ is on its third issue in the arc, so there is not an overt need to draw in new readers, but the presentation remains so opaque that it can prevent any desire to learn more in the first place.

Haberlin does a better job with the artwork. Various characters’ expressions and body language are drawn in intense detail, especially for the all-important “marks” upon their bodies that represent their powers. The use of shadow and light help to give a definite air of magic in a mundane world, as well as helping to give an all-important depth to the various events going on.

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Geirrod van Dyke’s colors are, while impressive, a bit more of a mixed bag. While the bizarre colors of various creatures imposing themselves upon a modern metropolis do stand out, as do the various colored lights in opposition to the more mundane coloration of human skin, such impressions can be given to the point of distraction. Lens flare or other bright lights can distract from the rest of the scene around them, even as they provide shading depth to an otherwise understandable scenario. Such a luminous spectacle may be a series signature but again can keep readers from enjoying those very elements.

Final Verdict: 6.0–.While somewhat interesting, the latest issue of “The Marked” is very much liable to leave newcomers out in the cold alongside distracting light sources, even with its interesting artwork.

Penultiman #1
Written by Tom Peyer
Illustrated by Alan Robinson
Colored by Lee Loughridge
Lettered by Rob Steen
Reviewed by Jordan Lash

“Penultiman” is the story of a depressed superhero, who yearns to return to his homeland where he was exiled by his people for being inferior. Tom Peyer does not supply enough details as to why Penultiman was rejected. The book refers to these people as “evolutionary ultimates,” who live in the future and only call upon Penultiman if they are in danger. “Penultiman” is a comic that tries not to take itself too seriously, which causes the book’s mood to be unbalanced. Peyer creates a solemn atmosphere for the lead character, but pumps in wacky bits of humor. An example is the inclusion of a wacky device used by a supervillain. The villain is named ZevZolo, who uses a cosmic pinball machine worthy of stealing the spotlight due to amazing artwork by Alan Robinson.

Robinson uses a large panel on page three to show this massive, floating pinball machine in the Manhattan sky. Robinson’s fiery pinball machine is an impressive sight thanks to LeeLoughridge’s use of an analogous palette of yellow, red, and orange shades. Robinson’s artwork is the highlight of “Penultiman.” His layouts are incredibly detailed with Loughridge complimenting him on colors. Robinson’s versatility deserves recognition as he shifts from drawing intricate settings to emotional scenes of dialog with relative ease.
Overall, “Penultiman” is not fresh or exciting in today’s contemporary superhero comics, but it has the potential to get there.

Final Verdict: 6.0 – The story of Penultiman isn’t entertaining, but Alan Robinson’s artwork is.

Thor#8
Written by Donny Cates
Pencils by Aaron Kuder
Colored by Matt Wilson
Lettered by Joe Sabino
Reviewed by Quinn Tassin

What a fun issue of Thor! It’s been a while since we had one of these. Donny Cates’s run has been pretty great thus far but also fairly defined by angst. With the second issue of a two-issue arc, Cates brings more brightness, more humor, and a hell of a lot more fun to the book. The issue is so straightforward that it’s almost deceptive. Adam Aziz of Broxton, Oklahoma has some fun Thoring it up. Iron Man and Thor have a confrontation reminiscent of their standoff way back during “Civil War”. Now Thor is off to see his old pal Donald Blake. It’s easily digestible material of the highest quality.

Aaron Kuder’s art meets the tone of the issue perfectly. The weightier moments like Iron Man hitting Thor with Mjolnir and Thor’s classically thunderous response is clearly a big deal but not in a way that undercuts the fun of it all. Mostly, Kuder does great work helping things feel light and exciting. That’s a quality exemplified by Thor and Adam’s true through the clouds. It’s a moment that exudes joy and that’s something we’ve certainly needed.

“Thor #8” is a very fun read. It’s also smartly written in a way that isn’t likely to get a lot of credit. Most will probably see this as a filler arc and to a certain extent, they’ll be right; this is totally different from the rest of the series and doesn’t take many concrete narrative steps. That being said, it’s not only giving us a fun break, but it’s also giving one to Thor, too. Thor needs something like this as a character and it gives him just the prodding that the story demands as well.

Final Verdict: 8.0- “Thor #8” is a fun, light, and surprisingly vital issue in a historically heavy run


//TAGS | Wrapping Wednesday

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