Ray Tate's Comic Reviews

Reviewer For: Comics Bulletin Reviews: 2886
8.1Avg. Review Rating

This ham-fisted attempt at censorship is the worst thing about Aquaman#5. Mera's naked and hasn't any hangups about nudity. If that's supposed to be a sheet covering Mera's breast, it's badly illustrated and just smacks of last minute anti-titilation. What's really the point of that? Protect us from nipples if you want, but don't insult my intelligence. Why not simply simply cut the panel here?
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Trautmann does his research. Ani was a real Turkish city, and the information gleaned from Vampirella is all true--minus the supernatural of course, which incorporates a challenge for Jose Malaga. Make skeletons scary. In this time of zombie proliferation, I can't begin to describe how refreshing it is to see something old fashioned given new life, so to speak.
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The Marvel Adventures Black Cat is, as one might expect, a stripped down version of the character, with no psychological hang-ups or date rape in her history. Her bad luck is actually a power, which causes Spidey numerous funny embarrassments as the adventure ensues. Easily, Spidey's worst day despite being illustrated by Todd Nauck. Nauck's Black Cat is also a welcome sight, and Sotomayor lightens the hues to better suit Nauck's lean linework.
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Batman has people waiting for him. Nightwing, Robin, Batgirl and Catwoman all make an appearance, and these cameos are just as important as the widescreen scope of the plot and the artwork.
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Needless to say, Saiz and Chung are no slouches when it comes to the action department, and all the Birds enjoy a spotlight of dynamics. Perfect issue.
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We see Supergirl expressing every emotion in the book. From the above desperation to the despair of discovering that Superman told the truth. Kara's anger is palpable, and you'll never once think of her as Superman's lil' cousin.
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The most interesting moment in the book occurs when Wonder Woman confronts Poseidon. That scene is rife with intrigue. First, Diana stands on water. A new power unless it's covered under gliding on air-currents. Second, the differences in the participants' sizes creates a mythic image; numerous Greek heroes contested against giants such as the Cyclops or the Hydra. Third, Wonder Woman employs psychology to trick Poseidon into siding with her. Unfortunately, this occurs at the chapter's end, and it really should have been the focus. Azarello spends too much time with Lennox and too little with Diana.
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While Sonja chooses to deliver justice, another character's actions puzzle, and the attitude from Raven runs a gamut of evolution in one page. It's as if time flowed faster and years of reflection consolidated into minutes.
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The humorous exchange leads to a twist that's straight out Weird Tales, and you can imagine the thousands of exotic words Robert E. Howard might have used to describe Sonja's encounter.
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I believe public libraries at least will always remain. While computers are ubiquitous, some cannot afford even a basic crappy laptop. Reference books cost money, and the cost of a complete guide to 17th century fashion, for instance, is prohibitive. So long as there are esoteric and unique tomes, the library will remain even as the Internet expands.
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Batgirl shares the history with Batman and Robin. The healing of Batgirl forces Batman and Robin to share their paternal and fraternal love for her. The new Batman continuity with its links to comic book history is being written right here. In many ways Batgirl is the keystone book in the Batman Family titles.
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Just when you think that the focus will neglect Timber Wolf, the creative team save his encounter with an old Legion guest star for last, and the return of another Legionnaire leaves the book on the highest note. Fantastic.
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Adding to this presentation, artists Gianluca Gugliotta, Wayne Faucher and Mike Atiyeh issue the teen's complete dejection in her body language. While her delicate anatomy helps convey the desperation, they contrast her with members of her own race, and you see a proud birdlike quality in them. The teen however looks as if someone plucked out her plumage one feather at a time.
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The subtleties in the artwork are in complete synch with Gray's and Palmiotti's intent. It's just a perfect depiction with just the right amount of emotion emitted by the characters. That's not always an easy thing to do. I'm reminded of a scene in the old Now Comics Green Hornet series in which the setting, the timing and the dialogue all inadvertently facilitated the idea that Paul the current Green Hornet was in romantic love with his aunt. So, the collaboration is to be lauded.
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Winnick characterizes Batwing and Batman as detectives. Even when in the thick of battle, both men offer insights into the case, track down the perpetrator and see through Massacre's latest tactic. Winnick also spotlights Batman's and Batwing's status as protectors, not just avengers. The safety of the innocent is their main concern. Of course, this requires them to beat the snot out of Massacre's henchmen, which leads to much visceral entertainment.
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The way in which he ultimately defeats Midas exhibits intellect from the writers and attitude from Green Arrow. Nevertheless, the Emerald Archer ends up right where he started from at the end of the story. He has absolutely no idea who Blood Rose happens to be, and that goes double for Midas. I look forward to the answers.
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Scott McDaniel's artwork can be a little distracting at times, but my feeling is that he's just a little overwhelmed with a cast of thousands. Mostly, the narrative is easy to follow, and McDaniel's style is aesthetically cartoony. However, at the drop of the hat, he can turn the book into a creepy exercise or a hard pulp where innocent little girls can die.
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The backup tale is a waste. Daniel would have been better off giving Detective Comics its full complement of pages for the main story, or using the remainder to define the old villain's life. We don't exactly know what counts in the New 52 Universe, and the Batman villain backlit in this backup has multiple incarnations. Daniel gives us one fact about him, and it's a boring one.
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If T.H.U.N.D.E.R. Agents' or Batwoman's premieres didn't exist, I would argue that this is the single worst issue of the New 52 universe.
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In Swamp Thing, he illustrates demonic pigs, a mad child, a grown man, natives that bear distinctive ethnic features and Abigail Arcane as a beautiful woman but not quite as zaftig or idealistic as Miss Masque. He spreads a grotesque mood throughout the book, but also exhibits ideal comic timing, as when Alec gives William a time out. In short, Paquette isn't the artist you immediately think of when discussing Swamp Thing, but he soon will be.
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If Shinku were a bad movie, the sequence would have acted as the actress' apology: "Yes, this is a rotten film. Take a gander at my goods. You deserve it." Shinku though is better than a whole cadre of bad and mediocre vampire films. It doesn't need to apologize.
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Okay. Everybody knows that Kirk is a hound, but when he spouts some embarrassing pickup lines, he directs them at women that he has already intrigued. Otherwise, Kirk is above board. His behavior toward Shady is ridiculous, and even if Kirk had lost his sense of tact, he would have picked an appropriate moment. This isn't it.
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This hindsight all can be attributed to the perfect fusion of art and writing. I mean, X-23 was a joke. She was a younger version of Wolverine with B-cups, and there were also some lesbian undertones thrown in for kicks. Marvel was essentially creating a character to appeal to a narrow, perceived demographic, not for comic book readers in general. Gage however treats his characters like people. Sure, there are some lapses in judgment like that horribly written Captain America a few issues back, but by and large, when you read Avengers Academy you end up involved in a story that centers on characters that demonstrate a wide range of emotion and depth. In fact, if you replaced Hybrid with an original, less resonant villain, Avengers Academy would still be entertaining.
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Renato Arlem and Jay David Ramos provide numerous enjoyable scenes, but the moment that stands out for me occurs in the so-called Bar with No Name. Headhunter, a minor Namor villain, busts out some cool steps, which of course can be attributed to the illusion of movement that Arlem imbues. It's a pity she's not hero, because those actions are really worthy of applause.
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Johns ends the story on an uplifting moment for Aquaman and Mera. They gain a cheerful pet suitable to Aquaman's and Mera's amphibious lifestyle. It's a nice full circle moment that arises organically from the plot.
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While I look forward to what Keith Giffen and Dan Jurgens have in store for the Man of Steel, I will miss George Perez's non-take on the character and his confidantes. He created a rich world for Superman to soar in.
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The tale offers more than purely visceral twists. Faraci and Brereton place treachery in plain sight, and you find yourself wondering whether father and son will survive the betrayals and their own duties to their countrymen.
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The story benefits not just from Eric Rogers' imaginative escalations for Lisa but also from James Lloyd's and Andrew Pepoy's dead on replication of the distinctive linework from the animated series. As you can see, they do more than just polished work. They bring the characterization to the pages and think up new ways to visually represent the cast and their feelings.
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So I'm thinking Fathom has now earned four bullets but it can't go farther. Wrong. The creative team have two surprises left. The first is a weird lifeform with an intriguing history.
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It's a wonderful little distinction that further builds on Sonja's sense of honor as well as her status as a warrior. Her alleviating mood is infectious, and you genuinely like this version of Sonja as an individual.
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The kidneys reside in the abdominal cavity, not the chest. Thorax would have been acceptable. Since Witch Doctor claims to offer scientific pleasures as well as pure entertainment, Seifert must be held accountable for a glimmer of the poorest research.
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Tobin basically reverts Magneto back to what he was in the Jack Kirby/Stan Lee originals. He's a powerful loony with a bucket on his head. Even so, his leaping to the conclusion that the Greek gods were mutants doesn't make a lick of sense. Fortunately, Tobin includes enough humor that the tale is at least palatable.
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Swiercynski and Saiz end their story on a curious note that appears to reference the Silence from Doctor Who. It's a surprising twist, but it suits the ultimate signature of the villain the Birds face, which is to use the entire capacity of the human body as a tool to commit crime. Batman readers may also want to note a curious connection to the Court of Owls. Perhaps, the Birds of Prey and the Bats ally themselves in a carefully waged war pitting the Gotham heroes against the new vermin in the city.
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Artist Trevor McCarthy throughout creates an ebullient sense of friendship flourishing in the face of crimefighting. Babs and Dick are youthful and energetic throughout. McCarthy equivocates their athleticism, and when the characters are out of uniform, McCarthy creates body language that suggests an easygoing relationship. Frequently, his work reminds one of Brian Stelfreeze's illustration, and Guy Major's colors evoke a wonderful night-time playground set off by purples, Nightwing's reds and Batgirl's gold and scarlet. You know, I never thought I'd say this, but I might just try the next issue of Nightwing.
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Imagine the destruction she might have wrought were she trying? All she really had to do to stop Tycho's men was to punch a hole in the satellite with her pinky. Then, all the air would have rapidly evacuated, leaving behind cold corpses. Instead, Kara breaks her captors in ways they probably never experienced before. Painful, but she does not kill them. I'm sure some died in the climax, but Supergirl did not coldly murder her opponents. Her attack is devastating, but it could have been so much worse. That's Supergirl in a nutshell.
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Boothby's means of stuffing Homer and the Chief in the tutus exhibits an underlying love for the children. So this coda has the benefit of being sweet and funny. Furthermore, artists James Lloyd, Andrew Pepoy and Villanueva enjoy one really good slapstick joke at the expense of Snake.
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Essentially a setup issue, Trautmann's story is superior than others of the kind. He creates a sense of horror and mystery. With Malaga, he kicks off the tale through a display of action, rather than violence, and quickly and effectively introduces the cast without boring faithful fans.
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Batgirl plans something special and merciless to end the Mirror. The scheme exemplifies just how far Babs will go to see justice done and just how cruel this kind person can be.
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Timber Wolf isn't the only Legionnaire that exhibits a bit of fun. Wildfire and Tyroc, in excellent form this issue, also provide wit. All and all, a good, solid issue of Legion Lost.
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Though writer Eric Wallace sells the technobabble explanation for a force field as well as Mister Terrific's fairplay way of egress, he oddly has Mr. T credit Newton for the technique. In fact, Newton hadn't an inkling about quantum physics. His forte lay in the macroscopic, not subatomic.
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This is also where the Moys tend to shine. It's very clear to me that the Moys aren't working with models or photographs, except perhaps in the most general reference, but the moment that Kirk fights Tharok, he assumes the body language of Shatner. The Moys illustrate a doubled fist attack that Kirk perfected through the series. To be fair, he often faced creatures with far superior strength, but that execution became as much of a signature as Spock's Vulcan nerve pinch, also in effect during the team-up.
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Palmiotti and Gray drastically alters the aura of upbeat, freewheeling goodness by introducing the Ray's first super villain in the last handful of pages. Basing the character on a mondo filmmaker from the '60s -- the type who filmed native rituals, bare breasts and other peculiarities for "titillating" "documentary" anthologies. Somehow gaining supernatural power, the filmmaker leaves the reader with an awesome wtf moment that drastically shifts the atmosphere into horror territory. Gray and Palmiotti, no strangers to the horror genre, also know how to induce terror. The victims of the villain seem complete undeserving innocents. Creating likeable characters and threatening them is the finest way to evolve terror.
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Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in Biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups, where he reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
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Young David sets into motion vengeful events, but he makes a vow. This glimmer of honor in a cesspool of deceit attracted Batman, and we trust in Batman because that's what fiction allows. Because we place our faith in Batman, we know that David is a good man, and although he's better at terrible things, we know this history created the hero we have now.
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Detective Comics is quickly paced, lean and mean. Tony Daniel's artwork sends shivers up the spine, and I'm not even all that keen with the length of Batman's ears. Too short, yet there's no doubt in my mind that every scene depicts Batman at his best.
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Green Arrow is turning out to be a reliable, dynamic addition to the New 52 Universe, and it deserves a second look, even by those not traditionally rooting for Emerald Archer.
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What puzzles me, and the reason why this book fails to earn a perfect score is that the Big Bad casually defeats the League. This should have been the ending chapter. Yeah, Peraxxus can beat the League individually, but when they pile it on, it's over. Darkseid I can see overcoming these odds, but not this interstellar scrap iron salesman.
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Visually, Static Shock is a fluid, energetic narrative, and McDaniel, Owens and Guy Major top themselves with battle scenes between Static and Guillotine as well as a cadre of beautiful designed villains with an equally diverse set of powers.
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Now that everybody is where they need to be, I hope that Roberson starts speeding things up. We have the promise of grand battle, the last thing I want to see is Elric and Friends and Corum and Company shirking swordsmanship for a sashay on the boardwalks of Tanelorn.
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Casallos and Nunes come through with a haunting depiction of Vampirella's abilities.
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Renato Arlem and Jay David Ramos provide realistic artwork but they thankfully eschew grittiness, which one can see as the most obvious reaction to villainy. These villains are just as colorful as the heroes. Tiger Shark for example wears his traditional orange and gray-finned tights, but perhaps as a result of Fear Itself, they make him a hulking, more primal individual. The first death of Death Stalker comes as a shock, and Arlem and Ramos bestow that surprise to the character as well. Quite a feat considering she's almost faceless. Arlem ultimately directs the comic book as an excellent action film, and though the story takes place in the dark, Ramos keeps the tale sufficiently colorful, especially when large explosions are the order of the day.
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Sometimes Futurama is sweet. Sometimes it's adventurous. Other times it's both, but for these two intermeshed tales, the pure comedy knitted firmly to the narrative, the setting and the characters earns the book a perfect score.
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Lee Moder's sinewy designs for anatomy create a terrific look for Shinku and enhance the action in such a way where the characters themselves flow with the narrative. Colorist Mike Atiyeh mutes most of the hues to create an almost sepia look to the normal world but then highlights the scarlet uniform of Shinku and the blood she draws. As well, he brings out a glaring pink almost serves as a poisonous animal's warning to a predator. It as well emulates some of the cinematography prevalent in eighties films where a single theme shade washed over the screen and New Wave neons flashed like traffic lights. All and all, a lovely look for a gruesome subject.
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...the book is always going to score high.
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Bart's selection of targets is inspired, and I love how Bates includes a sly slight against the gullibility of the media. Balloon Boy anyone?
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As you can see from the page above, Francis Manapul and Brian Buccellato distinguish the Flash from other books with an imaginative animated use of panel layout. There's a feeling of slow motion as quantification as the events pulse toward Barry's mind. In other panels, you note a more than figurative crackle of energy as the Flash blurs and energy sweeps over him as his velocity excites the air. This is also perhaps a nod to the idea of the Flash not actually feeling the effects of physics when traveling at such speed. Friction is to the Flash like water off a duck's back.
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Berkenkotter exhibits a strange fixation on Sonja's boobs. They're big and they move around a lot. I've never actually watched women in chain-mail so I can't say for certain that this isn't a depiction of what really would happen. On the other hand, I'm in the Solanga camp. I think a chain-mail shirt fixed tight to the skin would stop those puppies from cavorting. Sonja's armor should act like a sports bra. Sometimes this emphasis can be distracting. Other times, such as the above example, it's just wrong. At that angle, I should not see so much boobage. Still it's difficult to be too cross when that same artist can choreograph action so well.
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Nicola Scott substitutes for Jesus Merino this issue, but she's only finishing what George Perez starts, and the overall presentation ultimately looks like rushed Perez. Scott very rarely breaks from the pattern. So I really can't judge her style.
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Hapless humans are quite defenseless and quite tasty. A deputy calls upon Aquaman, but other investigators fail to relish the former Sea King's involvement. That will change when a horde of Piranha Men attack.
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George Perez plants Superman in a world that closely resembles ours. The media is everywhere. However, Superman's lucky in having the fully liberated Lois Lane at its head. His constant ally, she ultimately gives Superman the edge.
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In the first story by Paul Kupperberg, Bart turns over a new leaf, and the citizens of Springfield don't quite know what to do. The story gives James Lloyd and Dan Davis a field day with the panels depicting Bart's unflappable angelic expression contrasting with the wild takes from Lunch Lady Doris, Mrs. Krabappel and Principal Skinner who goes straight down a noir spiral that includes booze, accident and tragedy.
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This is a perfectly good Vampirella inventory story. Brandon Jerwa does an excellent job tailoring a tale that could indeed work for the Doctor and Rose, thus supporting Jerwa's "Plus One" running gag not to mention a reference to Bad Wolf. Of course, this tale could also work for Batman and Robin as well as any couplet you'd care to name: Buffy and Angel, Sydney Bristow and Michael Vaughn, etc.
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Plot? Yes, I suppose there is one, loosely anyway. Joe Harris lost the story last issue, and the final chapter's no better. Vampirella swallowed by Chaos now parlays with Chaos about her role in the food chain. Chaos is somewhat smitten with Vampirella and her want to save humanity when its hers to destroy or rule. Such unexpectedness appeals to Chaos, and we discover that Chaos hasn't been pulling the strings afterall. It's (insert the name of the demon here).
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I've read numerous similarly-themed team books, and they're always decent time wasters as long as the art's good. Avengers Academy is no exception. Tom Raney and Scott Hanna wring every emotion out of this melodrama. Veil goes through so many facial expressions that you might think Bill Plympton was behind the whole scheme.
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Of course, Tidalpool's real danger arises from his ability to lead a giant squid and his minions on an attack on the mainland. The squid proves a vicious opponent for Starlette and Rookie, but where is Critter? Paradox, the time traveler, has a record of Critter's appearance in this battle, but a confluence of events seems to put time out of joint. To quote another time traveler: "Time can be rewritten."
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As a result of neither Superman or Supergirl remembering each other as they were, Supergirl lets loose with unheard of ferocity.
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The Archie group introduced a gay teen, expanded Archie's romantic choices, including making Archie's most serious relationship with Josie and the Pussycats bassist Valerie, who happens to be black, and established that neither Betty nor Veronica truly love the cross-hatch haired teen. All well and good, but even the presence of Norm Breyfogle just cannot motivate me to try Archie again.
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Yeah, okay. Thor-Girl reaches her true destiny. The doomed heroes trapped underground get a reprieve, and the Feds take issue with their treatment by Prodigy some issues ago. The finale of Youth in Revolt depends a lot on whether or not you're familiar with Thor-Girl. This is bad for me. Since, I'm not. I was getting to know her in this miniseries, and she was, as I understand it, a Skrull from 2008 to whenever Secret Invasion ended. So, I'm wondering if this transformation was really necessary right now and too soon of a goodbye.
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Blavatsky's rebirth is one of the most repellent things that either Mignola or Golden ever conceived. Mignola's work is well known, but Golden may be unfamiliar to comic book readers. Golden wrote Vampirella and Buffy the Vampire Slayer. So, he knows his way around horrific imagery. Artists Ben Stenbeck and Dave "Deep Red" Stewart underscore the terror with suspenseful graphics that twist the miraculous, living, evolving being into a grotesque example of body perversion.
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In Wicked West Dorothy's home is Kansas, but she's a bit older than you would imagine. Mind you, Dorothy Gale in the Oz books becomes immortalized at a young age and appears to have the wisdom of an older woman. Dorothy of the Wicked West doesn't have a dog named Toto. That's her horse. Hutchinson transports Dorothy to the Land of Oz, but it's not so magical. Rather, it's more Sergio Leone with flying monkeys.
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Demon Knights reminds me a lot of Maid Marian and Her Merry Men. I'm not suggesting in any way this is a bad thing -- I simply have (probably) seen the same media as Paul Cornell, a Doctor Who writer and one of the few Doctor Who novelists in the '90s that respected the television show more than their own ill-fitting ideas.
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The second issue is a strong follow-up to the premiere. A villain from the future infects a man from the past. Doctor Jeffrey Scanlon undergoes a Wildfire-like transformation, and he doesn't believe the metamorphosis is a bad thing at all.
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Brainwave takes over the mind of Michael Holt aka Mr. Terrific. The hero/scientist briefly releases the safety of a device meant to protect his complex from earthquake, thereby dooming all inside, including two potential love interests Aleeka and Karen Starr, head of Starr Enterprises. Karen helps Michael prevent the disaster and her actions lead to a big question about the new 52.
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The resolution or the escalation of the multiple problems also confuses. I can't tell exactly what's going in in the end. Either the worlds are merging into a composite arena where Eternal Champions stand back to back, or their minds have been switched around.
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I admire the illustration, whose Giger influences are quite clear, but I found it difficult to invest any sympathy or choose any side in the plot. The races in the book are evil and alien, really alien. They're thinking does not resemble even a shred of human process. That's a creative accomplishment, but it does make both cultures difficult to root for.
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Vampirella is visceral action-horror exquisitely rendered by substitute artist Huebert Khan Michael. A surprise in itself. Usually, a guest artist means unwelcome shoddiness. Not here. Khan Michael has an affinity for Vampirella, capturing her distinctive look while displaying her savagery toward monsters. Khan Michael demonstrates Vampirella's stamina and otherworldly speed. The battle because of the participants moves like lightning. Thus, when Vampirella splinters a wooden column, the shards become wooden darts traveling at velocities powerful enough to propel them into the Shima.
