Time for another review!
This time around, it’s Hex11 #5, with a story by Lisa Webber, who also did all of the art and maybe the letters, the script is by Kelly Sue Milano, colors by Samantha Carrasco, and edited by Lynly Forrest.
So, the basic story is that magic is real in this world, and there are magic users and demons inhabiting bodies and people are on the run. Someone is relatively new to her power and doesn’t know how to use it well yet, but goes out to try to save the day anyway. (Think Luke Skywalker going to save Han and Leia instead of finishing his training in the Empire Strikes Back. Same thing here.)
The story seems solid. There are characterizations here that I like. From a storytelling perspective, I liked it. Sure, I was a little lost because this was the fifth issue, but it wasn’t hard to glean what was going on from the conversations that were had. Good job by Kelly Sue with that. I may be pretty jaded, but I was interested in seeing what happens next. I want to see the entire story.
Lisa Webber makes pretty stick figures. I like her figure work, and I like how the magic is depicted almost like electric schematics. It was new and refreshing. No arcane symbols from different, archaic alphabets, but something much more modern. I liked it a lot.
I have two main gripes with the book, and one of them is the coloring. I don’t know how much help Samantha Carrasco was when it comes to the coloring, whether she did entire pages or just the flats, but the light source is not consistent from character to character in the same panel, and the palette is a bit too bland. While the characters and objects in the foreground are well rendered, the background objects are not, and they’re all colored pretty flat. It helps the characters to pop, and it speeds up the process of coloring, but when things on characters are highlighted for no discernable reason, it makes for confusion for the eye. A consistent light source would be very helpful, instead of highlights coming from all over the place.
The second thing that made me unhappy was the lettering. There are all kinds of problems with it. First, the font is too small by at least a point, maybe two. Second, the balloons are often oddly shaped. Thankfully, the words within the balloons are shaped like diamonds, as they’re supposed to be, but the balloons need some love. Third, the tails need love, too. They’re too thick at the bottom, leading to a very amateurish look. Fourth, there are crossbar I’s in there.
Normally, I’d blame the editor for the gripes I have against the book. However, it’s possible that Lynly Forrest only edited the script, not the entire book. (There are books out there where I’m listed as the editor when I’ve only worked on the script.) I’m willing to give the benefit of the doubt. However, if she did edit the entire book, then she needs to speak up about the lettering, or learn what good lettering looks like.
In the end, this is a good, worthy tale.
Final Verdict: Adore