Review: Gretel #3

We“re at the midpoint in this five-issue series revolving around Gretel, of Hansel and Gretel fame, after her debut in Grimm Universe Presents. Gretel is traveling across America to reach her old nemesis, the wicked witch who once owned a house made of candy, who in this universe is named Vita. On her way, Gretel reflects on the past, including being a prisoner on a Nazi train in Poland. While her companion, Samuel, tracks down former ally Dae, whose creatures attacked both him and Gretel last issue, Gretel makes her way to see Vita, all while tracked by a mysterious witch hunter.

The art is vibrant and beautiful. Flashbacks are given a sepia-toned mask, with elements like blood and the Nazi insignia given a vivid coloring to bring emphasis. Not even sepia can dull the vivacity of magic and violence. Â The linework on the expressions, in particular, is fantastically done, as seen in two panels with Gretel as she speaks with Vita. Little else changes in her face, but the shift in her brow makes her expression change drastically. The colorist is not to be ignored either, as they have done a great job in helping the reader acclimate to a change in scene. While Gretel, with her blonde hair and earth-toned attire, is in the softly lit forest scenery with Vita, scenes with Samuel, with his white hair and blue robe, are in cooler tones, but they are played more vibrantly than Gretel“s.

The letter work is done well to give us a real feel of what it is trying to portray to us. From the vivid yellow metal K“s of the Nazi shackles, to the muted blue Bangs of the Nazi guns, with emphasis on the A“s, the sharpest sound within the word, all the way to the sound of window breaking, that gives us “KRSSHHH”“ in outlined, transparent and jagged capitalised lettering, which brings out the piercing noise that smashed glass evokes.

Gretel is very far from her days as a young girl in the Grimm Fairy-tale story of the 1800s when she pushed a witch into an oven, but this twist on a 200-year-old character is fascinating and page-turning, and a feast for the eyes. Much better eating than children.

[yasr_overall_rating size=”large”]

(W) Ben Meares
(A) Allan Otero
(Col.) Ceci De La Cruz
(Let.) Maurizio Clausi (Arancia Studio)
(Pub.) Zenescope