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A monster has been eating teenagers in a small English village. The Doctor's not available to stop him, so Elsa Bloodstone intervenes. Meanwhile, crime has erupted in the Legion of Monsters' domain. Could these things be connected? "Myeah, could be."
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You know what? I expected nothing from Batwing. I said to myself that this character was going to last maybe three issues tops, but something happened. Batwing was good, really good, and it ended on one helluva a cliffhanger. So I added the title to my subscription list.
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Alan Grant was the last writer to successfully create a Batman villain with any staying power. Before Cornelius Stirk and Mr. Zsasz, the last villain to be something other than a one-shot wonder was The Spook. I would count Killer Croc among the greats, but he received a personality transplant, becoming an entirely different, dimmer character. I'm aware of Hush. He stole Hugo Strange's unparalleled triumph of impersonation and hacked into the Unknown Soldier's mystique. So, no. Hush lacks even a whisper of substance. Tony S. Daniel for the New 52 grabs the brass ring.
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It's very rare when a comic book title improves with its second issue. Justice League International's premiere was lackluster. It wasn't bad, but it wasn't all that great either. This issue is much better.
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In the case of Static Shock I disagreed strongly with my Comics Bulletin colleague Chris Kiser over the first issue. I felt the premiere of the book was quite entertaining, and this follow-up is its equal. The Slate Gang, a group of cosplay assassins on Maglev bikes, want to make a name for themselves. So they take a contract from a conglomerate of Static's enemies to assassinate the electrified teen.
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David Finch opens the book with Batman rappelling out of a Batplane. This moment culminates with a double page spread and promises excitement, but Batman's not on his way to stop a madman from blowing up Gotham. No, he makes haste to change clothing. At least he does it quickly.
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The hot chick kicks the story off by battling a terrorist who strapped a bomb to a hostage. Somehow this terrorist manages to bite her and expose her to nanocytes -- a Blackhawk's worse nightmare for some reason. Possibly because the teensy bots allow the Big Bad, who blows up some nanocytes in a former employee, to control them. It's not made clear. Giving superpowers, strength and invulnerability to Kunoichi appears to be the only thing they do this issue.
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This is an amazing comic book. Fathom is smart, powerful and funny. She possesses the ability to manipulate water, and that means more than merely turning on the faucet. Writer Scott Lobdell demonstrates the vast versatility associated with that single strangeness. He also, and more importantly, injects Fathom's winning personality throughout the adventure via first person narration.
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Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
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Vincent Morrow the Witch Doctor reports to an occult licensing board and relates the details of his most recent case: the Fish Man captured by Absinthe O'Riley, the Witch Doctor's River Song. The current issue of Witch Doctor offers an interesting interpretation of the Deep Ones, legendary Cthulhu disciples, created by of course H.P. Lovecraft in the short story "The Shadow Over Innsmouth." Along the way, we discover a decidedly alien origin for life on this planet, Penny Dreadful's unusual nature, which is filled with black comedy and the mettle of the good doctor's sword. HINT: he pulled it from a stone.
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I know what you're thinking. This is the cat that believes Tigra is love. He's only giving Captain America Corps five bullets because Tigra and her former yellow-suited alter-ego appear. Phil Briones and Matt Milla grant both incarnations sinewy life. So, he's probably Jonesing on that nip. The dude's got a serious case of fanboy. I confess. You're absolutely correct. Tigra is love, and I am Jonesing on the nip. However, these two felines aren't the only reasons why Captain America Corps earns five bullets.
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Youth in Revolt would have been a five-bullet book if not for the aftershocks of last issue's penis-measuring. The battle between Hardball and Gravity created the earthquake leveling Vegas, already fragile due to Juggernaut's hammer assault. This issue is about fixing the damage that the young heroes caused and about how their temper tantrum endangers the lives of their fellow heroes and the innocent. What's unfortunate is that, the current issue accents how much of the means were unnecessary to result in the ends.
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I never envisioned buying Heroes for Hire. I was originally turned off by Misty's ridiculous sobriquet and her bizarre turns of phrase. That all changed with Spider-Man's hilarious guest-appearance, also kicking off the Hook storyarc. Spidey, as he should have, saw right through her and took the piss out of the whole ruse. After Spidey's appearance, Abnett and Lanning tempered Misty's identity as Control. They admitted some heroes would know who she was. Others would not. Some would not care either way. It's very rare when I give a book a second chance, but I made an exception for Heroes for Hire.
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Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
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Red Sonja attempts to assassinate a clan leader on behalf of another, but she finds her progress impeded by an immovable object that has the audacity to be far more agile than it should. Yup, it's Red Sonja versus Stone Giant. You may wish to take out your D&D manual for a moment. A writer unafraid to let the artist speak, Trautmann sets up the first act of the book as a pure visceral chase, as orchestrated by Noah Solanga.
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Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
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Elric relates the story of a breach in the multiverse, and each avatar of the Eternal Champion, a concept created by Michael Moorcock in the '70s, tries to repair the damage before it swallows everything whole. The agents of law stand in the way of these practicers of chaos. In Moorcock's tomes, the law was the bad guy. That flies in the face of convention, but given the times in which he plied his trade, it's understandable how somebody can feel this way.
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Genesis is like being at a party with nobody you know except your boring friend Kirby. Basically, you spend your whole evening listening to everybody's dull lifestory while reading their nametags. A school band recording of Wagner plays on continuous loop. The only exciting thing you go home with is a headache, and your cloying friend Kirby tags along to sleep on your couch. Not that you want him there.
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The Traveler teams up with Soldier Zero to combat a group of far future menaces that intend to strip the planet of its assets. Abaris also manifests, but this time he claims he's here to help. I asked for an explanation of the ghosts that appeared last issue, and Waid and Peyer kind of answer, but it's not very satisfying. In fact, there's a heckuva a lot of technobabble spouted about that muddies the plot. The time travel aspects are actually easier to understand.
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Vampirella and Sofia must battle the three weird sisters from hell, the Karasu Shima, who have been crucifying sinners and feeding from their baser emotions. The final showdown occurs near an abandoned farmhouse, and as Sofia quips, "You've never even seen a horror movie, have you?"
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Heroes for Hire cuts in two. In the first section, Misty Knight goes to retrieve her heroes, Gargoyle and Paladin, before a Fear Itself monster destroys them. In the second section, Elektra under the influence of the Purple Man holds the Shroud hostage.
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Are the Next Men from alternate timelines, or is there but one timeline being cleverly manipulated? Was the mad Beth from the opening issues a weird surviving paradox, or was that Beth and our Beth one in the same?
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Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
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Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
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To put it succinctly. This issue of Youth in Revolt sucks. Gravity attacks Hardball after the latter saved Las Vegas from the hammered Juggernaut. Reason? Hardball's tactics killed some people, and like Hardball states as he's fighting Gravity: "It's all black hats and white hats to you! No room for gray!" I must concur.
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The Sinister Five of Six accuse Spidey of interfering with their "brilliant" scheme and knocking one of their number into the pokey. The problem is that Spidey doesn't remember recently tilting with the Vulture, but that's okay. He's more than happy to bonk plug-ugly heads.
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Iron Man must find a way to build Doctor Doom's time platform in order to stop Birch, a forgotten enemy, from using the Dark Phoenix to destroy the earth. I have to give credit to Rob Williams and the rest of the writers of this excellent mini-series. I really didn't think the story would be this engrossing, but it was. I also didn't believe the different artists per chapter would maintain the level of quality begun, but they did. Iron Age is the exception that proves the rule.
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The Captain America Corps focus on one particular timeline in which the Avengers' history has been irrevocably altered by the abduction of Steve Rogers frozen in ice. We discover through intel recovered by the impressive Commander A -- a Captain America from the 25th Century -- what happened to the team and the other heroes of the Marvel Universe.
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While this is a Fear Itself tie-in, Fearsome Four fares a little better than most. Primarily it's a group of Defenders battling the Psycho-Man. Man-Thing has also altered reality and pulled in the temporary Fantastic Four: Wolverine, Spider-Man, Hulk and Ghost Rider.
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Claws is a comic book that relies upon the unexpected. Nobody in their right mind would have figured finding Wolverine and Black Cat in Killraven's War of the Worlds future, but here they are set against the red and orange skies, courtesy of Dan Brown and Nick Filardi. In fact, let's face facts. The odds of Killraven appearing in a comic book ever again were pretty damn slim, but here he is.
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Baltimore: The Curse Bells #1 (Ray's review)Posted: Saturday, August 13, 2011By: Ray Tate Mike Mignola, Christopher GoldenBen Stenbeck, Dave Stewart (c)Dark Horse Writers Mike Mignola and Christopher Golden build on the mythology of Baltimore. The vampires, huge monstrous bat things, scavenged the near dead on the battle-scarred fields of No Man's Land during World War I on an alternate earth. Vampire grand poobah Haigus promised the extermination of humanity when the heavily wounded Baltimore refused to be the beast's supper. Lord Baltimore's crusade though was inevitable. There's no way these gargantuan blood suckers would have settled for just the dying doughboy or the husk of the Hun. Besides, evil lies.
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Hellboy: The Fury #3Posted: Saturday, August 13, 2011By: Ray Tate Mike MignolaDuncan Fegredo, Dave Stewart (c)Dark Horse The crescendo and the coda. Hellboy battles Nimue for the sake of humanity as Ragnarok's effects ravage London. For the longest time, Hellboy fought against his fate: to become the king of Hell and bring the demons to raze the earth. It's only with these latest chapters in Hellboy's story as accompanied by stellar artists Duncan Fegredo and Dave Stewart that Mignola suggested Hellboy was not doomed to prophecy. He was in fact a true heir to Arthur's Excalibur and with that sword, he could destroy the coming darkness.
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Elric: The Balance Lost #2 (Ray's review)Posted: Saturday, August 6, 2011By: Ray Tate Chris RobersonFrancesco Biagini, Stephen Downer (c), Travis Lanham (l)BOOM! Studios Back in the '80s I devoured sword and sorcery books. It was my Tolkien period. I read the Ring books. I read the Gor books, and I also discovered Michael Moorcock. I had already read the John Carter and Carson of Venus novels. So I was prepared for mixing science fiction, magic and swordplay.
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Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
View Issue       View Full Review

Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
View Issue       View Full Review

Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
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I ignored this title for a long time. I will never like Michael Turner's artwork, which founded the noveau cocaine chic school of art: overall bad anatomy, emaciated women and flat faces that appeared to be products of close encounters with brick walls. I don't know how much Turner actually contributed to the conception of Dr. Aspen Matthews, a.k.a. Fathom, but if he was responsible for even half, I now see the potential of imagination that was lost with his passing.
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Faced with a super-charged Namor Revenge Squad consisting of a hammer-accessorized Atuma, Tyrak, Tiger Shark and a sea sorceress, the Imperious Rex seeks allies in Dr. Strange, Loa and Lyra, daughter of Hulk and Thundra. The Silver Surfer shows up late for the party, but he brings the favors. Before you know it, the Defenders are hip-deep in monstrous Lovecraftian demons from the deep.
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There's a flow to Marvel Adventures Spider-Man that makes it a breeze to read yet deep in plot and characterization.
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Secret Avengers #15Posted: Thursday, August 4, 2011By: Ray Tate Nick SpencerScott Eaton, Jamie Mendoza (i), Frank D'Armata (c)Marvel Only Scott Eaton's scrumptious rendition of the Black Widow makes this book worth anything. Jamie Mendoza honors Eaton's pencils with superb inking that enhances the play of light on Natasha's leather jumpsuit, and Frank D'Armata's colors offer a natural look to the fleshtones and Natasha's red hair. As to the rest, Secret Avengers is an unparalleled tribute to idiocy.
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Kirby Genesis #2Posted: Sunday, July 31, 2011By: Ray Tate Kurt BusiekJack Herbert, Alex Ross, Vinicius Andrade (c), Simon Bowland (l)Dynamite Galaxy Green and her bounty hunters offer the best from Kirby Genesis, and that's because they actually do something that's lively. They infiltrate a Montana sheriff's office to discern the whereabouts about their quarry, a group of space criminals lured to earth by a Big Bad named Darius, and they proceed to box them in at a selection of caverns. As a whole, despite being in only a few panels, the "Green Team" are the most effecient and therefore the most interesting characters.
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Vampirella and the Scarlet Legion #3Posted: Sunday, July 31, 2011By: Ray Tate Joe HarrisJose Malaga, Renier Petter (c)Dynamite Former allies the Scarlet Legion and Pendragon explain their betrayal of Vampirella a little better, but frankly, I still think both players in this chess game jumped the gun on our favorite benevolent bloodsucker. Harris gives a reason for Vampirella's journey North and her return to civilization. I'm not certain Harris meant to tie this mini-series in with Vee's recommended regular title. However, his ideas in The Scarlet Legion nevertheless fit nicely with Eric Trautmann's concepts.
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While other anthologies of prose dealing with the superhero have come and gone, most of them as denigrated or mocked champions, a good anthology celebrating modern mythology occasionally appears on the bookshelves. You may add Gods of Justice to that very short list.
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Drake, one of the Marksmen, rides through this barren, drought-stricken land, and I must commend Baxter and Elliott in creating the perfect contradictory attitude. Unlike many of protagonists from the ruined worlds, Drake hasn't lost his sense of humor or his sense of decency. The fact that he adopts a furry, four-legged friend and seeks his pet's welfare as the story progresses and new dangers arises is a winning quality.
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The full-length tale by Templeton is packed with jokes. Subliminal French laces the dialogue. Canada's enviable socialized medical system catalyzes numerous gags, and of course Canadian politeness offers the runner. The whole story depends on the preposterous secret weights and measures of Canada, drawing in one of the weirdest full circle moments.
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Artists Lukas Ketner and Sunny Gho replicate the lank models of Bernie Wrightson and Michael Kaluta while adding their own macabre style when rendering the creepy faerie mother and the changeling she plants in the crib of unsuspecting parents. These are fantastic nightmares that would have made Lovecraft salivate.
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It's sort of fun to see Hank Pym and Absorbing Man act like giant monsters, but it would be genuinely fun if the Absorbing Man weren't possessed by a magic hammer. Fortunately, letterer Joe Caramagna distinguishes the dialogue you can skip. Don't read the black dialogue balloons unless you really love Fear Itself. It's just not worth it.
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As with the premiere issue, this second issue of Captain America Corps is mighty entertaining. The book hits all the right buttons and adds a few surprises to spice things up. Stern for instance suggests that things may not be quite so bleak in the dystopian super white America guarded by a jingoistic government run team of "heroes" that abducted our time snatched Caps.
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Fear Itself: Fearsome Four #2Posted: Friday, July 22, 2011By: Ray Tate Brandon MontclareRyan Bodenheim, Simon Bisley, Ray-Anthony Height & Don HoMarvel I last saw the Frankenstein Monster in the original run of Marvel Team-Up. Frankencastle appeared to displace him. In this issue of Fearsome Four, the Frankenstein's Monster relates how he got involved in the hunt for Man-Thing and where he has been since, the seventies.
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Hellboy: The Fury #2Posted: Saturday, July 16, 2011By: Ray Tate Mike MignolaDuncan Fegredo, Dave Stewart (c)Dark Horse Talk about unpredictable. It seemed like the forces of good would triumph thanks to the timely delivery of Excalibur, but it all appears to rest on the shave horned head of Big Red's own bad self.
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Vampirella #8Posted: Saturday, July 16, 2011By: Ray Tate Eric TrautmannWalter Geovani, Ivan Nunes (c)Dynamite Vampirella and Sofia go traveling to investigate the chain of deaths caused by a very unusual supernatural menace. In other words, "Same old life." Vampirella was always a traveler. You never knew where she would show up, but when vampiric or demonic evil struck, Vampirella wouldn't be too far behind.
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Iron Age #3Posted: Friday, July 15, 2011By: Ray Tate Jen Van Meter, Elliot KalanNick Dragotta, Ron Frenz, Sal Buscema (i), Brad Simpson (c), John Kalisz (c)Marvel Iron Age is a blast. The heroes are in perfect character. Misty Knight and Colleen Wing show up, and their animosity toward Iron Man, who they believe to be Jim Rhodes, and Tony Stark exemplify the cohesiveness of the Marvel Universe. Iron Man is one of Marvel's heavy hitters, and you really don't expect him to infiltrate Luke's and Danny's territory, but there he is in Time's Square.
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Elric: The Balance Lost #1 (Ray's review)Posted: Saturday, July 9, 2011By: Ray Tate Chris RobersonFrancesco Biagini, Stephen Downer (c), Travis Lanham (l)BOOM! Studios No doubt inspired by Doctor Who, Michael Moorcock envisioned the Multiverse as a way to create multiple incarnations of the Eternal Champion. Essentially, this was regeneration on a cosmic level. Corum, Dorian Hawkmoon and Eric Beck are all variations on Elric, the albino warrior wielding the soul-stealing ebony blade Stormbringer, and the Multiverse plays a role in the latest Moorcock-based comic book series Elric.
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Shinku #2Posted: Saturday, July 9, 2011By: Ray Tate Ron MarzLee Moder, Matthew Waite (i), Michael Atiyeh (c)Image Shinku makes a bold attack on the vampires, and she teaches Davis, the poor sap marked for death last issue, a history lesson. While primarily Shinku is a kinetic wonder produced by Lee Moder, Matthew Waite and Michael Atiyeh, Ron Marz's part in the action-horror's conception should not be overlooked.
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Trailblazer (one-shot)Posted: Saturday, July 9, 2011By: Ray Tate Jimmy Palmiotti, Justin GrayJim Daly, Jimmy Palmiotti (i), Paul Mounts (c)Image As I stated in another review, I'm a fan of Palmiotti and Justin Gray. However, Trailblazer reads more like a rough draft than a finished product. While there are some excellent, creative concepts, there are an equal number of flaws.
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Fear Itself: Youth in Revolt #3Posted: Friday, July 8, 2011By: Ray Tate Sean McKeeverMike Norton, Veronica Gandini (c)Marvel It's no secret that I normally prefer female protagonists over male protagonists. This isn't a gender-biased decision on my part. Indeed, some of my favorite characters are men: The Doctor, James Bond, Batman, Spock, Michael Weston, just to name a few. Unfortunately, male characters outside the classics tend to be written as jackasses, and the writers appear to think that I'll empathize with a jackass. Let me just say right here and now: You're sadly mistaken. So imagine my surprise when Sean McKeever devotes nearly an entire issue of Youth in Revolt to a male hero and knocks it out of the park.
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Abnett and Lanning cleverly imply that the Shroud can see more than the average blind man. It's rather interesting that Elektra is teaming with another blind super-hero, but I doubt that means Abnett and Lanning intended for Daredevil to guest star. Rather, it's more likely they saw the humor in the situation.
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Wolverine & the Black Cat: Claws II #1Posted: Friday, July 8, 2011By: Ray Tate Jimmy PalmiottiJoseph Michael Linsner, Dan Brown (c), Nick Filardi(c)Marvel When Wolverine teamed up with the Black Cat in the first Claws, I'm sure a lot of people went "R'uh?" accompanied by their best Scooby-Doo face. I must admit that I would have ignored the whole exercise if not for the presence of Jimmy Palmiotti and Joseph Michael Linsner.
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Godzilla: Kingdom of Monsters #4Posted: Saturday, July 2, 2011By: Ray Tate Eric Powell, Tracy MarshPhil Hester, Bruce McCorkindale (i), Ronda Pattison (c)IDW As Godzilla and Anguirus meet and a soldier looks upon the current generation with disdain, the quality of the artwork matches the previous issues. Hester, McCorkindale and Pattison convince you that Godzilla is King of the Monsters. Their illustration of the battle-fatigued soldier feels authentic, and their underplayed talking heads neatly spotlight the stupidity of some media pundits.
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Godzilla: Kingdom of Monsters #3Posted: Saturday, July 2, 2011By: Ray Tate Eric Powell, Tracy MarshPhil Hester, Bruce McCorkindale (i), Ronda Pattison (c)IDW As Godzilla and Anguirus meet and a soldier looks upon the current generation with disdain, the quality of the artwork matches the previous issues. Hester, McCorkindale and Pattison convince you that Godzilla is King of the Monsters. Their illustration of the battle-fatigued soldier feels authentic, and their underplayed talking heads neatly spotlight the stupidity of some media pundits.
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Vampirella and the Scarlet Legion #2Posted: Saturday, July 2, 2011By: Ray Tate Joe HarrisJose Malaga, Renier Petter (c)Dynamite Everything's flipped in The Scarlet Legion. Vampirella's friends and allies now unite against her, and Vee's former foes may be the only help against her oldest enemy Chaos.
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Fear Itself: Black Widow #1Posted: Friday, July 1, 2011By: Ray Tate Cullen BunnPeter Nguyen, Veronica Gandini (c)Marvel The Black Widow travels to France in order to deal with a group of terrorists that decide to take advantage of the Fear Itself chaos. Big mistake, because the Widow's through playing nice. Cullen Bunn opens his story by shooting Black Widow in the head, and then turning back the clock to see what led to this hero's "death." I find it very comforting to doubt the Widow's demise and discover that faith well-placed.
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Iron Age #1 (Ray's review)Posted: Friday, July 1, 2011By: Ray Tate Christos Gage, Rob WilliamsLee Weeks, Ben Oliver, Tom Palmer (i), Matt Hollingsworth (c)Marvel In the first story, by Christos Gage, Iron Man seeks aid from the man he trusts the most -- himself. Unfortunately, that individual is wearing a feather boa at the moment. Drunk out of his mind, present day Tony dons his old armor and approaches the Avengers: a neophyte Captain Marvel, She-Hulk, Starfox, Cap, Thor and the Wasp, then leader of the team.
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Ray Tate's first online work appeared in 1994 for Knotted. He has had a short story, "Spider Without a Web," published in 1995 for the magazine evernight and earned a degree in biology from the University of Pittsburgh. Since 1995, Ray self-published The Pick of the Brown Bag on various usenet groups. In the POBB, as it was affectionately known, Ray reviewed comic books, Doctor Who novels, movies and occasionally music. Circa 2000, he contributed his reviews to Silver Bullet Comic Books (later Comics Bulletin) and became its senior reviewer. Ray Tate would like to think that he's young at heart. Of course, we all know better.
