Even the Guardian needs help … but is it for the best?
Creative Staff:
Story: Joe Brusha, Ralph Tedesco & Dave Franchini
Writer: Dave Franchini
Artwork: Milton Estevan, Eman Casallos, Daniel Mainé, Cleber Lima & Julius Abrera
Colors: Jorge Cortes, Ceci de la Cruz & Maxflan Araujo
Letters: Taylor Esposito
Lettering Assists: Mariano Benitez Chapo
What They Say:
The Legacy has been passed on, the Age of Camelot has come and gone, and Skye Mathers’ Odyssey begins! The Realms of Power are in chaos after the fallout from the Age of Camelot and now, Skye Mathers must figure out a way to save her mentor, Shang, while still fulfilling her role as Guardian of the Nexus. Teaming up with new allies, she will face her biggest test yet as she goes on an Odyssey to restore the balance to the Grimm Universe!
This volume reprints Grimm Fairy Tales Volume 2 ‘Odyssey’ issues 26-37 and Grimm Fairy Tales: 2020 Annual published by Zenescope Entertainment.
Content (please note that portions of review may contain spoilers):
In the aftermath from Merlin’s attempt to overthrow the Order of Tarot, there were successes and tragedies but unfortunately one of the latter has chosen to vent her frustration upon the doorstep of the High Council – a very angry and sadistically motivated former Queen of Swords, Cindy. While this lunatic may normally have her skills focused upon one goal with guidance, as she is now there is no one to give her a purpose and she has chosen this most inopportune time to attack this group. But unfortunate for her a certain Guardian was visiting at the moment and chose to step in their defence, the raven haired beauty Skye confronted this deranged woman and kept her at bay while the members fought the accompanying orcs. However this blonde murderess underestimated Skye’s powers and the tide was soon turned, forcing a retreat for this maniac and a temporary reprieve as the elders focused their attention to the main problems at hand, the fallout from the wizard’s foul intentions.
It is only now during the calm can Skye voice her need for the High Council’s help, all in an effort to rescue Shang from the wizard who now controls Camelot and may be the most powerful being in the universe. However it is Thane who must break the bad news – they cannot help the Guardian of the Nexus in this most dire of times, for she does not understand the full extent of Merlin’s ambitions. As Nissa opens a myriad of mystic mirrors it is only then does Skye see the ramifications of their battle, for when the wizard gained the power of the Grail it had a wider effect then anyone first realized; his new powers caused portals which were once sealed between the realms to crumble, allowing an invasion to occur which they still do not its full extent. While they want to help Shang, for the time being this fairy knows they are in no position to offer any aid when they themselves must protect the Nexus in what may be a losing battle. However as Skye dashes off to release her anger, it is the lion of Oz who approaches with a new option and perhaps a way to solve both their problems, however it is not without its own risks … but this may prove to be advantageous to everyone in the end.
In Summary:
Although I was looking forward to reading one of my favorite writer’s rendition of the flagship series, the effort by story creators Joe Brusha, Ralph Tedesco and Dave Franchini feels disjointed due to the issue beginning with one of the mysteries brought over from the Age of Camelot storyline – what happened to Cindy during the defeat of the Order of Tarot. With this murderess madwoman having a central role as the Queen of Swords and not being there to participate during the final battle, it seems strange not to have any interposition explanation as to her disappearance, instead she suddenly appears as if nothing happened. While it would have been understandable with a minor character who did not have a royal title, it makes little sense leave her out considering her homicidal tendencies. However since it was a surprise attack this mistake could have been overlooked, but to have her reappear without come kind of clarification leaves fans with a hollow feeling expecting us to forget this accident, which could have been smoothed over with a quip during her duel with Skye. While I do not fault writer Franchini with this inherited misstep, it does mar his initial venture into the title and makes his introduction a bit bumpy, but it does not take long for fans to forget that hiccup due to the splendor of his writing.
