Image Comics’ Vanish #4 continues to be the antithesis of Harry Potter, as it proves that stylized violence and magic go hand in hand in Donny Cates and Ryan Stegman’s fantastical superhero story. Written by Cates, penciled by Stegman, inked by JP Mayer, colored by Sonia Oback, and lettered by John J. Hill, the new issue continues to ask questions about Oliver Harrison’s methods and who the real heroes and villains are.
Oliver continues to smash his way through Vanish’s squad. In this issue, he goes toe-to-toe with the monstrous Battery, who also appeals to Oliver to listen and talk rather than fight. Much like before, the protagonist has his fingers in his ears, choosing the way of the fist because, as he says: “Violence solves everything.” Elsewhere, Deacon is visited by the mysterious Halcyon, who wants to organize a meet-up with Oliver.
As hinted at in Vanish #3, Oliver isn’t exactly the hero he sees himself to be. However, Cates adds another layer to this story in this new issue. Oliver might not be an antihero or even the big bad, but he isn’t helping the situation by being a stubborn mule. He could turn his back on this whole magical situation or try to tackle it in a more sensible way, but he’s being drawn to it for similar reasons as the villain. It’ll be interesting to see how his story develops from this point onwards, as there are several intriguing paths it can take.
Vanish #4 continues to surprise with the way its narrative unfolds. As soon as the reader believes they have it all figured out, Cates pulls the rug out from under them. This isn’t a bendy affair where there are twists and turns on every page, but there’s an evolution to the story that isn’t afraid to veer from the expected traditional tropes. On the surface, Vanish might look like a superhero comic book through and through, but it certainly doesn’t behave like one — which is one of its biggest strengths along with the fantastic art.
By now, fans should know what to expect from the creative team. Stegman, Mayer, and Oback are not choosing the less-is-more option at all. From the striking action poses to the explosion of colors and over-the-top sound effects, Vanish #4 embraces all of its influences and amplifies them even further. Stegman’s art spoke for itself on Venom, but it’s evident from his work in Vanish that he is one of the best modern artists to tackle action on the page. Every battle he draws feels like it is designed to be on the front of a trading card or poster.
Vanish #4 doesn’t slow down the pace or take it easy in the slightest. Instead, it continues to pummel the senses and embrace all the magic and mayhem. It isn’t a one-trick pony, though, as the story holds the potential to head off in different directions. But most importantly, it never stops being fun to read.
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