***”Weekly Comic 100s” keeps it nice and simple. Comic book reviews in 100 words or less. Straight, concise, and to the point.***
By Rob Siebert
Heh. Peach Momoko. I love that name. Hell of a variant cover too.
This issue paints our Rorchach doppleganger as a sympathetic nerd type who took things a step too far. It feels somewhat reminiscent of what Alan Moore did with the Jon Osterman character.
That’s not the only echo from Watchmen here. We’ve got a high rise apartment building. We’ve got the whole fiction-within-fiction thing with a comic book called “The Citizen.” It’s all very…noticeable. Whether that’s a good thing or a bad thing remains to be seen.
I wouldn’t call this the easiest issue in the world to get through. But I’m intrigued by how it portrays the sea as a deep, dark, seemingly endless void. Coming in, I actually wondered if an oil spill was part of the story.
Regardless, the darkness certainly lends itself to the horror-with-a-touch-of-fantasy vibe Sea of Sorrows seems to be going for. I’m not sure I’m coming back for issue #2 on this one. We’ll see…
TITLE: Batman #103
AUTHOR: James Tynion IV
ARTISTS: Carlo Pagulayan, Guillem March, Danny Miki (Inker), David Baron (Colorist), Clayton Cowles (Letterer). Cover by Jorge Jimenez & Tomeu Morey.
RELEASED: November 17, 2020
Harley Quinn calls out the teenaged Clownhunter for having B.O. in this issue. Then she knees him in the balls. That got a laugh from me. Damn teenagers…
Also, Tynion is apparently aware that Ghost-Maker is a dumb name. Good on him.
About halfway through the issue we abruptly switch from Pagulayan to March. Weird transitions like that are never good. But this issue pulls it off as well as one can expect. The color consistency from Baron helps to that end.
That’s a really cool over. Juggernaut and the scales of justice. It pops.
In this issue Cain fights the Sandman. I mean, technically it’s a villain named Quicksand. But she’s got the same powers, and for all intents and purposes is Sandman.
So far I’m digging this cast. Cain is teaming with D-Cel, a young woman with the power to create “deceleration fields.” In other words, she slows things down. That’s a nice contrast to the Juggernaut powers. Then of course, you have Damage Control, the Marvel Universe’s resident clean-up crew.
There’s a shot in this issue that’s pretty bad ass. Four members of the Order of St. George emerging from total darkness, wearing their white face masks. Little did these creators realize just how…relevant such masks would be as the series unfolded.
Dell’Edera and Muerto turn in some really nice art here. The red that Muerto uses for the blood really pops, and Erica Slaughter’s “acting” is pretty good too.
The best thing this series has going for it thus far is its general “sketchy” aesthetic. It’s unlike what we usually see in TMNT books, and it makes for a fun read.
Jennika spends most of this issue fighting a monster. But it leads into a potentially interesting development. What happens if/when the inhabitants of Mutant Town actually become the monsters that so many think they are? And how does media coverage effect the world’s view of Mutant Town?
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