Trinity of Sin: Pandora #2

Story by
Art by
Vicente Cifuentes, Daniel Sampere
Colors by
Letters by
Dezi Sienty
Cover by
DC Comics

"Trinity of Sin: Pandora" #2 from Ray Fawkes and Daniel Sampere opens with Pride and Envy overlooking the sunset in Giza, reveling in their freedom and plotting against their "mother," Pandora. Of the Seven Sins released from the mystical box, this is the only glimpse, reminding readers that the sins are still lurking out there.

Having tried to find "the purest of heart" to open the box and return the sins to captivity, Pandora decides to seek out the darkest heart, as the curse laid upon her states, "Only the purest of heart or the darkest" can re-open the box to return the sins whence they came. Keeping it timely with the particulars of "Trinity War," the darkest hearts means a confrontation with the Secret Society. In this case, an oddly matched trio of evil represents the Society: Vandal Savage, Giganta and Signalman. Of all the perceived travesties set upon the DC Universe with the 2011 reboot, why Signalman's costume didn't change is completely beyond me. His powers seem to have adapted to modern times, as he's now able to read patterns, a power he uses to predict Pandora's appearance. The darkest heart of the trio belongs to Savage, which reveals a natural history between the one-time Demon Knight and Pandora. Fawkes does a nice job driving the plot forward, but doesn't insert enough personality into the titular character to draw interest. All the same, "Trinity of Sin: Pandora" #2 is nowhere near as hamstrung without reading the first three chapters of "Trinity War" as the three editor's notes on page two might lead readers to believe.

Daniel Sampere's art, coupled with Hi-Fi's coloring is serviceable enough, but not spectacular. The most dynamic visual of the issue comes as Giganta fills a splash page while pounding Pandora into the turf. Designs for Giganta previously shown online indicated that she would no longer bear any semblance to a swimsuit model as has been the norm for the character, but Sampere waivers on that design, at first adhering to it, but slipping into "traditional" tropes while the character continues on page. Sampere's storytelling is clear and sharp, but his characters all carry the same weight and range of motion. Nothing in their visuals distinguishes any of them to be anything more than average. Between Vandal Savage, Giganta and Pandora (whose powers and abilities are more significantly defined in this issue) one of those characters should visually pop, but none of them make that leap.

"Trinity of Sin: Pandora" #2 is an average comic book all the way around. It doesn't add much to the "Trinity War" story despite the logo on the cover and it certainly isn't going to stick with me until the next issue.

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