REVIEW: ‘Hallows’ Eve,’ Issue #3

Reading Time: 3 minutes

Hallows’ Eve #3 is published by Marvel, written by Erica Schultz, art by Michael Dowling, colors by Brian Reber, and letters by Joe Caramagna. Hallows’ Eve goes after the werewolf she created, attacking the van the Beyond Corporation has in him. But interference will make it much harder. 

The energy of this issue is high from the very start and doesn’t like to slow down. The opening is an intense and dramatic fight scene, with Janine wearing the mask she can control the least. This adds a large amount of unpredictability to the book. It’s claustrophobic and intense, released a few pages in by the introduction of another hero. The pace is still quick as the setting and premise can be altered. The investigative side of the series returns as well, although it is clearer where the story is being driven to. As it progresses, I noticed that the comic becomes easier to know what will happen, as it practically dictates what is going to happen early on and doesn’t deviate from those paths, which lessens the surprise as the issue concludes.

There are some great signs of character growth within Hallows’ Eve #3. Hallows’ Eve is still very raw and not used to being in fights or coming up against characters that know what they are doing. She is feisty and impulsive, but that can cause her to walk straight into a trap. But that is beginning to change. She is learning to trust people and understand how to work with people she can see the good in. For example, Detective Sebbens, who is one of the people investigating her case.

It is good for her to have people to bounce off, too, giving the dialogue room to breathe. On the other side of the coin, you have Maxine Danger. She is completely in control, with the ego and the power to match. She has a brilliant Bond villain vibe, especially as the head of a clandestine corporation. The balance between the nervousness of Hallows’ Eve and the confidence of Maxine instantly puts the protagonist at a disadvantage.

The art is fantastic, particularly for the fight scenes in the first half of the issue. This is an intensely physical, meticulous piece of combat, using multiple variations of Hallows Eve’s masks throughout. The vampire and Frankenstein masks come out to play. And whilst they both cause similar effects, the physical changes are distinct and fascinating. The points where limbs get bigger are difficult aspects to implement. Dowling does an excellent job of highlighting Janine’s youthfulness and innocence. She often has wide eyes when confronted by something new, with a shocked look on her face. Then she’ll switch masks and a newfound burst of energy and confidence returns. The rest of the issue, apart from the guest star, is relatively normal for a superhero comic, which makes Janine stand out so much.

The colors are interesting. What is surprising is that the battle, in the beginning, takes place in the middle of the day. With the horror elements of the masks, it could be expected to happen at nighttime. But the natural look of the book makes daytime work and helps with that same contrast that was mentioned before. Placing the irregular within a place that looks ordinary simply heightens the bizarre aspects of the comic. The lettering is faultless and always easy to read.

Hallows’ Eve #3 ramps up the energy of the series. The issue keeps its foot on the throttle for so long, practically flinging Janine from one tense confrontation to the next. As her plans get more daring and the situations get more dangerous, the book slowly raises her to be able to deal with them. The growth and development are gradual but noticeable. And whilst the story loses some of its real power by the end of the issue, this great cast is what keeps it interesting.

Hallows’ Eve #3 is available where characters are sold.