Written by Tim Midura
on Thursday, November 07 2013 and posted in Reviews
Can Sai convince Strike to help him free the Victories?
Continuing the main arc after stepping aside for a miniseries, The Victories #6, written and drawn by Michael Avon Oeming, explodes onto the stands. This issue continues the modern, mature superhero tale with part 1 of 5 of the arc, Posthuman.
All of the Victories, except for Sai, have been imprisoned by the government over a fear of disease spreading from the transhumans to humans. Most champions are being experimented on in hidden facilities, while Strike is causing a distraction so Sai can release Sleeper’s familiar. Sleeper’s cat, then, breaks through D.D.’s dreamscape, freeing her to race to Denver to save the Victories. Meanwhile, members of the elite meet in Bohemian Grove, California, to discuss their cure for the disease. Using Link’s DNA, they complete the cure, which is actually a populace control drug, to be used while all the champions are imprisoned.
Oeming is pulling double duty on story and art, and he excels at both. The story of government as big brother isn’t a new concept but it blends well with superheroes here. His pages are dialogue-heavy, but Aaron Walker’s lettering doesn’t mask the smart art. Oeming’s use of black as shadow and filler really brings a sense of dread and darkness to each panel. His color palette is limited, which I feel sits well with the substantial volume of black. The panel of Sleeper’s cat busting through D.D.’s cityscape is great for the attention to detail and blending of restricted colors.
The cover by Andrea Wicklund is a stunning mashup of D.D. blended with the foods she adores in her dreamworld. It is a trippy, yet alluring image that will be sure to grant a double take.
This issue includes a backup, written by Oeming but drawn by Victor Santos and colored by Nick Filardi. Faustus and Sleeper surprise a Float transaction between Babyface and Demikhov. From there, they return to Sleeper’s burning apartment and save the box holding his familiar. The point of this backup is to provide a deeper look into how Sleeper operates. Santos and Filardi complement Oeming’s personal art style, so it’s a seamless transition.
Any panel of a fat D.D. is enjoyable, especially as she busts through the city shouting, “I’m D.D. motherfucking Mau!” This is a clever, adult take on superheroes without the heaviness generally associated with adult themes.
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