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Velvet #1-3
Velvet - Integral
“VELVET je triler koji vas drži u neizvjesnosti, ali od toga ne pravi preveliku dramu. Obiluje li cliffhangerima (a obiluje), oni se besprijekorno stapaju u sveobuhvatan, primamljiv i zarazan svijet koji su stvorili njegovi autori. Brubaker i Epting su moj najdraži stripovski tandem, a ovdje su u naponu snage.”
Ta-Nehisi Coates
(Black Panther, Between the World and Me)
“VELVET je nalik najraskošnijoj torti na svijetu. Ona je simfonija okusa, tako bogata i zadovoljavajuća da ne želite da završi.”
IGN
“VELVET je priča koju zanimaju posljedice. Ne bavi se samo onime što se špijunima događa za vrijeme njihovih uzbudljivih misija, već i time što im se događa poslije: kako preživljavaju nakon što prežive.”
Wired
Ta-Nehisi Coates
(Black Panther, Between the World and Me)
“VELVET je nalik najraskošnijoj torti na svijetu. Ona je simfonija okusa, tako bogata i zadovoljavajuća da ne želite da završi.”
IGN
“VELVET je priča koju zanimaju posljedice. Ne bavi se samo onime što se špijunima događa za vrijeme njihovih uzbudljivih misija, već i time što im se događa poslije: kako preživljavaju nakon što prežive.”
Wired
416 pages, Hardcover
First published February 7, 2017
8 people are currently reading
635 people want to read
About the author
Ed Brubaker
1,796 books3,009 followersEd Brubaker (born November 17, 1966) is an Eisner Award-winning American cartoonist and writer. He was born at the National Naval Medical Center, Bethesda, Maryland.
Brubaker is best known for his work as a comic book writer on such titles as Batman, Daredevil, Captain America, Iron Fist, Catwoman, Gotham Central and Uncanny X-Men. In more recent years, he has focused solely on creator-owned titles for Image Comics, such as Fatale, Criminal, Velvet and Kill or Be Killed.
In 2016, Brubaker ventured into television, joining the writing staff of the HBO series Westworld.
Brubaker is best known for his work as a comic book writer on such titles as Batman, Daredevil, Captain America, Iron Fist, Catwoman, Gotham Central and Uncanny X-Men. In more recent years, he has focused solely on creator-owned titles for Image Comics, such as Fatale, Criminal, Velvet and Kill or Be Killed.
In 2016, Brubaker ventured into television, joining the writing staff of the HBO series Westworld.
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Displaying 1 - 30 of 96 reviews
March 20, 2021
(A-) 82% | Very Good
Notes: A smoky, cinematic noir oozing analog cool that treats espionage as a game of best guesses, ripostes and obfuscation.
Notes: A smoky, cinematic noir oozing analog cool that treats espionage as a game of best guesses, ripostes and obfuscation.
November 14, 2024
Just who exactly is she, sir?
Because she sure as hell isn't any secretary.
Velvet is my favorite Brubaker story.
And Steve Epting & Elizabeth Breitweiser's art is incredible here. Just...wow.
I've read this in the volumes before but this collected edition is just so nice that I sat down and read the whole shebang again in one sitting. <--I may have taken a break here and there for snacks, but otherwise, my ass sat in the comfy chair for the whole afternoon.
The skinny gist is you have an older version of the Miss Moneypenny character from James Bond who starts looking into what she thinks is a suspicious death of an agent she knew.
Next thing she knows, she's being framed for murder and treason.
But when agents try to bring her in, they're met with quite a surprise. It seems as though Velvet isn't at all what everyone thought she was, and she's not going down without a fight.
The rest of this her looking back on how she became a secretary, while trying to find out who set her up and why. Spy shenanigans galore are happening, and we get to go along for the ride as she stays one step ahead of everyone who is after her.
There's another agent named Cole who has been assigned to find her, but the more he uncovers about her and the man she supposedly killed, the more he smells a rat. And all of this happens around the time of the Watergate investigations, so the politics of the time play into the plot a bit as well.
Bottom line is that this was the spy story I never knew I always wanted.
Highly Recommended.
On a personal note, I happened to be lucky enough to grab the last copy of this hardback at HeroesCon in Charlotte and get it signed by Steve Epting.
Because she sure as hell isn't any secretary.
Velvet is my favorite Brubaker story.
And Steve Epting & Elizabeth Breitweiser's art is incredible here. Just...wow.
I've read this in the volumes before but this collected edition is just so nice that I sat down and read the whole shebang again in one sitting. <--I may have taken a break here and there for snacks, but otherwise, my ass sat in the comfy chair for the whole afternoon.
The skinny gist is you have an older version of the Miss Moneypenny character from James Bond who starts looking into what she thinks is a suspicious death of an agent she knew.
Next thing she knows, she's being framed for murder and treason.
But when agents try to bring her in, they're met with quite a surprise. It seems as though Velvet isn't at all what everyone thought she was, and she's not going down without a fight.
The rest of this her looking back on how she became a secretary, while trying to find out who set her up and why. Spy shenanigans galore are happening, and we get to go along for the ride as she stays one step ahead of everyone who is after her.
There's another agent named Cole who has been assigned to find her, but the more he uncovers about her and the man she supposedly killed, the more he smells a rat. And all of this happens around the time of the Watergate investigations, so the politics of the time play into the plot a bit as well.
Bottom line is that this was the spy story I never knew I always wanted.
Highly Recommended.
On a personal note, I happened to be lucky enough to grab the last copy of this hardback at HeroesCon in Charlotte and get it signed by Steve Epting.
June 8, 2019
Velvet is a heavy dose of feminism and existentialism in spy fiction. And it's awesome.
"Of course, even after I know the truth, I still underestimate her..."
Velvet Templeton is a middle-aged female spy, a detail that shouldn't be glossed over. It's not just a quick character choice to be progressive, it's a huge theme and basically the entire point. Reading the essays in the back of this edition, spy fiction and the female sidekick have changed and evolved immensely. These women were mostly chaste and distant, asexual and masculine, or sexual and subservient, but rarely a strong and sexual but unromantic lead character, and that's exactly what she is!
Velvet goes from Girl Friday and Bond Girl to The Spy. She's smart and strong yet lonely. Sexy yet decent, unromantic and independent. Skilled yet fallible. Powerful yet subtle. And she has a nervous breakdown and is forced to take a desk job while haunted by her past. She's a real person!