Ever since Merlin was revealed over two years ago, we have been wary of this corrupt magician, with Franchini creating a marvelously calculating villain who kept us guessing as to his ulterior motives, never revealing too much of his plans before they were fully realized. And yet at the same time, his thirst for power has always been the truest motivation, allowing others to do his dirty work while securing elements to unlock his ultimate goals of releasing Camelot and obtaining the Grail. Yet it all began with the innocuous task of gaining Skye’s Book of Fables, creating new minions to further his objectives, and though the Musketeers and Black Knight turned, Morgan remained loyal to the end. Even as we learned of his background and hatred for the Order of Tarot plus betrayal of his brother Arthur, this ambitious man never strayed too far as he also created his own Knights of the Round Table, with familiar faces such as Baba Yaga and Lance scattered within. But of course, as we can ascertain from any megalomaniac, his complex personality was always centered around acquiring more strength and utilizing it to further his own vile intent – and in this case it was to shape the Realms for his own personal liking. While he may have been maniacal with his intentions, the true foundation was never out of reach until he became too greedy, with the intensity of the Grail always outpacing his hunger, thus requiring the Armor of Camelot in order to control the relic’s strength. But at the same time, it is ironic these pieces would become his downfall with the Guardian beginning her Odyssey to seek them out in order to defeat this godlike being, thus gaining valuable allies but also connecting her to the Grail itself in order to perpetuate a thrilling conclusion. Franchini has fabricated a movingly complex narrative which seemed to wander at times, but as we finally approached this well earned ending, all of the pieces fell into place, even as we knew in the back of our minds that Merlin could never truly defeat our heroes, no matter how hard he may have tried.
Even within an initially shaky story, it is up to the artist and colorist to create an atmosphere which allows the reader to relate to the intensity of the narrative, however if either of these talents is not up to par, then the portrayal of our favorite characters can be lacking, which unfortunately is the case for the former. Although I do appreciate Milton Estevan’s formidable displays of dynamic action scenes and luscious curves of both heroine and villainess, there are times when he tries too hard to emote expressions upon the actors, especially when they look straight into the camera. While I can understand this media is a two dimensional representation, it is during those times when humanoids within this issue appear to be flat faced, with no definition given to adjust for highlights upon the face thus giving us an appearance lacking contours. If there is a slight tilt of the head then Estevan adapts his drawing style to denote a wrinkle in the forehead, point of the chin or shadow of cheekbone and yet these details are too often missing on Skye which is a shame since she is the main focus of the story. But it is due to this fact whereby readers notice a hollowness that makes her appear insensitive to the troubles of the High Council, only caring for her own problem, even when the dialogue proves otherwise. Even with the captivating palette of Jorge Cortes dancing wondrously with a waltz of light and shadows illuminating the amazing action, you still cannot overlook this minor fault once you notice the first since it so glaring it grabs your attention with every motion. And while this skilled colorist attempts to disguise and dissuade the audience from any other visual notice, it is the powerful presence of dark shadowing and black framing between the panels which makes any error more pronounced. Hopefully this slight oversight will be remedy in the near future and thus allow us to enjoy any otherwise excellent visual adventure into the Nexus for many more issues to come.
And as intriguing twists compound for Skye, we are also given a delightful visual treat due to the fantastic illustrations via sharp lines of Eman Casallos expanding upon the thrilling story, allowing for a smooth transition between panels and creating a spectacular environment which expands upon the allure of our heroine and villainess. The tangible desperation and insane pleasure displayed by the beauties is made all the more enviable thanks to the fantastic colors of Jorge Cortes, allowing us to witness this amazing scenario without a need to aid, but at the same time his dazzling palette makes us wish we could help in this struggle as the Guardian bides her time in this timeless contest. This wondrous example of synergy has our attention from the beginning with the stark contrast of an exhausted man trying to escape from an unseen predator, the meticulous detailing on his drawn face is made all the more pronounced due to the wise choice of a white framework to emphasize the panels. But as we become entranced by the minute nuances Casallos puts into each actor’s expressions to denote a wide array of emotions, at the same time Cortes makes each panel all the more sensational due to the focused shading he puts into each image, allowing the reader to effortlessly interpret each expression due to this cooperation of succinct lines and skillful balance of light and shadow. The beautiful display of excitement and vexation merges so well with the drama the reader cannot but be caught up in the tension, rushing headlong with the survivors and feeling their pain, anger and torment in this panorama as a whole – it is exceptional in its inclusive quality by making us to forget to breathe. This is what I never knew I was missing and now that I have witnessed it again, it will be hard to forget the subversive effect and return to what we might consider normal.
