Review: THOR #6 – Herald of None

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On August 19, Marvel Comics released Thor #6. Writer Donny Cates, artist Nic Klein, colorist Matt Wilson, and letterer VC’s Joe Sabino bring readers the sixth and final part of the “Devourer King” arc.

If there was any doubt that Thor is the strongest Avenger, this issue puts the matter to rest. CBR predicted a year ago that the Silver Surfer (is he the Black Surfer now?) would show up in Cates’s Thor, although probably not in the way the writer anticipated. “Norrin” shows up to console Thor and hear the tale of Galactus’s fate.

Telling Norrin Galactus’s fate and the defeat of the Black Winter (which may have been dispatched a bit too easy given how much the threat was built up), Thor reveals that the Black Winter, in its final moments, revealed Thor’s future to him.

Klein does exceptional work here, capturing Thor’s terror as he recalls the image that the Black Winter revealed to him.

The transition from Thor, drunk, depressed, and trying to forget, to Thor fully remembering what he saw is excellently and leaves quite an impact on the reader.

This issue is, of course, complemented by Matt Wilson’s colors, which, along with Sabino’s letters, construct a very compelling scene once the Black Winter is defeated and shows Thor is future.

The lone, falling black snowflake is a beautiful touch, particularly in the first panel where it is drawn and colored with a “smoky” look, which then crumples into dust in Thor’s hand, but not before the Black Winter gives him an ominous warning, lettered by Sabino, which complements the dark foreboding of this scene.

Conclusion

As foreboding as the Black Winter was, Cates and company tease greater horrors ahead for the King of Asgard, horrors that spell trouble not only for Thor and Asgard but the rest of the Marvel Universe as well.

What did you think of Thor #6? Tell us in the comments below!

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BOMB QUEEN: TRUMP CARD #1 – Satire At Its Most Absurd

By

Jake Palermo

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Bomb Queen: Trump Card #1 published this week by Image Comics’ Shadowline imprint under the pen of Jimmie Robinson. Returning in a time when satire is practically a necessity, the titular character wastes no time in making readers laugh at their impending doom.

Background

Bomb Queen follows the titular supervillain, a vile, hedonistic, psychopath with a tactical mind, gadgets, and explosive superpowers. In her initial appearances, she is the despot of New Port City. Under the Queen’s rule serves, the city is a haven for criminals thanks to anti-superhero laws, among other things. Murderers, child molesters, even hate groups that would kill each other if they were anywhere else thrive in New Port. This brings most of the crime to one spot, which ironically benefits the US more than any superhero could.

The series originally begins as a satire of superhero fiction by playing up the absurdities. No matter how sacred or wicked the subject, the Queen would make them all look stupid. Later arcs put a more significant deal of emphasis on political satire; the most infamous is putting then-President Obama through the wringer. Even that’s just icing on the cake when the Queen destroys New Port City to go global. So how does Bomb Queen: Trump Card #1 fit in?

Bomb Queen: Trump Card #1 Expose

Robinson places Bomb Queen: Trump Card #1 between the sixth and seventh arcs of the original series. This allows Robinson to pull off a retcon without overwriting anything and utilize his character during her political commentary phase. It’s a smart move that uses in-continuity timing for satire. The lack of criminal haven, New Port City, shoehorns events like school shootings and mass riots to utilize how the Queen’s actions affect her world. Something that only gets touched upon in the original runs.

Bomb Queen: Trump Card #1 utilizes some exposition for newcomers through characters from previous arcs like White Knight. This can either drive people away or get them intrigued. Because who wants to hear people drone on without any action? But one of the more creative uses of exposition comes in a news report about Bomb Queen running against Trump. In addition to the newspeople making comments, there are complimentary reports in a rolling bar. It details reports like plastic in oceans that are in real news reports and a streaming service about school shootings. Considering the station has the not subtle name of “Fake News Network” (FNN), it says a lot of things. Not how much of this stuff is true, but how much influence the Queen has.

