Friday, December 04, 2020

What I Bought 11/28/2020 - Part 2

Wednesday was for books that were just starting. Today's for books that are almost done, but not quite. Just like how my work week is, well no, I'm off work by the time this post goes up. But you get the idea.

Spy Island #3, by Chelsea Cain (writer), Lia Miternique (designer/supplemental artist), Elise McCall (artist), Rachelle Rosenberg (colorist), Joe Caramagna (letterer) - Pretty sure my 9th grade geometry textbook looked like that. 

Most of the issue concerns why Connie and Nora's father is on that island, disguised as a mime. The answer, witness protection, and because apparently he's too recognizable in any identity other than a mime. Also, Nora tricked a mime into being her father for his death, so hopefully the mime shows up in the last issue as kills all of them as revenge.

Further muddying the waters, Nora killed the guy in the first issue and pinned it on a mermaid specifically to bring her sister here to do an autopsy where she could find a message addressed to her inside the corpse, and ask for her help killing the James Bond knockoff. Or faking his death, I don't know.

OK, so this seems stupidly, unnecessarily elaborate, and I'm unclear of the reason why. But OK, needlessly elaborate schemes shouldn't be a dealbreaker for me. But it hasn't given me a reason to care. So Nora developed a better relationship with her dad once he was pretending to be a mime who helped her with burying bodies? The book's spending so much time trying to show how clever it is - oh a page that's supposed to be the comics page of the local newspaper! - it's not doing much to make the case sufficiently fleshed out to where there's any sense of real stakes, emotionally or otherwise.

 
Is the whole point going to be that nothing that all these intelligence agents are doing on this island matters in the slightest? So it doesn't matter why Nora's going to such lengths to get Connie's help or kill/fake kill the British guy? It's just something to while away the time?

The last issue came out this week. I'll probably read it to see if this ends up making any sense, it probably won't, and I'll chalk this up as a learning experience. One I will not actually learn anything from, of course.

Sera and the Royal Stars #9, by Jon Tsuei (writer), Audrey Mok (artist), Raul Angulo (colorist), Jim Campbell (letterer) - This is why you don't give your children implausibly large anime swords. Pretty soon your soul ends up trapped inside.

Sera has an ominous dream, but gets good news when her mother and sister arrive on the flying bird-dog thing. They head for a temple where Fomalhaut and Aldebaraan are waiting with the Light's End. Which they can't use, because it's power takes control of them and pushes them towards the extreme end of their natural mission and purpose. Regulus tries and doesn't do any better. Great, an ultimate weapon no one can use! Maybe they can bluff with it like Reed Richards does with the Ultimate Nullifier.

But they gotta use it, because the Draco siblings are trying a last ditch play to kill the Royal Stars now. And it has to be Sera, making the right choice about what she wants to use the power for. Protect what's left rather than avenge what's gone, I guess. See how that goes next issue.

It's always focusing on what you still have that stories say is the right play, rather than what's lost. I guess the reasoning being, if it's lost, then there's nothing to be done for it. On the other hand, if it's lost because someone took it, willfully, cheerfully, took it to hurt you or someone else, I think there's got to be a reckoning for it. "Bygones be bygones" is what the asshole who delighted in bullying you says when the shoe is on the other foot. So I wonder if she'll have to decide whether to spare the Dracos or not, and what she'll choose. Especially if her sister of mother die during the fight.

 
Angulo uses the same shades of red and writhing shadows when Sera first tries to grab the sword as in her dream at the start of the issue. Detailing the option the sword leans towards. Focus on the loss, the anger. Give in to the hate. Only instead of a creepy old man in robes with a face like a Dick Tracy villain, it's a big angry sword. Most of the backgrounds in the issue are soft blues and purples, so the red and black overwhelming everything makes for a nice contrast.

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