Let’s talk The Wild Storm #1.
If you’re here I’ll assume that you are somewhat acquainted with the former Wildstorm universe, as well as with my previous post detailing my concerns regarding the art direction for The Wild Storm, the initial series that now serves as the lynchpin of the new pop-up imprint. If not, feel free to click here to catch up!
Color: I stated that I wanted a war between colors in this series—the soothing pastels of modern technology, the vibrant hues of rogue agents and inventors, and the heavy blacks and deep grays of IO hardware. Ivan Plascencia does an incredible job providing readers with the first of the three. The mundane world that Halo dominates looks to be an absolute pleasure to reside in. Unlike the overwhelming and highly saturated colors you’d find in the real Times Square, the Midtown of Wildstorm is filled with baby blues, soft browns, and muted greens. It is relaxing—as deceptively nonthreatening as the company Marlowe has built. Unfortunately, those pastels persist in the underground bunkers of IO, which I think is a poor choice for what should be a grim and off-putting military environment. The struggle between Marlowe and Craven should play out via brightness. Halo hides in not only plain but illuminated sight; IO operates in the shadows.
But both IO and Halo are in different ways the establishment. And that should be shown via color—via a lack of vibrancy. Plascencia capably achieves that, and perhaps also leaves clues as to who our rogue agents will be via saturation. Angela’s independence is marked by color—her bright red blood and the vibrant blue of her transformation. Zealot’s eyes are a vivid blue. Voodoo’s? Green. And of course there is the crimson that bleeds from Cray. All four of these characters wear gray, making the flashes of red, blue, and green seem much more important.
Lettering: Normally you notice lettering only if it is bad. But I noticed Simon Bowland’s excellent lettering because the chosen font is terrible. It’s too narrow and reminds me of Comic Sans. Straight up. A nice nostalgic nod would have been to use the unique fonts found in the first Wildcats (not WildC.A.T.S.) series. And if I can remember a font from 1999 you know it must be good (or else I have an absolutely insane attention to detail).
I will add that I think the removal of bold to indicate speech patterns flattens out the work. It’s used less often now—probably a push back against its previous overuse (and also nonsensical use). American dialects and accents are so rhythmic, musical, and varied. Bolding is a great way to visually emphasize (no pun intended) that sonic uniqueness—that Voodoo doesn’t sound like Angela and Angela doesn’t sound like Zealot, etc.
Pencils: I’d be lying if I stated that my previous concerns regarding the art direction had been alleviated. Jon Davis-Hunt is a talented artist, but the work here in no way presents itself as what one would typically want and expect from a Wildstorm book. The layout is, quite frankly, dull and devoid of dynamic movement. Nine-, six-, and three-panel grids dominate the pages.
I do understand their presence. Opening with a nine-panel grid harkens back to the era of Watchmen—a work that deals with a slowly unravelling conspiracy. I do not, however, want to go back to that era artistically. Watchmen is not a part of my comics canon (or Wildstorm’s canon) and I do not have an iota of the Anglophilic and nostalgic adoration others have for the work. I grew up on Jim Lee and grew out with Travis Charest and Dustin Nguyen. If I grew up on Ashanti and you give me The Amazons instead of Kehlani we’re going to have a problem.
We have a problem.
It is my hope that as there is a war between colors there is also one in regards to art. That the further removed Angela is from IO the closer we get to the innovative and cinematic layouts that define the glory days of the Wildstorm universe, via artists who not only pay homage to Wildstorm’s past, but push boundaries as well. In comics the marriage of art and script tell a story. A successful reboot must provide the essence of both halves. The art here is quite pretty. But it is in no way the essence of Wildstorm. Readers unfamiliar with the Wildstorm universe will likely not care. For a former reader like myself the change is jarring.
Script: Oh, we’re good. I’ve loved Ellis’ work since Stormwatch and that hasn’t changed in the slightest. It is my hope that the characters involved maintain distinct ways of speaking that feel natural and authentic. A challenging task given the wide variety of ethnicities, classes, and cultures these characters spring from!
All in all, I am pleased with The Wild Storm #1 and am curious to see where this new world leads.