I’d never assume that creators actually listen to us critics. (Especially since, given production schedules and other interesting factors, that’s often quite impossible.) But I’ll take a “victory” regardless when the superstar creative team behind The Holy Roller seemingly addressed some of my biggest issues/concerns with issue #1. The end result (aside from a mostly pleased critic)? Why, a generally great follow-up in issue #2 for this still young and promising series.
The biggest issue of #1 was the humor, which routinely felt over-involved and a tad hokey. (Which sorta made sense given that two of the writers are Andy Samberg and Fall Out Boy’s Joe Trohman.) But in issue #2, aside from an “ugh”-inducing Domino’s Pizza joke, every bit of bowling punnery and general silly joking worked exceedingly well. I think a big part of that is that the first issue was an introduction and the establishment of the world; here, things are moving along much more efficiently, and we get some solid bits, including a great one about superhero names. Also, chalk it up to the team already being more cohesive and comfortable at this point, and that’s a generally good thing.
That sense of humor is a rather big factor of this book — not only given its whole approach, but also that these more iffy jokes seemed like the biggest source of “contention” given this celebrity-heavy book. That doesn’t mean, however, that things proved entirely perfect. This issue did mostly focus on the immediate aftermath of Levi’s bully bashing, and it’s hard to see what the next step is in a larger way for this story. Or, if we’re going to be treated to a series of small chapters for the rest of this run, is that going to work the most effectively? Still, a victory is a victory, and issue #2 nailed that sense of irreverence without forgoing what made this story feel so effective in issue #1: the socio-political undertones and focus on lineage and heritage through the lens of Judaism. You can have your cake and eat it, too, if your jokes stick and cut with some grace.
Speaking of some of that heritage business, there were a few instances where it readily emerged, almost shined, across this issue, which once more is kind of impressive given its rather deliberate focus and emphasis on immediacy. A lot of that “development,” as it were, came really subtly — like a comment from David, Levi’s dad, that got you thinking about their faith, his son’s relationship to it, and what this means for the larger thematic influences of this book. (David was pretty solid in issue #2, and in a lot of ways he feels like a proper support/secondary lead in #2.)
Issue #2 variant by Andrew Robinson. Courtesy of Image Comics.
Even Levi has a really understated moment where he’s connecting with what this sudden turn toward vigilantism means for him, and how he’s spent his life running from things before having to face them head on, and that feels like a thread that touches on the rise of antisemitism in our own world and people’s relationships with faith and the communities they represent. The fact that everything happens so quiet and deliberately also shows how quickly this series is developing (and also, as I’d mentioned in the review of issue #1, writer Rick Remender maintains a proper leadership role).
It’s not just Remender, either; artist Roland Boschi and colorist Moreno Dinisio had a proper presence in #1 as the art tried to address some issues with the story and its use of humor. Given that there weren’t quite as many “deficits” this time around, Boschi and Dinisio got a chance to show off in #2 without having to bolster the narrative, and that gave us some rather cool moments.
A lot of it felt like really inventive actions shots, with the pair making the rather obvious weapon of a bowling ball feel as brutal as you think while still emphasizing a kind of magic and heft like Levi was wielding Captain America’s shield. And inventive fight scenes go a long way; they’re a chance to show off some of that same kind of vaguely gross, mostly immature humor but in a way that connects this book with its serious and engaging tendencies and its much grander social commentary (and not just an excuse for fights with heavy sporting goods).
I wish I could have seen more from this world develop in issue #2, especially since #1 did a lot to nearly recreate something akin to Toxic Avenger, and that felt like the perfect palette of tone and feeling to play with in crafting this vaguely similar tale of a society gone awry. The fact that we got a very narrow space meant the art team didn’t get to stretch their wings too much, and that felt like a minor disappointment. But thanks to the fight scenes, not to mention some more subtle touches (like the shadows that added some tension between the fight bits), the art once more extended the story’s own evolution, even if it didn’t always totally dazzle.
If we’re lucky, The Holy Roller will continue to develop as if they were actually listening to me. Which is to say, the book leans into what it does best (dumb humor kept in check, a robust but understated exploration of family/heritage) and minimizes any downsides (the over-reliance on dumb jokes, the tendency thus far to show smaller chunks of the world). Because if it can, than this book’s only just getting started. You could say, then it would truly be on a roll.
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