A deal with the devil is in order as Lucifer attempts to get his chess pieces set before he kills god…again! The second issue in the latest story arc is out this week, but is it good?
Lucifer #15 (Vertigo Comics)
So what’s it about? The summary reads:
Writer Richard Kadrey continues to chart Lucifer’s course! No one does evil like the Devil, of course, but corrupt real estate moguls come close-and this one has some debts to settle with a demon. When their paths cross, it’ll mean big business and blood in the streets.
Why does this book matter?
Richard Kadrey writes with art by Lee Garbett and color by Antonio Fabela. Combined they have what it takes to continue this mythical story of angels and demons and overall it’s been one of the most interesting ongoing Vertigo series in some time!
Fine, you have my attention. What’s good about it?
Pretty sure that’s Trump in the bottom left panel.
Anabelle was introduced last issue as a magical detective of sorts with a Hellblazer look to her, though she’s possibly more interesting. She was the highlight of the last issue, and a flashback revealing her past opens this issue. It’s an exciting bit of quick storytelling as we learn how she became magical, had humble beginnings, and how it all turned for the worst. It’s quick, efficient, and well captioned. This leads right into her making a deal with the devil in the present and it’s a good bit of back and forth dialogue.
The remaining issue bounces around with Medjine showing off some powerful abilities (with a clever use of power indeed) and Gabriel helping out a kid. Lucifer also gets a chance to do his own thang, and it leads to a reveal that should mix things up next issue. Frankly, I’m shocked how much happens in this issue. Kadrey is stuffing this with cool scenes and interesting ideas that are a lot of fun.
Garbett and Fabela continue to do excellent work and this might be their strongest issue yet. Page layouts are interesting and help pace the story, the new god is excellently disturbing to look at, and colors pop quite well throughout. Scenes where characters may be simply talking to one another are made more interesting with Ben-Day dot shadows or texture. Lucifer’s conversation with Arabelle is sharp, with very good expressions that add another layer to the already well written dialogue. It’s hard to fault a single panel in this book.
It can’t be perfect can it?
The scenes, while rife with ideas, don’t always work. A scene where Arabelle takes the bus doesn’t quite work–though it’s clearly supposed to be funny and quirky–as she complains to a priest about not getting cab fare. It then jumps to inside a doctor’s office and strangely the doctor already knows what she has to offer. It’s as if a page of the story was cut out, or at least a few panels, to help transition things. In another scene, Lucifer asks for a helpers eye and with half a page devoted to it, it seems to give this moment too much importance.
Is It Good?
Lucifer continues to be one of the best comics on the stands. The art is quite nice, the colors inspired, and the ideas clever and fresh. This is the type of book that seems to have a new surprise on every page.