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Next Men #7Posted: Saturday, June 25, 2011By: Ray Tate John ByrneJohn Byrne, Ronda Pattison (c), Neil Uyetake (l)IDW The cover kind of spoils the issue, but actually given the way so many characters have been slashed and burned, maybe it's a good thing that Byrne reveals that Jazz survives the deadly sexual disease she contracted in Elizabethan times. Since the uniform she wears coordinates with Beth's clothes, you may also deduce that the duo of Next Men joined the time travel away team, breaking a little this issue from their initial Star Trek origins.
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The Traveler #8Posted: Saturday, June 25, 2011By: Ray Tate Mark Waid, Tom PeyerChad Hardin, Chris Beckett (c)BOOM! Studios The grotesque Abaris is no mean foe. Abaris has had the time to set up his own world fueled by the pettiness of his intellect. He possesses an army and cadres of mercenaries at his beck and call. Really, how can Abaris lose against a novice Traveler?
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Sure, it's realistic, but what reader is going to put up with the hero sleeping through the story? Trautmann takes advantage of Vee's dormancy to focus on the new girl. At first, Sofia seemed like just an interesting victim Vee saved, but like the Doctor, Vampirella picks her companions well.
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Roberto DiSavlo's artwork is Marvel Adventures Spider-Man's best asset.
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Kirby Genesis #1 (Ray's review)Posted: Thursday, June 23, 2011By: Ray Tate Kurt Busiek, Alex RossJack Herbert, Alex Ross, Vinicius Andrade (c), Simon Bowland (l)Dynamite The Kirby heroes and villains arrive on earth, and the human geek named after Kirby watches from afar with his best friend, the knockout Bobbi. The Gods will have a direct affect on one of the two. This is a good setup for the series, but there's a lot of narrative sleight of hand involving cut-to-scenes and timing to disguise what amounts to a simple plot. A group of space criminals possibly led to earth by the Pioneer space probe land.
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Gage uses The Fear Itself event to explore the many facets of Tigra. He spotlights her courage, her doubts, her origins, the many changes that defined her life all in one issue. Frequently her internal monologue conflicts with her dialogue, and these at-odds words add even more depth to the story and her characterization.
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Captain America Corps #1 (Ray's review)Posted: Friday, June 17, 2011By: Ray Tate Roger SternPhil Briones, Mat Milla (c)Marvel It all began during the tenth anniversary of Doctor Who. The Powers That Be at the time wanted to do something memorable, and they decided that the Doctor would face a villain more powerful than he ever encountered before. That villain would be the Time Lord known as Omega, one of the first Time Lords. The situation was dire enough to send an army of Time Lords to aid the Doctor, but Omega had already anticipated such a stratagem. So, the very same Time Lords that exiled the Doctor to earth, the so-called Celestial Intervention Agency, gave the Doctor help in the form of his past two incarnations. They took the second and the first Doctor out of time and space and teamed them up with the then current third Doctor. This novel, intrinsic idea is the basis as well for Captain America Corps.
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Thor-Girl's origin recapped in an economical single page is very interesting, and it does fill in some blanks. Thor-Girl isn't a Skrull, but she is an alien. Thor saved her from doom, and she wears his uniform to honor his heroism. The hammer's still a mystery though. I suppose Odin could have commissioned the Dwarves to make her one like he did Beta-Ray Bill. Whatever. All I know is that I like this girl's personality, even more so than Ultragirl or Firestar.
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Fear Itself: Fearsome Four #1Posted: Friday, June 10, 2011By: Ray Tate Brandon MontclareMichael Wm Kaluta, Bryan Bodenheim, Simon BisleyMarvel Something's spreading fear among the populace of the Marvel Universe. Such fear attracts Man-Thing, "For Whatever Knows Fear, Burns at the Man-Thing's Touch." Howard the Duck and She-Hulk attempt to peacefully deal with the Man-Thing, and along the way, Nightwing and the Frankenstein Monster join the party. How could anyone resist such a team formation? Not me, and legend Michael Wm Kaluta's presence certainly sweetened the deal.
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The Iron Age: Alpha #1Posted: Friday, June 10, 2011By: Ray Tate Rob WilliamsRebeckah Isaacs, Andres Mossa (c)Marvel This is the first Iron Man series I've bought for decades. The initial flip through at Phantom of the Attic immediately intrigued me. Rebecka Isaacs artwork was inviting. It lacked the sort of draftsman design of technology that tend to dehumanize the Iron Man titles. Instead, Isaacs illustrates people as well as mecha, not the other way around, and does so in a more toony way that creates a unique aesthetic. Mossa's colors are perfect. The tone of the book is quite nightmarish, but the colors fluctuate. They're bright and sunny for the moments Iron Man appears, vivid when the elemental force explodes and sufficiently dark as Tony realizes the scope of what just happened.
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Zack Davisson also reviewed Hellboy: The Fury #1. Read his thoughts, too!
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Previously the creative team emphasized the perfume Zanzibar. I thought that might be a clue, and it seems those suspicions pan out, as Honey begins smelling the perfume everywhere. That unfortunately means that the perfume could be a red herring. Whatever the case, Lee, Sutton and Wolak keep the reader guessing in this second chapter.
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No holds barred, the vampire's bare bosom does away with seduction and cuts right to the predatory nature of the creature. Sex, death as well as entitled gluttony become linked in the head vampire's feeding orgy ending the book. Here, the nude women and men are reduced from sexual objects to mere prey. The scores of them indicate the vampire's status, and his three vampire brides pervert hedonism into slavery. The natural orientation of the lesbian becomes twisted in a scream as the vampire bride feeds on the intended while still alive. It's an unsettling portrait, more so because Moder's so well-known for illustrating Wonder Woman, The Flash and Painkiller Jane. This is different.
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The smile he bestows to Sue is winning, and his linework, especially on Sue's nose, is more evident in the brightly lit kitchen. The lion's share of Kitson's work however becomes swamped in shadow and covered in a color wash that smoothes over his more enjoyable "rougher" flourishes. It's rather surprising to see Kitson an artist with a softer product being swept to even more realistic extremes.
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Marvel Adventures Spider-Man should be read by every Spidey fan. It's simply the best Spider-Man book on the racks.
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I expected Caskey's tale to be another entertaining but otherwise humdrum homage to Luche Libre, the Masked Mexican Wrestler genre that emerged in cinema during the fifties and best represented by El Santo (The Saint). It is an homage, but so much more.
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John Costanza, Phyllis Novin and Art Villanueva instead of recoiling from the multitude of cast members--remember just how many kids Cletus spawned--grapples with gusto. Hell, they even create characters in a Simpsonized mold, adding more bodies the cast, and construct surprising blueprints of technological marvels, that still appear to fit with Matt Groening's wild jaundiced world.
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Malaga gives Vampirella realistic elegance and beefs her up to lend verisimilitude to her battle prowess. No wispy waisted waif is she. Vampirella is a fully developed woman who appears to have worked out at the gym. Technically this choice isn't necessary since Vampirella possesses preternatural strength, but I think the more full-blooded model sells Vampirella better.
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It's not that the Cadets are incompetent. It's not that they're hopeless fighters or just plain old stupid. Theyre raw, and they've never fought the Sinister Six before. Fortunately, the Six have not lost their characterization to changes in Marvel history. None of them are child killers. They're rotten thugs. Robbers with gimmicks, and that leads to an entertaining nostalgic story bearing a fresh spin thanks to the Cadets of Avengers Academy.
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The artwork by Paco Diaz and Tomeu Morey is technically excellent, yet the story lacks the viscera that McCann would like it to have, and therefore you can only admire the artwork from afar. It doesn't draw you in because in the end you know that Hawkeye isn't going to kill his brother, despite his horrible fashion sense, and Hawkeye's brother will fail. There's not one moment you fear for Hawkeye, and Baron Zemo's scheme and reasoning is simply full of holes. As a result, the road to his return to villainy seems disingenuous, but there's that instance in the epilogue, usually a drag, that makes you notice Hawkeye Blindspot,.
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Throw in an old Spidey villain with a brand new set of threads, and Heroes for Hire ends up being a perfect issue exemplifying how superhero comic books should make the reader feel. Delighted.
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Thanks to Mignola's teaming with Corben, there's no doubt that the woman's completely off her rocker. One look at her face, and you know she has been twisted by hatred. In this way, Mignola inverts the formula he used for The Dead Remembered. You feel sorry for the alleged witch in that work. Whereas in Being Human, experience with the antagonist engenders sympathy toward her victims. What happened to her was wrong, yet the mercilessness of her vengeance demands the only ending that could have worked.
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The potential for this story is astronomical. All it needed was a decent artist to make the tale soar. Tony Shasteen's art is the happy ending after a massage. It's that good, and it's unique without losing sight of anatomy, detail, narrative or structure. Art this fantastic deserved an infinite palette of color, and that's what Dave McCaig and Lee Loughridge seem to bestow.
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EDITOR'S NOTE: Shawn Hill also reviewed Next Men #6. Read his thoughts, too!
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Third, Youth in Revolt feels too much like part of Fear Itself. Now, I know that it is part of Fear Itself, but it doesn't feel distinctive enough. I get the impression I must read the other miniseries in order to receive the full story. Now, perhaps some in Marvel are high-fiving right now, but all that makes me want to do is ignore Youth in Revolt, even if Thor Girl is in it. You would have to add Tigra in the mix to make Youth in Revolt a must buy.
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If you're looking for a book with FF action, pick up this week's Amazing Spider-Man instead. It's got "clobberin' time" all over it, as well as the Secret Six, Scooby-Doo pirates, a Doctor Who reference and Spider-Man doing what he does best. Saving lives. Mind you, those Carlie Cooper moments bring the book to a dead stop.
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At a guess, Allie pinned down some of the more realistic characters in Mignola's story. Trevor, a winning lad with a smoking issue, is likely his. Trevor's father though briefly seen is more down to earth than the odd, scholarly Bruttenholm. Both writers however expose the hypocrisy of the Church, and it's not a visual of The Necronomicon that the poor woman fears at the end of the story. It's The Bible.
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This issue still bears Mediterranea's strengths: gorgeous artwork, with a kind of Disney-for-adults design and an engaging cast, but the story strays, and both directions lack cohesiveness.
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Eric Trautmann's, Noah Salonga's and Ranier Petter's version of Red Sonja is a winning combination of characterization and arresting art set in a rousing adventure with serious undertones.
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When performing rituals, everything must be perfect, and Vampirella dresses for the occasion. Artists Wagner Reis, Fabiano Nieves and Inlight Studios make the transformation momentous. It's a fitting image to leave lingering at the end of a chapter that instills a thirst for more.
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Mettle and Hazmat have a heart to heart, and it's just the right amount of pathos and comedy which later ends up visually as a raucous dance. Veil gets through to Striker, and the whole thing appears to end in a fight until, in homage to The Simpsons episode "Lard of the Dance," Speedball cuts loose, and the crowd goes wild.
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Arcade contrasts the Young Allies and the Cadettes. Whereas they emanate youth, Arcade issues decay. His face appears emaciated, and his eyes are mere pin-pricks dancing among the darkness of his sockets. It's as if the corruption has eaten anything human. He's a far cry from the fat cheeked devil's cherub that years ago snatched Spidey and Captain Britain from the streets of Manhattan.
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Spidey amuses Misty. His humor is contagious. He royally ticks off the Paladin, and you really don't believe Abnett and Lanning will top their initial efforts, but they do with their surprise guest star. I'll say no more. Suffice to say, you must buy this issue of Heroes for Hire.
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This excellent issue's final short arrives courtesy of Sergio Aragnes. His expressions for Homer and Maggie make dialogue superfluous, and her dainty dabbing of the mouth favors Matt Groening's edicts for dining depiction.
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The Traveler doesn't just rely on Doctor Who nods or science fiction tropes. Peyer and Waid orchestrate a meeting between the Traveler and a fellow prisoner that's quite touching and alien in philosophy. You actually feel good upon reading and admiring the artwork in the scene.
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To Velocity, Cyberforce is family. Whereas I used to see them as the arm-and-leg-band brigade with typical snarls, Marz gives me a different perspective to ponder. Their gratitude for Velocity's efforts give them dimension and depth I never believed they were capable of emanating. Rocafort and Gho soften their look. They still appear to be badass, but for the first time I get the sense that these heroes are as valid as the Avengers.
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The realism can be a boon to FF when the characters' emotions come into play. This is especially true in the preempted fight scene, as well as the drama in ethics later emphasized by a perturbed Spider-Man who subtly exhibits his motto -- "with great power, comes great responsibility" -- without a single word. Reed didn't just want Spidey on the team for his intelligence but also his conscience. Occasionally the artists go a little too far with their emulation of the film strip, using up ten panels to exhibit the conversation between Doom, Reed and Val. Ten panels? Come on. When did this become acceptable? You could have produced the same effect with four.
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This terrific little issue of Spider-Man packs a wallop of entertainment. Tobin makes good use of Ka-Zar and Zabu, and he has a little fun with a certain cowardly dog and his interfering human friends.
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EDITOR'S NOTE: Danny Djeljosevic also reviewed Black Dynamite: Slave Island. Read his thoughts, too!
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Let me stress: you can do a lot worse than Doctor Who: Fairy Tales #1, and it just might be the ticket for the casual fan, but the faithful Doctor Who watcher just may want to wait for the trade and see if a payoff might excuse the trip down memory lane.
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Gage's story compliments classic Avengers while adding more layers to the continuing theme of the Cadets learning the ropes of being a hero. Raney, Hanna and Cox fully integrate their art with Gage's words.
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Buster Oakley Gets His Wish consists of panel after panel of Hellboy and the Boy-Cow beating the living crap out of anal probing aliens, their clunky robots and gooey spider-things. A lot of story? No, but it's just enough for a hilarious gag on urban legends, and Kevin Nowlan's take on Hellboy will make you giddy. I think Buster Oakley Gets His Wish is poetry.
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The Star Trek bits where "Kirk" and his away team mount a peaceful recovery still offer the best parts of Next Men. They practically glow optimism, and their advanced technology appears to be magic. Can these innovations help the Next Men, or perhaps a side-effect of time tampering will provide the answers? I'm interested in finding out.
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Zemo's rationale for attacking Hawkeye over Moonstone baffles me. Moonstone's alive and crazy over in Thunderbolts. Doesn't Zemo realize this? Doesn't he read the newspapers or scan the internet? You could argue that Zemo's out to avenge his humiliation, but why then the pretense about Moonstone? Bottom line. Deathbird who never met Hawkeye until the fateful encounter in the Cross Warehouse was a far more interesting foe, and Hawkeye's comeuppance delivery to her was vastly more enjoyable.
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While the premise of Fear Itself is good, the execution needs work. Rather than centering solely on Cap, Iron Man, and Thor, more words and actions should have been spread throughout the cast. The behavior of Odin should have definitely been rethought. Characterization of this kind works for a first draft, but not a final one.
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In terms of plot, Mignola and Allie form the basis around intolerance, religious bigotry and corruption in the church. Same old same old, but instilled with the writers' convictions and sincerity.
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I'm unlikely to buy Aftermath again, but I can't say that this was a real disappointment because I really didn't expect much. A few of the jokes in Aftermath made me laugh, but most of them made me groan. Whatever the case, you should be laughing with the Green Hornet as he decimates crime from within, not laughing at him.
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The story's narrative moves quickly, and if you think that Hercules' luck appears to be too good, don't worry. A surprise villain manifests for a bigger brouhaha that leads to an enticing cliffhanger. In short, I'm interested to see where this story goes and in the new adventures of Hercules. Make mine Marvel.
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I wasn't attached to Daredevil, and I was looking forward to what the Black Panther would do in Hell's Kitchen, but this series wasn't what I had in mind. Even with Francesco Francavilla, Black Panther, Man Without Fear was doomed.
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Cyclops, like Iceman & Angel, is a sleeper. Unhyped, easily ignored in favor of the next Big Stupid Event, Cyclops proves to be an ebullient find among the same old, same old.
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Whether or not Araa is a member of the Spider-Man Family, I really couldn't work up any enthusiasm over what amounts to a psychotic Hannah Montana battling Avril Lavigne on the streets of Manhattan. Spider-Girl comes up with some good strategic moves to stymie the huntress, but you get the impression that this is just one well-drawn PG rated cat-fight with Spider-Girl acting a little bratty instead of wise beyond her years. Bleah.
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The first story is well worth your time and money, and the back-up is a sort of after-dinner mint. The two tales will interest Futurama and newbies looking for a good laugh alike.
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While it's plausible that the Hornet would swear in his current emotional state, I found Hester's use of masked profanity distracting and unnecessary. "C'mon you hunk of $#&%" would have worked better as "C'mon you hunk of--" "I thought you'd never %@#$ing ask" could easily have been edited to "I thought you'd never ask," and carry greater impact. The %@#$ing undermines the severity of the situation. Still, it's less profane than Smith's work, and now that he has left the title, Green Hornet bears watching.
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Dan Brereton is the creator/artist/writer of the Nocturnals and Giantkiller. He has also plied his skill to The Thrillkiller, a memorable Batgirl and Robin Elseworlds series. While Red Sonja doesn't seem exactly up his alley, he, Chris Bolson and Wellinton Marcal nevertheless conjure just the right atmosphere for this latest one-shot.
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Tobin is well aware of how certain scenes should be affecting the reader, and he uses the continuity he created for this title to its fullest. There's more at work here than the Blonde Phantom and Chat backing-up Spider-Man's rain of hell down upon Torino's operations. Pay attention, and you'll deduce the clever twists that make the payoff extra juicy.
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While this issue of Doctor Who doesn't break any new ground, nor match the complexity of Tony Lee's tenth Doctor stories from Volume One, the latest of the eleventh incarnation is an enjoyable romp recommended for fans of the series.
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This wry issue of The Simpsons is recommended for fans of the show but not necessarily the casual reader who may just find Lisa's unjustified comeuppance a little mean.
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When Vampirella meets up with her oldest enemy, Trautmann, Reis and Andrade give the instance the resonance it deserves. The battle between the two is swift, the dialogue barbs sharp, and though nothing is resolved in this issue, the creative team leave the reader with a tantalizing cliffhanger that makes you thirsty for the conclusion.
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Despite Tigra gracing but one panel in a cameo role, Avengers Academy still earns a perfect score. It's simply the best book Marvel's publishing.
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Angel and Iceman have never been presented better, and the portrait of the Kirby/Lee monster outstrips everything. Doe sweeps in shadows and crumples its hide to induce the feeling of realistic depth in a patently unrealistic being. Kirby probably would have been proud to see his visual interpreted with such verve and reverence, and Lee no doubt will be delighted to observe his co-creation being used for unadulterated fun.
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Most comic book anthologies are merely excuses for lousy artwork and even worse storycraft. Captain Action Winter Special gives you page after page of quality writing and art for your hard-earned coin.
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While I wouldn't recommend Honey West for kids, any mature fan of the character, the television series or mysteries will get a kick out of Elaine Lee's and Ronn Sutton's "Murder on Mars."
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I'm sorry to say that artist Daniel Indro adds to the overall lethargic atmosphere. He draws Year One to meet Beatty's passionless specifications. The characters tend to meander. The violence doesn't arrive in a flurry of activity. Even the slap against the prostitute occurs off screen, and that really could have been something. A display of Bratton's rage might indicate a hatred of women or specifically her type of woman. As displayed, the scene is almost too dainty. A little "whap" followed by a panel depicting the prostitute on her knees in the background just isn't enough. If you're going to remark about Scotland Yard's unfair and primitive methods before Holmes, Lestrade and Watson, you have to exemplify. The panels fail to build suspense. Rather they fall stoically in a turgid narrative. Year One has one more issue to wow me.
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The more I read Blindspot, the more I miss Hawkeye & Mockingbird. Hawkeye needs a counterpart.
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Is there anything other than the tribute to all things Trek in Next Men? Beth is naked at one point, and Byrne displays that nudity. While most of her nakedness is hidden by body movement, Byrne treats his audience with respect and essentially states: "Yes, sometimes you wouldn't see anything, but the occasional glimpse is a given." I appreciate that artistic honesty more than some juvenile attempt to block the nudity with a mysterious lamp suddenly appearing in the setting.
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Berkenkotter does something with Sonja's tongue that's rather disturbing. This is the most you'll see of the underside of anybody's tongue, and it's just not pretty. Maybe he was trying to show the unattractiveness of drunken behavior, I don't know. It made me wince. However, Vinicius Andrade makes that crimson mane a symbol, and his shine on Sonja's armored shirt is a lot more appealing than the traditional chain-mail bikini.
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So, in summary, Gage reinforces Hank's newfound sanity and heroism while using a continuity fixer-upper to try to give Hazmat a respite from her condition. At the same time, Gage convinces me that Leech is actually worth getting to know and instills even more curiosity in the new FF title. These moves and the willingness of everyone to help grant greater cohesiveness to the Marvel universe. Once again, Christos Gage builds on the foundation of the Heroic Age. This is why I'm making mine Marvel.
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Bart Simpson Comics is a meaty cartoon cavalcade that will please any fan of the show or readers of funny books.
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Alex Ross, Phil Hester, James Herbert and Vinicius Andrade build on the myth. Wielding a privateer's cutlass, The Terror in his spirit ship, accompanied by the resplendent avatar Parrot, travel the world looking for injustice to stamp out. That's the very essence of the heroic ideal.
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This edgy time travel story that functions on the simple premise of a man's extraordinary love for a woman deserves far more readers. If you haven't picked up the comic book, an ideal format for this series, buy the trade.
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Artist Jaime Martinez incorporates much of McGavin's personality into a decent likeness of the disheveled reporter as he weaves an exciting documentary narrative that's draws in the television series format. Given the new setting, Martinez also fills the panels with numerous babes in bikinis. Not an entirely novel notion for Kolchak: The Nightstalker. Despite the premise, the series was always meant for adults, broadcast at 10 o'clock when the wee ones would be safe from vampirized hookers and youth-sucking witches. This new era for Kolchak: The Night Stalker looks to be a good one.