Art

Robinson certainly wastes nothing in all of his creative duties. After this interview, he features a 15-panel page, not unlike a recent issue of Savage Dragon. In it, there is a struggle to find equal footing in opinions on Bomb Queen. Some people hate her guts for personal reasons they wear on their faces, sometimes literally with fantastic detail on scars. The neutral ones look like they don’t have a care in the world despite the news. The ones for her meanwhile either have no idea what they’re getting into (hence blank backgrounds) or give reasons that benefit them personally (with actual backgrounds).

Bomb Queen: Trump Card #1 also goes headfirst into superhero action whenever it wants to. Robinson even uses the Queen’s color scheme to demonstrate she’s always the one in control. Like when she quickly knocks the Superman-Esque White Knight to the ground. Despite having a similar white and red coloring, the presence of her skin tone dominates their encounter. That doesn’t seem to bother her or Ramsay as her short brawl with a superhero team that probably parodies a controversial Marvel team attests to. The more dull looking costumes of “Blaque Shade” and “Hashtagger” get decorated with blood and explosions for contrast. Even “Mecha Fetus'” captions in relation to Bomb Queen show a humorous depiction of how boned this “Z-Gen Squad” is by displaying RPG stats. Whether a reader finds any of this funny or horrendous, however, is up to their taste.

Can You Tolerate Bomb Queen: Trump Card #1?

Bomb Queen’s return is undoubtedly aiming back at fans of the older series and for some social commentary to get new ones. The dark humor can be subjective, however, and not everyone will be on board with this series. Yet it’s this self-awareness of superhero fiction and social satire that drives the plot forward in an entertaining way. Once a reader gets past anything they don’t like, such as exposition, they might be able to laugh at the electoral situation close to home rather than despair.

What do you all think? Is Bomb Queen: Trump Card #1 the beginning of a decent Trump Era satire? Or is it just Bad Girl trash?

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Review: WYND #3 Assembles The Fellowship

By

Gabriel Hernandez

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WYND #3, available from BOOM! Studios on August 26, brings Wynd, Oakley, Thorn, and the Prince together for the first time, fleeing toward separate destinies. Written by Jame Tynion IV and drawn by Michael Dialynas, this latest installment picks up immediately after issue #2 (read our review here), fills you in on some history, and puts the Bandaged Man squarely on Wynd’s trail.

Cover Art

Dialynas’ cover is a great setup for what’s to come. Wynd and Oakley look on in fear as someone comes after them in Pipetown’s tunnels. The green glow gives you a hint that something “weird” is happening down below, in more ways than one.

Writing

Now we’re cooking. One of the minor story problems with the previous issues was lack of context. The reader naturally would ask, “are the magical woods really dangerous?” This issue not only gives you a whimsical retelling of how the kingdoms came to be but answers the question about magical creatures in a definitive way. That all assumes you take the narrator’s word for it. Time will tell.

There’s a lot of rushing around and escaping as the group of protagonists are finally forced together by fate. You can’t help but see some similarities to The Lord Of The Rings, but the collision wasn’t forced or heavy-handed in any way. Tynion does an excellent job wrapping the setup in harried chase scenes and (possibly) a few sacrificial deaths that mean something. This is a great issue when it comes to both action and heart.

Pencils/Inks

Dialynas’ drawing style compliments and enhances Tynion’s story with a treasure trove of facial expressions, especially with the eyes. This chapter in the arc runs the emotional gauntlet from grief to surprise to skepticism to fear of embarrassment. It’s all done through Dialynas’ artwork, where sometimes no dialog is necessary. It’s a joy to read when an artist can pull off such a full range of emotion without the aid of narration or exposition.

Also, it was a pleasant change to finally see some of the “infected” peoples of the wood when they’ve only been talked about up to this point. Dialynas’ renderings of the weird folk are more reminiscent of refugees in a leper colony rather than a pack of dangerous monsters. It’s Dialynas’ designs that, again, help the reader feel through the artwork.

Coloring

Likewise, Dialynas’ coloring work brings a new element to the issue – green. Lots and lots of green. The infected are made so by the magical woods, and so, there is a heavy amount of vegetable growth in the afflicted. In a town characterized by its earth tones and rust, the green on the infected stands out in a way that leads you to suspect the infection may not be entirely malignant.

