An epic battle on splash page after splash page.
The Mice Templar is published by Image Comics and written by Bryan J.L. Glass, with art by Victor Santos and colors by Serena Guerra. The cover, by co-creator Michael Avon Oeming, features Karic posing heroically in front of The Great Death Owl. The alternate cover by Santos and Chandra Free has Karic, Judae and Cassius encompassed by enormous bats.
With the issues leading up to this one, we see old enemies settling squabbles and banding together to defeat a common foe. Mice and cat alike are putting aside their differences in planning for things to come.
The brief beginning summary and the sparse caption boxes are enough to remind old readers what led up to this and for new readers to quickly jump in. Everything up until now has been Glass’ game, but now it’s Victor Santos’ time to shine. Santos’s panel layout and close-up brawls have been preparation for this issue.
Each double page splash is lovingly drawn by Santos in excruciating detail, showcasing the chaotic nature of war, without leaving the reader feeling overwhelmed. A genius touch by colorer Serena Guerra is the addition of color perspective in the scenes; objects and creatures in the foreground, closer to the reader, are crisper and brighter, than ones in the background. Bryan J.L Glass’ dialogue flies as fast as the arrows do, but never get in the way of the art, thanks to letterer, James H. Glass.
The Mice Templar #12: The Charge is a wicked interesting issue, as it’s a high-concept 24-page epic battle scene, executed brilliantly by Glass, Santos and Guerra. The standout issue of the series, The Mice Templar #12: The Charge, is a masterpiece of the comic form. I rarely recommend jumping into series midway, but this issue is a must read for anyone, especially to see an enormous cat/mouse/owl/bat melee rendered stunningly.
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