Step Up To An Energy Buffet: Reviewing ‘Captain Marvel’ #8

Often, when a mysterious other dimensional enemy makes their presence known in the real world, it can be quite explosive. Just ask Carol Danvers and what is left of her family home and superhero base of operations.

At last, the Undone has arrived on Earth in Captain Marvel #8, and she’s hungry for the energy of our heroes and the world. Things take a dire turn under the care of Alyssa Wong, Ruairí Coleman, Roberto Poggi, Bryan Valenza, and Ariana Maher.

This is one of those quick breeze reading types of issue. Chiefly because it’s pretty much one continuous, taking place in two spaces, fight scene situation. In this case the fight is very much earned after all the smaller battles and character developmental moments which preceded it.

It’s Coleman’s show again, after tapping in to do a couple of previous issues including the sixth issue of the series. Switching artists, especially in the middle of story arcs, can be a jarring thing at times. To mitigate that, this series utilizes Jan Bazaldua and Coleman to handle these issues, whose styles are complimentary of one another with their own stylistic flourishes.

A sort of smoothness can be found in Coleman’s work, hitting the space where things have a lighter almost whimsical appeal while also being quite heavy and serious. Characters’ faces capturing every single bit of emotional energy necessary for the story moment, alongside very well rendered detail, and depth. At times there is some pulling back to keep details and focus on the foreground, because the backdrop is not important in that moment.

Being a very action heavy issue, as noted, Coleman’s paneling choices are key. Shifting focus and characters around so smoothly, making sure not an ounce of the ordered yet chaotic energy is missed. Poggis is aboard to bring some inking power to the visuals, alongside Coleman’s inks, adding that additional weight and depth to everything.

One of the things I truly love about doing this work, on a massive list, has been the appreciation I’ve come to have for the visual side of comics. Moreso, being able to note and really focus on what each of the members of an artistic team brings to the page.

Through this book and Miles Morales’ current series, I’ve really enjoyed the coloring work of Valenza. Able to really morph his work to fit not only what the tone of the story is asking for, but also matching the style of whichever artist happens to be on a given issue. Here we are given a color palette that in a way feels very natural, toned down in a sense, to give the atmosphere of a world similar to our own. Allowing the backdrops and various items or spaces to feel authentic and grounded.

Going this route means that all the more outlandish fantastical stuff, aka the superhero related things, have more room to be their grander colorful selves. Displaying much more vibrant, but only to a degree, color spectrums. The opening page has crimson blood of Genis-Vell pooling under his dead body with the striking purple color of his innards on display from where the Undone literally burst from his chest like some popularly known aliens.

Another element that deserves far more credit and attention is lettering. Especially when it’s handled by Maher. She has just such a wonderful eye for capturing the right feeling with any bit of words on the page. Flowing smoothly so as not to overwhelm anything else on the page but rippling with energy and personality for each character. Even the standard bubbles with typical fonts have a unique feeling to them once attached to a given character.

Then there are the more creative bubbles, font shifts, colors, and other elements that take it all up ten notches. Finding the way to convey all the needed information but in a fun way, because comic books should be a fun visual feast (no matter the genre or topic at hand).

What Wong has been doing with this book has been a really fun affair. It seems like, based on solicits, the tenth issue might be the final one of this book. Taking a story like this and finding the right way to pace it across ten issues, where none feel like they are stretching, is quite a feat. No matter a writer’s intentions, monthly releasing comics can make any attempt to do long-form storytelling quite difficult. It requires hitting the right balance so that the audience is intrigued enough to keep coming back each month and doesn’t become lost.

Some have taken a bit of ‘offense’ (for lack of a better term coming to mind) to the series featuring so many characters around Carol. Understandably, they seem to feel that it takes away from Carol. While I respect their views and concerns, I have to disagree. I’ve stated before that having this family of Marvels around, bouncing off one another, each taking their part in this story is a delight. It showcases how Carol has such a depth of people around her. The previous run had a lot of her friends alongside her — including her boyfriend, Rhodey — while this one has turned its eye to those that are more family.

Truly, the best solo titles are those that find a way to build a solid supporting cast. In whatever form that might take. It’s a concept that has waxed and waned over time, with a lot of iconic supporting casts disappearing from some of the longer running books, but various books are returning to these days. Which really is for the best.

No matter what, Wong has me hooked to this story and invested in where it goes next. With potentially only two issues left, there is quite a bit to accomplish, and each bit is sure to be juicy and fun.

Captain Marvel #8 is now available from Marvel Comics.