It's no coincidence that she begins this story as a secretary, then after being underestimated, disables a roomful of soldiers, jumps from a four-story window, gets in a car chase, and dives and climbs aboard a ship to be smuggled out of the country. Which plays on bombastic genre tropes yet breaks through the gender normative behaviors of a spy and female secretary respectively. Cool, right? It's brilliant!
Onto the artwork... Steve Epting is incredible! His illustrations exemplify the phrase "photorealistic." They're clean, dark and dramatic. But somehow Elizabeth Breitweiser steals the show with her colors. They're mellow yet illuminating. And she makes rain look downright psychedelic. The illustrations are just insane.
Listen, this has a lot going for it, but it's not the deepest story Brubaker has ever done. At the end of the day it's a spy thriller romp. But it does bring noir to spy fiction with a strong female protagonist in a genre plagued and dominated by male characters, and that's a big deal. And the story is fast and exciting, high adventure, politically complex, but also rooted in that grim neurosis Brubaker is known for. A good balance of high and low, fast and slow. And it's superiorly illustrated and colored. So go get it!
A Short Note on the Deluxe Edition...
This edition is absolutely beautiful, and of course it is, because it's from Image. The artwork, unlike Brubaker's previous hardcovers, is finally oversized. And it's really nice to see it (and more splash pages) in this format. The durable hardcover is a striking black, cream and off-white, with the coolest looking spine ever. The paper is super thick semi-gloss. The sewn binding is a little tight but strong, with minimal gutter loss. And the extras are great as usual, twenty pages of afterword, essays, covers, sketches and a teaser. Totally worth a buy if you're a fan of Brubaker, Epting or Breitweiser.
February 22, 2017
Well color me impressed!
Brubaker once again creates a graphic novel that can be used to show people that comic books aren't just all about flying superheroes and aliens, and this is his best work that I've read so far! This time, the story is about Velvet Templeton, secretary for the head of the elite international spy agency ARC-7. After one of their top agents is killed and she finds herself framed for the murder, Velvet must use skills that no one expected she possessed to clear her name. You see, Velvet used to be one of ARC's most skilled field agents before retiring to a safe desk job in secret. But it turns out she's still got the juice!
What follows is a fully action-packed spy thriller in the same vein as the James Bond, Jason Bourne, or Sterling Archer thrillers, balanced with a lot of the same espionage intrigue as John Le Carré's stories. So if you have even a passing interest in any of that stuff you'll love this. Even if you don't you'll probably still love this.
It took me a while to read it not because it was slow or boring but because I kept taking ridiculous amounts of time to gaze at every page. It has some of the most gorgeous artwork I've seen in a graphic novel yet. I'm not super knowledgeable with the ways comic book production works so I don't know who to credit for the lighting in comics. Is it the colorist? If so, kudos to the MVP, Elizabeth Breitweiser, and her stunning lighting and colors here, in conjunction with Steve Epting's detailed drawings. Every page is lovely and filled to the brim with texture.
I read the story in its three individually released volumes and each chapter becomes more exciting than the next, with exhilarating set-pieces, a plot that moves so fast, if you blink you'll miss it all, and characters with shady intentions. And it's all grounded by Velvet herself, a resourceful secretary who can kick anyone's ass and hold her own against fellow badasses like Bourne, Jack Bauer, Sterling Archer, and Chuck Norris. This is the best work I've read so far by Ed Brubaker, this time working outside of his partnership with artist Sean Phillips, collabing with Epting instead, the artist from his Captain America run, who provides slicker edges to the art than the down-and-dirty Phillips, and seems like a better fit for this world of international spy-work. You can read it now in its cheaper three part releases, or wait until this deluxe hardcover edition, which will undoubtedly have a bunch of cool extras!
Brubaker once again creates a graphic novel that can be used to show people that comic books aren't just all about flying superheroes and aliens, and this is his best work that I've read so far! This time, the story is about Velvet Templeton, secretary for the head of the elite international spy agency ARC-7. After one of their top agents is killed and she finds herself framed for the murder, Velvet must use skills that no one expected she possessed to clear her name. You see, Velvet used to be one of ARC's most skilled field agents before retiring to a safe desk job in secret. But it turns out she's still got the juice!
What follows is a fully action-packed spy thriller in the same vein as the James Bond, Jason Bourne, or Sterling Archer thrillers, balanced with a lot of the same espionage intrigue as John Le Carré's stories. So if you have even a passing interest in any of that stuff you'll love this. Even if you don't you'll probably still love this.
It took me a while to read it not because it was slow or boring but because I kept taking ridiculous amounts of time to gaze at every page. It has some of the most gorgeous artwork I've seen in a graphic novel yet. I'm not super knowledgeable with the ways comic book production works so I don't know who to credit for the lighting in comics. Is it the colorist? If so, kudos to the MVP, Elizabeth Breitweiser, and her stunning lighting and colors here, in conjunction with Steve Epting's detailed drawings. Every page is lovely and filled to the brim with texture.
I read the story in its three individually released volumes and each chapter becomes more exciting than the next, with exhilarating set-pieces, a plot that moves so fast, if you blink you'll miss it all, and characters with shady intentions. And it's all grounded by Velvet herself, a resourceful secretary who can kick anyone's ass and hold her own against fellow badasses like Bourne, Jack Bauer, Sterling Archer, and Chuck Norris. This is the best work I've read so far by Ed Brubaker, this time working outside of his partnership with artist Sean Phillips, collabing with Epting instead, the artist from his Captain America run, who provides slicker edges to the art than the down-and-dirty Phillips, and seems like a better fit for this world of international spy-work. You can read it now in its cheaper three part releases, or wait until this deluxe hardcover edition, which will undoubtedly have a bunch of cool extras!
September 12, 2017
Okay I had already read and reviewed the first three volumes (covering 15 individual comics) of Brubaker-Epting-Breitweiser's Velvet, and loved them, but I was passing by my library's new Graphic Novels shelves and saw this big beautiful book, and took it home so I could read this long arc in (largely) one sitting. And it's even better this time. It's a spy thriller. But what this crew brought to Captain America and what Brubaker and Michael Lark brought to Daredevil--a dark, character-driven, noir sensibility--they now bring to the spy thriller.