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It's nice to see a tale with such bite, such unwavering loyalty to a true picture of what it was like to live in the United States during a period of chaos. We like to think that all of America unified behind the single idea to destroy the Nazi regime. We did, eventually, but that mindset didn't spontaneously generate. The genesis was much messier, and Powell's and Marcos' story is a reminder to beware of false prophets using scapegoats and persuasive words in a time of economic turmoil. I almost wish that they hadn't pulled the plot twist and kept the Operator 5 story pulp trappings free. Still, up to that point, the story is remarkable for its unsettling truth.
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I recommend this issue of Simpsons Comics to fans of The Rockford Files. Other readers, even the faithful fan, just might want to leave this one on the rack.
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Will Vampirella's isolation be assuaged by Sofia's friendship, or will the girl turn out to be a cuckoo in the nest and betray the vampiric champion? We'll find out in future issues of Vampirella.
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The art team's partner in crime scripts choice dialogue that reflects generational characterization and really frames the personality of the Taskmaster; his strange admiration for fighting heroes conflicts with a desire to be a master criminal. Gage conceives of an intriguing limitation for Taskmaster that also explains why he remains a villain. A rational being really should stay on the straight and narrow. Taskmaster would indeed make an excellent hero, but he's missing a component in his physical makeup that will always return him to the dark side.
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Blindspot is a good take on a dusty plot. McCann makes this tale a unique Hawkeye story while grounding it in the Marvel Universe. Although I miss the Lopezes from Hawkeye & Mockingbird, Paco Diaz and Tomeu Morey bring a strong sense of proportion and scale to the mix and enhance the drama.
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The substitute artwork is a detriment to the aims of Paul Tobin. Spider-Girl started with such promise, and now the Powers that Be seem to be going out of their way to kill any possibility that fans might enjoy the comic book.
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Hotwire? Hot Damn. Alice Hotwire is the most memorable creation of the twenty-first century. Her stories are intense, heroic and innovative with a good dose of humor.
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My only hope, and it's a small one, is that these chapter plays the Warder shows Bethany are just that; virtual reality soap operas purposely written to be horrible with scripting that would embarrass the most cut-rate porno. Perhaps, the rest of the Next Men are in stasis somewhere. That still doesn't excuse the celebration of the craptastic in this chapter.
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In Murder by Decree, Sherlock Holmes, embodied by Christopher Plummer, stalked Jack the Ripper. In the Masks of Death, Peter Cushing's impeccable Sherlock Holmes uncovered a vile little World War II precursor. Beatty doesn't need to mimic the movies or the television series, but the mysteries must be weirder, something that deserves the involvement of the World's Greatest Consulting Detective. I was really hoping to like Year One, but it's just not peppy enough. Beatty has to step up his game.
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Rumor has it that Francesco Francavilla will soon be leaving Man Without Fear, and I say good for him. He deserves so much more than being the swim bladder of a dying shark. The art's so damn impressive that that you can almost forget just how bad Black Panther is. Almost.
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While I had issue with the first few chapters of Invaders Now, the story finishes on an uplifting, optimistic note and exemplifies the teamwork that I really wish wasn't so rare a find.
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Savage Beauty is a welcome addition to the jungle girls category of books. The writers and artists direct their talents to raise awareness about real world vermin while creating satisfying escapism in a twist on legacy heroism.
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Red Hulk appears to be inexplicably popular, and you may think that his appearance usurps Spider-Girl's presence. Far from it. With the exception of Red Hulk's flashback, Spider-Girl narrates the entirety, and her heartfelt words weave an engrossing tale of hurt as well as healing.
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The funny has landed in Futurama Comics. Rogers' script and the artwork are good enough to be televised.
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If you haven't tried The Traveler, pick up any chapter. While the issues are connected, often by breathless cliffhangers, each one feels like a meaty standalone exploit.
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I can't fully recommend Marvel Adventures Spider-Man, but despite its wonky foundation, the story somehow still works. Tobin, Lolli, Pallot, Sotocolor and guest artist Colleen Coover combine forces to endear Chili Storm to the readers.
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To be sure, I'm not angry at Dark Horse. I don't wish its dissolution. I'm angry at Whedon, but not Barbara Gordon-crippling angry. I haven't given up hope. This isn't a boycott. I fully intend to occasionally pick up an issue of Buffy the Vampire Slayer to see if it has improved from the "Twilight" debacle, but the days that Buffy the Vampire Slayer can be counted among my subscription list titles are over.
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Why include eroticism at all in a book that could have been edited to satisfy an all-ages audience? It adds another level of the exotic. The inclusion of a more open society creates a more substantial alien world. The last thing comic books needs is another super-white politically correct dominion.
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Sho Murase's manga as usual is the exception proving the rule. At least my rule. I hate manga and anime. While I've in the past commented on Jose Guzman's sense of color, such commentary could be interpreted as a mask. Perhaps the vivid coloring augments Murase's artwork. Perhaps this is why I can't see the manga tropes in the design. This issue Guzman settles on a few colors, and while still not drab, the reduction of variety allows the reader to further appreciate Murase's command of illustration. She plies a fight scene with precision. The everyday actions of the characters look natural instead of stiff, and while manga isn't renowned for a gamut of expression, Murase makes the most of the simplistic models integral to the genre. This is especially true of the dramatic, emotional cliffhanger.
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Phil Ortiz invokes some unusual sight gags based upon the expressions of the cast. He breathes life into the bad to the bone owl, and, when not embellishing emotive comedy, Oritz remembers that The Simpsons cast are multidimensional characters. They're not just there for jokes. Lisa shows concern for the owl. Homer displays a bizarre devotion for Marge, and she in turn reciprocates. Mike DeCarlo imitates the precision lines of animation cels. Art Villanueva infuses energy in the normal color schemes spreading across Springfield. In terms of story and artwork, this is a superlative issue of Simpsons Comics.
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Artist Mike McKone has grown into an arch Tigra illustrator; he even slips Tigra's tail through the hole in her bottoms. Inker Rebbeca Bachman and colorist Jeromy Cox enhance the sinew and the fur of everybody's favorite werecat. Needless to say, because Tigra prowls in the spotlight, she rates 48 panels, Avengers Academy is a necessary purchase. Remember, Tigra is love.
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No matter the period, Byrne demonstrates his research in detailed, historical backdrops, timely fashions and supporting cast members. I can't see what more you can want in a comic book. Next Men continues to fascinate, years later.
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If it weren't for Francavilla Man Without Fear would be a useless title. It fails as a spotlight for Black Panther since the specter of Daredevil haunts every word and every panel. It fails of course as a draw for DD fans. It's not even much of a superhero book.
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Ultimately, this is Tobin's show. The artists, though, if not skilled at their trade could have tied this exceptional story to an anchor and dumped it in the ocean deep. Fortunately, Tobin received marvelous back up and, as a result, his words gain resonance.
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Thor, the Mighty Avenger was meant to be all ages title. It turned out to be the most mature. More like this please.
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The book could have earned five bullets, but the villain's convoluted scheme is really gaga, and I just couldn't work up any emotion over it.
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So Who is Jake Ellis? The writer didn't give me a reason to care.
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The second issue of Vampirella proves to be a strong contender. Eric Trautmann and Wagner Reis with Fabiano Neves and Inlight Studio bring Vampirella kicking, slashing, and slaughtering into the light of the 21st century. Of course, sunlight never bothered Vampirella, and she never sparkled.
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I bought this series for Tigra, who sadly does not appear in this issue, but I stayed for the intelligence in the script and the sane, absolutely sane, Hank Pym. Thanks to this series and Avengers Academy Hank has become a bona fide champion.
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Mignola crafts a backdrop that's as chilly as the keen of a banshee and then he tosses a spanner into the folk tale. That spanner is Hellboy and he stands out like a proverbial thumb, bright red from the impact, and stubbornly colloquial to contrast the surrounding poetry.
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The art is inexcusable. Manuel Garcia's sketching can be quite attractive but not with an inker who would rather embellish Bill Sienkiewicz or a colorist who would be better suited for early Emo Vertigo. I've blown my nose and produced something prettier.
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For this issue, Hester and Ross pit Black Terror against genuine forces of evil as well as those of fantasy. The basis of the tale is elegant and a good, solid action, but with the addition of three turns to the plot Black Terror becomes even more entertaining.
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Phil Oritz relishes the chance to design a strong supporting character. Antonio Vabosco, clad appropriately in Villanueva's royal purple, is memorable for what he is not. Vabosco isn't a comedic figure. He actually behaves quite normally, yet there's still something cartoony in him that syncs to The Simpsons environs. Mike DeCarlo's inks embellish depth and refine the lines to create the precision of an animation cell. This only adds to the overall polished look of the funny book. Simpsons Comics bites the big business of making stars. Its acidic venom that will cause fits of laughter in the reader.
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Time Bomb succeeds as a joyful slaughter of Nazis and as a time travel story that banks on genuine science fiction theory.
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I can imagine several ways out of the shocking cliffhanger and one is foreshadowed this issue. Whatever Ron Marz chooses, I'm sure it will be good because he excels when depicting this engaging bona fide superhero that risks her very life to save her comrades.
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I would have given Avengers Academy five bullets even had Tigra not appeared. Gage's Hank Pym spotlight is immensely entertaining and engrossing, and his actions best represent the heroic ideal.
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The Marvel editors and Liss never should have haunted this book with the memory of Matt Murdock. Instead, they should have let the Panther take over with a simpler explanation or no explanation at all. Here's two. With Daredevil gone, Hell's Kitchen needs a hero. The Black Panther aims to fill the void. They could have even tied Man Without Fear into the Heroic Age direction. Realizing Daredevil's importance, Steve Rogers requests the Black Panther guard a defenseless Hell's Kitchen. Both are superior to what's given--some tommyrot about testing himself.
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The story should have had more pep and pizzaz. Pham, Palmer and Gho make this issue of Chaos War a potential purchase.
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The third issue of Argonauts steams ahead with unexpected treats, masterful characterization and a taste of bona fide social science fiction.
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Shadowflame is now available in a full color trade paperback (ISBN #: 978-0-9809204-6-8) with an asking price of $14.95. It's a good start for the adventures of a strongly characterized, distinctive hero.
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While I understand Roger Langridge's reasons for leaving Thor, the Mighty Avenger and Marvel's reasons for ending the book, Langridge is vital to the book's success. Thor, the Mighty Avenger will be missed. One issue to go.
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I recommend Ant-Man & Wasp. It's an entertaining mini-series written and illustrated by a team that thrive in Marvel history.
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Ben Stenbeck and Dave Stewart on the other hand pull out all the stops. Under a sheen of symbolic lilac, Lord Baltimore and Vanessa engage in a visceral battle against the forces of evil, and yes, Hun Diving Suits are cool.
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Because of the artificial fight, the unconvincing shocks and the ridiculous revelations, Buffy the Vampire Slayer comes off as just another comic book and that's about the worst thing that can be said. Buffy the Vampire Slayer was the closest thing to Doctor Who on television. It was not just another television series. The comic book in its glorious opening arcs was superior to every other comic book. "Twilight" and "Last Gleaming" could have found a home at DC.
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Thanks to Chad Hardin and colorist Blond, the Traveler cuts a striking figure. His costume is both attractive and functional. Hardin and Blond illustrate the entirety of the comic book with a sense of artistic storytelling, and the bare bones of the art (the scale, the proportion, the design of the panels, the full backgrounds) exhibit professionalism and old school style.
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Manuel Martin's artwork is good and solid. Martin captures realistic body language, embellishes believable emotion to the cast and weaves an easy to follow visual narrative. When Grant unveils the American plan for taking over the Directorate, Martin not missing a beat makes the reveal a memorable moment. Even taking in account the wacky world of comics, the heroes are a ridiculous bunch enhanced by the near blinding red, white and blue of Pedroza. They're Neocon poster children propagandizing the United States. I can't really mention the show-stopper without spoiling the plot. Suffice to say that Martin and Pedroza end the story on a splash page that should be made into a tee-shirt.
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John Delaney, Dan Davis and Nathan Hamill illustrate the second story. In this tale, the signature shadows of Delaney and Davis become parody and emphasize the hammy nature of Zapp's saga of false bravery. I also loved the seedy expressions from Zapp as he attempts to take credit where credit isn't due and skunk a way out of his predicament.
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The third issue of Shadowflame is more or less a filler, but it still has some good points, mostly involving the strength of Shadowflame's character.
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Dynamite's Vampirella promises to be a terrific addition to the already notable body of work from Harris Comics. Eric Trautmann respects the character and Wagner Reis with Inlight Studios recreates the baddest heroic vampire of them all.
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I tried out each incarnation of Alpha Flight that arose from of the ashes of the old. Chaos War: Alpha Flight is far better than any of the pretenders to the throne and it's less a lesson in mental instability than Byrne's original series. I'd call the tone, just right.
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This isn't the issue of Marvel Adventures Spider-Man I'd give to a new reader, but it's a perfectly competent if ordinary look into the lives of Spidey, Chat, and Emma Frost for faithful fans.
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Rarely does a book demonstrate such intelligent writing and beauty in art. Naturally, Thor, the Mighty Avenger had to be canceled. It was too good.
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The second story isn't as good as the first. In the "House of Sebek" Hellboy is almost a mere spectator for the eerie Egyptian events. The quality of Corben's illustration and Stewart's colors match those seen in the previous story, but Hellboy simply doesn't participate enough. Had the second story been as exciting and quirky as the first, I probably would have given Hellboy: Double-Feature a perfect score. As is, it earns four bullets.
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The two part debut of Honey West is a knockout. Trina Robbins knows how to love a mystery and her version of Honey West mimics the Honey of the books and television. Cynthia Martin and Ken Wolak join her to make Honey West a visually striking period piece.
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John Costanza and Phyllis Novin make this Yule-tide yarn spectacular. The adventure involves a multitude of cast members. Costanza keeps them sight gag funny and distinct. Each of the joke players exhibit unique visual characterization. For instance, observe Apu's desperation, Groundskeeper Willie's cantankerousness and Bart's sly looks as enhanced by Novin's precision inking. Costanza and Novin also create a winter wonderland backdrop and Villanueva shakes down the rainbow for its colors, vibrant and varied in every scene. Simpsons Comics is the perfect stocking stuffer especially for those not that crazy about the impending holiday.
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Old adventure strips such as The Phantom, Superman and Johnny Comet, just to name a few, were awash in action and excitement. Kesel creates a work that competes with the classics of the genre. I enjoyed every panel of Captain America the 1940s Newspaper Strip.
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I can only recommend Chaos King for Michael Kaluta fans. Even those following the Chaos War should not contemplate buying this book unless they are a Kaluta fan.
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This is an excellent start to Spider-Girl's solo adventures. Best of all nobody had to be crippled in order for her to burst on the scene.
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I can see two main selling points to Lady Mechanika.
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Two stories for four bucks. The first is a 3 bullet story. The second is a 4 bullet story. So, the second issue of Shadowflame earns a low 4.
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If you're treading in the footfalls of these classic terrors, yet still producing original grotesques--courtesy of Ben Stenbeck and the bright red of Dave Stewart--then you're doing something right. Baltimore: Plague Ships is a treat for people who know that vampires are disgusting monsters that pervert the dead for their own gruesome amusement. I foresee a Bram Stoker Award in the creative team's future.
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The first issue of Shadowflame reads like a cross between Green Lantern and Batman, and that's unique. As Shadowflame Wyatt has a duty to stop an alien warlord from exterminating the earth, but he also has a duty to protect women from evil men to honor the memory of the woman he loved and could not defend.
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The cover is a bit of a fib. However, the creative team more than atone through the beautiful scene in which Tigra decks Justice. I never imagined that happening and while the current incarnation of Justice has grown on me a little, that punch is sweet. Tigra is love.
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The engagement takes on greater import, and the creative team craft conversation and art suitable for the gods at war. However, make no mistake, Chaos War is not another War of the Gods. This mini-series differs strongly from the mediocre Big Stupid Event. While there are lives at stake, Van Lente safeguards them smartly and transports the defense against the nightmarish invader to a higher plane. The immortal gods know each other, which leads to some witty banter, particularly from Sersi, that puts a lighter flourish to the drama. I didn't expect much from Chaos War, but it continues to deliver.
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Once again Hawkeye & Mockingbird exemplify the heroic age. The creative team show that the return to the status quo need not be ridiculously achieved and can mean something to the series.
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Tobin furthermore develops the characterization of Boss Berto Torino. The Boss acknowledges Spidey as an admirable archenemy and he even expresses a bit of humanity in that he doesn't kill the cute squirrel that delivers the message. Chat, for those not in the know, talks to animals. Overall, Marvel Adventures Spider-Man is still the best Spider-Man book being published.
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It's nice to read a book that's actually about something. That said, McKeever doesn't forget that superheroes entertain with superpowers and stopping crime. The deeper bits of writing surge under the heroics to fortify the entirety.
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The two shorts and the vignette in Bart Simpson Comics are all worth reading and keep in tune with the series.
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This issue of Creepy did nothing for me. Whether or not you're writing science fiction, mystery or horror, the story still must make sense. None of these tales possess an iota.
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Hellboy/Beasts of Burden is yet another superb chapter in the travels of Hellboy and a smooth introduction to the Beasts of Burden. Bonus points for the Lobster Johnson allusion.
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Steve Pugh is one of the most underrated artists in the business. I was first wowed by his art in the highly recommended Superman vs.Terminator mini-series. Every panel in Hotwire: Deep Cut looks utterly gorgeous. There's an almost Don Maitz touch to the vibrant paintings, and the emotions on display even surpass the cast's expressions from the last series. This is especially true when a mother who may be dead poignantly imagines a defensive Utopian vision to give her the strength to carry on for the sake of her unborn baby. Hotwire earns my highest recommendation.
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Soldier Zero doesn't really bring anything new to the superhero subgenre. Soldier Zero isn't as good as MANTIS. The suit or presence is generic when compared to the exosuit worn by Miles Hawkins. The Mantis had cooler accoutrements, which contributed to a richer mythology. Soldier Zero doesn't match my memories of Exo-Man. The bulky blue-gray and yellow suit of Exo-Man emanated more personality and looked like it could have been an early solution for a crippled crimefighter. Furthermore, it was rare when a creature of terror figured into made for television film, and that's what Exo-Man was. Exo-Man's purpose was to destroy the criminal empire that crippled him. Still, Soldier Zero could develop into something interesting, but right now Soldier Zero occupies the three bullet range.
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This is the last you will see of David Tennant's avatar in Doctor Who, but IDW's claim that this is the final issue of the series is a bit of a fib. Rather, it's the end of the tenth Doctor's reign in the comic books. Long Live the eleventh Doctor January next year.
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Each tale offers the reader rewarding comedic impacts. Although some spots in the wraparound sag, this issue of Simpsons Comics is one of Verrone's better efforts.
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If amusing dialogue, lovely characterization and clever plotting fail to persuade you, perhaps Koi Pham's, Thomas Palmer's, and Sunny Gho's masterful illustrations can. Pham and Palmer make these gods live up to the sobriquet. They accent the majesty and power of Thor through a lesson in scale. Thor though comparatively smaller than a DC-10 nevertheless holds it in the air in an awesome scene. Hercules, though a so-called super god still behaves like Hercules and occasionally ends up with egg on his expressive face. Hela storms onto the stage. The Chaos King manifests as a frightening creature with Hieronymus Bosch styled proportions and Geiger grin. Venus plies her beauty and her voice. Every panel just exceeds in creating the illusion of a larger than life battle waged by gods in the arena of earth.
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Angel vs. Frankenstein #2 is actually superior than Byrne's first one-shot. Whereas previously, Angelus and Frankenstein were simply distillations of evil, Angel and Frankenstein are the opposite faces of the coin. This change makes it easy to root for the vampire with a soul.
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Steven Sadowski and Adriano Lucus contribute decent artwork, but they will have to try harder if they want to make me forget the elegant four-armed Martians of Gil Kane and Rudy Nebres. Despite being a dollar, I'm declaring Warlord of Mars a poor purchase. It leaves a bad taste in the mouth.
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While not the best issue of Thor, the Mighty Avenger, Roger Langridge's and Chris Samnee's latest snaps with entertaining moments.
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Lord Baltimore and Vanessa grow a little closer. In fact, their relationship is somewhat like the Doctor and his companion. However, the characterization isn't quite so important this issue. This week Baltimore: The Plague Ships is a tour of the supernatural earth, rendered ably by Stenbeck and Stewart as directed by Mignola and Golden. The perfect Halloween book.
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For the first time, since "Twilight" began, I feel that Buffy the Vampire Slayer is building up to something tremendous, and this time I don't believe Dark Horse and Joss Whedon will pull a Monarch. To be fair, Whedon may have always intended Twilight to be Angel, but that decision is pretty damn close to the Monarch debacle, and I don't think it was necessary. He could have beefed up Angel without the annoying, superfluous pretense of villainy. The new universe didn't need to be bonked into existence. It could have come into being through another means. I've been really searching for a point where "Twilight" was necessary and I haven't yet found it. That's why Buffy the Vampire Slayer is only still earning my trust.
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Sergio Cariello excels when depicting the cast of characters. The Ranger's fury practically burns from his ice-blue eyes, but great artwork does not make a great comic book. Great artwork merely gives the reader a reason why he should continue buying a one-trick pony. Me? I just want to see this story end. Then I may just drop this book from my subscription list. Although I love the Lone Ranger, the snail-spry movement of the story is a killer to tolerate.
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Eric Rogers writes both stories. His characterization for the cast is dead-on, and his plotting makes sense, but there's very few laugh out loud moments. The main story is more of a straight-forward, quirky science fiction adventure that wouldn't be suitable for any other characters, except perhaps the crew of Red Dwarf. The Zap Brannigan vignette is too brief to instill any impact.
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In the end, I simply couldn't become all that enthused. The final issue of Franken-Castle represents the end of a dream. Now, Frank will no longer pose, arms akimbo, smiling like Zorro as the bad guys burn from Man-Thing's touch. Sigh.
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While it would be grand to see an ongoing Valkyrie series with Glass, Winslade, and Gandini, this one-shot isn't going to be collected in a trade paperback. So, get thee to your comic book shop, and buy it now. You won't be sorry. It's the perfect treatment of Valkyrie.