And yet even with such a powerfully driven story, you cannot deny the captivating allure by which Daniel Mainé attracts the reader’s eye due to the fantastic composition of the opening splash page, made all the more hypnotic due to Jorge Cortes’ superb colors which serve to enhance the richness of this oceanic environment. Who would have ever thought anyone could make a mass of tentacles of look sexy but at the same time the seductively menacing grin and lifeless eyes emphasizes the pure malice of the Sea Witch as she plays with her struggling toy named Skye – a true beauty versus beast. The amazing prospective of the image allows Cortes to fully display his talent for manipulating contrasting colors, ominous darkness of the oceanic depths is a wondrous background for our actors, then add the fantastic illustration of the feminine cephalopod with deep purple underarms and black accents topped by the beauty of a twisted woman. But all of this made senseless due to our heroine’s fight to stay conscious, her pale peach skin standing out against the black and scarlet of her costume and golden highlights of shield and sword, then the entirety of the image tied together by the quick rush of escaping bubbles and you cannot turn away from the conflict. This is how you get the audience’s attention – with a stunning portrayal depicting a fight to stay alive, establishing the desperation of the situation and then magnify it with the ageless concept of Good versus Evil. Mainé creates a striking transition between panels, allowing for the action to seamlessly shift between events with such fluidity that you might mistaken this two dimensional medium for a intensely enthralling epic motion picture battle, his sensational attention to detail and distinct appreciation for the human form makes you jealous you cannot participate in such an immersive depiction of aquatic drama. However Cortes creates an equally phenomenal display of his wondrous palette, fulfilling our fondest wishes to see what lies within the depths in all of its memorizing kaleidoscopic rapture of tonal gorgeousness. But as we enter Atlantis you almost forget the savage cruelty which we left only saw moments ago, with the luminous atmosphere seemingly out of place within the murky darkness of the ocean floor, only made all the more tantalizing by the brilliance of Queen Erica. Even within this enticing aura we cannot forget the wickedness lying in wait just outside as this splendid artistic team creates a magnificent effort in reminding the reader at every turn … beauty can hide hideousness no matter where you go.
Even within the solemnity of a story dedicated to learning about the armor’s history, one cannot deny the fantastic illustrations of Cleber Lima able to create a frenetic spontaneity thanks to his dynamic imagery and the glowing colors of Jorge Cortes propelling readers into the richness of this issue without any hesitation, their artistry disguising beauty within ferocity. The dark delineation of nuanced details are what make Lima’s line work so stunning to observe, each element of musculature is defined and gives a strength to static characters, all while the smooth transition between panels allows for fluidity of motion. And though Cortes’ palette may be overwhelming at times due to the brightness of some tones it is his clever application of shadows which allows the eye to linger over each curvaceous image, making us wonder what we may be missing within this striking atmosphere. One cannot but marvel at the gorgeous form of Skye fearlessly striking down nameless foes with such power and confidence, but if I did have complaint for the overzealous palette it would be the depiction of Belle; although one cannot complain of the otherworldly beauty for this commanding fairy, at the same time she seems to be missing some of the ethereal mysticism which should be portrayed through her display of diaphanous wings. As we see them now they appear to be solid forms of energy instead of transparent veils which we would considered linked to such magical beings, and while this is a minor inaccuracy the manner by which Belle is shown makes her seem to be a stand-in with taped on accessories and ruins what should be a spectacular reveal for one of Zenescope’s most iconic characters.
While we begin to understand the foundation for Skye’s struggles, one cannot but gasp in amazement to delight in the spectacular opening sequence as presented by talented Cleber Lima, made all the extraordinary due to the enticing color selection of Jorge Cortes and Maxflan Araujo. However one cannot but be reminded of the curious change that has overtaken Merlin – when last we saw him in Grimm Fairy Tales: 2019 Giant-Sized, we saw a brief glimpse as to what the artifact had done, but now that monumental change is shown for full impact, and one cannot but question who were are now witnessing: is this the same sorcerer consumed by power or a electrically blue tinged, for back of a better comparison, Skeletor? Anyone familiar with this popular character cannot but see the similarities, from his stark face and the flowing royal blue hooded cape, almost expecting for an eerie cackle to be plastered on the page at some point during his appearances. However once this change has settled, and this is only momentarily since his image is beyond any other relation, one cannot but be shocked by the astonishing amount of details Lima places into each page, with the stunning palette of Cortes and Araujo magnifying every nuance in magnificent brilliance, allowing the reader to feel the intensity of every panel. If the shocking prologue was not enough to whet our appetites, the abject horror which we see etched upon the Queen of Heart’s face is riveting, with the illustrations marvelously balancing her beautiful fiery red hair and emerald eyes against the backdrop of a world being ripped apart, with ferocious colors breathing life into this nightmare. And while a pause for the history of the Grail may be brief and eloquently accented by somber shadings of greys, sepia and flashes of neon blue, the underlying return to a skull faced Merlin is enough to register this new realm as being his, with the menacing presence of glowing dead eyes enough to scare us into acknowledging this man is a force to be reckoned with for the time being.