Lettering

Aditya Bidikar’s lettering has a little room to show some range in this issue. Not only do you have the dialog from Wynd and the rest of the established characters, but you also have an invisible narrator telling the story of the world and the mysterious guide with an inhuman voice in the underground tunnels. Bidikar takes full advantage of these different voices to letter flawlessly and add visual interest.

Conclusion

WYND #4, available from BOOM! Studios on August 26, is an emotional roller coaster, filled with suspense, excitement and a touch of grief. The writing fills in some of the missing gaps from the prior issue in a satisfying way, and the artwork is consistently great. I’m anxious to see where the fellowship goes from here.

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Review: EXCALIBUR #11 – The Love of a Mother

By

Matthew Brake

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Marvel Comics Released Excaliber #11 on August 19. Writer Tini Howard, artist Marcus To, colorist Erick Arciniega, and VC’s Ariana Maher return us to the events at the end of Excalibur #9 in what is quickly becoming a complex plot to follow in the lead up to X of Swords.

Before issue #10 introduced readers to a pocket reality, issue #3 left off with Excalibur’s attempt to arrive at the Starlight Citadel, which resulted in an injured Shogo. Shogo and Jubilee begin this issue detained by people of the Green, those who live outside of the Citadel.

Howard, along with To and Ariciniega does a fantastic job of conveying Jubilee’s grief over her injured son, whose injuries are conveyed by one of the characters in horrifying terms as being so big in his dragon form that his body could fall apart if he goes through a Krakoan gate and transforms back into a baby.

These scenes with Jubilee are full of heart, but not deprived of wit. The art team, along with letterer Maher, convey the desperate grief of Jubilee and her misplaced rage at her captors, whether through the bright colors expressing Jubilee’s power, or the “wham” indicating a fight-ready Jubilee!

This scene captures the way that the entire team for this issue comes together to produce some subtle character moments in this issue.

Excalibur does make it into the Starlight Citadel, where Betsy informs Lady Satyrne that she’ll have to get used to working with her instead of her brother because Betsy “is the only Captain Britain you’ve got.” This scene could very well be meant to be ironic, given that in the pocket reality, more Captain Britains have been created.

Meanwhile, Apocalypse’s plan for a mutant presence in Otherworld comes into focus as he seeks a stone of power that everyone’s favorite Cajun pickpockets from the Starlight Citadel.

One might be forgiven for having a hard time tracking the plot of the Excalibur series from issue to issue. Howard and co. are creating an increasingly complex tale, complete with alternate realities, secret plots, and hints of a war to come. This is all heading towards X of Swords, with the next issue serving as a prelude to this next big X-event.

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Review: ENGINEWARD #2 Brings History Into Focus

By

Gabriel Hernandez

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ENGINEWARD #2, available from Vault Comics on August 26th, peels back the layers on the colony’s history and confirms the gods are not as godly as they appear. Written by George Mann and drawn by Joe Eisma, the town’s tensions run high due to Jarvix’s death, mysterious disappearances of the townsfolk, and the escalating water shortage, ending in a game-changing cliffhanger.

Cover Art

Jen Hickman’s cover falls right in line with the art from the first issue (you can read our review here). Leo gives the reader a look of arrogance and malice with the slight lift of a single eyebrow. Per zodiac tradition, Leo’s love the spotlight, and this cover pulls off that conceited look in spades.

Writing

Mann’s story is definitely more focused and more forthcoming than the first issue. The ghoulem’s head starts blurting out bits of information like puzzle pieces falling into place. It’s not long before the past of the colony, and hope for its future becomes clear. Mann also lays out the corruption of the gods in a very subtle way that establishes the threat Joss and the others will soon face. This entire issue is a trail of satisfying breadcrumbs that sets up the next chapter brilliantly.

Pencils/Inks

Eisma’s art casts the entire town in a pall of sand, dust, and dry heat. The extended drought put the whole town on edge, and you can feel the tension in every interaction. The townsfolk are irritable after Jarvix’s death, and the water shortage adds layers of tension on top of their grief. Every scene that Eisma draws captures impatient anger on the faces of the characters. You can practically feel their irritation and short temper with every panel. That’s great acting through art by Eisma.