In an age of kick-ass girl superheroes and detectives, Brubaker and Co. turn to a middle-aged Velvet Templeton, who has been a secretary to a secret spy org for many years. What most don't know is that she was once a very active member of the organization, her husband was killed, she was traumatized, she became a secretary, and then when a crisis required it, became active again, to investigate a possible mole in the organization, herself set up by the said mole. And what does this early seventies spy noir have to do with Nixon and Watergate?! That's all I will say about that, though I loved hearing an interview with spy thriller novelist supreme John le Carré today on NPR about his latest novel. Brubaker read a lot of spy thrillers such as le Carré's to begin his series and discovered that middle-aged women were never featured as active participants in such books in the fifties and sixties. Like to see Bond's Miss Moneypenny as brutal, tough, sexy, highly skilled? Velvet is your woman. This is a great book to read if you like spy stories. And could not have been accomplished without the great noir art by Steve Epting, with remarkable coloring by Elizabeth Breitweiser.
The primary great review to read of this particular deluxe handover omnibus edition is by Mad Tom:
https://www.goodreads.com/review/show...
In an age of kick-ass girl superheroes and detectives, Brubaker and Co. turn to a middle-aged Velvet Templeton, who has been a secretary to a secret spy org for many years. What most don't know is that she was once a very active member of the organization, her husband was killed, she was traumatized, she became a secretary, and then when a crisis required it, became active again, to investigate a possible mole in the organization, herself set up by the said mole. And what does this early seventies spy noir have to do with Nixon and Watergate?! That's all I will say about that, though I loved hearing an interview with spy thriller novelist supreme John le Carré today on NPR about his latest novel. Brubaker read a lot of spy thrillers such as le Carré's to begin his series and discovered that middle-aged women were never featured as active participants in such books in the fifties and sixties. Like to see Bond's Miss Moneypenny as brutal, tough, sexy, highly skilled? Velvet is your woman. This is a great book to read if you like spy stories. And could not have been accomplished without the great noir art by Steve Epting, with remarkable coloring by Elizabeth Breitweiser.
The primary great review to read of this particular deluxe handover omnibus edition is by Mad Tom:
https://www.goodreads.com/review/show...
December 29, 2019
Imagine if Miss Moneypenny used to be a topnotch spy before she was a secretory for M and then was framed for murder. That's the premise here. Velvet Templeton is a complete badass. The story is set in the 70's and Templeton uses the misogyny of the day as another weapon in her arsenal, either through sex or posing as an overlooked wallflower. Take the best of any spy novel or Bond film you've ever seen and roll it into one and you have Velvet.
Epting and Breitweiser's art is top notch. Steve Epting has this classic look to his pencils that brings back the time period perfectly. On top of that is Elisabeth BreitWeiser's gorgeous colors. Together they make the book look like a cover to a Bond novel brought to life. Velvet steps off the cover and into the first panel.
Epting and Breitweiser's art is top notch. Steve Epting has this classic look to his pencils that brings back the time period perfectly. On top of that is Elisabeth BreitWeiser's gorgeous colors. Together they make the book look like a cover to a Bond novel brought to life. Velvet steps off the cover and into the first panel.
October 3, 2023
9/10 ⭐⭐⭐⭐⭐
“...todos habíamos tenido un rollo a escondidas con la secretaria del director.
Y todos creíamos que éramos el único. Un grupo de espías y asesinos muy preparados, y nos la había jugado a todos...
...con facilidad.
Fue entonces cuando me di cuenta de lo peligrosa que era Velvet Templeton. Y de que ninguno la conocíamos de verdad.
Ahora desearía haber hablado de eso con ella...
Haberle preguntado por las cicatrices que tan bien escondía... Y qué más podría estar escondiendo.
Tal vez entonces las cosas habrían sido distintas.
Tal vez...”
Existe un juego en el que las piezas del tablero son personajes que fuman, llevan pistola y mienten como regla principal del juego. Un juego de espías, de agentes dobles, un juego dentro de otro juego. Un juego donde se puede morir, a veces, más de una vez. Donde las miradas hablan, aunque callan secretos. Donde el sexo es real, pero parte de la mentira. Un juego en el que una vez empiezas la partida, no puedes abandonar. Solo se abandona cuando te eliminan.
Un cómic casi perfecto. Casi. Tan bueno, se disfruta tanto, que cualquier final sería malo porque significa que termina. El "viaje" de la protagonista es espectacular. Conocer a Velvet, junto con su pasado, mientras investiga e intenta sobrevivir es lo mejor del cómic. Cuando llegas al final fastidia, precisamente por eso, se acaba la diversión.
Y es que no podría ser de otra manera con Ed Brubaker al guión, dirigiendo el juego. Steve Epting, al dibujo, se ocupa de transformar en arte el humo de un cigarrillo, la sangre que mancha un cuerpo traicionado o la mirada penetrante de alguien que está dispuesto a matar o morir. Y Elizabeth Breitweiser le da color. ¡Vaya equipo!
Por cierto, ¿qué quién es Velvet? Velvet es la secretaria del director del ARC-7, la agencia donde todas las misiones son operaciones negras. Y aunque Velvet es capaz de seducir con las curvas de su cuerpo, muchas veces prefiere las de su Walther P38 de 9 mm. Cuestión de trabajo.
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“...todos habíamos tenido un rollo a escondidas con la secretaria del director.
Y todos creíamos que éramos el único. Un grupo de espías y asesinos muy preparados, y nos la había jugado a todos...
...con facilidad.
Fue entonces cuando me di cuenta de lo peligrosa que era Velvet Templeton. Y de que ninguno la conocíamos de verdad.
Ahora desearía haber hablado de eso con ella...
Haberle preguntado por las cicatrices que tan bien escondía... Y qué más podría estar escondiendo.
Tal vez entonces las cosas habrían sido distintas.
Tal vez...”
Existe un juego en el que las piezas del tablero son personajes que fuman, llevan pistola y mienten como regla principal del juego. Un juego de espías, de agentes dobles, un juego dentro de otro juego. Un juego donde se puede morir, a veces, más de una vez. Donde las miradas hablan, aunque callan secretos. Donde el sexo es real, pero parte de la mentira. Un juego en el que una vez empiezas la partida, no puedes abandonar. Solo se abandona cuando te eliminan.
Un cómic casi perfecto. Casi. Tan bueno, se disfruta tanto, que cualquier final sería malo porque significa que termina. El "viaje" de la protagonista es espectacular. Conocer a Velvet, junto con su pasado, mientras investiga e intenta sobrevivir es lo mejor del cómic. Cuando llegas al final fastidia, precisamente por eso, se acaba la diversión.
Y es que no podría ser de otra manera con Ed Brubaker al guión, dirigiendo el juego. Steve Epting, al dibujo, se ocupa de transformar en arte el humo de un cigarrillo, la sangre que mancha un cuerpo traicionado o la mirada penetrante de alguien que está dispuesto a matar o morir. Y Elizabeth Breitweiser le da color. ¡Vaya equipo!
