What I Bought 4/4/2018

I'm not sure why I went with a different approach for the April Fools' Day story. I think I was expecting it would be easier to type without having to go back and bold each characters' name prior to their dialogue, or italicizing something else. I think it worked in that regard, but I'm not sure if I preferred it otherwise. Whatever, here's some reviews of some comics that came in the mail this week.

Demon: Hell is Earth #5, by Andrew Constant (writer), Brad Walker (penciller), Andrew Hennessy (inker), Chris Sotomayor (letterer) - Interesting gesture Belial's making there. Either, "Who wants a big hug?" or "Look how swole I am, bros!"

Having reached the tear between Hell and Earth, Etrigan charges in, forcing the others to follow along and fight some of the forces of Hell. They think they're winning, but Belial steps out, casually stomps everyone but Jason Blood, and seems to complete his plan to make Earth a part of Hell.

That's pretty much it. It's mostly a fight scene, and it looks nice in places, but since we're aware that Belial is toying with them, it doesn't carry much weight, and there's nothing much to be interested in as far as the fight demonstrating character traits. Unless Blood taking advantage of the demons being too stupid to realize he can't do anything to them is significant. I'm not sure how he might turn that on Belial, though, since Belial should be aware of it. The others continuing to use Blood as a distraction they don't have to worry about harming is kind of amusing.

I thought Merlin was working with Belial, and his pleas for assistance were a ruse because Etrigan was essential to Belial's scheme somehow, but that doesn't appear to be the case. Doesn't mean Merlin doesn't have his own schemes going, though he hardly looks like he has any way to carry them out.

The color work is very pretty. The point of connection between Hell and Earth is a massive wall of pink energy, which makes a nice contrasting backdrop for the hordes of Hell, who are mostly shades of red and orange, with various darker colors for their clothing. The flames continue to look very nice.

At this point, I really wonder if there's any point in bothering to buy the final issue. Is it even worth it, to see how this ends?

Mata Hari #2, by Emma Beeby (writer), Ariela Kristantina (artist), Pat Masioni (colorist), Sal Cipriano (letterer) - I can't figure out what that is in the far background, behind even the trees. Part of a fan, or a curtain? The view of something through prison bars?

Monsieur Bouchardon visits the prison, hoping to gain a confession by seeming reasonable and friendly. Meanwhile, Margaretha tries to turn him in her favor with flattery and concern, while sharing some of her life story. Neither has much success. Bouchardon is having some problems with his wife, which he is almost certainly taking out on Margareetha, while also being encouraged by his bosses to get that conviction, whether she's guilty or not. France needs it! France needed generals who were less stupid, but whatever, sure.

It's odd, reading the book after the text piece from Beeby last issue mentioned Margaretha lied constantly, because I tend to doubt everything I see. Is she genuinely reduced to tears at the thought she might be interviewed by Bouchardon in a gown with a bloodstain, or is it a play for sympathy? During the interview, as she relates her youth, we see she was raped by the headmaster at the school she worked at, which turned into a recurring affair, I guess? She seems convinced he loves her, but is she old enough to give consent? She's 15, so I'd say no, but I don't know what the rule was in Holland in 1891. I'd still say "no", though.

Regardless, everyone blames her for the headmaster not keeping it in his pants (which is a recurring theme). What's interesting is that Kristantina draws 15-year old Margaretha giving the headmaster a sort of playful or beguiling look, right before he assaults her, but four panels later, her older self is giving Bouchardon the same look. So, she learned from that unpleasant memory and turned it into something she could use to her advantage? Or she's doing it unconsciously? I'm not sure how much benefit of the doubt I'm suppose to give here.

Masioni gives the panels with Margaretha and the headmaster a strong red tint, and there's a pair of panels near the end of the issue, one of her, one of Bouchardon, when she asks if Bouchardon has a wife, where there's some in the middle of both panels, as if it's hanging in the air between the two of them. Bouchardon has this slightly dazed, vulnerable look, and he's looking up, as if she's in a position of power. Although, in the next panel, she doesn't appear to be looking down at him. Instead she's looking at him as though he's on her level. Either she missed the moment, or she knows the key is to find his weak spot without making him feel weak or inferior. The really curious thing is there's no hint of the red in the panels when she's around her future husband.

I'd think it meant a passionless nature of the marriage, that she set out to find a husband, and he was the first guy who wandered along, but maybe not. Given the circumstances of those panels with the red tint, none of which are exactly happy moments, maybe the lack of red is a sign there's none of the danger, fear, or pain she experienced many other times. It's not there even when he's got her wrist in what seems like a strong grip, which might be an unpleasant or frightening moment.