The Writer was a pleasant surprise when it came to a new series, both for how it utilizes Jewish myth and its creators’ Jewish heritage to craft a fantasy story with a fractured family at the center. The Writer #3 is smart to continue this trend, as the Siegel family travels through a world of mysticism and mystery to save all of mankind – and one of their own.
What really strikes me about The Writer #3 is how Josh Gad, alongside the Berkowitz Bros, present a script that’s constantly changing. There’s a constant shift in narrators, from Stan Siegel to his daughter Izzy to a mysterious figure that’s yet to be revealed (but who I’m betting will play some kind of role in the finale). A caption begins with “Meanwhile, in the present,” then scratches out “present” for “future” and then just describes the location. It feels for all the world like Gad and the Berkowitzs are presenting their first draft of the script, blemishes and all, for us to read.
But that plays into the nature of storytelling. People tell themselves stories to recall lessons, or to connect with a piece of history they left behind. The Writer #3 does both, as most of the monsters and places are pulled from Jewish religion, myth and history. From King Solomon himself to the Ocean of Tears, which draws bitterness out of the Siegels. This leads to some emotionally raw moments, as Stan yells at his mother Liz for not supporting his writing…and she yells at him for not taking the leap with said writing. This grounding of the fantastical in human emotion is something that few comics do, but The Writer excels at it.
Dark Horse Comics
But as great as the story is, it wouldn’t work without Ariel Olivetti’s artwork. Olivetti paints a tableau of demons and other creatures, both frightening and alluring at the same time. Nowhere is this more clear than with the demoness Lilith, whose curving horns, bluish-gray skin and bat-like wings betrays her otherworldly nature. In contrast, Solomon is depicted as wearing a gold and white set of armor that fits his regal bearing. Even the Siegels get a set of heroic clothes befitting their role in the story.
Olivetti’s colors are also a delight to behold. He shifts from the bright blue skies and verdant green of a lush forest, to the icy blue of the River of Sorrows, to a glowing red hellscape when the Siegels traverse through a burning river. The same treatment is given to Frank Cvetkovic’s letters, as the red crosses and letters once again bring to mind a writer making notes on their first draft.
Overall, The Writer #3 shows how a story can change and grow, based on who’s at the center of it. It’s also a reminder that no matter where you are in life, your story isn’t over yet – or it might take the turn you want it to.
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