Adam reads as many comics as he can afford. Then he reviews one every other week.
This week I’m reviewing the fourth and final volume of the Modern Testament: Anthology of the Ethereal series by author and creator Frank Martin. Volume 4 is another collection of three short stories (one split into two parts) published by Insane Comics, each illustrated by a different artist. Each story in Modern Testament takes a biblical or mythological being and places them in the modern world, following how they adapt to our times and how they choose to aid or affect mankind. As Martin says in his letter closing out the book, he saved the big guns for this final volume.
The first story, split into parts 1 and 3 in the volume, is ‘Better the Devil You Know… Than the Devil You Don’t’, with both illustrated by San Espina and with colours by Adri Pratama. A spin on the classic deal with the devil story, abusive husband Jack laments his financial situation, screaming at his wife and daughter. The devil appears to him in disguise, offering an extensive contract to trade Jack’s soul for enormous wealth. In part two, the devil comes to collect.
The art in this tale is the strongest in this volume, and the story the most compelling too. There is a solid twist that keeps it fresh, and the devil himself is brilliant and threatening as the lord of the underworld should always be. Espina and Pratama team up to create oppressive and dark looking art that 100% fits the mood.
The second story is ‘God Complex’, with art by Martin Szymanski and colours by Miguel Marques. An eminent and popular scientist calls a press conference to announce that he has discovered the theory of everything, one of the most elusive concepts in modern science. And in response, a bored God (capital ‘G’) applauds from the back of the auditorium, before telling his creations what he really thinks of them.
God Complex is the most depressing of Volume 4, and considering the subject matter it also manages to be the most nihilistic. That makes it immensely enjoyable, if you are a terrible cynic like me. The art boasts some of the more impressive visuals in this volume too, as God takes the scientist Professor Florence on a reality-bending tour.
And the final story finishes out the Horsemen of the Apocalypse theme that has spread across all 4 volumes, drawn by Anthony Pugh and coloured by Julian Dominguez. In ‘At Death’s Door’, Cain visits a depressed and out-of-shape Death, and tries to get him to embrace his role again. But the inevitability of his job, and how little effort it seems to be for him, has made him disillusioned. So Cain must try to get him back into being Death again.
The art in ‘At Death’s Door’ is simple but effective, belying the status of the characters involved. The story itself is a fun end to the theme that has played out across Modern Testament, ensuring that the collection and entire work finishes strong without taking itself too seriously.