The Trinity continue to battle with Possessed Red Hood and the Possessed Outlaws, as Constantine finds himself in a colder clime. Can the Dark Trinity be freed from the Evil Trinity by the Plain Trinity before the Evil Trinity finds a way to use the Mystic Trinity to get the Dark Trinity to kill the Plain Trinity? PANDORA PITS! For the expanded version of that condensed review, read on.
Circe’s really trying to hurt us
There’s not a whole lot more I can say about this after my last review, because this issue isn’t terribly different in its quality. I’m not overly fond of the convoluted blood prophecy yadda yadda boom boom that powers this arc, and I pretty much only enjoy the dialogue when it involves John Constantine—and I finally understand why. All of the crazy demon speak (see anything in red letters) is pretty ridiculous, and maybe (probably) Williams intends it to be so, but the heroes play it straight in the face of this stuff. Even though my brain suspects Williams is in on the joke, my experience of the book is that the goofy mystic mumbo-jumbo should be taken seriously. I think I like the parts with Constantine because—in addition to his irreverent charm—he treats this stuff with the lack of respect it deserves. Unfortunately, Constantine’s panel time is limited, so the balance favors less enjoyable contexts.
I don’t like the concept of the arc, which I admit makes it harder to enjoy the individual components. I think my biggest problem is that the story just bores me, and the elements meant to draw me in fail to do so. Williams states openly (through character dialogue) that the commandeering of the Dark Trinity was a play meant to hurt Batman, Superman, and Wonder Woman emotionally. But this doesn’t really work. Sure, Jason is Bruce’s great failure (besides throwing his trunks away), but what is Artemis to Diana? What is Bizarro to Clark? They have ties sure, but nowhere near as significant as the one shared by Batman and Red Hood.
The artwork’s growing on me
I’ve gone from tolerating Marion to enjoying his work here in Trinity #13. I’m not overly fond of the way Rebeiro colors him, but this is a common problem for me in a number of modern books (see my review of Red Hood and the Outlaws last week for a more detailed consideration). Overal, Marion’s style is growing on me, and I really like the way he renders Batman and Constantine. Supes and Wonder Woman look a bit pinched, but it isn’t too distracting. My biggest beef with the artwork this time around is that the layouts feel a bit too close up and crowded for most of the book. The action is great, and Marion tells the story well, but I just want a bit of a breather and a wider perspective from time to time.
- You’ve enjoyed this arc so far.
- You dig Marion’s art—man draws a sweet Bats.
- You find John Constantine charming. Or you don’t.
I feel as though most of my criticisms for this arc in Trinity are fairly subjective. Sure, there are some legitimate, incontestable problems, but I suspect they wouldn’t bother me as much if I was interested in the story Williams is telling. If you’ve got a chance to check this out, it’s probably still worth a look. The artwork is well done, Constantine is a delight, and you may find your enjoyment of the story rises higher than mine.