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Nancy Drew fans need not fear her new Case Files, nor even part one. Petrucha and Kinney still craft fair play mysteries for readers to ponder and, one chapter or not, it still has a beginning, middle, and end, all beautifully illustrated by Murase and Guzman.
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Artists Edgar Salazar and Ivan Nunes deserve every accolade that can be given. They have made the Superpowers visually resonant. Krueger and Ross transformed the public domain champions into myth.
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When Velocity determines the cure, there is no doubt that she will reach a solution, Marz strengthens her status as a hero in the classic tradition: "If I take the treatment, I'll be incapacitated too, right? I'm the only one who can save everybody else's ass." She may as well have said that phrase with arms akimbo.
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This issue of Avengers Academy is recommended only for fans of the new, new Thunderbolts and, of course, those who have the wisdom and taste to worship at the altar of Tigra.
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Strike two for Marvel. After Marjorie Lui's horrendous medical incompetence in The Black Widow Swierczynski follows her example with a trite, President Kennedy smear that asks you to pretend that Black Widow is a "shadowy flight into a dangerous world of a woman that does not exist." Trouble is the Black Widow's public image makes that impossible.
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Spider-Man is still a great little title for all ages, but I expected something more from Spidey's encounter with Doc Ock, his clear match.
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Carol Lay's graphic tale is remarkable, and it should be nominated for a Hugo Award because "The Generosity Gene" is classic science fiction at its best.
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Thanks to Gray, Palmiotti, Gulacy and Berdo, Time Bomb is an engrossing, fast-paced time-travel espionage movie in comic book form. I look forward to the finale and whether or not the timeline will be preserved or changed.
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The art is beautiful and fitting for the action and characters. The Micronauts' reunion however leaves a sour taste in the mouth, but Hulk fans might appreciate Enigma Force more.
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Better luck next time. For a stronger, more likeable characterization of Thor, I recommend Roger Langridge's and Chris Samnee's outstanding Thor, The Mighty Avenger.
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If you are a Captain Action fan or just want to take a peek to see what the fuss is about, the second issue is a painless, stand-alone taste of what's to come.
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What I love about Invaders Now is that it feels important. That this is a challenge that only the Invaders can face. Ross, Reis, Gage and Andrade combine their skills to make this test beautiful and engrossing reading with the first Marvel characters and others that while younger still resonate with thirty years of history.
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While most super-hero slug-fests are without a reason. This one is the result of a chain of misunderstandings that have nothing to do with one hero thinking the other is a villain. Misinterpretation and the quartet's brutish boisterousness makes the fight inevitable, and Samnee knows exactly just how much to put in the art. Too much or too little drama, and the fight loses its comedic impact. Samnee's dynamic cartooning is perfect, and Matt Wilson's colors emphasize the harmless nature of the fight. No violent reds or fiery oranges. He leans toward the cool colors and the natural warm browns of the pub setting. Thor, The Mighy Avenger just keeps getting better and better, and it started out great.
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IDW promises that the Eleventh Doctor will arrive in their comic books--no doubt after the Series 5 DVDs have been released. Here's hoping Tony Lee, Matthew Dow Smith and Charlie Kirchoff are included in their plans.
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This terrific Nancy Drew volume is the last in the series, but Nancy will return in the new series from Papercutz Nancy Drew: The New Case Files. Not to worry, Petrucha, Kinney, Murase and Guzman will still be on hand to display the curiosity of the nation's original Girl Detective.
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Imagine wild dogs ambling along and feeding from the dead, as well as the lively. Imagine witnessing the blood of your friends dripping from the maws of these dogs. Guess what? A dog is coming for you, and you, my friend have been shot in the leg. That's Baltimore's situation. Kind of. Sort of. See, instead of contending against wild dogs, he must fight giant vampire bats. To quote Hellboy, "Crap."
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Buffy the Vampire Slayer sets up the new Angel series coming from Dark Horse and the last of Season Eight amid multiple Doctor Who allusions. That's not a bad thing, and it's certainly better than "Twilight."
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As to Dave Stewart, I sometimes wonder if Hellboy would have been such a success with regular coloring. Dave Stewart's restraint with one shade and accents with another gave Hellboy as much of a visual signature as Mignola's unusual style did. Earthy browns signify the inn and the noble dead. Shades of gray swathes evil creatures. Hellboy of course is Big, Bright Red. A gun blast gains animation in fiery orange, and unearthly greens mark a change in direction. "To Be Concluded in The Fury."
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"Some things are what they are" to quote Russell T. Davies. The TARDIS always will be stuck in the form of a Police Box. Gamera will always win. The Phantom will always be clad in a purple bodysuit, wear the skull ring, the belt and the striped trunks. I'm going to miss The Phantom terribly, and I'm glad that Moonstone, Mike Bullock, Silvestre Szilagyi and Bob Pedroza took the Ghost Who Walks out on a high note.
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By all rights, Daken should be continuously suffocating in the concrete of a skyscraper's foundation. Frank should be celebrating with a bottle of Dom Perignon. Instead, the son of bitch lives to fight another day. I am so disappointed.
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If you haven't picked up the mini-series, purchase the trade. I must admit to being a little surprised when Parker and Marvel made a Gorilla-Man mini-series. After all, Gorilla-Man's origin is rather short. Nevertheless, Parker unveils numerous intriguing layers that fortify simple summaries such as Ken killed the previous Gorilla-Man. So, he became the everlasting Gorilla-Man. One also hopes that Marvel includes the whacky Timely Age Gorilla-Man stories in the collection.
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Surprisingly, the most rousing scene of the numerous thrilling moments occurs when three characters framed by Sergio Leone-styled close-ups stand still at the finale. You can almost hear the trumpets blare, the backdrop of guitars, and the chorus of sopranos.
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Baldeon, Bowling, and Sotomayor enrich the enjoyment of Young Allies. Baldeon nuances nerve to Nomad's expression as she hurls battle discs with the aplomb of a born shield-slinger. He and Sotomayor embody Firestar with enormous power. The entire art team clean up Gravity and grant him efficacy in battle. They make El Toro Muy Bueno. Aftershock's bane is predictable, but Baldeon beefs up the scene with expert comedic timing that's facilitated by Bowling's shadows followed by Sotomayor's electric blues. Young Allies is simple yet superb super heroics at its best.
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Lay's story is a superb battle between Lisa and Bart. Her art neatly imitates the style of the show, and she has an able assit in Alan Hellard and Karen Bates with her onomotopaiea sound effects.
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Even the scene in which one of Jane's band trades sexual favors with the dictator for her life should be enjoyed. Her name is T'antra. Come on. She had to end up in somebody's bed. What's surprising is that the creative team don't simply use her as a throwaway gag. Instead, they make her an important figure in the story by having her lead the reader to a most awesome cliffhanger sporting a beloved sci-fi trope.
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Simply put Spider-Man is the best Spider-Man book being published. The guest artist bestows as much care to his finished work as the regular talent. Paul Tobin's tale does something few comic books do nowadays--rather than revel in the worst inhumanity, this story celebrates the best traits of it.
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Emily provides the reader with diverting spunky dialogue and entertaining feistiness. The Doctor is in good spirits and his water pistol is a giggle. Matthew Finnegan's escape plan is smarter than expected and a few of the revelations are a surprising, but this issue of Doctor Who is more of a place keeper.
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Right down to the birth mark, Martin's Honey West is a dead ringer for Anne Francis. The print of Honey's tights matches the pelt of the rambunctious ocelot Bruce and the trappings scream '60s, but do so in a blend that's appealing to the eyes. Hippies abound, but they're fashionable hippies. The underwear fits the period as do the cars and the weaponry. Most importantly, Cynthia Martin knows how to visually narrate a mystery. This makes her ideal for the new adventures of Honey West. VCI Entertainment appears to be offering a ten dollar off coupon on the Honey West DVD set sold at their site. However, at this point in time, VCI does not recognize the coupon.
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The Lone Ranger should be about bravado and good triumphing over evil. It should be about a man who's lightning fast with a gun and shoots the pistols out of his nemeses' hands. It should be about this "masked rider of the plains" who succeeds in bringing justice as bright as silver to an unjust world. What I read this week is not The Lone Ranger. It's excrement.
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The plotting is unpredictable. For example, Eleni is overtly attracted to Alonisso. In one scene, she eyes her buttocks. It's an Italian book. The creative team could have simply allowed Eleni to give in to her passion and let Alonisso succumb. Instead they choose to have Eleni engage in an amusement that simultaneously evolves suspense. The suspense grows increasingly sensual, foreshadowing consummation until the scene cuts to another. The setup exemplifies the talent's imagination and versatility. The attention to characterization raises the book above mere prurient interests. Mediterranea is a genuinely erotic, adventurous romp with enticing characters and dazzling artwork.
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These questions plagued me when Dixon revealed the solution to the mystery. Despite the caveats, Dixon could have saved the book a down-grade had he stuck with the first conclusion involving Sideshow Bob. That stinger was utterly brilliant and laugh out loud funny. However, for no reason at all, Dixon and company tack on a second conclusion that's isn't even mildly amusing. Because of this one, redundant panel, the book ends on an anit-climax, and that's unforgivable.
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Valkyrie is a better Wonder Woman than Wonder Woman is or was for about twenty years. Iron Fist is presented as a far better Batman. That's kind of the feel of Avengers Academy. Despite this underlying idea that the students are most likely to become super-villains, which is only given lip service this issue, there's a real vibe of heroism in the book, and it especially lives up to the lofty promise of the Heroic Age. This is how the Justice League should read, but it suits me just fine that an Avengers book has stolen DC's thunder.
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The Superpowers blaze with heroism as they fight for humanity against monstrous gods and a conglomerate of followers.
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Apart from Cap's and Rhino's magnificent destruction of a Hydra base, Tobin and Chris Cross also bring some unique characterization for the Black Widow to the table. Her sequence could have been a throwaway moment, but they really invest some time and thought, and Thor gets an awesome showcase.
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All in all, this is an excellent issue of Thor, the Mighty Avenger. Even if he generously gives the spotlight to his future colleagues Ant-Man and the Wasp.
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Mignola's and Golden's Baltimore: The Plague Ships is a worthwhile addition to the dark fantasy worlds fostered by Dark Horse. Ben Stenbeck's illustration suits the imagination of the artist/writer/creator.
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The Superpowers outshine the better known champions in comics. This iconic story brings out the Superpowers in the best of lights, and the Black Terror especially comes out of the arena as an untarnished knight ready to kick some more ass. Judging by the ending, he'll have ample opportunity.
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Mignola foreshadows an ending to the Hellboy story. Hellboy regrets being the bringer of death to so many monsters, but he has one final battle to fight. This is for all the marbles. For England, and for all of humankind, Hellboy must win.
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There is a tighter constructed book lying beneath the stuffing. McKeever should have begun the story with Benito's vignette. He then could have cut to Gray Gargoyle's daughter and Graviton then segued to Patsy and Firestar. From there, he could have redirected the tale to the final pages where Nomad and Arana go to meet Gravity and Firestar only to discover that their meeting is a trap. Let the battle begin. My point is that at least ten pages should have been cut and replaced with fisticuffs and I have an ugly feeling that the length was exacerbated just to merit a trade paperback.
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Pugh furthermore embraces a different universe, not just bits of it. He meshes advanced technology, with the blunder of heavily armored cowboys and the mind of Alice Hotwire. He uses the environment he and Warren Ellis created to the fullest for a fantastic science-fiction adventure, funky cat helmet included.
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It would be idiotic to think that the Phantoms of the future would only choose white women as their wives, or, if these Phantoms be female, white men as their husbands. If we take the Phantom legacy to its logical conclusion, then we can imagine a black Phantom, an Asian Phantom an Indian female Phantom or even an alien Phantom sitting on the Skull Throne.
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Both "Hosts" and "Scalpel" offer excellent entertainment for the Star Trek fan or just the casual science fiction reader. In Byrne's hands Dr. McCoy continues to be a fascinating physician.
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These are only the highlights of a ferociously funny fight. A tip of the fedora goes to colorist Dan Brown who somehow makes pasty, dead flesh and Canadian bloodshed tasteful and V.C.'s Joe Caramagna for the awesome sound effects that merely enhance the zany atmosphere. Franken-Castle--it's not Proust, but by the cosmos, it's entertaining.
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Tobin remembers that death is supposed to lend impact to drama. It's not supposed to be a stunt. It should evolve from plot points falling like dominoes. Tobin remembers that superheroes are supposed to die not like soldiers needlessly charging through no man's land nor as clowns in lethal pie-fights but as heroes saving lives. In short, this character's death will not be forgotten, and his sacrifice will be remembered.
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Chris Samnee and Matt Wilson load the fifth silver bullet. The art is often breathtaking. Thor and Jane meet upon the roof to witness a gorgeous golden sunrise. The way she looks at him, and the shadows at once realistic and dramatic, all inject strength in the visuals and the story. Thor throws his hammer into the air, exhibiting his command of the storm. Jane's eyes boggle as blue-white lightning reflects from his armor and soften as she understands that Thor is lost. Culture shock gives way to action. The battle between Thor and Hyde is short but memorable. It's lifted by Jane's elation and halted by her humanity.
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Lee, Dow Smith and Kirchoff still aren't done with the reader. Emily, the Doctor's companion, in a standout scene confronts Matthew and reveals a smart off panel plot twist. Two old enemies become allies and the Advocate is just getting started in her pathological quest to extinguish the Last of the Time Lords.
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James Lloyd, Andrew Pepoy and colorist Alan Hellard mirrors the look and feel of Futurama. They replicate the wild takes of the trio of sons and increase their expressions of pain and signs of injury when the stronger Leela imitates Mom's signature slap. Leela as Mom grows visually viler by the second and Amy becomes less cute as she blames Kif for her condition of being less cute. A neat little illustrative twist.
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It's primarily the new Delroy Garrett that earns the latest issue of Atlas four bullets. In addition, the Human Robot backup is a powerful tale. Parker takes the thin origin for the Robot and expands upon his own words from past issues. He also explains the discrepancy of the Robot working for Plan Chu, alias the Yellow Claw, and why M-11 wound up at the bottom of the sea. Artists Ramon Rosanas provides the affecting artwork in a style that's sublime.
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Hutchinson gets it. When you write a super-hero, believe in her. Don't hamstring her with mortal foibles. Show her to be intelligent. Show her to be powerful. Show her to be a saver of lives. That's why Critter easily earns five bullets.
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It turns out that Lady Robotika is actually better written and illustrated than some of the so-called serious books that I've read. Jane Wiedlin's personality is all over the writing, and I don't believe Go-Gos fans or science fiction fans will come away from the book disappointed.
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Two out of three stories isn't bad, but that Satanna tale left a bad taste in my mouth. It's the short that kneecaps the final issue of Girl Comics. Still, I wouldn't mind seeing more of Girl Comics. Let's hope this gender-directed anthology isn't the last.
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Nova, Cap and Thor get a good showing. Black Widow and the Invisible Woman exhibit their tough gal attitudes and awesome powers. Iron Man comes off as a brilliant, likeable Lothario, and Cliquet's artwork consists of one stunning panel after the next. Even if the main story is a dud, Cliquet, Santos, and Sotocolor give that story their all. Kraven, for instance, looks characteristically leonine, and the artists contribute a background moment that's really rather sweet. Namor asks for directions, and a passerby is happy to give them. It's a far cry from the pompous Imperious Rex who led a monster invasion against the island.
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To be fair, X-Men Forever is still plagued by one of the dumbest choices Claremont ever made. Kitty Pryde with an adamantium claw is outrageously bad. However, if you ignore the Kitty-Claw, this issue of X-Men Forever is about the most perfect team-up between Spidey and the X-Men for which one could hope.
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I cant really be work up any vitriol for The Calling: Cthulhu Chronicles. The writer makes an honest attempt to present the Cthulhu myths in a modern age and thats always a challenge. Even the most successful translations of Lovecraft, Reanimator and From Beyond depended upon timelessness within the age of the story's setting. Christopher Posenti, Stephen Downer also contribute beautiful, realistic artwork that benefits the acting of the cast, but the impression I received while reading The Calling: Cthulhu Chronicles is that it was PG-13. Horror, especially Cthulhu, demands an R.
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In addition to the centerpiece, Hellboy explains to Alice why he gave up drinking. This leads to a hilarious expository narration peppered with Hellboy's penchant for mild expletives. Fegredo delights in illustrating Alice and her relationship with Hellboy, overt in their meaningful glances and arm and arm moments. It's this sweetness that lends impetus to the porcupine thing's attack. Hellboy will survive the crash, but will Alice? To top it all off, a persona of great light and power emerges for a startling yet understated cliffhanger. Hellboy: The Storm is not to be missed.
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I still recommend Hawkeye & Mockingbird, but the second issue is less cohesive than the debut.
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Thor: The Mighty Avenger is really a relabeled Marvel Adventures title. I don't know why Marvel decided to drop the umbrella. The banner made these books easier to discern from the pack. Fortunately, the lighter, sophisticated touch is a dead give away.
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McKeever focuses the what if scenario on the Allies. The stars of the book feel that they failed. They're the ones living with the guilt of impotence in the face of unstoppable power. They feel small, and the presence of the big guns remind them that they are small. Nevermind that they're actually chatting with major heroes, essentially dining at the grownups' table. McKeever thus reduces the drama to a human level and subtly makes Young Allies about something. Young Allies is basically the story of a group of young people denying and defying the odds to find their place in history.
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I already possessed an admiration for the character and Ron Marz has a good handle on Velocity. With Kenneth Rocafort piloting the speedster's adventures, a review of the second issue is guaranteed.
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Perhaps, though, just perhaps, Nova was touched by the humanity of the Marvel heroes and Frances Hyatt's conflicting emotions. Perhaps, Nova's original plans did indeed involve fusion, and she did not know what fusion with Frances Hyatt meant. Maybe the heroes' actions instilled sympathy in her alien mind. Perhaps, she amended her original plan to become more of a giver instead of a taker. Either speculation satisfies and makes the whole of Heralds a success.
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In "Let the Games Begin!" Evan Dorkin attempts to express his frustration with security packaging. That might have been funny in the nineties, but there are plenty of handy little devices that can make short work of cellophane wrap and stick-ums. Perhaps, somebody needs to buy Mr. Dorkin a Swiss Army knife to end his exasperation.
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The cliffhanger pulls a time travel rabbit out of the hat, and the presence of this character alludes all the way back to the zero issue of the series. That was a slick sleight of hand from Beatty who promises "Buck Rogers will return!" I hope so.
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Normally, the Doctor brings back the sky, but the beautiful vista offers instead contrast, for the Doctor is angry. He chastises Magambo. The Advocate reaps a victory. As the clouds and sky darkens, The Doctor renews his faith in Martha Jones, and Emily Winter returns to the Doctor's side. What a brilliant visual twist.
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Jefte Palo reminds me of a kind of minimalist Bill Sienkiewicz, and while his art is technically impressive, it's too gritty. It doesn't properly capture Frank's newfound lan. Still, Franken-Castle could be worse. It could be The Punisher.
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The creature's actions at the end of this book instill some doubt. It may be that the creature wants to take back what was given to Frances,and Frances doesn't want that in the first place. So perhaps Heralds will end well after all. Whatever the direction, this issue of Heralds has much to offer.
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Oh, lest we forget the star of this story. I keep thinking that this is probably how Spider-Man should look. He shouldn't be muscular. He has the proportionate strength of a spider. He was always a youthful hero, and the art team capture these elements of design in one strong package. The fact is that all of the Torrinos dwarf Spider-Man. He's about as tall as Wolverine but unlike Logan, Spidey's still growing. In any case, the comparative size and sinew of Spidey to his foes makes his feats look more impressive. It's much cooler to see a little guy toss around muscle-men then to have two muscle-men have at it. Lolli also remembers that Spidey is supposed to freak these guys out, and he includes a moment where Spidey comes crawling out of the darkness, down the wall. That would freak out anybody.
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Namora's freedom leads her to a Lovecraftian homage, an awesome display of might that rivals her using a piece of helicopter to pound Grizzly in Agent of Atlas and a most satisfying ending.
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What can I say? I'm cynical. Like every one who read the last issue, I expected Linda to fall victim to the DC trifecta of being raped, crippled, and killed, but this has to be spoiled. Linda wins. Dan Reid wins. The reader wins. The publisher wins. "Everybody lives, Rose. Just this once, everybody lives!"
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On the bright side, Sylvestre Szilagyi and Bob Pedroza give us the Phantom, in deep purple, built for fighting and fading in the shadows. This is some damn fine artwork, and Szilagyi choreographs the fisticuffs with the skill of a Hollywood stunt man. I just wish the melees had more meaning.
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Barr captures the voices of the cast with each word he types. Read the dialogue, and you'll hear Joe Mantegna, Hank Azaria, Dan Castellaneta and the rest. In almost all respects, this is a superior issue of Simpsons Comics. If the finale had been foreshadowed, I would have been inclined to give Barr's story a perfect score.
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Leonard McCoy continues to entertain by being firmly set in the Star Trek universe of the original series and staking out a different kind of adventure through medicine.
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I'm still going to continue reading Avengers Academy because Tigra is love, but I can't really give a high recommendation for anybody with a passing fancy in superheroes.
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While the art's uneven, the talents still board panels to make a compelling and easy to follow narrative. While I would have preferred a total Zonjic issue of Heralds and Harren's art has its ups and downs, the illustration is uniformly engaging and compliments Kathryn Immonen's astounding skill.
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In addition to being a beautifully illustrated and sharply written book, Super Heroes also benefits from a rainbow of colors. Excepting one noticeable blunder, on every page, the hues delight the eyes.
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I expected very little from Young Allies. Although Tigra is present and accounted for in Avengers Academy and absent in McKeever's work, Young Allies is still the better of the two.
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The reason why I bought Avengers Prime is simple. Alan Davis and Mark Farmer rarely do wrong. In that regard, Avengers Prime is no different, but the writing leads me to the conclusion that I should wait for the trade if all I want to do is enjoy the artwork.
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For the extra dollar, Marvel includes a ghastly illustrated X-Men Unlimited short featuring Darkstar that's not worth a penny let alone the extra buck. Had they included a reprint of Darkstar from Iron Man or The Champions their price point increase for the mini-series would at least have been vindicated.