Coloring

Michael Garland’s coloring gets high marks for the excellent use of shading for different light sources. The lamplight used in Jarvix’s “funeral” cast a warm glow on the characters in a very natural way. Leo’s stage appearance is bright and theatrical, consistent with her personality. And the dinginess of Joss’s workshop is appropriately shadowed to reflect her mood.

Lettering

Hassan Otsmane-Elhaou’s lettering work is the highlight of the issue for one particular design choice. Leo’s speech is portrayed through the use of flourishing script over parchment paper as a word balloon. It’s unique. It amplifies Leo’s position as a self-proclaimed god, and it’s striking on the page. Brilliant creative choice by Otsmane-Elhaou.

Conclusion

ENGINEWARD #2, available from Vault Comics on August 26th, satisfies your story curiosity with well-placed breadcrumbs, and the team’s artwork is solid on all fronts. The revealed quest promises an exciting next issue.

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How the Tables Have Turned in DOCTOR APHRA #3

By

Cat Wyatt

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DOCTOR APHRA #3, available this Wednesday from Marvel Comics, once again dives back into the latest adventure for Doctor Aphra. She’s back, and she’s already working on a new scheme or two. Naturally.

***SPOILER WARNING***

There’s no arguing about Doctor Aphra’s character. While she has had her redeeming moments, nobody would mistake her for a good person. Even the dramatic decision she made at the end of her last series was not enough to save her reputation. Not in this ‘verse.

So really, it’s no surprise that she’s once again working on a heist, alongside people with whom she has a decent amount of history. Regardless of that history, it’s pretty clear that Aphra had always planned on betraying them. It’s sort of what she does.

She’s getting ready for some action in Doctor Aphra #3.

The Writing

Doctor Aphra #3 brings with it plenty of drama, much of which is shockingly satisfying, even while still being pretty surprising. That’s Aphra in a nutshell, providing plenty of surprises, alongside a few archaeological facts.

Alyssa Wong wrote a compelling issue here, one that is full of twists and turns. Ironically, the most surprising parts of this issue don’t come from Aphra herself – which in itself is pretty surprising. She’s using the one pulling the fast tricks.

Yet it also feels appropriate, given how many players are currently on the field – and how aware of Aphra they are. As the issue was quick to remind us, Aphra has garnered herself a reputation, and eventually, people are going to start preparing for that.

Still, this is an issue full of action, as well as a few moments, allowing for character development. It’s intriguing, especially as it sets the scene for a bigger confrontation in the next issue. Aphra really doesn’t know how to do anything on a smaller scale, does she?

The Art

The artwork in Doctor Aphra #3 is where the series really shines. Her sass has never been more evident, though her reactions to other events are certainly memorable. All put together; this issue is stunning.

Marika Cresta was the lead artist for this issue, providing those classic expressions, while also throwing in a bit of action. Most notably, however, is the background itself. The characters were looking for ancient history, and they found it. Every panel in this issue feels old and somehow manages to draw the eye in.

Rachelle Rosenberg provided the colors, which are truly divine. Some characters stand out among the rest, from those that are newly introduced, to those making a reappearance (looking at you, Black Krrsantan)

Finally, VC’s Joe Caramagna provided the lettering, which is the icing on the cake as far as this issue is concerned. The lettering helped to lead the eye around this ancient building, making sure that every little detail was made note of.

Conclusion

Doctor Aphra #3 brought with it everything that fans could have hoped for. Action, adventure, and more than one case of double-crossing. It’s basically the usual for this character, and thus it really does feel like her adventures are back into full swing.

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How the World Keeps Turning in FAMILY TREE #8

By

Cat Wyatt

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FAMILY TREE #8, available this Wednesday from Image Comics, brings fans back to a world full of horror and family drama. There’s no doubt that for one family, the world will never be the same. Even while it all keeps moving forward.