Por cierto, ¿qué quién es Velvet? Velvet es la secretaria del director del ARC-7, la agencia donde todas las misiones son operaciones negras. Y aunque Velvet es capaz de seducir con las curvas de su cuerpo, muchas veces prefiere las de su Walther P38 de 9 mm. Cuestión de trabajo.
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April 14, 2017
First, the "bad": The plot isn't terribly original. It's another spy agency with a secret and a cover-up, with the hero accidentally discovering the secret and has to go on the run to prove their innocence. The main difference is the hero is actually a heroine. Velvet is a very capable spy and I had no problems watching her go through the paces, however, I felt there wasn't quite enough characterization for her. You do get some inkling of how she is through flashback and some inner monologue, but it's very shallow. Even she reveals that most spies are kind of the same: trying to grab just a moment of fun and happiness in a life that isn't. While she can hold her own against many of the other famous spies, there isn't much that differentiates her other than she's a woman.
As far as the rest, it's outstanding. The production value of the entire thing is top notch and once again, I think Breitweiser's coloring steals the show. Every panel has so much depth with coloring gradient and multiple lights source and shadows, all evoking a dark shadowy mood that fits the story. Epting's art is beautiful, especially the covers. I've really missed seeing his work since Captain America.
Yet another top notch piece from Brubaker and friends. It's a fun ride and gorgeous on the eyes. The story does conclude and of course there is room for more adventures, but this is an excellent introduction to Velvet.
As far as the rest, it's outstanding. The production value of the entire thing is top notch and once again, I think Breitweiser's coloring steals the show. Every panel has so much depth with coloring gradient and multiple lights source and shadows, all evoking a dark shadowy mood that fits the story. Epting's art is beautiful, especially the covers. I've really missed seeing his work since Captain America.
Yet another top notch piece from Brubaker and friends. It's a fun ride and gorgeous on the eyes. The story does conclude and of course there is room for more adventures, but this is an excellent introduction to Velvet.
April 15, 2017
Everything I hoped this would be. :) Epting's art is great and they actually use the oversize pages to good effect in this volume (unlike some of the other oversize Brubaker Image hardcovers). The mystery was interesting and that story had some great twists and turns
Interesting to note Brubaker said he had to wait seven years to write this one. He says he has ideas about the next Velvet story, hopefully we won't need to wait anywhere near that long for the second story.
Interesting to note Brubaker said he had to wait seven years to write this one. He says he has ideas about the next Velvet story, hopefully we won't need to wait anywhere near that long for the second story.
November 19, 2017
A beautiful book, with wonderful art from Epting.
The story did keep me guessing, but I wasn’t blown away as much as I wanted to be.
The story did keep me guessing, but I wasn’t blown away as much as I wanted to be.
January 20, 2024
Brubaker apuesta por un argumento en la encrucijada entre las películas de Bond de los 60, el Le Carré del Circus rebajado de alienación y gotas de Los tres días del cóndor. El resultado es una historia de espías absorbente y enrevesadilla, con un giro muy interesante cuando la política real se entremezcla con los retruécanos de la ficción. El arte de Epting discurre en su línea habitual, con una mirada todavía más cinematográfica gracias al exceso de planos horizontales. Se realimenta de fábula con un color de Elizabeth Breitweiser que ayuda a meterte en la época y el tono.
May 16, 2017
Let me be clear up front: I had a blast reading this. Brubaker and Epting are an absolute powerhouse duo, and have collaborated on some of my favorite spy comics ever. Velvet is no exception. It's a thrilling, page-turning mystery set in the heart of the Cold War, and the spy world Brubaker has crafted is rich and intriguing. I flew through this, and I'll probably even revisit it some day.
But now the negative parts. First off, Velvet is all plot, and not a particularly fresh one. It's the story of a super spy trying to track down some traitors in her agency and clear her name. It's basically The Fugitive meets James Bond. There's little-to-no character development, and I had a very hard time distinguishing between the endless swaths of white male spies. I kept having to go back and remind myself who several of them were, because they just looked too damn similar.
Now, I will say that, while this is a tried-and-true formula, Brubaker's excellent writing and Epting's visual flare make this stand out when compared to other spy thrillers like this. It feels like its own thing, in large part due to their individual distinct styles, which complement each other perfectly. So, it's still intensely readable.
But, that character stuff is a drag. Also, I've heard a lot of praise for how feminist this series is, but I don't really see what makes it particularly feminist. Yes, it has a female protagonist, but she's pretty much the only female character in the book, and isn't given much of a backstory besides "is good at being a spy" and one other, kind of out-of-nowhere character moment I won't spoil. It's certainly not ANTI-feminist, but I don't think it's some sort of shining light, either.
And lastly, I'll say that the whole premise of the book is basically unused. The set up is this: Velvet is a secretary at a superspy organization who is revealed to be a better-equipped spy than anyone else at the agency. It's like if Moneypenny turned out to be more badass than James Bond. That's cool! I like that setup!
However, after the initial reveal of that twist in literally the first few pages, it never matters that Velvet was a secretary ever again. She's basically just an impossibly awesome superspy for the rest of the book. The twist that she was more than "just a secretary" never comes back up, and doesn't lead to any sort of expanded character story or anything. It's just literally the setup, and thus feels a little squandered.
So, all in all, what I'm reviewing here is a very apt, thrilling, well-constructed spy tale. It's not going to blow your mind or become one of your favorite things you've ever read, but it's also not going to bore you. It's kind of a beach read, only for comics, which you probably don't want to get sand in. They're valuable or whatever.
But now the negative parts. First off, Velvet is all plot, and not a particularly fresh one. It's the story of a super spy trying to track down some traitors in her agency and clear her name. It's basically The Fugitive meets James Bond. There's little-to-no character development, and I had a very hard time distinguishing between the endless swaths of white male spies. I kept having to go back and remind myself who several of them were, because they just looked too damn similar.
Now, I will say that, while this is a tried-and-true formula, Brubaker's excellent writing and Epting's visual flare make this stand out when compared to other spy thrillers like this. It feels like its own thing, in large part due to their individual distinct styles, which complement each other perfectly. So, it's still intensely readable.
But, that character stuff is a drag. Also, I've heard a lot of praise for how feminist this series is, but I don't really see what makes it particularly feminist. Yes, it has a female protagonist, but she's pretty much the only female character in the book, and isn't given much of a backstory besides "is good at being a spy" and one other, kind of out-of-nowhere character moment I won't spoil. It's certainly not ANTI-feminist, but I don't think it's some sort of shining light, either.
