So, hearing that they are rebooting the old Heroes series (Heroes Reborn), I decided to quickly peruse some of the old online comics that accompanied the show during its run (these comics have been printed and bound together in book-form).
I must say that I was disappointed in them in the main– I think, mostly due to the limitations imposed by the form… The artists were given only about five-pages’ worth of space to present each online comic. So, of course, narratively, there just ain’t that much that can be done in such a small amount of space
The better stand-alone stories include Road Kill and Stolen Time. One of the worst was probably Fathers And Daughters, in which the characters are so one-dimensional that they make cardboard look deep. But again, this can partially be blamed on the short-format.
The superhero character “Wireless” (aka Hana Gitelman) was allowed an expanding story, spanning several 5-page editions. She makes an especially good choice for an enlarged treatment since she is one of the best-drawn characters of the series… having, as she does, not only a cool superpower (she can access the Internet with her mind), but a solid, multigenerational backstory. I also liked the way the artists rendered her mental immersion in the world wide web (the excellent artists for the Wireless series include: Micah Gunnell, Mark Roslan, Beth Sotelo, Peter Steigerwald, Staz Johnson, Jason Badower, and Chris Sotomayor— with some very good lettering-work by Comicraft).
As far as artwork, I came away especially impressed by Peter Steigerwald‘s digital coloring & inking, as well as by the drawings of Marcus To. I also thought Tim Sale contributed at least one exceptional piece, his cover-art for Stolen Time. I also thought the cover (or is it better-called a “frontspiece?”) for Turning Point was very good, a black-and-white work with lots of dark shadows and pools of light, broken up by violent slashes of blood-red.
I thought the lettering choice for the War Buddies section (also, like the Wireless story, and expanded run). In these panels, the font recalls that imprinted by the (now old-fashioned) typewriters used during the era of U.S. involvement in the Vietnam War.
I was less a fan of the choice made to practically eschew backgrounds in many of the panels in the series. On the other hand, I liked the dark colorings and bright electricalities of Edgar for Walls Part Two.
The creators of the online comic were obviously going for a “throwback” look– designing the cover-art with a decidedly nostalgic aesthetic, including the backdated pricing (10 cents) and the overly enthusiastic lettering style (“9th WONDERS!“).