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I've heard that some Punisher fans don't appreciate Rick Remender's re-imagining. To these folk, I say too bad. I love Franken-Castle. There are as Remender stated plenty of other Punisher titles where the NRA's poster boy is hale, hearty, and traditionally one dimensional. I don't have that luxury. DC will not publish a title where Batgirl is fully mobile in the present, and that's why I am boycotting all of their comics. Count yourselves lucky Punisher fans and suck it up. Marvel at least gives you a choice. My choice is Franken-Castle.
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It is, however, just possible that Mockingbird is playing a longer game than appears. The idea presented in these pages is that Mockingbird created the World Counterterrorism Unit out of ex-SHIELD ops and a sleazier version of an old Marvel favorite, but Mockingbird's former M.O. was to infiltrate, observe, and destroy. So, perhaps Mockingbird pulled together these ex-spies to see which were still trustworthy and which needed a one way trip to Riker's Island, or maybe she's tracking the flow of guns to eventually in one fell swoop eliminate the bad guys. Even when putting aside my speculations and noting my objections, there's still much to recommend in Hawkeye & Mockingbird.
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I don't know why Valkyrie considers Emma Frost a friend. I don't recall the moment where Val met Emma Frost. If Val did, at the time Emma should have been the White Queen and a card carrying member of the Hellfire Club. I don't care. Writing and artwork this good persuades me to accept that in some unpublished adventure Emma Frost and Val shared a flagon of ale and Patsy and Emma bumped into each other while clubbing in Soho.
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Blair Shedd provides a moment of superb editing mixed with the dramatic colors of Charlie Kirchoff. The Enochian angel homes in on Martha and Emily, fires and in the next scene with a devil-may-care "Aleez-Oop!" the Doctor is suddenly there to safeguard his companions. This is the Doctor that we know and love. The Doctor will gladly give up his lives for the sake of one innocent person.
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The repetition of a famous Simpsons episode, the higgledy-piggledy plot threads so very loosely laced and the hit to the art forces me to recommend this issue of Futurama Comics only for completists.
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Enjoy twenty-two pages of multiple panels that technically bring the page count up to forty-four. Enjoy a massive cast of characters bearing an array of body language and a variety of expression. It just doesn't get any better than this for the Last Hero of the Multiverse, and it never will again.
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Project Superpowers ends on a shocking note, but given the evidence to the contrary, I'm confident that these optimistic, resonant heroes will bounce back with a ploy to defeat even a god gone mad.
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Tobin adeptly builds to the revelation of the guest star. Attila serves as a clue. The ninjas are so ubiquitous in comic books that they can almost be dismissed, but once you see the villain, you know who will follow and be delighted when he appears.
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Conveying an artistic motif of duplicity that reflects the cheating as a hobby story, Simpsons Comics is winning choice for the discerning comic book reader.
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The latest volume of Atlas kicks off with a bang. The return of the 3-D Man is welcome, and one must ask, will Jann of the Jungle or her daughter be the next Agent of Atlas?
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I got to hand it to Marvel. They could have just cut together some pieces of the series in question and charged full price for what amounts to a collection of pages from future product you might buy anyway, but they instead commissioned original shorts leading into each title. The only caveat I have is that the cover would have been greatly improved with Tigra replacing Pym.
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Though writers Phil Hester and Alex Ross reveal everything up front, counter to the typical mystery technique of keeping everything close to the vest, the answers still lead to questions, and that's where the eponymous star of the book takes center stage to prove just how his present self differs from his past incarnation. It's a fascinating, entertaining contrast, especially his non-traditional attitude. This opening bout is still not the main event, which promises to be something that fists and rage won't solve.
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While I enjoyed Grey Legacy Tales and wouldn't mind reading a series, I must consider my association when determining the score. That's why I feel I can only give this book three bullets.
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The main plot is pure fluff involving brothels, blackmail, and justice, oh my. However, there's a funeral atmosphere that conflicts with the low level of gravity that actually exists in the situation. I just think a more humorous execution would have benefited the chapter greatly. This would have at least offered some variety in Jeremiah's travels.
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If Star Trek: Leonard McCoy hadn't ended rather abruptly, I probably would have given it a perfect score. I know that some feel that John Byrne is old school, but I can only look in awe at his consumate skill and consider setting fire to my own sketchbooks.
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Gage characterizes the cowardly, reptilian Taskmaster and the newly enlightened Constrictor extremely well. I actually liked Vance Astro. Usually, his presence instills vomiting. Ultragirl enjoys some excellent moments. The heroes throw a party atop Avengers Tower and Avengers Initiative acts as a one stop status quo update for those who haven't been following anything in the Marvel Universe since the onslaught of Civil War. Furthermore, I actually felt good after reading Avengers Initiative.
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Tobin continues to strengthen Sue's characterization. In Marvel Adventures Jeff Parker drew Sue closer to Jessica Alba's gutsy, multidimensional portrayal of the Invisible Woman in the Fantastic Four films. Tobin has taken advantage of Sue's unmarried status to generate sparks between she and Cap, while keeping Reed in the picture. This issue, Iron Man takes his shot, and Cliquet and Santos delight readers with another visual double act. Their version of the Golden Avenger is classic, and their Sue is a vivacious, beautiful champion whose power is awesome. My only caveat with the issue lies in the coloring. Sotocolor drops the ball this time with drab shades that fail to do justice to the vibrant writing and illustrating evident in Super Heroes.
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I'm really going to miss Buck Rogers. The title ends with issue #12, rather like Power Girl. Let me just refresh your memories. I never liked Buck Rogers. I never understood why the character persisted. Sure, great artwork by Russell Keaton and later the awesome cat-suited Erin Grey, but it took this series to make me notice how good Buck Rogers could be.
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I have racked my brain and I cannot for the life of me think of a rationale for Angel becoming Twilight. That just means his guise was merely an annoying Mcguffin and the face behind the mask didn't matter to either Whedon or Meltzer. Buffy the Vampire Slayer readers deserve better.
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Without reading, Hellboy in Mexico may strike the reader as a non-essential purchase, but this issue was one of the most enjoyable stand-alones in the series.
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Random Acts of Violence will set you back about seven bucks. A bargain at 72 pages. The multi-layered story is excellent, far better than the most recent horror films spat out by Hollywood--as well as the lion's share of notable independent films. The artwork by Caracuzzo and Mounts exceeds the majority of most fare on the racks--Amanda Conner's Power Girl being an obvious exception.
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This issue of Bart Simpson Comics offers a change in design theme. For "La Barta Vita" John Costanza and Phyllis Novin imbue European style to Bart's appearance. In the end, their talent provides the last sight gag. If they were any less skillful, good story or not, the final panel would have been the butt of the joke.
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The story succeeds because Lee tightly meshes the historical elements to science fiction and Doctor Who. The author could have crafted this sci-fi story for an original character or a different series character, but because it's Doctor Who the story changes. It's charged with an atmosphere specific to the show. The Doctor's devastating cleverness, Emily's defiance of physics with an advanced tech "magic wand" and the daring-do of Matthew Finnegan, Martha Jones and the rest generate tremendous energy that Shedd and Kirchoff then replicate through their illustrations.
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Gwen conducts these interviews as Matteo Lolli and Christian Vecchia turn Spider-Man into a one-man, however young, gravity-defying wrecking crew. Again, the scale of the characters makes Spidey's powers look even more awesome. Lolli and Vecchia present Spidey as somewhat diminutive, and as a result, when he picks up men the size of mini-coopers and uses them as "bowling balls" against their fellow mobsters, you see the promise of super-heroes and super-powers being met. Rather than downplay the hero's abilities, the creative team celebrate the proportionate strength of Spider-Man.
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The book ends on a backward Doctor Who moment. What more could I cask for? Dallas, Saunders and Towry make Argonauts a pleasure to experience.
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I've analyzed these new feelings. With the exception of my undying love for Tigra, I have always just liked the Marvel characters. Unlike the almost ingrained ties I have with the DC heroes, I never harbored a strong connection to the Avengers. Remember, you can hate the comics and still love the heroes. For me, the Justice League trumped the Avengers, but you know what? In the hands of Hardman, Breitweiser and Parker, the Avengers live up to their reputation. With this artwork and this writing, It's very difficult not to find your heart beat racing.
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I'd really like to get behind Her-oes, but it's too stereotypically girlish. Maybe in future issues, some villains will add spice to the mix. As it stands, it reads like Archie and its cast having super-powers.
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Szilagyi plays a lot with the panel layout this issue, and it enlivens the artwork even farther. For example, he sets panel series against a backdrop of splash pages which reinforce the overall setting of the scenes. My only complaint in terms of artwork lies in the protraction during the Phantom's investigation of the castle where he last met his nemesis. I think a few of those panels could have been cut to give the search more momentum.
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I will miss Power Girl. Palmiotti, Gray, Conner and Mounts created the only book that had the strength to momentarily overcome my hatred of DC Comics.
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Templeton's story is simply wonderfully plotted. I really didn't see the twist coming, and I like how Ty Templeton gave the twist joint impact. It's not merely the catalyst of reunion. It symbolizes Marge's inner worth. Add the incomparable kaleidoscope candy colors of Art Villanueva--pink love visions, yellow people, green lab coats and blue hair--and you have a book that excels the high bar that the talent behind Simpsons Comics set for themselves.
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There is no excuse for this kind of shoddy writing. Research wasn't really even necessary. Common sense should have stopped this writer in his/her tracks.
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Buck Rogers almost could be considered a send up of the stereotype, feckless square-jawed hero carving out his legend in the cosmos, but while there's humor to be had in Buck's reactions to the outlandishness of the future, there's also understated pathos. The character has dignity. He's not just a straight man in a parody of a space opera. Although he clearly enjoys this crazy environment, he's affected by the loss of his time. Given the freewheeling atmosphere of the lion's share of the plot, that moment when Buck realizes that he has lost everything he cared for becomes even more powerful.
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Chris Eliopoulos and Gurihiru provide a cute back-up in which Zabu, Ka-Zar's sabertooth, finds himself fighting in the Savage Land and becoming an unexpected parent. It's a cute story with Disney-like art, but I would have appreciated it better if Zabu hadn't talked. I think the words undermined the pictures. Still, I don't really consider the backup part of Paul Tobin's, Ronan Cliquet's, Amilton Santos' and Sotocolor's Super Heroes.
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I kept hoping that the Ranger and Tonto only seemed to perform a gross act of stupidity. I kept hoping that the ride was part of a plan. I kept hoping for something smart to happen. I kept hoping that the Ranger was going to double back and surprise his nemesis. Unfortunately, the ride was a plod of padding. Something to artificially inflate a story that long ago lost its elasticity and a moment of jaw-dropping cretinism designed to place Linda in danger. To the latter, I say even Contrivance is laughing its ass off. Another issue like this, and I'm afraid I'll have no choice but to drop The Lone Ranger.
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Ross and Krueger balance out the reflection and the philosophy with scenes displaying heroes beating the snot out of an unbelievably potent menace. I would say it's old school cool, but even these simply wonderful scenarios of violence bear twists. Whereas companies like DC go out of their way to treat their characters like they were blow-ups dolls for sadists, Krueger and Ross take contrary positions. They celebrate the super-heroes. They raise them above their meager beginnings. They present them as they have always been: the recapitulation of myth. Edgar Salazar and Ivan Nunes demonstrate the Superpowers' resonance with each rustle of leaves, each flash of scarlet vision, each challenge of boomerangs, each clawing of granite, each burst of earth and each blast of lightning--and gentle readers, there's a storm brewing.
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Archaia has done a spectacular job in putting this book together. The interior dust jacket is designed to reflect Frazer Irving's images of the Steward, with each one representing the stories within. The outside is just as striking and imprinted on the hard cover. The book has been sewn together, and its spine appears to be quite sturdy. The asking price of twenty dollars is more than fair for the quality of construction as well as the quality of the stories and the art inside. In addition, sketches, interviews, and a cover gallery complete the package. Days Missing earns my highest recommendation.
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If you're tired of the death and dejection that has become a replacement for the word Detective, then look no further than the other D comic book publisher, Dynamite and the Black Terror.
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Shedd's skill furthermore matures a threat throughout the panels until it seems unstoppable. It's in that instance that the Doctor dwarfed by the creature gives the being a choice. The art contrasts the promise, and as a result you may miss the fact that despite how everything looks even worse from humanity's perspective, the Doctor is well ahead of the creature's scheme and already planning its demise.
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Artists Mike Kazaleh, Andrew PePoy and Nathan Hamill open the book with an outstanding visual gag introducing a brilliantly conceived "cyborg" to the thirty-first century. They then proceed to accurately ape the cast's look and feel. As well, the artists illustrate a plethora of background aliens and future denizens, some from the series and others that are originals conforming to the series design.
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Tobin surprisingly makes Emma Frost sympathetic. In fact, if in continuity proper, a juvenile Emma had met Spider-Man, her characterization would make much more sense. I first encountered Emma Frost as the White Queen back in the days of the Chris Claremont/John Byrne Hellfire Club, and I know for a fact that the only reason why Emma Frost is so well regarded nowadays is that Grant Morrison recreated her personality from iota up. She was not just bitchy originally. She was evil, and unlike Rogue, there was no indication that the Emma Frost from the Hellfire Club would reform. When you get right down to it, she originally just existed for symmetry, to counter Jean Grey's Black Queen. Morrison simply cheated. Tobin plays fair. His Emma's rationale is all based on love, friendship and inexperience. For once, she is not the unflappable British tart/posh. Instead, she's a scared, woefully outclassed victim of her own making. I can easily see Tobin's version of Emma Frost evolving into a her
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An outrageous visual fuses sex with cylinders, and monkeys complete a comedy picture that finally steers Homer into the right direction, a demolition derby. This wonderfully absurd antic is far from a clunker, especially when depicted by Phil Oritz, Mike DeCarlo and Art Villanueva.
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Cornell casts her as a fourth wall breaking answer lady for the lovelorn of the Marvel Universe. Did Hulk really ask She-Hulk out on a date? That's just wrong if true. Unlike Namor and Namora, Hulk and She-Hulk are blood cousins. Ick.
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Carey's characterization for Rogue reflects her history. I'm not fully versed in X-Men continuity, but I know that Rogue was involved with Gambit and that Magneto, miraculously alive somehow, had a thing for her. Carey covers these attractions, but its her voice that truly impresses. As Rogue spoke I never once questioned whether or not that this was the same character I became fond of in Rom and even the character I loathed in Avengers Annual. Rogue's dialogue mirrors a personality forged through atoning numerous mistakes and surviving identity crisis. As presented here, Rogue is a fully mature, self-aware woman. She is what you hoped the Rogue incarnation from Rom would grow up to be.
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The plot twist is akin to Lana Lang being unmasked as a Manhunter in DC's mediocre mini-series Millennium. That was big ugly editorially mandated blotch in John Byrne's historic run of Superman, and the similarity in Jersey Gods looks just about as promising.
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If not for Sun Girl and Christobal's depiction of she and her elegant Phaeton roadster, there would be little to recommend in this issue of Marvel Adventures Super Heroes, but the strength of this character and Christobal's design for her loads another silver bullet in the chamber.
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Sylvestre Szilagyi's and Bob Pedroza's artwork is the only thing in this issue's favor. Szilagyi's Phantom carries the weight of the legacy in every flex of muscle. Pedroza's purple outfitting completes the picture and the violet echo effect silhouetting the Phantom's speech balloons gives the character the timbre you always imagined The Ghost Who Walks would possess. This perfection makes the Phantom's mistakes doubly infuriating. Artistically speaking, this is the quintessential Phantom, but from a writing standpoint, he doesn't act that way.
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X-Men Forever is supposed to be the relief in a morass of convoluted continuity. Cyclops complimenting Kitty with a, "That's my Shadowcat," is a fun, little moment that doesn't require much in the way of explanation. The triangle, however, opens up a big hole that can only be filled through the minutia of X-Men history. Less mooning over the past and more hitting.
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The issue isn't however a total waste. The artwork still rocks. Jeanty, Owens and Madsen bring a stylish cinematographic look to the book rivaled only by Power Girl, and that's rather fitting. Buffy was a Power Girl fan. The conversation between Xander and Buffy is easily the best part of the book, and that can be attributed solely to the artists, who imbue intimacy to the old comrades and illustrate subtle, realistic facial expressions. I also appreciated that when Andrew puts together his costume of many super-hero parts, he wears Batgirl's belt. Only Buffy the Vampire Slayer could have made me think fondly of Batgirl and not seethe with rage over her current state. That's because the Batgirl nod is to the fictional character. It's a recognition of her power in pop culture, as free from DC's wretched continuity as the Batgirl button on my duster or the magnet on my refrigerator.
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Marvel devotes the remainder of the pages to fleshing out some of the famous women who worked at the publishing company and including biographies for the talent behind Girl Comics. Kudos go to letterers Kristyn Ferretti and Kathleen Marinaccio. I'm also pleased to say that Marvel increased the page count with the price, and there are only four pages of advertisement. In short, the first issue of Girl Comics is worth every penny.
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I didn't get "Homer Simpson Chick Magnet" and that's why this issue of Bart Simpson earns only three bullets. This longer tale by Gilbert Hernandez consists of a series of accidental meetings between Homer and numerous attractive women. The explanation for the attraction is unsatisfactory and unfunny. However, Carol Lay's opener is strong enough to sell the book.
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Marcus Chamberlain becomes the next American Crusader. Historical entanglement sets the conditions, but it's Marcus himself that determines the reasons why he should be the next American Crusader. First, despite being misinformed, Marcus fights to protect the original American Crusader from harm. He's willing to lay down his life for the man who saved his grandfather. Second, he stands up to the Black Terror and bravely battles him. He in fact evinces more skill against the hero than every Crusader revenant and the robotic Dynamic Man. Third, once the truth stands before him, Marcus is willing to serve that truth. Whereas in the DC universe, any mute illiterate or dimwit amateur can wear a Batgirl costume, Marcus Chamberlain earns the honor.
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Of course all three men, including Dr. Huer decide that they can't leave Wilma to a vulture like Harrier, but they must strategize instead of simply charging on trans-suit "steeds." This decision leaves the book on a tantalizing cliffhanger again alluding to the original Buck Rogers comic strip.
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Spidey unfortunately must throw away the chance to be a legitimate law-enforcer once Chat explains that Silencer is Emma, and she is her friend. My big problem lies in the contrivance. Emma wears the Silencer uniform all the time, even while home. I always saw Emma as a classy fashion plate, but regardless, it seems unlikely that she would wear the Silencer uniform continuously, and when Spidey catches her in that uniform it's a little too convenient. I don't see why he couldn't have followed her from a crime scene and make the same discovery. As is, it just doesn't work.
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The clearer cut section of the book enlightens the reader and explains the heroes' resonance in a clever way that entwines with the plotting. The reader will also enjoy simple displays of daring do, such as when the Flame reunites with Fire Girl and Pyroman zaps the crap out of Zeus. These rousing moments smoothly fit into a broad plot that checks in with a number of the Superpowers, each one unique and powerful.
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X-Men Forever is the perfect tonic for those who justly believe X-Men continuity is too complicated to follow. Claremont carefully distinguishes the characters, sets up an easy to follow plot and while continuing his overall thread of mutant burnout relates a story with a beginning, middle and end.
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The art by Gabriel Hardman and Elizabeth Breitweiser creates an attractive battlefield where all the costumed champions fight at their best. Repulsor rays blaze through panels. Electricity crackles from M-11. Atlantean sinew flexes as mutant wings carry Namora through the air. Simian facial expressions accompany crack-wises against Iron Man's future self. Jimmy Woo's martial arts play out against the moves of the ultimate soldier. Venus' nude beauty manifests in her song. Witty and beautiful, Avengers vs. Atlas is a winner.
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The trouble is I don't remember how we arrived at this point, and Lady G doesn't appear in the book until the end. It would have been better had she been in on the action because the addition would have forged a stronger connection with the previous issue and maybe alleviate the feelings of bewilderment.
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Koblish isn't the only artist on the title. Clayton Henry, Rob DiSalvo and Sotocolor join him. Normally a battery of artists leads to fizzle, but the mesh in styles works well, and while you can tell that a handful of talents added their input, the result never distracts from a solid story that functions with excellent characterization, fun dialogue and an enjoyable cast of heroes.
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This issue of Power Girl exemplifies Amanda Conner's and Paul Mounts' ability to illustrate not only cute but also dramatic action. The technobabble associated with Satanna's weapons convinces me that they will indeed spell trouble for a Kryptonian, and the arrival of the cavalry evinces a cohesiveness in this title that's sadly lacking in everything else DC publishes. Honestly though? Power Girl could have tongue-kissed Hal Jordan and Jimmy Olsen, and these revolting moments still wouldn't have affected the rating because "No way, I'm not going to get my butt kicked by Big Birds..."
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Punisher is a continuity masterpiece. It's difficult to decide which idea came first because the entiretys plot elements are so fluid. Did Frankencastle generate the supernatural reflection? Did Hellsgaard spawn a memorable new incarnation of the Frankenstein's Monster? Did the idea of a crazy monster-hunting cult trigger it all? I don't know, but it's damn entertaining.
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Hester only lost me when he shifted the story to Hell. I didn't see this as a necessary side-trip. Certainly, the writing in this new environment amuses, and the art's stellar with darker colors and black humorous designs, but the shift in focus loses some of the momentum.
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If a book spinning from a television series that I never cared about can interest me, it deserves five bullets. D'argo's Quest is entertaining and beautiful.
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Some of the plot twists in Muppet King Arthur are interesting from an Arthurian point of view, but the comedy really needed to be more absurd.
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Langridge is a superb Muppet artist and even if you don't share the writer's sense of humor, his depiction of a wild-eyed Gonzo the Great, a stony-faced crowd of unusually inbred hicks and the boisterous Rolf will leave a smile on your face. Even straight "men" like Kermit, Piggie, and Scooter convey artistic flair.
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The book is made for grindhouse fans, but all can appreciate the artwork and the fact that this hardback with excellent paper stock is only fifteen dollars.
