Constant Motion
A-Force #2 Written by Marguerite Bennett G. Willow Wilson Art by Jorge Molina Color by Laura Martin Letter Cory Petit Cover by Jorge Molina
I did not expect to enjoy Jorge Molina’s art this much. Yes, his opening pages from A-Force #1 that introduced to the world of Arcadia where cinematic and had great flow, but now in this issue that lacks shark punching it is still filled with the large sweeping visuals filled with small little moments. The colors provided by Laura Martin also go a long way in giving everything in this book a vibrant motion.
That idea of motion, always moving or reacting to something, propels A-Force #2 as the plot begins to move forward and further explore these alternate versions of various current and soon to be Marvel super heroines. It limits the amount of down time between events where characters could more naturally walk and talk, instead we are shown their true selves in the moment while doing. A-Force is showing not telling. For more established characters like Medusa or She Hulk this isn’t anything new, an effective refresher if you’d forgotten. But for a new character like Singularity, it is incredibly interesting and vital. We know nothing really about her, this pocket universe that crashed from the sky. The form she takes seems entirely arbitrary really, but it is a human one something we should all understand. An understandable form allows Molina to give her just the best facial expressions; they’re cartoony, earnest, and innocent. The addition or subtraction of a couple lines here or there, that further define the face in a given panel give the character a range of emotion. This range is important since Singularity has yet to speak a word. Wilson and Bennet seem to be playing a longer game with the character and removing speech from the characterization equation forces the reader to empathize with this character solely on a visual level. She is a character solely defined by action and motion at this point.
It seems kind of trite to bring up Mad Maxx: Fury Road when talking about a book existing in a self professed feminist paradise. But the way that film handed character interaction, of people getting to know one another via actions taken, building respect and a relationship that way is similarly at play here. All of these small moments, couched in and creating bigger ones. This is no better visually represented then in the half splash inside Nico’s room as she brushes Singularity’s hair. Visually She Hulks narration about small moments guides the eye from left to right, over a series of pictures Nico took from a camera provided by America Chavez. And She Hulk is right, it’s the small things we remember and define us.
To further go down the Fury Road comparisons a bit, the way plot is handled bears some resemblance. Built on constant action and reaction, the use of mysterious portals to other parts of Battleworld, is a smart way to keep things going. These phenomena violate the sacred law of Doom and cause action set pieces to happen, first it was a giant shark now it’s a Sentinel. The question why this is happening propels the plot and story forward as She Hulk, Dazzler and Captain Marvel go through one to find its source.
The continued use of She Hulk as a primary narrator – seemingly both omniscient and told in retrospect –helps unify the book. It also situates She Hulk as the protagonist as the leader of A-Force, and narrator, but not limit the importance of key supporting characters like Nico, Singularity, and Medusa. She is a good frame from which to hang this story is told.
I am Michael Mazzacane you can follow me on Twitter and at ComicWeek.org