***SPOILER WARNING***

Family Tree has always provided a unique combination of horror and family drama. It’s what made the series stand out in the first place. Yet there’s no denying that the balance between the two has shifted over the course of the last several issues.

Now, it almost feels like everything shifted back, with the focus turning squarely on the family. And the potential horror they’re about to unleash on a mostly unsuspecting world.

Created by Jeff Lemire, Phil Heter, Eric Gapstur, and Ryan Cody, Family Tree is one of those series that defies definitions while breaking ground left and right (pun intended). The real question is, where will the series take us before it all wraps up?

Grandpa isn’t looking so good on this cover of Family Tree #8.

The Writing

Where the last issue was set in the future, Family Tree #8 felt set firmly in the present. There’s no hiding from what is happening to one unlucky family. Nor can fans forget those that are actively hunting them.

Even if those facts had somehow slipped the minds of readers (unlikely), this issue was quick to get everybody on the same page. It’s an emotional read, courtesy of all the harsh changes this one family is facing.

In a way, it’s heartbreaking. In many other ways, it felt inevitable. The glimpses into the future told a specific story, and as such, we all knew that change was on the way. It’s just hard to see that change sometime.

The creative team behind Family Tree has done an excellent job of infusing many elements together to create this series. One moment it’s a horror series, the next a family drama, then suddenly it’s a series full of hope for the future, the next it’s full of dread. It’s almost beautiful, in a way. All while being emotionally draining in the best ways possible.

The fight is still ongoing in Family Tree #8.

The Art

Family Tree #8 is yet another issue in this series that is full of bold and dynamic artwork. The stark white backdrop on many of the scenes forces the readers to take note of the story being told. And the cost that comes with it.

The rougher quality of the artwork is perfect for the more organic nature of this series. It also merges nicely with the scenes full of action and injury, in ways that many other art styles could not. It’s a quality unique to this series.

The infusion of green towards the end of the issue is oddly evocative, foreshadowing events in a way that is reminiscent of classic Marvel villains, whether intentionally or not. The end result is a mild sense of horror, long before any real change occurs.

Conclusion

Family Tree #8 continues the harrowing story of one family and how they’re about to change the world. For the better or worse has yet to be seen, though at times one can’t help but feel like the series has a positive tone hidden inside all of that horror.

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Review: LOCKE & KEY: IN PALE BATTALIONS GO #1 Welcomes Us Home

By

Zac Owens

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IDW’s Locke & Key: …In Pale Battalions Go… #1 is a wonderful welcome home to Keyhouse. Writer Joe Hill, artist Gabriel Rodriguez, colorist Jay Fotos, and letterer Shawn Lee capitalize on the lesser-known parts of this big world they’ve created, and it’s both fresh and familiar at once.

Writing

It’s hard to review In Pale Battalions Go #1 on its own, because one gets the sense that so much elegant groundwork has been lain long before this issue. Hill has created a fully fleshed out world in the pages of Locke & Key, and in Pale Battalions he reels us back in. We become reacquainted with characters like John and Chamberlin Locke, only briefly touched on in the parent series. Despite their lack of “screen time” previously, they feel like old friends. Perhaps because they take on almost mythical proportions. The rosey homelife Hill presents us with is like something out of a dream, and so each character feels bigger than they ought to. Chamberlin is not just the father, he’s every father, just as John is every son and Fiona is every mother. It’s hard to pin down what gives Hill’s writing this quality, but it’s just as hard to deny that the quality is there.

There are a few moments in this issue that suffer from clumsy exposition. John explains his actions in one scene, almost seeming like a supervillain monologuing. Chamberlin and Fiona speak of their children, but their talk goes from conversational to primarily informational. Hill’s mythical tone in Locke & Key makes it so these moments don’t stand out too much, but they’re still peppered in. It’s a natural pitfall in a first issue, and Hill has proven in the past he will not get bogged down by the details going forward.