And lastly, I'll say that the whole premise of the book is basically unused. The set up is this: Velvet is a secretary at a superspy organization who is revealed to be a better-equipped spy than anyone else at the agency. It's like if Moneypenny turned out to be more badass than James Bond. That's cool! I like that setup!
However, after the initial reveal of that twist in literally the first few pages, it never matters that Velvet was a secretary ever again. She's basically just an impossibly awesome superspy for the rest of the book. The twist that she was more than "just a secretary" never comes back up, and doesn't lead to any sort of expanded character story or anything. It's just literally the setup, and thus feels a little squandered.
So, all in all, what I'm reviewing here is a very apt, thrilling, well-constructed spy tale. It's not going to blow your mind or become one of your favorite things you've ever read, but it's also not going to bore you. It's kind of a beach read, only for comics, which you probably don't want to get sand in. They're valuable or whatever.
January 21, 2021
Velvet Eda Brubakera je diamant! Perfektně vybroušený a naleštěný drahokam. A to říkám i přes to, že se mi hlavní zápletka ve výsledku až tak moc nelíbila. Ta tam totiž není až tak důležitá. Tady je důležité to, jak je příběh vyprávěný, jakou má atmosféru a jaké vzbuzuje emoce. Velvet je jako ty nejlepší filmy o špionech. Strhující akce, napětí, nečekané zvraty, šokující odhalení, krásná auta, neohrožení agenti a nádherné ženy. Prostě jako filmy s Jamesem Bondem, kde by ale hlavní hrdinkou a nejlepším agentem byla sekretářka Moneypenny. Tady se ta sekretářka jmenuje Velvet Templeton a je to naprosto úchvatná čtyřicátnice, kterou si prostě zamilujete a na každém panelu ji budete doslova hltat očima. O to více, že Velvet má fantastickou kresbu Steva Eptinga a barvy Elizabeth Breitweiserová. To, co ti dva spolu vytvořili, je dechberoucí. Skoro každý panel by se dal použít jako úžasná obálka. Už dlouho jsem nečetl takhle skvěle nakreslený komiks. To jak jsou nakreslené třeba noční scény, s pouličním osvětlením v pozadí, to je naprosto fantastické. A když u toho ještě prší, tak si pomalu sami při čtení otevíráte deštník. Deluxe kniha se vším všudy!
April 4, 2021
So, is the life of a spy as exciting as we think it is? Is there action and intrigue and violence? Danger and dangerous sex? There sure is. Velvet offers a nice twist on the spy tropes, though. In Brubaker's story it's not agent 007, but Ms. Moneypenny who kicks ass and causes trouble.
When we first meet Velvet Templeton, she works as a secretary BUT she sure as hell isn't just a secretary.
Great pacing, immersive plot, and gorgeous art make it a perfect spy-thriller romp. Highly recommended.
When we first meet Velvet Templeton, she works as a secretary BUT she sure as hell isn't just a secretary.
Great pacing, immersive plot, and gorgeous art make it a perfect spy-thriller romp. Highly recommended.
August 25, 2018
When I was reading this Image comic from the bestselling creators of Captain America: The Winter Soldier, I was reminded of my favourite Bond flick Skyfall, which introduced MI6 field agent Eve (played by Naomie Harris), who at the end of the film was revealed to be the iconic secretary Moneypenny, a small character who throughout the entire James Bond series was known for the underscored romantic tension between her and Bond. Considering more people are familiar with Lois Maxwell's portrayal that has appeared in the majority of Bond films, Ed Brubaker and Steve Epting take the archetype of the middle-aged secretary to a whole new level in the title character of Velvet Templeton.
Set during the early seventies, the world's greatest secret agent is killed, and all evidence points to Velvet, the personal secretary to the Director of the British covet ops Intelligence Agency, known as Arc-7. But Velvet's got a dark secret buried in her past... because she's also the most dangerous woman alive.
The elevator pitch of this comic is, "what if Moneypenny was the James Bond of her day". Obviously under the writing of Brubaker, known for his dark crime/mystery comics, Velvet is less campy than Bond and doesn't resolve all her problems with gimmicky gadgets, although she does have a kick-ass pitch-black stealth suit that can glide. Another key aspect that differentiates herself from Bond is how Velvet's past has emotionally compromised her and how those demons come back to haunt her when she is set up by someone else working for Arc-7. The story lends more to the Bourne series as it's about a former secret agent on the run due to investigating a murder mystery that leads to a huge government conspiracy.
As much as Velvet is a compelling protagonist as she narrates throughout the majority of the comic (of which thank God that Brubaker didn't do too much captions as he did in Kill or Be Killed), the writer gives everyone else a voice, which gives great insight into a man's world in the government offices during the seventies. Certainly Brubaker has fun playing with a few male characters that represent the James Bond archetype and them flirting with Velvet, who has always risen above the men in her life, whether it was during her prime as a spy or her time as a secretary. Very much an ensemble piece, Brubaker is able to maintain some twists and turns along the way and really places the eponymous lead in an emotional turmoil.
Having previously collaborated with Brubaker and known for his realistic illustrations, Steve Epting is perfect at drawing this spy-centric period adventure where things are stylish, sexy and not without moments of brutal violence. With many sequences that take place in the shadows, evoking film noir, Elizabeth Breitweiser's subtle colouring enhances Epting's drawings, making the whole book a muted but visually stunning read.
Reading Brubaker's afterword at the end of this deluxe edition hardcover, he stated that the creators will return to chart Velvet's next big story. I will welcome this as Velvet is Ed Brubaker's best title during his time at Image Comics.
Set during the early seventies, the world's greatest secret agent is killed, and all evidence points to Velvet, the personal secretary to the Director of the British covet ops Intelligence Agency, known as Arc-7. But Velvet's got a dark secret buried in her past... because she's also the most dangerous woman alive.
The elevator pitch of this comic is, "what if Moneypenny was the James Bond of her day". Obviously under the writing of Brubaker, known for his dark crime/mystery comics, Velvet is less campy than Bond and doesn't resolve all her problems with gimmicky gadgets, although she does have a kick-ass pitch-black stealth suit that can glide. Another key aspect that differentiates herself from Bond is how Velvet's past has emotionally compromised her and how those demons come back to haunt her when she is set up by someone else working for Arc-7. The story lends more to the Bourne series as it's about a former secret agent on the run due to investigating a murder mystery that leads to a huge government conspiracy.
