The two-part story, “A Christmas Carol,” kicks off in the Kelly Sue DeConnick-written “Captain Marvel” #10. With art from the tag-team trio of David Lopez, Marcio Takara and Laura Braga, the issue checks in with Carol Danvers in a galaxy far, far away, but reminds her of just how much she has left behind on Earth.
Conveniently enough, Lila Cheney is still around from “Captain Marvel” #9, in the type of coincidence that only happens in fiction. Cheney serves as both the catalyst for the narrative in “Captain Marvel” #10 and the solution to the conundrum created through that narrative. DeConnick writes an affable group of characters throughout this comic, giving Carol Danvers one of the most likeable supporting casts in comics. The majority of this story spends time with that cast as artists Lopez, Takara and Braga put images to the different stories of adventure and mayhem in the Captain’s absence as one of her foes resurfaces to wreak havoc in her direction.
While the stories are Earthbound (and Captain Marvel is in space), that gives readers a chance to catch up on the adventures of Kit (Lieutenant Trouble) and her mother, Marina, in a story drawn by David Lopez. That portion of the book involves a plot filled with rats as Kit leads her friends against the attack. Jessica Drew makes an appearance there, but Marcio Takara takes over art chores for a segment that gives Spider-Woman more of a spotlight as she and Marina put their minds together in an attempt to solve the problem. Wendy Kawasaki provides an assist in that endeavor and serves as connective tissue for the Rhodey segment that is drawn by Braga.
The figures in Braga’s segment are a little more rigid, with thinner lines than Takara or Lopez. Takara is the most cartoony of the three and is more brightly colored (presumably by Nick Filardi) than the pieces from Lopez and Braga. As the regular artist for this series, Lopez leads off “Captain Marvel” #10 and fills the panels with action and attitude. Lieutenant Trouble leaping into action is quite possibly the single greatest image from this issue, and showcases Lopez’s ability to have characters emote through the posture as well as expressions.
All three artists provide plenty of details to their segments, with chores divided as transitions occur. Colors from Lee Loughridge and Nick Filardi help define the contours of characters and settings throughout this comic. Loughridge helps set moods through his work as well, shading panels and pages to drive the narrative alongside his artistic collaborators. Letterer Joe Caramagna also helps visually describe each setting and primary character with a variant font used for their captions. Intended to replicate the letters to Carol, these pieces also season in some personality, separating Trouble’s words quite cleanly from those of Wendy Kawasaki, Jessica Drew or James Rhodes.
With each character twirling through the spotlight for a spell, “Captain Marvel” #10 seems to be a strange way to celebrate Carol Danvers, but as DeConnick tells readers through Kawasaki none of the problem-solving and bravery exhibited in this comic book would be possible without Danvers. Clocking in at thirty pages of new story, “Captain Marvel” #10 is a solid introduction to everything Captain Marvel. Hopefully part two of “A Christmas Carol” gives readers a bit more of Captain Marvel proper.