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Slayers die this issue, but they die as warriors. Death is their tradition. The battles occurred off panel while the previous story arc unfolded. So, there's thankfully a lack of ghoulish violence. You therefore cannot accuse Meltzer of singling out Slayers just to kill them and I would mostly characterize this issue of Buffy the Vampire Slayer as upbeat and chirpy. Despite Meltzer's reputation, it's also surprisingly pro-woman. No matter who writes the adventures of Buffy Summers, that's how it should be.
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The artists effortlessly create a tapestry of old and new settings in the TARDIS with a spot-on likeness of David Tennant and a surprise guest at the cliffhanger. The sensual Emily again stuns with her outstanding adventuring outfit, but Matt continues to look like Moe Howard on Slimfast. Something really must be done with the lad. Male companions do not have to be lesser characters. Ian, Steven, Jamie, and Harry Sullivan are some of the Doctor's memorable fellow travelers, but Matt's on the path to obscurity.
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Nobody throws a punch. Mysteries are not uncovered. Silver does not whinny. Sergio Cariello illustrates nothing interesting. This issue of The Lone Ranger is the most innocuous to date. It should have been posted at Dynamite's home page as a FAQ for free.
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The books differ in tone. The Terror's narration is deep with thought on humanity, freedom and what constitutes right and wrong. The Punisher is simply a freewheeling grisly dance of death anointed by the simplicity of righting wrongs. The art in The Punisher acts as a kind of fairy tale escape valve. The art in Black Terror is shinier and depicts a sort of elegant grace. Either or better yet both of this week's issues deserve a place on the reader's book shelf.
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Carlos Rafael and Carlos Lopez make Buck Rogers very easy on the eyes. Their spectacular artwork enlivens even the deadest of horses. This Buck Rogers/Beneath the Planet of the Apes mash up wouldn't be nearly as entertaining without the depiction of Buck's looks of disbelief, the goofy appearance of the cave dwellers and the ethereal trans-suits earning smart spotlight.
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James Lloyd, Dan Davis, Nathan Hamill are all at their very best for the issue. Lloyd earns the first laugh with a hilarious rendition of Hermes and Amy as one. Inker Dan Davis' talent can be seen in the dramatic blacks when the Professor sets off an explosion. While the vampiric nonsense is annoying, Nathan Hamill's colors emphasize the hammy with flares of background reds. If only the story read as brilliantly.
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Ben Dewey's and Terry Pallot's artwork preserves the new, inviting look of Marvel Adventures Spider-Man while keeping the characters hopping, in Spidey's case literally. They do equally well when expressing the characters' often complex emotional states. This is especially true during the Chat/Spidey scenes.
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What's even more stunning is that Frank is a bona fide super-hero. He's no longer just a vigilante. Frank kills Hunter of Monster Special Force in order to protect the innocent, often Fraggle-like monsters targeted simply for what they are. Frank is slaying these human fiends because it's the right thing to do. Perhaps that's why Remender, Moore and Brown sign their work with the most hilarious panel in any Punisher book to date. After delivering a unique fastball special that ends the life of the Big Bad's lieutenant, Frank, arms akimbo, stares up and smiles at the escaping villain. At that moment, Frank Castle evolves from one-note NRA poster boy to a kind of patchwork Zorro.
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Despite being an X-Men book, the subplots, the main plot, the characters and their histories all make sense. Claremont offers numerous shocking and clever twists, and Graham Nolan illustrates Rogue and Daisy Dugan. That's good enough for me.
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"Defender of the Deep" is fantastic. A perfect character vignette combined with a decent setup to the main story pushes the worth of the book from three to four despite the increase of a dollar.
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Whether showing off Helius' moves both on the dance floor and in the massage chair, depicting the grief of a warrior woman, stunning with the shock of death, or relishing Zoe's sexy exuberance, Dan McDaid comes through. He and Rachelle Rosenberg are irreplaceable assets. The unique look of Jersey Gods and the deft coloring make the book a visual delight.
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While the method in which Vartox and Power Girl rescue the population of Valeron from extinction depends on Arthur C. Clarke's Law, in which any sufficiently advanced form of technology will appear to be magic, it makes fundamental sense. More so than the many pulps that featured alien invaders beaming down to take women for mating rituals.
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The battle isn't the only ball in the air. The Woman in Red and the Sisters Scarlet enact their plan to bait Zeus. This intricately constructed scene shows how you can display a real world threat to the heroes without undermining them. Unlike Sue Dibney, the ladies are not sacrifices. Rather, they are a tactic. Zeus is interested in Earth women and the Sisters Scarlet know this. They courageously volunteer for a calculated risk to save their teammate Fire Girl. The awareness and their determination instills maturity to a stratagem that too often suffers from juvenile treatment. The Sisters Scarlet could be raped by Zeus, but they accept the possibility and maximize their safety. They sway the odds to their favor with the inclusion of Pyroman and Cyclone on the away team, and nobody expresses doubts in their plan. The Superpowers while not a big happy family have faith in each other, and that's a quality sorely missing from modern comic book characters.
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Mike DeCarlo's precision inking enhances Oritz's pencils. Details such as a few lines on the lips or a tiny crease to Bart's bulbous eyes accent emotion. As the previous statement suggests, none of the cast looks flat. The characters possess as much illusory depth as the cartoons on television. Colorist Art Villanueva is in his element for this issue, but just because the story is Springfield centered, doesn't mean that Villanueva can take a breather. Every wall, every ceiling, every console, all the props and settings represent a complimentary spectrum.
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If you're a fan of the Agents of Atlas, you might want to wait until this issue is collected into a trade volume with all of the Atlas team-ups. If you're a fan of the villains in question, this might be the issue for you.
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Perhaps Marvel's intent to simply strike the title from their ledger explains why the artwork takes such a hit. It's not that Rob Di Salvo, Scott Koblish, Jacopo Camagni, Derec Donovan, Terry Pallot and Sotocolor slack off. However, when Marvel relaunched this series, the artists and art editors took painstaking care to give Super Heroes a unique look. The acrylic like coloring and the delicate artwork seen on the cover cannot be found within, and that's extremely disappointing.
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While Al Davison really impresses with a stunning gamut of aliens, Doctorish moments and the lovely Emily Winters, Tony Lee's story could have used a little tightening.
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Athena and Ares are old school heroes transported into a grim comic book world that emphasizes the darker aspects of our reality. However, Murray does not go too far. Yes, there is terrorism. Yes, there is callous stupidity. Yes, there is greed. Yes, there is degradation, but intelligence, innocence and honesty still subsist, and Athena has chosen to protect people with these qualities.
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Artists Rafael and Lopez actualize future societies arising from different areas of science fiction. The mutants look vampiric. Attractive glowing trans-suits sheathe a variety of proportions. Gennies walk like the animals, but they don't quite express themselves like animals. Subtle nuances define them as something more. The artists time daring rescues perfectly to inject energy to the visual narrative, and judicious computer effects enhance the story rather than distract the reader.
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Julie Walker is the Phantom, and brother, after reading this stand alone adventure, you believe it.
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Peniche wields a decidedly different style than regular Phantom artist Silvestre Szilagyi. Peniche's characters are, there's no other way to describe it, fleshier. The flesh seems to literally move. The Phantom's skin and costume squeezes with a snarl. His muscle coils and uncoils when he moves, and when he hits, the power of his fists actually distorts the punching bag's face. Ripples form from the skull imprint. Peniche is also a master of foreshortening, and this just gives the book a greater cinematic feel to accompany the beat of the jungle drums that you hear as the Phantom takes down a boatload of modern day scum.
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Despite being mostly attracted to superhero books, I continue to find Jeremiah Cooper an engrossing read. Although Jeremiah does not wear a mask, he faces the common villainy of racism. The constant threat and undercurrent of disdain gives the drama teeth.
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What I love about the Project Superpowers books is that they all feel connected. The Black Terror, The Death-Defying Devil, and Masquerade all connect with their mother title. It doesn't feel like a crossover. It feels like a cohesive universe and Black Terror is an exciting, action-laced section of that universe.
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Karl Moline, Andy Owens, and Michelle Madsen make Willow prettier than this dreck has a right to be, and if you're a fan of the artists, you'll want to add this one-shot to your collection. Everybody else can skip it.
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The story isn't really about Spidey beating the snot out of pluguglies. Instead, Tobin includes a familiar guest star that serves as a friendly ear for Spidey's woes. Her presence intrinsically make sense, and in talking about his problems, Spidey catches up new readers as well as creating the opportunity for amusing scenes.
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Long live Frankencastle! I hope never to see that boring old Punisher ever again.
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I doubt I'll add X-Men Forever to my pull list, but if the guest-stars appeal to me, I won't hesitate to add the issue to my brown bag.
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You get an uneasy feeling when the Ood state, "Your song is nearly at an end, Doctor." Tony Lee instills that feeling, and you can almost hear the tenth Doctor's theme as the Shadow Architect whispers, "You should be with friends at the end. When he knocks the fourth time." Lee in addition surpasses his past work through a revelation near the finale. I didn't see it coming. I never would have seen it coming, and for me, that's a rarity.
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Incorruptible isn't completely bereft of humor. Jailbait's reactions to the change in her former lover are quite amusing, and bonus points go to whoever's idea it was to make Max Damage's base an exact replica of the Habitrail headquarters of Mystery Science Theater favorite Diabolik.
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Talented artists, a good plot and a likeable heroine that lives up to the name Lady Action is a four bullet book. Though priced at four dollars, you should know the issue consists of twenty-two, full color pages, three extra pages by Michael Eury detailing the interesting history of the Lady Action toy and only two pages of house advertisements.
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All right. Power Girl is funny. Gray and Palmiotti have a wicked sense of humor, and Conner is far away from being a straight woman. But, why the fifth bullet? Well, this is the first post-Crisis appearance of Vartox, so I could argue that the issue of Power Girl does have historical significance. Of course, I don't care about those things. The creative team have selected just the perfect tone. Too much, and this would have been a farce not worth buying, but the team really thought things through and bury jokes within jokes while also respecting the characters.
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Project Superpowers is such a joy to read. Everything in the book makes sense. The plot ties into Chapter One. The characters all sound and behave differently. None are interchangeable but unique super-heroes who carry their history in their words and deeds. It's old school writing at its best. It's as if the Bronze Age never stopped and just adapted to modern times.
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Needless to say this book would look pretty dull in black and white. Bart's armor is a compliment of blue, gray and gold. Ralph's off-putting leathers characterize his slightly awry thinking. The disturbing elf maid with a fuchsia, purple and pink outfit would almost be beautiful if not for the subject. Jabba combines several greens into an eye-catching complex. The familiar pink walls of the Simpsons residence contrast the deadliness of the nuclear death. Paler shades sparked with bright hues define the virtual world. Quite frankly, I think Art Villanueva can retire after this story. This issue of Simpsons Comics is simply stupendous, and I doubt he'll top it.
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Venus humiliates several members of team-villainy. Human Robot electrocutes another one of the baddies. Best of all, Namora uproots a tree and uses it as a staff to smack plug-uglies through the air. This is why I read comic books.
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Ron Chan doesn't get too much of a workout this issue. His colors come into play when Parker shifts the focus from Wes and Seth to outside rescue efforts. Chan's organic colors sharply contrast the eerie strobe whites in the cave, and this gives the whole story more verisimilitude. Wes and Seth seem to be trapped in an almost alien world, but this world isn't set in the vacuum of space. It's taking place in a very recognizable reality.
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The Argonauts is an intelligent action book with strongly characterized superheroes and villains. It's time travel premise intrigues, and the attractive illustration entices.
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Gray and Palmiotti craft a moving, personal tale for Jonah Hex that lets the reader experience Hex's surprising depth of character. Cooke acts as the perfect juggler for this done-in-one that balances comedy, action, and pathos.
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Whereas last week's all-ages Black Widow and the Marvel Girls was a debacle Marvel Super-Heroes exemplifies what Paul Tobin can do at his level best. Thanks to Ig Guara, everybody looks different, like unique cartoon characters rather than cookie-cutter muscle men and vapid looking women. Sotocolor also mirrors this softer approach through an acrylic palette, but only the color-blind would wear Sue's jumpsuit.
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Artist Shelli Paroline is a find. She has a real feel for the Muppets. She also nails their personalities. Miss Piggy looks suitably exasperated as she deals with the vacant Link. Fozzie appears desperate, and Gonzo looks deranged. Sharp-eyed readers will also appreciate the homage to ALF and Mystery Science Theater 3000.
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The Zeus effect is a good one. He really appears to take form from the clouds of dust thrown up during the melee. His eyes crackle lightning, and the scene alludes to elemental visions Ray Harryhausen conjured with stop animation. The scenes on a more terrestrial plane bear verisimilitude, and the realistic moments of gunplay, gangsters and cops sharply contrast the actual representation of the Trojan War, also depicted in Athena. Given a brassy hue, the artists burnish their illustration for the classic with a nuance of antiquity. The Trojan War narrative acts like a miniature graphic novel buried within a modern comic book.
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The Black Widow is an old Marvel character with a resonant history. She could have just remained a one-note stereotype Cold War styled Russian agent and disappeared into comic book limbo with the Unicorn. Marvel writers instead transformed her into a likeable, multi-faceted super-hero, a one-time leader of the Avengers no less. If you're a young fan of this character, I recommend that you pick up some of her fun, exciting seventies adventures from The Amazing Spider-Man, Marvel Team-Up and Marvel Two-In-One. Marvel will soon be collecting her own series, which she shared with The Inhumans, for some reason. Also, ask your local comic book merchant for Marvel Adventures Avengers #21 her exquisitely entertaining proper all-ages debut story. Older fans will appreciate Black Widow and Black Widow: The Things They Say About Her by Richard K. Morgan and Bill Sienkiewicz. All ages should avoid Black Widow and the Marvel Girls as if it were swine flu.
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If you are not familiar with Marvel continuity, you will be by the time you're finished reading Fall of the Hulks. Parker makes this exposition entertaining as well as informative. For those that do know Marvel history, this won't feel like a retread. That's because Parker's story builds on what's already known. He adds to the continuing story, and he brings out a secret cause and effect that satisfies those with tidy, logical minds. Pelletier's artwork is simply gorgeous. Vincente Cifuentes emphasizes the beauty and intricacies in such things as the texture in the Leader's beard and mustache and the polished metal of Doom's armor. Fall of the Hulks offers the rare opportunity to be enchanted by a one-shot story that explains much of the strangeness that occurred in the Marvel Universe before shock-themed writing became their darling paradigm: "Allies, this is the kind of infighting that keeps us falling to our enemies. They don't do this." Well, they never used to.
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At a guess, I would say that this was an inventory issue of Buck Rogers. It's purpose appears only to be a jumping on point for new readers. For the faithful fan, it's not a necessary purchase.
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This issue of Futurama was an interesting experiment, but I would have preferred a straight forward sci fi romp or a funnier, gag-filled, surreal antic.
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This is not the worst issue of The Lone Ranger, but stronger editing and a greater concentration on the main characters would have benefited the story. The final scene, though making one pause, is more than likely a false payoff.
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Marvel Adventures Spider-Man maintains a sense of history while presenting Spider-Man in a thoroughly modern form. Paul Tobin actually consolidates three stories in one issue and Chris Samnee imbues singular dynamism to our friendly neighborhood Spider-Man.
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I'm pleased to say that the finale to "Or Give Me Death" was well worth the wait. It's an exciting finish rewarding acknowledging the readers patience.
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Although Nancy Drew is one of the most resourceful female characters in literature, the creative team convinces you that Nancys not going to get out of this, and theres no deus ex machina waiting in the wings.
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Moore and Chan make The Punisher look more like a beautifully illustrated children's storybook instead of a typical dour comic book. Somehow this just makes the whole idea of Frank metamorphosing into the Frankenstein's Monster even giddier and more apropos.
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Finally, the Simpsons cast transforms into animals in a goof on Animal Farm. You cannot help admiring the way the artists transmute the cast into recognizable animal counterparts, but the tale does not instill titters.
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This thrilling, suspenseful issue of Underground pushes the story forward while fleshing out the characters. The cave itself becomes a player in the tale, and although neutral, Wes' knowledge makes it appear that Stillwater has an interest in the rangers' survival.
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Jonathan Lau and Ivan Nunes make the Terror an attractive read, and they also grant spectacle to the proceedings. The Crusader revenants glide silently out of the night. The attacks against the Terror are violent yet graceful and weirdly in sync to further denote a robotic group mind. In the last volume of the series, the Terror acquired a cutlass with some history, and Lau and Nunes delight in making the Terror a modern day pirate, slashing steel against the sepulchral.
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The creative team mesh extremely well. Lee's Doctor sounds like the genuine article. Smith's art gives Lee's words greater authenticity. The lack of shading in Smith's linework opens the art for Kirchoff to paint. As a result, reading Doctor Who is the next best thing to watching the series.
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Another chapter ends in the saga of Hellboy, and I can't wait to see what happens next. Alice says it best: "Well, I didn't see that coming."
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This superior issue of Jersey Gods covers a lot of ground, crosses over to many places in space and time and involves numerous members of the cast as well as historical figures. The creative team however fails to miss a beat or slacken the pace.
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The coloring evinces the biggest change in "It Begins Now." The hues that were once vivid and bright shift to softer pastels. This genuine change presents an overall warm effect and establishes a unique aesthetic that differs from every comic book on the rack. If "It Begins Now" refers to the coloring, I'll give Marvel that one.
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The second issue of Athena is stronger because the reader knows more about the characters. The impressive art merely gets better as Athena reveals her powers.
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Jeanty's artwork could be a trifle tighter in places, but for the most part, I think he nails it. Buffy always looks like Sarah Michelle Gellar. Xander always resembles Nicholas Brendan. Some of the faces of the Slayer army could use a little distinction, and for a moment, Giles proportions go way off scale, but Jeanty and Andy Owens match Espenson and Whedon with exciting visuals and a startling depiction of a metaphysical ending. Notice how Buffy comes back into being at first an outline of a drawing. That's a clever little flourish and makes you question whether the ending is really occurring or in Buffy's mind. Either suits me fine.
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The bad news is that Jeremiah Cooper costs five dollars, but if you are buyer who appreciates the comic book medium as a storytelling format, and you don't mind if your dramas lacking flowing cloaks and raging fists, then this may be the book for you.
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All of these factors give The Phantom an easy four bullets, but Bullock wasn't just satisfied introducing weird foes for the Phantom to pummel. He also gives the Phantom's enemies a strong rationale for resuscitating the Eastern Dark legend. He ties them into a nasty crime based on a classic urban legend. Bullock, however, is smart enough to build on the crime and create realism through technology and a lack of basic morality among modern criminals. The Ghost Who Walks earns my highest recommendation.
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Before that reveal, Lady Satan, Woman in Red, and Masquerade band together to stop Future in his tracks. More scenes like this one and the book could have earned five bullets, but unfortunately, Black Terror's meeting with Green Lama is a little too chatty and repetitive. The scenes with the Inheritors go nowhere, and neither do those with Death-Defying Devil and the Ghost. On the bright side, these scenarios only dull the book for a few pages. Once the battle against Captain Future begins Project Superpowers moves like lightning.
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I didn't expect much from this Abe Sapien one-shot, but I found the story engrossing and the art riveting. Abe easily carried the story by himself, and he proved to be an engaging solo hero.
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I bought Avengers Initiative for Tigra, but Gage made me also like the Constrictor for a moment. His dialogue for the villains sounds accurate, and the plotting is easy to follow. The art in Avengers Initiativeis some of the best I've seen from the company since they went dark, gloomy. It reminds me of the superior work found in the Marvel Adventures line.
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Sergio Aragones! Sergio Argones Aragones That's why Bart Simpson Comics earns five bullets. The Mad maestro makes merry with Matt Groening's brainchildren.
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Instead, I'm recommending the book because of its finale. The end to the story characterizes Buck Rogers as a humane individual that lives in the twenty-first century but always sported future ideals. It's because of these actions Buck Rogers earns five bullets.
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The conclusion of the first volume of Dynamo 5 is five dollars, but Jay Faerber isn't merely upping the price at the cost of story. He's doubling the pages for a slam-bang finale and a series of short introductions to the newest look of Dynamo 5. Bonus points for the dissection of Due South in "Under the Influence" where Faerber reveals his inspirations. I love that show.
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The tone is another thing that distinguishes Marvel Adventures: Spider-Manfrom other Spidey books. Too many comic book reading snobs still believe all-ages is congruent with silly and juvenile, but when Peter suggests that Captain Stacy is using him to do his dirty work, Captain Stacy is disturbed by the accusation. He's disturbed for three pages, one of them completely lacking dialogue. Stacy calls up Spidey, and he apologizes. Captain Stacy is a good man who makes a mistake and then owns up to his error in judgment. That is awesome, and that's why this book earns five bullets. I just added Marvel Adventures: Spider-Manto my pull list.
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Power Girl began as the Earth-Two Supergirl, though she quickly became a fan favorite. After Crisis on Infinite Earths, she lost her identity and her history. Essentially, she became a big boob joke. Fortunately, Palmiotti, Gray, Conner, and Mounts reclaim her dignity with every issue of this series.
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Sugar Shock reads like Joss Whedon's riff on The Hitchhiker's Guide to The Galaxy. Unfortunately, Whedon's latest is neither as funny nor as interesting as Douglas Adams' classic absurdist science fiction.
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The Monty Burns-centric story offers the reader sight gags, dialogue deviltry and a vivid tapestry of artwork nuanced with Matt Groening's style.
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Parker, Lieber and Chan merge their strengths to forge a rock solid story that, while not involving capes and cowls, nevertheless interests with potent characters and snowballed situations.
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Whether in the form of prose or comic book, stories spinning off from a television series can read like the worst fan-fiction. Tony Lee continues to write the most authentic sounding Doctor Who tales, and IDW should secure Matthew Dow Smith and Charlie Kirchoff to Doctor Who for the long term. Their art sets the comic book apart and even distinguishes it from that of the longer running comic strip published in Doctor Who Magazine but without sacrificing the texture of the series.
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I once said that nobody could illustrate Mike Mignola's Hellboy except Mike Mignola. Dave Stewart made me realize how important his colors were to the whole enterprise, and Duncan Fegredo continues to make me reconsider my original position. I can say that without a doubt nobody can write Mike Mignola's Hellboy except Mike Mignola.