Even within all of this jarring mental jousting, one cannot but be in awe to see Julius Abrera create a phenomenal layout of what should a horrendous battlefield, however with Jorge Cortes expanding visual possibilities thanks to his evocative array of organic colors mixed in with the vividness of explosives, this wondrous synergy allows for an amazing cooperative effort to bring astonishment to what should be a terrifying display of violence. The manner in which Abrera breaks down the progression of his illustrations makes them easier to digest, with each panel focusing upon particular moments, thus giving the reader a specific transition by which to watch the events unfold until we witness what can only be described as an outstanding manifestation of cruelty versus beauty. With Cortes’ enriching palette of light and shadow dancing across each image to bring the spectacle alive, the audience cannot but pause to gaze over the brilliance of the opening double page splash displaying a devastating scenario of death and destruction, making one survey the carnage to discern familiar faces amid the inaudible screams of terror. And yet as one stares into this abyss of graphic excellence, it is then when you see a glaring stumble within what should be a momentous scene: the overuse of pixilated screentone. Although one might have been be able to overlook such an amateurish mistake, what makes it all the more detracting is the placement – allowing a reader to see its usage magnified against the lushness of a turquoise horizon and its sky bound occupants. With our attention locked onto these flying ships, you cannot but contemplate what this disturbance might be, with the gridded surface causing the background appear to be something gleaned from a virtual reality simulator. This singular blunder makes you want to search out other uses within the midst of an age of digital coloring, thus detracting from the stunning arrangement of illustration and tone in what should have been a memorable issue of beautiful and brave warriors thanks to this singular oversight.
And yet even within this at times clichéd story, one cannot deny it is the initial opening panel of the Annual which grabs our attention and never lets go, propelling readers headfirst into this monumental visual masterpiece thanks to the skillful illustrations of Julius Abrera and captivating color palette of Jorge Cortes. Those stunning sapphire eyes of Skye’s are hypnotic, the wide expanse of her blue tinted sclera drawing us into the story and made all the more provoking as we notice the blank look on her face, only emphasized by the menace of overly confident villains standing behind her. But this awe inspiring presence is not shattered even within the sepia accented flashback, with the excellence of vividly moving faces expressing a varied array of emotions, made all the more haunting when taken in context with Abrera’s elegantly portrayed events which encompass the struggles of the Guardian. Although as we slowly become smothered by the horror which is the Odyssey, one cannot but cheer as we witness the bravado of heroes being displayed before an ethereal energy portal – the strength, confidence and beauty being communicated so wondrously we cannot but be in awe. However once the intimidating coldness of a midnight blue skull and cold coal colored eyes presents himself as Merlin, this singular panel shifts the immediate mood and prepares the audience for what is to come: the beginning of the ultimate confrontation between good and evil, made all the more audacious as this wicked sorcerer pushes his valiant foes too far. The spectacular details within each frame only amplify the thrilling momentum of the battle, and while the pictures may be static, it is Abrera’s strict attention to detail and Cortes’ commanding control of tonal lighting and shadows which make every page a graphical paradise to peruse in order to seek more valuable treasure we may have missed on our initial viewing. And while we may laugh at comically descriptive special effect text, it is the build up of these fantastic images toward the climax which makes the wait tolerable, with the spectacular double page layout of both dynamically ferocious forces dramatically confronting each other an enthralling piece to extenuate what has been a wild ride for Skye and reader.
Grimm Fairy Tales Volume 2 ‘Odyssey’ Trade Paperback has made the demanding conflict against Merlin as difficult as possible, pushing Skye both physically and more importantly, mentally to her breaking point in order to forge a woman who is ever more admirable than before, emerging as someone who may be prepared for the cruelty yet to come. Thanks to spectacular illustrations and awe-inspiring colors, this amazing major story arc has reached an emotionally draining conclusion, made all the more welcomed due to these talented artists unerring attention to detail. In short, we are presented a thrilling trade paperback which made the journey monumentally worthwhile and the upcoming adventure something to sincerely look forward to within the near and trying future.
Grade: A+
Age Rating: T (for Teens)
Released By: Zenescope
Release Date: June 15, 2022
MSRP: $29.99
