In Review: Oberon #3

A heroine is in peril and the title character schemes, while supporting characters all want little Bonnie Blair.

The cover: Within the labyrinth Bonnie is running from an oversized pigman who wants to eat her. However, look just above the monster and you’ll see that this is only half the illustration. Milos Slavkovic has also illustrated Oberon, Mother Mayie, and Nicholas looking into the pool of water that’s showing this frightening chase. This is a very clever way to show that the young girl is not being ignored as she’s being pursued. My physical copy of this book has a much more darkly colored cover than the digital one that accompanies this review. Lightening this up just a titch would have made them much more easier to see. Overall grade: B+

The story: Ryan Parrott begins this issue with the origin of the creature that’s after Bonnie. It’s cool and absolutely creepy. I like how Bonnie is able to avoid being eaten on the second page with a way that is absolutely appropriate for a tween. The dialogue between Mother Mayie and Oberon is good; I like when writers are able to create a history that’s never explicitly discussed, but is obvious with their conversations. Pages 5 and 6 reintroduce a character to the reader who appeared earlier in the series and answers a question that was left hanging at the end of Issue 1. A powerful character appears on 6 and I know that this will not be this individual’s sole appearance in this series. I was surprised by the action at the bottom of 8; it’s believable, but a major change in this character. The twist on what Oberon employs on 11 is neat. Pages 13 – 14 feature the backstory of a supporting character that’s sad, twisted, and cool. Parrott seems to be delivering this history for later drama. I love the treachery on 17 – 18 and the origin that follows it. The issue ends on a cliffhanger with an ally now an enemy. I have no idea where this book is headed and that makes it absolutely entertaining. Overall grade: A+

The art and the colors: You haven’t looked at comic book art until you’ve looked at this work by Milos Slavkovic. This is a wonderful fantasy world. However, this isn’t rainbows and unicorns, although there were unicorns in the first issue. This is fantasy that can be dark and horrible. The first page is a wonderful visual retelling of what happened to a pair of characters and neither appears in it. If this page seems rather simple, jump to Page 9 and it will show how brilliant the opening page is. Very, very clever. The entrance of the beast on the second page is shown spectacularly from Bonnie’s point of view, with the beast hanging over her and the reader. The intelligence of the creature is smashingly shown at the bottom of the same page — love it! I love the design of the fountain on Page 3. It’s gorgeous, but also has a very sinister edge, considering who’s looking into it. Oberon’s entrance in the third panel is like the arrival of a king, and that elongated jacket tail is fabulous every time it appears, writhing about behind him. The same can be said of Mother Mayie’s clothes which are always spiraling. The second panel on 4 is beautiful, but note how Slavkovic makes Mayie seem as though she has no feet and Oberon’s jacket alive. The large panel on 5 is a spectacular way to introduce the status of a returning character and tease who’s abode she’s in. The twists and turns of all the shapes at the top of 6 are gorgeous and befitting of this individual. The tans and yellows used in this panel connote fall, but the chair’s violet calls back to Oberon’s shades. Bonnie’s size is again played up visually at the start of 8 with the point of the view of the panel killer. The bright colors on 11 are perfect for the object employed. I love the design of the residence on 12 with its exterior and interiors the stuff of dreams and nightmares. This issue really shows how Slavkovic can change just a few elements in a previous panel to create some fluid motion, as he does so well at the bottom of 13. The entrance at the bottom of 14 is like the arrival of Satan himself. I am so happy that violets are used for night settings rather than black; they give the settings a very fanciful feel rather than the absolute snuffing of light. The anger and joy that end 18 are brilliant. The flashback on 19 is great and the last panel that ends the book is a sensational way to make the reader anxious for thirty days. Overall grade: A+

The letters: Charles Pritchett is responsible for narration, dialogue, scene settings, sounds, screams, and an ending yell. I love the look of the narration in this book which looks as though it’s been pulled from a tale about fairies. The scene settings are slightly elongated bold letters that make the change in locations dramatic. The sounds are powerful, as are the screams that occur. The ending yell is a different font from the dialogue that proceeds it, making it a deliciously harsh utterance. Overall grade: A+

The final line: A heroine is in peril and the title character schemes, while supporting characters all want little Bonnie Blair. Tales of the fae have glossed over the horrors that they can create for mortals, but this book clearly shows how manipulative they can be. The story is entertaining on every page, whether a character faces certain doom or others’ plots unwind and are ruined. The visuals make this a stunning looking experience: beauties and horrors to create gasps of joy and terror. This is a series you need to read. Overall grade: A+

To order a digital copy go to

To see the cover visit my Instagram account: patrickhayesscifipulse

Patrick Hayes was a contributor to the Comic Buyer's Guide for several years with "It's Bound to Happen!" and he's reviewed comics for TrekWeb and TrekCore. He's taught 8th graders English for 20 years and has taught high school English for five years and counting. He reads everything as often as he can, when not grading papers or looking up Star Trek, Star Wars, or Indiana Jones items online.
    No Comment