As much as Velvet is a compelling protagonist as she narrates throughout the majority of the comic (of which thank God that Brubaker didn't do too much captions as he did in Kill or Be Killed), the writer gives everyone else a voice, which gives great insight into a man's world in the government offices during the seventies. Certainly Brubaker has fun playing with a few male characters that represent the James Bond archetype and them flirting with Velvet, who has always risen above the men in her life, whether it was during her prime as a spy or her time as a secretary. Very much an ensemble piece, Brubaker is able to maintain some twists and turns along the way and really places the eponymous lead in an emotional turmoil.
Having previously collaborated with Brubaker and known for his realistic illustrations, Steve Epting is perfect at drawing this spy-centric period adventure where things are stylish, sexy and not without moments of brutal violence. With many sequences that take place in the shadows, evoking film noir, Elizabeth Breitweiser's subtle colouring enhances Epting's drawings, making the whole book a muted but visually stunning read.
Reading Brubaker's afterword at the end of this deluxe edition hardcover, he stated that the creators will return to chart Velvet's next big story. I will welcome this as Velvet is Ed Brubaker's best title during his time at Image Comics.
December 27, 2024
2024:
I'm glad, that I have memory of a Dorry, and I could enjoy this piece again, after a quite short while.
The pace and tension is high from first page, that will grab you and won't let go till the end. Full of twists, plans in plans of other plans and intrigues.
Never knowing who is good who is bad, or who is playing both sides... All in style of old Bond movies, or old spy movies. But still pretty fresh and modern, paying respects to the genre.
Well written dialogues, including the narrator frames, so whole thing flows naturally, without any dull or boring spots. Telling exactly what is needed, not much not less.
Switching narrators is refreshing, and changing the angle on the story really helps. Also jumping among different eras and mixing history and origins of characters. It's not chaotic even though jumps are pretty frequent.
Another nice thing is, how whole story is tied with actual historical events, even though only slightly. Whole narration keeps pace from start till the end, delivering a satisfying conclusion.
Art is putting this book to a completely different level. Nights scenes, rain ones, dark alleys, light reflections in pools. Scene where Velvet is swimming to the boat, it has limited color palette, but it's masterpiece.
Dark spy scenes are in very nice contrast with the ones from vacations, full of color and 70' vibe.
Fights scenes are well paneled, cars are beautifully drawn (even though I'm not a real fan of cars), switching small and big panels, small ones organically soaking into the whole page.
Few scenes are 'mandatory' for the genre, but they don't feel like cliche, more like gently nod to the spy movies. It's good that they are there, as they serve as the anchor or setting stone for the theme.
Authors knew how to use something, that was already been used many times, and proved itself.
I liked how the classic tropes are used, living on the edge, alcoholism, shoutouts, free sex. But everything is used with style, building whole atmosphere, not purposeless.
2021:
Spies during cold war, schemes in schemes, twists and surprises. Brubaker knows how to write and collaboration with Epting brings book to another level. Dark, but clear visual suits atmosphere well, and it was quite refreshing to see different take on Brubaker's script.
Ending was quite let down, trying to tie the story to the real events, although only slightly, didn't do any good. But over and all, it was great page turner, and after long time, something that kept me hooked from first page till the last...
I'm glad, that I have memory of a Dorry, and I could enjoy this piece again, after a quite short while.
The pace and tension is high from first page, that will grab you and won't let go till the end. Full of twists, plans in plans of other plans and intrigues.
Never knowing who is good who is bad, or who is playing both sides... All in style of old Bond movies, or old spy movies. But still pretty fresh and modern, paying respects to the genre.
Well written dialogues, including the narrator frames, so whole thing flows naturally, without any dull or boring spots. Telling exactly what is needed, not much not less.
Switching narrators is refreshing, and changing the angle on the story really helps. Also jumping among different eras and mixing history and origins of characters. It's not chaotic even though jumps are pretty frequent.
Another nice thing is, how whole story is tied with actual historical events, even though only slightly. Whole narration keeps pace from start till the end, delivering a satisfying conclusion.
Art is putting this book to a completely different level. Nights scenes, rain ones, dark alleys, light reflections in pools. Scene where Velvet is swimming to the boat, it has limited color palette, but it's masterpiece.
Dark spy scenes are in very nice contrast with the ones from vacations, full of color and 70' vibe.
Fights scenes are well paneled, cars are beautifully drawn (even though I'm not a real fan of cars), switching small and big panels, small ones organically soaking into the whole page.
Few scenes are 'mandatory' for the genre, but they don't feel like cliche, more like gently nod to the spy movies. It's good that they are there, as they serve as the anchor or setting stone for the theme.
Authors knew how to use something, that was already been used many times, and proved itself.
I liked how the classic tropes are used, living on the edge, alcoholism, shoutouts, free sex. But everything is used with style, building whole atmosphere, not purposeless.
2021:
Spies during cold war, schemes in schemes, twists and surprises. Brubaker knows how to write and collaboration with Epting brings book to another level. Dark, but clear visual suits atmosphere well, and it was quite refreshing to see different take on Brubaker's script.
Ending was quite let down, trying to tie the story to the real events, although only slightly, didn't do any good. But over and all, it was great page turner, and after long time, something that kept me hooked from first page till the last...
April 10, 2017
This is the entire first arc of Velvet, a story with a beginning, middle, and end. There's been some indication that there will be more down the road, but even if there weren't this would be a totally satisfying story.
The heart of it is of course, Velvet, a strong and powerful female spy. She's a great character, both for her supreme competency and her emotional ties to this story. I'm quite interested in knowing more of her background, as the references to her being better than she should after being out of the field for a while seem quite pointed.
The mystery of this volume is quite well-done. Oh, it's often subsumed by action-adventure, but nonetheless Brubaker does a great job of keeping us tuned in to Velvet's investigation, and understanding of where she goes next.
My only complaint with this volume has to do with the physical manufacture. Every once in a while I get a nice hardcover that's abrasive to the touch, either due to the ink or finish. The last was House of Secrets Omnibus. Sadly, this has the same problem.
The heart of it is of course, Velvet, a strong and powerful female spy. She's a great character, both for her supreme competency and her emotional ties to this story. I'm quite interested in knowing more of her background, as the references to her being better than she should after being out of the field for a while seem quite pointed.
The mystery of this volume is quite well-done. Oh, it's often subsumed by action-adventure, but nonetheless Brubaker does a great job of keeping us tuned in to Velvet's investigation, and understanding of where she goes next.
