Writing - 8.75/10
Art - 8/10
Overall - 8.4/10
User Review( votes)
Writer: Robert Venditti
Artist: Bryan Hitch
Inkers: Andrew Currie, Paul Neary, and Bryan Hitch
Colorists: Alex Sinclair and Jeremiah Skipper
Letterers: Starkings and Comicraft
Maturity Rating: Teen
Publisher: DC Comics
Release: August 8, 2018
Carter Hall explores Dinosaur Island as he barrels towards the mystery of his own origin.
Hawkman Flies Into His Newest Incarnation in Hawkman #3
Robert Venditti continues streamlining Hawkman history in the third entry in this post-Dark Nights: Metal series. Carter Hall explores Dinosaur Island and delves deeper into the mystery of his own origin. All manner of peril will stand in his way on this journey in Hawkman #3.
Venditti writes a shockingly good Hawkman. Not only is his general ability to convey such a compelling story surprising, but to be able to do it with a character who has been seen as the biggest conundrum in comics is outstanding. Throughout this series, and especially in Hawkman #3, Carter Hall is very easy to like. Unlike past incarnations and interpretations of the character, he doesn’t feel like someone who has all the answers and is pouting because he can’t get his past back. This time Hall is a kind and adventurous romantic who is fun to follow because he’s diving into the unknown. Whether he’s fighting a dinosaur or a cult of bird people centered around his arrival, he’s always awash in newness.
Carter also consistently throws himself into harrowing situations. Issue after issue, Carter has put himself in situations where readers can be invested in the outcome. He’s traveling through time to fight his old pre-incarnation self, as opposed to fawning over Hawkgirl, like in Geoff Johns‘ run. Carter is cool now.
The narration in Hawkman #3 continues many of the themes that were introduced in Scott Snyder’s Dark Nights: Metal. The series is all the better for this, as Venditti is continually reinforcing the idea that the series is barrelling toward something new and exciting. He’s then also delivering on that promise each issue. This all takes place at a remarkable pace. Carter’s never consistently in one place for an entire issue, whether that’s traveling back in time in the second issue or across the universe in this one.
This series is far and away the best work Bryan Hitch has done since coming to DC Comics. His cinematic style is perfectly paired with the bombastic story Venditti is telling. This isn’t to necessarily say that the series is devoid of Hitch’s usual artistic flaws. Carter is still drawn contorting in weird ways every now and then. Smaller panels often lack the attention to detail that’s required to make them as vibrant as the larger panels and splash pages. Then lastly, like most every other artist, Hitch can’t consistently draw Hawkman’s helmet in a satisfying way.
Hitch is surprisingly good at drawing wings. There’s barely a single panel in which the wings look dumb, a feat that not many other artists have accomplished. This often seems due to Hitch’s cinematic direction. Often I think people hear Hitch described as cinematic and they consider that to mean his art is bombastic and wide-screen, which it is. This is not all it is, though. Hitch has an eye for framing moments in a story so that they come across in the most dramatic fashion. This elevates the story in every way, from making his wings look cool to adding a sense of suspense just by how Carter walks into a room.
Hawkman #3 is a great example of two creators that elevate each other’s work. Venditti and Hitch both make the other shine here and thanks to their partnership, Carter Hall is shining better than ever before. Carter has become one of the most easy-to-invest-in characters in all of DC here, and the mystery of the Hawkman character demands that reader come back to see it developed and concluded.
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