A nun, a witch, and a Cardinal meet on the battlefield and make major decisions that will have massive consequences on their allegiances in Marian Heretic #3. The best comics are those that merge action-packed art and plot with thematic depth. Marian Heretic manages to balance developing both through the clearly researched writing and lived experiences of writer Tini Howard, and the dynamic storytelling from the art team of Joe Jaro and Walter Baiamonte.
This issue is heavy on plot and character development. A romance begins developing between Ravenna and Marian, Cardinal Bevolio makes his own first heretical steps away from the church, and Marian’s own past as a prizefighter are all developments from this issue that add plot tension; while still focusing on how this all affects Marian.
Rewarding Rereading and Research
It is impossible to discuss this series without doing a bit of a dive into some of the context and history that I learned after looking into some of the Catholic names and terms I wasn’t familiar with. I am so glad I did, because the depth and thought Howard puts into every detail is one of the series greatest strengths. Each issue so far has been full to the brim with these sorts of references, which reward rereading in a way not many series manage to do.
A rather important, but understated reveal from this issue is that Marian’s true name is Regina. Saint Regina is an obscure but real Catholic saint with ties to Mary, and it cannot be a coincidence. Born in the 3rd century to non-catholic parents, Saint Regina’s mother died during childbirth, and she was abandoned by her father after he discovered that the nurse who delivered her also baptized her. Saint Regina would be killed by a member of the Roman government for her devotion to her Catholic faith despite horrible torture.
Marian herself is constantly and consistently tested by Ravenna the Witch and the Cardinals, individuals with their own aims who use spirituality and religion to sway others. To add even more depth to this reveal, Regina in Latin translates to queen, and the Virgin Mary is referred to as the Regina Caeli, the Queen of Heaven. A central revelation of this issue is Marian’s visions of the Virgin Mary from her past life, again emphasizing that Marian has been forced into the life she has.
Where, Or When Are We?
One of the main problems I have with this series so far is the way information about the world outside the abbey has been presented. This issue does a lot to fill in some of these blanks. The previously mentioned revelation of Marian’s real name and her life as a boxer before becoming a nun, and the further development of Ravenna and her coven specifically, give readers insight into the broader world.
However, I’d still like a little more explicit explanation of where and when we are. From what we’ve seen, the Church is the ultimate power in this world, or at least it seems to be from Marian’s POV, exploring a bit of how this came to be and how those outside the Church feel about it would help solidify the comic’s greater stakes outside of just Marian’s personal stakes. It is possible, even probable, that after Benvolio’s seeming defection to Marian’s cause in this issue, the next issue will take a moment to breathe and explain more about the history of the Church and its actions. Still, this issue itself deals more with the corruption of it in the present day.
The Art Team is a Revelation
There are no shortcuts taken in this book. Every panel is brimming with background details and thoughtful design. A scene where Marian throws Cardinal Benvolio’s giant jeweled necklace to a crowd of sick and poor in response to his ironic lecture on doing what is right, while not the most action-packed scene, is a perfect example of Jaro’s work. The scene is full of dynamic action and faces, from both Benvolio and Marian, as well as the crowd, which conveys the intensity of the characters’ emotions, from anger to desperation.
Then there’s the actual fight scene at the finale of this issue, and what a finale it is. Ravenna and her coven conjure up a host of demons to cause trouble for the Church’s Crusaders, to begin Marian’s step away from the church, and the scene is suitably fiery and violent. The demons are otherworldly, rendered as if they’ve been scratched into the world itself somehow, harsh black and red lines without a clear outline make up their forms.
Walter Baiamonte’s color work has to be praised, where Jaro’s linework brings the action, and Baiamonte’s colors set the tone. Scenes with the Cardinals ironically have a heavy red palette, conveying both an older era and the fires of hell they are so obsessed with, whereas Ravenna’s coven are deep greens, suggesting a connection to nature while also giving off an underlying sinister feeling. The previously mentioned romance scenes between Ravenna and Marian are rendered realistically, but with an oversaturated, heightened topcoat.
Verdict
Tini Howard has been putting out great, though at times controversial work on big two series like Harley Quinn and Excalibur, Marian Heretic feels like the series Howard was waiting to unleash on us their whole career.
Marian Heretic issue 3 is a comic that is nuanced and deep in writing and art but could’ve done more to explore and explain the world it has built. Only one action scene might be a problem for some readers, but the quality of the non-action scenes is so high that they more than make up for it. If the team can continue this momentum through the end of the intro arc, Boom! Studios might be looking at their next monster hit. In two years, everyone will be scrambling to find first prints of this series.
Read More from KPB Comics:
Action Meets Theology: ‘Marian Heretic’ #3 Sets a New Standard for World-Building
Marian Heretic #3 cements the series as Boom! Studios’ next major powerhouse. It balances a budding romance, internal church politics, and high-octane action with a level of sophistication rarely seen in indie comics. If you aren’t on board yet, act now—before the rest of the world catches on and those first prints become impossible to find.