Art

Rodriguez’s art has always been sensational, but something seems to have happened between the original Locke & Key run and now. There’s a nuance and subtlety to Rodriguez’s art we didn’t even know we were missing until now. In the original run of Locke & Key, Rodriguez’s style is unmistakable. You know it’s him drawing it and no one else. But on rare occasions, Rodriguez could fall into making his characters look a little too similar. Like they were related, even when they weren’t. Somehow, in …In Pale Battalions Go…#1, Rodriguez keeps his style but overcomes his weaknesses. Every character looks unique and fresh, even compared to their depictions in this initial run. It’s just so wonderful to see. It’s like having a treasured memory of a place, and when you go visit you find it’s even more beautiful than you remembered. Rodriguez is doing some of the best work of his career.

Coloring

Fotos subtly makes us feel at home in Keyhouse. John, who is itching to go off to war, doesn’t understand what he’s wanting to get into. But Fotos understands. Fotos allows us to see the warmth of Keyhouse visually. When John is trying to enlist, the office he’s in is slightly paler than the scenes in Keyhouse. And when John is trying to get into the Vault of Shadows, we see it too is colored in greys and blacks. Fotos, in his own way, is begging John to be content with what he has. A warm home, a family who loves him. But John is lured in by the colorful purples and greens that come from using the keys. He wants a more vibrant life than Keyhouse gives him, even though war is not where he’ll find it.

Lettering

Lee does a great job of showing us the cadence of each character. Fiona and Chamberlin are as verbose as they come. Their big, fat word balloons are stacked on top of each other, allowing for as little break in their monologues as possible. Yet when we see John speak, though he’s trying to appear confident, Lee creates more “pauses” than with the others. When he says he wants to go to war and get in on the action, he sounds confident. But when he’s faced with the actual realities of war, we can visually see him second guess himself. His word balloons are connected by a long line in between. It’s John trailing off and wondering what he’s gotten himself into, before saying a simple “Oh.” In small moments like these, Lee brilliantly gives these characters their voices.

If you love IDW’s Locke & Key, you won’t be disappointed by Locke & Key: …In Pale Battalions… #1. It’s a fun, nostalgic, nuanced welcome back to the familiar halls of Keyhouse. Plus, it has couple easter eggs thrown in to get everyone psyched for an awesome upcoming crossover. Pick up Locke & Key:…In Pale Battalions…#1, out from IDW August 26th, at your local comic book shop!

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How Lottie’s Always Right in WICKED THINGS #4

By

Cat Wyatt

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WICKED THINGS #4, available this Wednesday from Boom! Box continues the tale of Lottie Grote, the best underage investigator around. Sure, she’s currently serving time for a crime she didn’t’ commit, but she still loves the thrill of a case.

***SPOILER WARNING***

Lottie hasn’t had a great streak of luck, as of late. Once upon a time, she had been the best young detective around. Now she’s being ignored by the police, while supposedly being assigned to help them solve cases. How’d she got into this mess? By being framed for murder. The irony is not lost on her.

The police she’s been assigned to work with are no happier about the situation than she is. Perhaps that’s why they were so inclined to ignore her, throwing off her theories as a desperate attempt to get attention. Or freedom.

Too bad that Lottie’s quickly formed theory is more accurate than they could have ever expected. If only they had listened, they might have been ahead of this case, rather than struggling to catch up, and failing.

Lottie is about to take charge on this cover of Wicked Things #4.

The Writing

Wicked Things #4 is a thrilling series of events. It’s hard not to take a certain amount of pleasure in seeing Lottie proven right – even if that fact is causing more exasperation among those who are in charge of her fate.

Written by John Allison, this issue has a lot of fun with the concept of a complicated crime. You just know that it is one of the most complex schemes out there when Lottie Grote is struggling to keep up with all the twists and turns.

Twists and turns there are, in abundance. The level of them is almost comical, especially when combined with the reactions of the police (and Lottie). It makes for a nice balance between crime thriller and that classic Allison humor.

Even the moments revolving around the crime itself have shockingly sweet elements. That was not expected but certainly brought it to new heights. At the same time, adding a bit more context and motivation into the mix. Now to see how Lottie reacts, when she finally figures it all out.

They’re all stuck on this latest mystery.