My only complaint with this volume has to do with the physical manufacture. Every once in a while I get a nice hardcover that's abrasive to the touch, either due to the ink or finish. The last was House of Secrets Omnibus. Sadly, this has the same problem.
June 23, 2019
Velvet is a cooler than Bond.
This is where the wild, bombastic, special effected laden Hollywood blockbuster meets the grounded and political John le Carré espionage thriller. Through a series of exciting twists and turns, it ends up being a fascinating character study, among other things.
The thrills keep coming at a steady pace. The plot is convoluted and challenging at times, but in many ways, that’s what makes it fun. I’ll probably have to read it again to truly understand the nuances of what happened... but it was a fun ride regardless. I could hear theme music in my head playing the whole time.
The pencil work from Steve Epting unbelievable. I’m really not exaggerating when I say that I’ve never seen comic work this detailed. I can’t even begin to imagine how much labor went into this. Every frame is a work of art.
I can’t praise this enough... but I also can’t tell you much more about it without spoiling something. Get your hands on a copy and have at it!
This is where the wild, bombastic, special effected laden Hollywood blockbuster meets the grounded and political John le Carré espionage thriller. Through a series of exciting twists and turns, it ends up being a fascinating character study, among other things.
The thrills keep coming at a steady pace. The plot is convoluted and challenging at times, but in many ways, that’s what makes it fun. I’ll probably have to read it again to truly understand the nuances of what happened... but it was a fun ride regardless. I could hear theme music in my head playing the whole time.
The pencil work from Steve Epting unbelievable. I’m really not exaggerating when I say that I’ve never seen comic work this detailed. I can’t even begin to imagine how much labor went into this. Every frame is a work of art.
I can’t praise this enough... but I also can’t tell you much more about it without spoiling something. Get your hands on a copy and have at it!
October 1, 2024
(Zero spoiler review) 4.5/5
I must admit I was worried. My first forays into the world of Ed Brubaker and Sean Philips were The Fade Out, followed by Fatale. I expressed in my reviews, as well as to a friend, that I was worried that given the unbelievable strength of those books, that it would be near impossible for anything else to live up to such heavy expectation. Then I realised, upon picking up the book, that it was not Sean Philips on artwork, but another artist, one Steve Epting. Needless to say, I opened it with a heavy heart and that sinking feeling that it was about to go all pear shaped. Though four panels in, and I felt the need to strop and text a friend about this Epting guy, and how I thought his art was likely stronger than Philips. I wouldn't have thought it possible. And the familiar strains of Brubaker's style were present and accounted for from the off, and I was one mightily relieved reader. It seemed that even on his slightly less well known stories, Brubaker can't help but knock it out of the park. Creating detailed and interesting worlds, strong and believable characters that you quickly find yourself invested in, and a narrative that always has you turning the page and wanting just that little bit more.
Epting's artwork and Elizabeth Breiweiser's colour's are some of the strongest I have seen in the medium, period. Whilst I am relatively knew to the world of comics, I am in no way being naïve or exaggerating when I say that every panel is executed with near perfection, and only further immerses you in this world of spies, secret agencies and espionage. The story cuts across the fifties and sixties, and some of the foreign set pieces across Europe are remarkably well realised, and had me just staring at them for long lengths of time, even though I was desperate to know what was happening on the following pages.
The story rarely wallows, and if so, not for very long. It's well paced, exciting and immersive. The characters, especially Velvet, are a joy to spend time with. Whilst there is the occasional hint of 'Mary Sue' about the main protagonist, you are so engaged in her struggle that this was of little concern. You just get swept along for the ride, which was about right at 15 issues. It does end in typical Brubaker style with the inevitable twist (that's no bad thing) and leaves it all open for more issues, which sadly years later, have not materialised. This could easily be a high budget tv series or adapted to full length film, and would be amazing should the desire be there to faithfully recreate Brubaker's story, rather than the current crap Hollywood spews forth. Maybe its better it stays a book for now.
I was clearly wrong to have doubted Brubaker and his artistic team. I would have settled for a slightly above average romp in between his other, more well known and lauded works, although this can easily claim to stand alongside anything else he has written. Heartily recommended. Grab yourself the hardcover before it goes out of print. 4.5/5
OmniBen.
I must admit I was worried. My first forays into the world of Ed Brubaker and Sean Philips were The Fade Out, followed by Fatale. I expressed in my reviews, as well as to a friend, that I was worried that given the unbelievable strength of those books, that it would be near impossible for anything else to live up to such heavy expectation. Then I realised, upon picking up the book, that it was not Sean Philips on artwork, but another artist, one Steve Epting. Needless to say, I opened it with a heavy heart and that sinking feeling that it was about to go all pear shaped. Though four panels in, and I felt the need to strop and text a friend about this Epting guy, and how I thought his art was likely stronger than Philips. I wouldn't have thought it possible. And the familiar strains of Brubaker's style were present and accounted for from the off, and I was one mightily relieved reader. It seemed that even on his slightly less well known stories, Brubaker can't help but knock it out of the park. Creating detailed and interesting worlds, strong and believable characters that you quickly find yourself invested in, and a narrative that always has you turning the page and wanting just that little bit more.
Epting's artwork and Elizabeth Breiweiser's colour's are some of the strongest I have seen in the medium, period. Whilst I am relatively knew to the world of comics, I am in no way being naïve or exaggerating when I say that every panel is executed with near perfection, and only further immerses you in this world of spies, secret agencies and espionage. The story cuts across the fifties and sixties, and some of the foreign set pieces across Europe are remarkably well realised, and had me just staring at them for long lengths of time, even though I was desperate to know what was happening on the following pages.
The story rarely wallows, and if so, not for very long. It's well paced, exciting and immersive. The characters, especially Velvet, are a joy to spend time with. Whilst there is the occasional hint of 'Mary Sue' about the main protagonist, you are so engaged in her struggle that this was of little concern. You just get swept along for the ride, which was about right at 15 issues. It does end in typical Brubaker style with the inevitable twist (that's no bad thing) and leaves it all open for more issues, which sadly years later, have not materialised. This could easily be a high budget tv series or adapted to full length film, and would be amazing should the desire be there to faithfully recreate Brubaker's story, rather than the current crap Hollywood spews forth. Maybe its better it stays a book for now.
I was clearly wrong to have doubted Brubaker and his artistic team. I would have settled for a slightly above average romp in between his other, more well known and lauded works, although this can easily claim to stand alongside anything else he has written. Heartily recommended. Grab yourself the hardcover before it goes out of print. 4.5/5
OmniBen.
