Invisible Kingdom: Edge of Everything

by G. Willow Wilson & Christian Ward
collects Invisible Kingdom #6-10
volume reviews one | two

Wilson and Ward’s interstellar space opera continues in volume two. Its first arc combined interesting world-building with progressive characters and Ward’s phenomenal, Eisner Award-nominated art, but it was also bogged down by on-the-nose metaphors of Big Business (Lux) and Religion (The Renunciation).

This second chapter largely deals with fallout from last volume, as banished nun Vess and space captian Grix deal with the consequences of their choices – leaving the Renunciation and exposing Lux’s corruption, respectively. While on the run, Grix and her Sundog crew encounter a space pirate named Captain Turo, who only adds to their problems.

Christian Ward’s art continues to be the highlight of the book. Even though some panels feel unfocused or unfinished, his bold colors and character designs really lend themselves to science fiction. He does the heavy lifting of world building, which is critical in a successful sci-fi story.

However, Wilson’s writing continues to weigh things down. While the metaphors have retreated into the background (for now), the story slows down to a snail’s pace once Turo takes over the Sundog. Not only are we stuck in space, but the Lux/Renunication plot doesn’t move forward until the very end.

It’s even more frustrating that, while it’s amazing to see queer women take the lead in a sci-fi book (even though Grix fits the personality of every space captain), there is barely any character development. I can’t describe Vess’ personality beyond her commitment to a religion that betrayed her, and the other crew members, while recognizable, are barely given any attention.

spoilers this paragraph. There’s also a romance element that has, for me at least, no emotional investment, which is tough when it involves the two protagonists. There’s no clear understanding what Grix sees in Vess and vice versa, especially when Vess’ character isn’t explored. While Invisible Kingdom is science fiction genre first, it’s frustrating to not have any reason to cheer for a romance that will clearly be a bigger part of the story moving forward.

I’ve heard this will be a three part trilogy, and frankly, the fact that there’s one more volume is probably the only reason I’ll read it at this point. (I’m kind of shocked if that’s the case, why this book spent so much time in one place, with both characters and story.) I’m more looking forward to seeing what Ward will create for a climactic ending more than anything else – and perhaps Wilson can turn things around. But the latter looks far more bleak going into the finale.

Invisible Kingdom: Walking the Path

by G. Willow Wilson & Christian Ward
collects Invisible Kingdom #1=5
volume reviews one | two

Invisible Kingdom is an imaginative and vibrant science fiction series by G Willow Wilson (Ms. Marvel) and Christian Ward (OY-C). This debut book is very pretty to look at and introduces a few interesting characters, but it’s bogged down by its commentary of our own corruption and consumerism.

Our main protagonists are two women, Grix and Vess, who are on opposing sides of two major powers in their star system. Grix is your standard charismatic and stubborn starship captain, whose ragtag crew helps deliver packages for corporation Lux. Grix accidentally finds an error in Lux’s cargo manifest that’s more than just a typo. Vess is a “none,” a new initiate in the Renunciation, a cult like religion with an all powerful leader with a particular interest in Vess. Vess similarly finds that her calling isn’t all what it seems to be, and the two eventually find each other.

It’s refreshing to see Wilson writing a completely different kind of story than Ms Marvel, and Vess and Grix are interesting characters. I’ll never complain about two women leading a sci-fi story, even if they aren’t particularly against type in science fiction – Grix is basically Mal Reynolds from Firefly. Unfortunately there isn’t enough time spent to feel invested in the rest of the crew. I don’t remember any of their names, and Grix’s love interest among them was a reveal I wish I had cared about more.

A strong commentary or satire is a hallmark of good scifi stories, but here it’s distracting and too on the nose to be fully swept up in the story – or any message Wilson might be building to. Lux is clearly Amazon in space, and the Renunciation is Corporatized Big Religion. There’s no mystery or powerful message behind it either, and yet another commentary about the news and information consumerism swoops in at the end making it even more hollow. Between that and some standard sci-fi exposition, the story often feels bogged down by trying to do too much.

If everything covered in this volume had spanned two, Wilson could have focused more on character and let the commentary breathe and build more delicately, rather than hitting us over the head with it.

Christian Ward’s art, colors and lettering pulls everything together when the story is lacking. Even with all its bright colors – including, as one would expect with aliens, a rainbow of skin colors and body shapes – the world still feels grounded in its own reality. It never feels too outlandish, though sometimes the characters seem a bit out of focus. His lettering is also delightful, with the sounds of beeps, distress signals, and swooping ships in motion along with the art. The way Ward structures panels is also creative and dynamic, particularly during the final issue’s space battle.

After Ms Marvel, Wilson became an author whom I would follow without question to her next book. But surprisingly, it’s because of Ward’s art that I’m willing to check out volume two. I hope Wilson gives the next story arc more time to more fully realize her characters and dig deeper into the commentary. It’s an intriguing start.