The Art

The artwork within Wicked Things #4 is just as entertaining and charming as the writing it supports. Max Sarin (art), Whitney Cogar (colors), and Jim Campbell (letters) worked together here to bring such a fun plot to life.

There’s a lot to appreciate about this issue. First and foremost is that sense of timing. It’s borderline comedic, as mentioned above. And it wouldn’t have had nearly the same impact without the artwork to resolve much of the show/tell issue.

The expressions of the characters are an absolute highlight of this issue. Not just Lottie’s over the top reactions, but those of the criminals and even the police force. It heightens the experience, allowing for a moment of humor.

Meanwhile, the colors bounce back and forth between dull shades appropriate for dull city life and work, to bold and vibrant – much like little Lottie herself. It adds a certain sense of personality to an already bursting issue.

Conclusion

Wicked Things #4 was an intriguing issue. In many ways, it read like a crime drama, with the crime being played out with the police none the wiser (for the moment). It also read in that classic Giant Days style at times, creating a unique and memorable balance.

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How The Past Catches Up In MIRKA ANDOLFO’S MERCY #5

By

Cat Wyatt

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MIRKA ANDOLFO’S MERCY #5, available Wednesday from Image Comics, continues the dark tale of one small town, and the monsters that have come to feast upon it. There is a saying; you reap what you sow. It makes one wonder what this town has sown.

***SPOILER WARNING***

The Woodsburgh Devil appears to be far from done in Mirka Andolfo’s Mercy #5. Her quest is an odd one, feeling at times like a personal vendetta. At other times, it almost feels like the Lady Hellaine wants nothing to do with this town or the vengeance she could wreak upon it.

Mercy has never been a series to shy away from the dark, or the graphic for that nature. It has always portrayed this strange combination of beauty and horror, of elegance and gore. That element continues in the latest issue, but the implications feel darker than ever.

A word to the wise, where the previous four issues were not for the weak of heart, or those that dislike gory scenes, this one is so much worse. Not because of the gore (the previous issue was worse on that count), but because of the graphic implications of another variety. For those that cannot handle the idea of harm coming to a pregnant woman, now would be a good time to look away.

An odd pairing on the cover of Mercy #5.

The Writing

Mirka Andolfo has created a whirlwind of events in Mercy #5. It is an issue designed to intrigue the mind, as well as to horrifying the soul. The series has been hinting to events leading up to this point, but now it is all out in the open.

It’s so much darker than those hints could ever have implied. Suddenly, the need for the Woodsburgh Devil makes sense as does Lady Hellaine’s quest – and her resistance. There are still many questions that need to be answered, but there’s still one more issue to go.

There are a lot of things this issue does wonderfully. The constant comparisons between the past and the present. The slow revelation of what is going on – and who caused all of this pain and bloodshed to begin with.

In a way, it’s almost cathartic to see it all unfold so. Then again, there have been plenty of innocent victims along the way, so maybe that isn’t the case. One thing is clear; the end of this issue is setting up for the biggest confrontation yet, which makes sense, given that the next issue should wrap up the series.

The memories of the past creep to the surface.

The Art

As with the rest of this series, the artwork inside Mercy #5 is blindingly beautiful, even while displaying some startling grotesque scenes. Those are two descriptors that don’t belong in the same sentence, except to explain this series.

Mirka Andolfo is the lead artist for this issue as well, working alongside color assistants Gianluca Papi and Chiara Di Francia in order to bring it all together. Meanwhile, Arancia Studio provided the translations, and Fabio Amelia the lettering.

The end result is something unforgettable. The opening scene in this issue is designed to disturb – and it succeeds in ways beyond imagination. It’s a different type of horror than the rest of the series has portrayed, proving that there’s still plenty of shocks to be found in this tale.

The clashing of elegance and horror has always seemed to find a balance in this series, a fact that continues to be true in this issue as well. It’s almost disturbing how well it is done.

Conclusion

Mercy #5 is arguably the most disturbing issue of the series, confirming the truth of the previous issue while throwing in its own set of horrors—all while setting up for the final confrontation, and issue. Mercy #6 is sure to be the most alarming and darkest of the set.

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