February 18, 2025
Rating: 🚬🚬🚬🚬🚬
Format: 📖
Where I got it from: Private library of Drew Canole
Why I picked it: I had read a short Brubaker story recently and was looking for something moody to read.
Thoughts: The action was so great, I felt like I was enjoying a TV mini-series with all the cliffhangers. Velvet is a badass, portrayed as someone with grace and a killer high kick. Noir vibes with a femme fatale who has been set up, watch out!
Recommend to a friend: Yeah if they are in the mood for a spy story set in the Cold War with lots of action and high stakes.
Format: 📖
Where I got it from: Private library of Drew Canole
Why I picked it: I had read a short Brubaker story recently and was looking for something moody to read.
Thoughts: The action was so great, I felt like I was enjoying a TV mini-series with all the cliffhangers. Velvet is a badass, portrayed as someone with grace and a killer high kick. Noir vibes with a femme fatale who has been set up, watch out!
Recommend to a friend: Yeah if they are in the mood for a spy story set in the Cold War with lots of action and high stakes.
January 2, 2018
Probably the slickest spy graphic novel I ever read. This would have been a favorite if the plot had not been so predictable. The characters are meaningfully complex and the plot does the standard thing were characters are double-crossed, all of them betraying one another. One standout attribute of this story is that the spy is a woman, not the first time this has ever been done, but this female action hero is actually believable in the role. Also it should be noted how an incredible amount of work and detail went into every panel, some really nice period details.
July 31, 2020
My favourite brubaker book.
February 16, 2025
Brubaker, Epting and spies in the 1970s make an excellent trio...
September 11, 2017
Gran historia de espías de Brubaker, llena de acción, y emociones. La trama te atrapa y te lleva de la nariz hasta el final. Los dibujos de Epting se encuentran en un gran nivel también. Una obra sumamente recomendable. Son 15 números que prácticamente se leen solos. Un thriller con todas las letras.
April 14, 2017
This is a fast-paced, well-developed, action-packed graphic novel with top-notch writing and art.
September 14, 2017
The spy genre is not my thing.
But yeah...when you write it this way....outstanding!
But yeah...when you write it this way....outstanding!
September 13, 2017
Great characters, story, action. Excellent art and colors. This title is so damn good.
August 30, 2021
Beyond badass. A great character at the center of a dazzling plot charted with superb art and artistry. One of the best graphic novels. Ever. Full stop.
May 26, 2018
This series is absolutely perfect. Brubaker never ceases to amaze me, but this time Epting and Breitweiser amazed me just as much if not more so.
I've read a couple of Ed Brubaker's Image comics and some of his Marvel work, enough to be familiar with his signature style of characterization through inner dialogue. I absolutely love the introspection and intimacy it brings to his work and Velvet is no different. The bulk of the story is told through captions of the main character Velvet Templeton's inner monologue, with a fairly small amount of dialogue relative to most comics. As a result, we are taken alongside Velvet on an immersive high stakes adventure guided by her thoughts, from ruminations about her past, the spy business, her colleagues, and her investigative process as she tries to figure out what's so rotten about an ex-operative's murder. The plot starts simple and gradually gets more and more complex, and we are presented with more information, unexpected plot twists, layered double-sided conversations, tense infiltration, and bombastic action sequences. Brubaker is a lot more concise in this series, using less words than he normally does in his work, instead letting Epting do half of the storytelling. And good thing he did, because Epting is an amazing storyteller.
Steve Epting's art is nothing short of breathtaking. His portrayals are incredibly realistic and cinematic, making the story read like an old spy flick. His action scenes are grounded and dynamic, and his facial expressions are absolutely sublime, often showing us a character's motivations before the story even reveals them. It takes an incredible amount of skill to pull something like this off. Thanks to Brubaker's terse and rhythmic style of writing for this series, Epting is allowed to show off and prove how damn good of a storyteller he is. It's incredible the synergy these two have.
And speaking of synergy, we have to address how pivotal Elizabeth Breitweiser's beautiful colors are to the series. I honestly think her coloring looks even better alongside Epting's pencil work than with Sean Phillips', which is saying a lot. She cements the realistic and cinematic style Epting is going for, often doubling down on the gritty grounded atmosphere, the explosive action scenes, and the moody set pieces. Velvet simply wouldn't be the same without her, and the black and white pieces next to the finished colorized versions in the extras of this hardcover prove it.
All in all, I couldn't praise this series more if I tried. This is the perfect example of each part of the whole coming together organically to create something that only they could pull off the way they did. This easily gets a 10/10 from me.
I've read a couple of Ed Brubaker's Image comics and some of his Marvel work, enough to be familiar with his signature style of characterization through inner dialogue. I absolutely love the introspection and intimacy it brings to his work and Velvet is no different. The bulk of the story is told through captions of the main character Velvet Templeton's inner monologue, with a fairly small amount of dialogue relative to most comics. As a result, we are taken alongside Velvet on an immersive high stakes adventure guided by her thoughts, from ruminations about her past, the spy business, her colleagues, and her investigative process as she tries to figure out what's so rotten about an ex-operative's murder. The plot starts simple and gradually gets more and more complex, and we are presented with more information, unexpected plot twists, layered double-sided conversations, tense infiltration, and bombastic action sequences. Brubaker is a lot more concise in this series, using less words than he normally does in his work, instead letting Epting do half of the storytelling. And good thing he did, because Epting is an amazing storyteller.
Steve Epting's art is nothing short of breathtaking. His portrayals are incredibly realistic and cinematic, making the story read like an old spy flick. His action scenes are grounded and dynamic, and his facial expressions are absolutely sublime, often showing us a character's motivations before the story even reveals them. It takes an incredible amount of skill to pull something like this off. Thanks to Brubaker's terse and rhythmic style of writing for this series, Epting is allowed to show off and prove how damn good of a storyteller he is. It's incredible the synergy these two have.
And speaking of synergy, we have to address how pivotal Elizabeth Breitweiser's beautiful colors are to the series. I honestly think her coloring looks even better alongside Epting's pencil work than with Sean Phillips', which is saying a lot. She cements the realistic and cinematic style Epting is going for, often doubling down on the gritty grounded atmosphere, the explosive action scenes, and the moody set pieces. Velvet simply wouldn't be the same without her, and the black and white pieces next to the finished colorized versions in the extras of this hardcover prove it.
All in all, I couldn't praise this series more if I tried. This is the perfect example of each part of the whole coming together organically to create something that only they could pull off the way they did. This easily gets a 10/10 from me.
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