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The Marvel Adventures Avengers resonate almost as much as the DC heroes once did. The stand alone story packs a helluva lot of meat. Hydra makes for an amusing yet cagey enemy and Tobin updates the lunatics without losing their old school nutty charm. Tobin and Medri return Spider-Woman to her former glory and remind readers why Giant Girl became such a fan favorite.
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I wanted to laud Doctor Voodoo. I ended up cheering for Dr. Doom, and I shouldn't be doing that because unlike most of the Marvel characters, Voodoo is still a hero.
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X-Men vs. Agents of Atlas is an easy to read, fun super-hero bout that makes sense. And the out of continuity back up story, which wasn't announced, is almost as good as the main feature.
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When I started reading Hardest of the Hard, I could not stop. Mac Rausch carries you along with an interesting character created whole cloth in but a few pages with snappy dialogue and speedily delivered scenarios. The artists generate velocity and Buckaroo Banzai styled action.
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This is one of the best issues of Jersey Gods. Brunswick, McDaid and Rosenberg flesh out the cosmic cast while instilling sublime moments amid bombastic feats.
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The one real problem I had with this issue of Futurama is that it's not particularly funny. The Bender story bears some political satire, but the other tales are rather thin. They also lack the emotional impact of the more moving stories in the series, such as "The Luck of the Fryrish." Still, "Anthology of Interest II" does feel like a Futurama episode, and it's just as colorful, metaphorically and literally. Furthermore, Verrone disguises the main plot of the story among the many shorts, providing an unexpected twist.
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The opening of the Eastern Dark story looks promising. The addition of a familiar yet never before seen face adds to the appeal and, of course, it's a pleasure to see the Phantom crack his fists against villains who try to be scary and fail when faced with a potent threat to their machinations.
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Harker introduces the British mystery to comic books. The medium surprisingly soaks up the style and turns out to be a natural.
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I cannot get over how much I enjoy Buck Rogers, and I hope this feeling never goes away. The art and the writing somehow preserve the coolness of the concept, while bringing Buck to the twenty-first century and beyond.
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The latest Doctor Who one-shot is nothing more than well-plotted science fiction pitting a superbly characterized Doctor against a nasty conundrum requiring a clever solution. That's all I think the creative team wants this adventure to be, and that's enough.
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I certainly hope Dark Horse continues publishing these Indiana Jones volumes. They're a helluva lot of fun. They capture the spirit of the character, and the animated art is an enjoyable bonus.
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All in all, this is a "ginchy" send-off for Madman. While I do not believe Allred has finished with his creation, for now this is a good limbo for Frank, Joe and the rest of the Madman cast to inhabit.
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The new story opens with a fun and decidedly different plotting cadence. Palmiotti and Gray write Power Girl as a mature professional that can bench press tanks, and Amanda Conner and Paul Mounts make such feats gorgeous to witness. Power Girl is the best book DC publishes.
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Justine's betrayal comes at a high price this issue, and her actions give readers a stronger understanding of Truth from the duet of Truth and Dare. Meanwhile, Man-Cat displays some of his former Cat Man mettle combined with the ferocity of his newly mutated form to unveil a shocking secret behind Kid Terror. These twists in the plot added to the camaraderie between heroes make Project Superpowers an entertaining read.
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Jeff Parker proves he can relate a story that does not involve super-heroes. He shows that he can use themes aimed at an adult audience to evolve a mature story that's as compelling as his outstanding work in the Marvel Adventures titles. Steve Lieber demonstrates that he is more than capable of illustrating comical routines with a friendlier cast of characters.
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With fantastic artwork and a respectable hero, Athena's debut is a success. However, Athenas secret identity is too vague. Because the supporting cast is linked to her secret identity, they lack a necessary dimension to fully enjoy. If theyre not important enough to name, why should the reader care? By not designating the positions and roles, they become generic, a necessary evil to get the main character to the center of the story. As a result, the story becomes less substantial. The obfuscation is a pity because had the area been developed, Athena would have earned four or perhaps five bullets.
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Brett Matthews tries to artificially inflate the drama by increasing the page count. All he has though is a premise for a mystery. Cavendish is tedious, and the art has been better.
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A war between the HOA and Homer is a victory for the funny bone. The art for this tale looks particularly striking, even if I do not exactly know why the artists chose Clint to represent the devil on Homer's shoulder.
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Mignola has been an artist first and a writer second. He did not have as much faith in his skills as a writer as he did in his talent as an artist. With the Wild Hunt, Mignola proves himself not just a good writer but also a master storyteller.
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I said I wanted to judge this book from two perspectives. Objectively, the story makes sense. The villains and heroes have a reason for being in the story. The dialogue sounds integral to each character. The art is absolutely stunning. Subjectively, Tigra is love.
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Action-packed, filled with character bits that bank on the better qualities of humanity, Agents of Atlas is the best book set in continuity proper that Marvel publishes.
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This issue Buffy the Vampire Slayer feels like an episode from the television show. Andrew's wit shapes the narrative. Espenson and Whedon underplay the big revelations. They set the viewer up and then quickly pull the rug out from under his feet. Georges Jeanty, Andy Owens and Michelle Madsen create artwork that reflects the richness of the script.
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Issue three of the new Doctor Who ongoing series is simply put the best Doctor Who story Tony Lee has written to date. It will be the measure for future Doctor Who stories by this creative team. Annotations, lacking spoilers, for this issue may be found in the forum.
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I can sing praises about Exiles until I'm blue in the face. None of these songs however explains the crescendo of five bullets. Simply put Jeff Parker's parallel earth, time-traveling plot twists are worthy of Doctor Who. The complex information not only explains Parker's Exiles, but all the Exiles that preceded them. If the Powers That Be at Marvel were paying attention, they would use his explanation to recover the heroism for their characters that was lost in Civil War and Brand New Day.
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Jersey Gods continues to surprise and entertain. The likeable characters generate sparks with fun dialogue, and though light hearted in scope, the story can become genuinely dramatic in a heartbeat.
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Usually, I would be rooting for the Batman to bring a character like Parker to justice, but Cooke's artwork and his interpretation of Donald Westlake's hard boiled prose make a persuasive argument. Factor in IDW's handsome physical design for the book, and The Hunter becomes an essential addition to any collection.
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Bart and Lisa first match wits with corn-fed crazies and then with ten classmates who have axes to grind. The Bongo crew does a tremendous job keeping your ribs tickled and your eyes glued to the richly colored pages.
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The finale compensates for some of the shortcomings. Moore makes Abbey's and Michael's moment, the one faithful readers of this splendid series patiently waited for, quiet yet stirring .
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Beatty infuses a mix of wit and daring-do. He also guarantees that Buck will not be another insufferable swaggering ass like Hal Jordan. The fact that Buck fails frequently and only succeeds by the seat of his pants is one of his most endearing qualities. Buck genuinely impresses by quickly orchestrating unexpected tactics. This strategizing is what signifies Buck's importance to the future.
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Overall, this is a pretty good issue of Dynamo 5, but it's nothing special.
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As a reminder of Flame Girl's power, the entire creative team set off a spark, which spreads to Dynamic Man. The talent then leave the book on a cliffhanger, promising worse to come.
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Tobin and company knock another one out of the park. The story is entertaining. The art is animated and attractive. The characters are engaging and, more importantly, the plot makes sense.
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Hellboy is somewhat disappointing, but the surprise guest star and the return of the Monstermen makes this issue a welcome addition to any collection.
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Tobin's detective story functions through clever, yet realistic twists. The conventions of the crime story happen but in fresh, inventive ways. Baldeon's artwork creates an enticing visual narrative that's bursting with action. Watching the detectives has never been so enjoyable.
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The three part tale bears no loose ends and even has the audacity to make one consider the implications of the story. Perhaps one need not reflect on the wholly unreal Thunderbirds but certainly about the consequences of one criminals freedom and his implied impact on history.
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This issue of Agents of Atlas is a trifle underwhelming when compared to previous issues. It's still however more adventurous, interesting, optimistic and smartly written than most of Marvel's titles.
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Dynamo 5 yet again outclasses most team books you can name, especially that awful issue of Justice Society from last week. However, it's just not spectacular when compared to previous issues.
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Unfortunately, this is the penultimate issue of Exiles. I really think the title deserves a longer life. Although there was room for improvement, it was an enjoyable romp, and Marvel really needs more of this type of comic book.
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Jersey Gods continues to be one of the newest enjoyments on the racks, but this issue had some problems regarding an explanation for the villain's behavior and an unfortunate downfall through pop culture.
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The pitfall with a story like "The Chase" is that every scene must increase the tension. If one panel fails, then the others will fall like dominos. Unfortunately, the dominos tumble. The story becomes split into two separate episodes. However, the action and Phantom moments surmount these difficulties.
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To top off this debacle, Willingham and Sturges send a sloppy mash note to Geoff Johns with a scene of gruesome bloody violence. Of course, since it appears a male member of the Justice Society is crippled and killed, I am sure that he will be up and walking in the near future. So, it's nothing really to get upset about. It's not as if he'll be confined to a wheelchair for twenty years. I do object to the revel of gore. If this is the kind of crap I can expect, I will not be seeking out part two of this lousy debut.
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To be perfectly honest I never thought I would see another issue of The Lone Ranger. Was the latest worth the wait? Yes.
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In a way, former "All the Rage" gossip monger Rich Johnston pays homage to the brilliant television episode "Blink." Johnston though does not mimic Moffat. He instead crafts an entirely new story proving the Doctor to be a cunning linguist.
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The science fiction pulps of the thirties and forties posited spaceship races on their covers. Diane Carey wrote a Star Trek novel about one, and the Doctor Who episode "Enlightenment" explored the premise. Boothby's starship race is more like Hanna-Barbera's anything goes Wacky Races. Fry though makes a poor substitute for Penelope Pitstop. Bender however makes for an excellent Dick Dastardly.
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Tobin exploits Emma Frost's natural proclivity for mischief. The Mutant telepath reads Peter's mind and experiments with him, though not in a malicious way. I don't know if the Mutant Chat is actually an X-Men character, but she is a rather winning personality, regardless of her origins. By giving Emma a friend, Tobin softens her, gives her someone to talk to and constructs superb scenes that aren't spider-centric, thereby giving the book a wider scope.
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The Kryptonian powers, Kara's attitude, her status in the Superman Family, her history with the Justice Society and a surprise guest star all come into play as she saves Manhattan from certain doom. Palmiotti, Gray, Conner and mounts fuse all of these facets together into a gem of a character, an accomplished professional super-hero.
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Captain Future is the other "hero" that returns in Project Superpowers. He makes Hal Jordan look like a feminist. Seriously. Captain Future has a repellent mind and Salazar and Ramones present him with a matching grotesqueness. Imagine an eternally greasy body builder who flexes all the time, and you have Captain Future. The more intriguing Truth and Dare deal with the self-proclaimed super-hero, and they leave the book on a tantalizing cliffhanger.
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Take a Chance is an underrated delight. It's a well-written, well-illustrated story focusing on the exploits of a masked crimefighter who lacks super-powers but has superior experience, intelligence and kickass skills.
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At the end of the tunnel, Buck finds out that clothes maketh the man. The clever twist in the plot and the artwork neatly brings Buck Rogers full circle.
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The most important player of the story is another Avenger whom the loony overlooks. The way Tobin utilizes the hero's powers feeds neatly into a satisfying conclusion.
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The finale of Nexus Space Opera is a fitting conclusion to the mini-series and the series. However, I do not believe that this is the last that we well see of Horatio Hellpop. Vootie.
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The book ends with the other shoe dropping. Old friends pop in on the world that The Simpsons have created. The visitation serves as the perfect punchline to a series of carefully contrived jokes.
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What can I say about this issue of Star Trek Crew but "Meh." The usually reliable Byrne stumbles on this one. He needed more backgrounds, and some of the plot elements left me scratching my head. Still, it's better than Superboy Prime punching time.
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This issue of Marvel Adventures Super-Heroes exhibits fine, thoughtful storycrafting as well as inventive and engaging artwork. The characters behave according to the histories and personalities you know. For these reasons and many more Marvel Adventures Super-Heroes earns five bullets and exemplifies why I love comic books so much.
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During her talk with Giles, Buffy seems to have an epiphany. I have no idea at what it hints, but I'm sure it's going to be damn good. With this issue, Whedon takes control of his characters and directs them to the future spelled out by his long game. Espenson re-establishes herself as one of the top Buffy writers, and Georges Jeanty, Any Owens, and Michelle Madsen create an exciting visual narrative with points of drama and comedy shared among a wicked number of cast members.
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R13 relates a stand-alone story of robot versus Kraken. Additionally, it whets the appetite with an opening chapter in the origin of the android and Bradford's swiftly staged artwork makes it an easy morsel to swallow.
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"The Best Radioactive Man Event Ever!" certainly lives up to its name. Batton Lash and the art team delivered a fascinating story that played with Big Stupid Event conventions and tailored a tale with universal comic book appeal that worked smoothly in the world of The Simpsons.
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Avengers/Invaders started out beautifully. It indicted Iron Man and his flunkies. It ridiculed the Sentry. It should have ended with the resistance Avengers rescuing the All Winners from the SHIELD Helicarrier, and Dr. Strange sending them back to their proper time. Perhaps, Iron Man could shake a fist at them as they depart. This added part two was just unnecessary.
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One could accuse Bongo of hypocrisy. Batton Lash is after all filleting the Big Two's tomfoolery, but he's doing it in a crossover. However, there are some stark differences. This is a crossover lasting only three issues. Compare the trilogy to DC's weekly dovetailing drudges and Marvel's inbreeding Dark Civil Reign of the Secret Brand New War. One also needs to consider that this is only the second Bongo crossover. That's right. After 155 issues of Simpsons Comics and 48 focusing on Bart, Bongo engages in its second crossover. Surely, the Powers That Be at Bongo deserve an Eisner for the restraint.
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This issue is more about just disembodied brains. Faerber also entertains with a surprise visit from an old Dynamo 5 menace, and how he manifests is most unexpected. Another old enemy facilitates a future takedown of the team, and Asrar, Cinar and Riley beautifully illustrate the entire narrative.
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I had some problems with the comic book. I did not enjoy this story as much as I should have. Normally, I wouldn't hesitate to give such an issue three bullets, but Jerry Ordway was not the cause of any of these problems. That's why it still earns four bullets.
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The fact that I can recommend Amber Atoms despite the scattershot plotting is a testament to Kelly Yates' imagination as well as his ability to create intriguing characters and an arresting artistic narrative. With time and practice, I think Yates could be a very good crafter of stories. Call the series a draft for better tales to come.
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Green and Johnson hinted at a mystery in play for the opening chapter, and here they give clues to not just what is going on but how Batman and Superman will solve the problem. As soon as the heroes mention one word, readers that are old hands at Justice League chronology should think of one villain. That's who manifests. Green and Johnson do not pull a Monarch. The payoff makes sense.
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The second story is affable enough with a little slapstick at the end and Jo looking lovely, especially when swathed in Laura Allred's stunning colors. It however lacks genuine conflict. It's more of a slice of life vignette. The first story is more gripping. Joelle Jones' art enriches the short. Like Allred, she prefers a cleaner look for her final product, but her streamlined style differs sharply from that of Madman's creator.
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It saddens me to report that the promise of the cover is not met by the interior. While the art may appeal to some, I can only recommend the book for the subtle romance between Cap and Golden Girl. That's not enough. However, I would suggest that Miss America and Golden Girl stay in the present. This is a different continuity.
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Masquerade is an underrated gem. Phil Hester and Alex Ross have explored Diana Adams' past, her present and her future through novel techniques seldom used in comic books. In this concluding issue, they show that the character she is now is a result of events in each period.
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September Eleventh could not and cannot happen in the DCU. Quite frankly, Al Qeda's plot to destroy the Twin Towers would never have gotten off the ground in the DCU. That is because Batman exists. Basil Rathbone's Sherlock Holmes frequently thwarted Nazi Germany's potential wins against the free world. It's insulting to think Batman would not have succeeded in doing the same. Although inconceivable, even if Batman overlooked the stirrings of lunatics, Superman would have simply stopped the planes. Take Superman out of the picture, and you've got Wonder Woman. Preoccupy Wonder Woman, and Supergirl will take over. If not her, then Power Girl. Then, Green Lantern. If Booster Gold were the sole hero on the planet at the time of September Eleventh, then you have a convincing argument, but such abandonment is statistically unlikely. September Eleventh could not have happened in the DCU, and mentioning that tragedy took me right out of the story.
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Batton Lash produces one of the keenest satires in Simpsons Comics. He targets the Big Two, and he hits them precisely in the bulls-eye.
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The Phantom has always been action-packed in any form you would care to name--okay, I don't know about that sick SyFy Phantom with the hoodie. Bullock, Szilagyi, and Pedroza continue the tradition while making the Phantom relevant in his fight against piracy and cruelty.
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I would have given Angel: Blood and Trenches five bullets if not for the ending. The curious finish in which a historical personage shows his face feels too disconnected to the story, almost as if Byrne merely tacked it on as a joke.
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The art and the writing are lively. The latest version preserves the elements familiar to all who have heard the name Buck Rogers and the adventures are new.
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Believe it or not, Marvel Super-Heroes is one of the more realistic comic books you can pick up this week. Scott Gray gives HYDRA an upgrade to meet the demands of modern day maniacs, but he never lets you forget that this is a comic book, and in the Marvel Adventureverse there is a Captain America.
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Ignore the meager cover. Buy Agents of Atlas, and enjoy. Parker conceives a witty story that bears historical significance. Hardman and Schirmer make each panel a gorgeous feast for the eyes.
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Exiles moves fast. The characters combine as a team for a winning combination and the artwork makes the book eye-catching and exciting.
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This is easily the best issue of Jersey Gods. The art, the writing and even the colors convey the new milestone in the love-at-first-sight relationship, which also takes the book out of the cast of Kirby's shadow.
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As Byrne translates the essence of Star Trek to Crew, he manages the pacing of the tale perfectly. The story is lightning fast and Federation accoutrements such as phaser precursors, the Hypospray, and the traditionally fickle transporters increase the thrills. The epilogue fits snugly into Byrne's plot as well as Star Trek continuity and rather than end the tale with an anticlimax, the additional information sends off the story with greater impetus.
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The story should have ended with the resistance rescuing the Invaders from the Avengers and sending them home. That would have been a satisfying, clean victory. Such a conclusion would have clearly picked a side, without the half-hearted attempt at redeeming forever tarnished heroes.
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Boothby, Delaney, Davis and Kane make Futurama Comics a worthwhile substitute for the series. The book captures the look and feel of the show, and the creative team's skills allow them to replicate the show's heart in a different medium.
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The characterization and the twittering foreshadow the point of the story. The point of the story reinforces the idea of the FF being a family. The artwork imbues the entire project with an overall sense of loss contrasted against the lively antics of the FF. I felt rather good after reading and rereading this small but poignant adventure.
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I would have liked to see more of George and Bess, but they do pop in for an amusing scene in which Nancy calls the cousins for their advice only to receive their laughter. Such is the consummate skill of the talent that you can actually imagine their faces to accompany the pure dialogue, which is all that's seen on panel. Alone, Nancy must solve the mystery of the haunted statue. She does so with her typical gusto and style. She also uncovers a greater enigma that will lead into the next volume of Nancy Drew.
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Though pricier than the average comic book, Batman in Barcelona contains thirty-nine pages of actual Batman in a good story with excellent artwork. The ads are kept to a minimum. I would have preferred the book to be a square-bound graphic novel with a nice cover and heavier paper stock. However, as it is, Waids and Olmoss latest is a worthy addition to anybodys Batman collection.
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I'm more than satisfied by Batman/Superman. The art is what I expected from a talent like Manapul. The subtle colors by Buccellato enhance his pencils and inks through myriad shades emitted from various light sources. The writing by Mikes Green and Johnson entertained even if the Justice Titans should have perhaps been thought out a little better. The issue certainly could have been far worse.
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Though I only rated this final issue of Black Terror with an average grade, it's still recommended for readers of these public domain heroes resurrected by Alex Ross, Jim Krueger and Dynamite Comics.
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Lee was doing so well, but then he lets his inner fan get the better of him. He gives out too much information about events from the previous story "Talons of Weng Chiang." This slows down the rapid pace and will probably confuse the hell out someone who might be just curious about Doctor Who. What's so frustrating is that for the most part Lee was being extremely subtle, but at the end it's as if the dam bursts. Because of this, I can't give the story more than three bullets. Otherwise it was in the running for five.
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Marvel Adventures Avengersis easily the best Avengers book on the shelves. The team act like heroes, solve problems through an expert use of their powers, proficiency and acumens. Rather than in-fight, the team seem to revel in their differences.
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Accompanying Wein on this sweet sojourn of storytelling, Phil Oritz and Mike DeCarlo make the most of comic timing that leads to bee sting humor goodness. The many facial expressions of bliss after eating the honey also impress along with the wild takes Mr. Burns pulls when suddenly becoming animated by the smell of money from honey. Despite being set strictly in Springfield, Villanueva once more blends and compliments color to make Simpsons Comics an attractive addition to one's comic book library.
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Black Coat/Athena Voltaire is a slick non team-up between two critically acclaimed indie heroes. They work together through the passage of time to put an end to an age old hazard.
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The story's delightful. The art's skillful. The only problem occurs when J. Jonah Jameson chews out a very young incarnation of Peter Parker. These scenes kill the momentum of the slaphappy antics. Fortunately, the lion's share of the tale belongs to the Amazing Spider-Man and his dreaded nemesis Paste-Pot Pete.
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If you're a fan of Thor, you'll want to add this to your collection. If you're looking for a good story to pass the time, this one may do the job, but for a truly memorable, fun Thor story, seek out Ms. Simonson's previous Marvel Adventures Super Heroes.
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Masquerade brings Miss Masque's story into the fold of Project Superpowers. At the same time, Hester and Ross give this character the dignity, respect and intelligence she so richly deserves. Paul, Jean and Carita make her look just as formidable as she sounds.
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The creative team on The Phantom, in other words, very carefully updates the Phantom. They don't change the hero, they simply acknowledge the modern world around him. They don't betray the legend, they exhilarate it by contrasting the hero against the grim reality represented by those who would destroy free will and thought.
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The chapter ends with a strong reveal that makes you echo Carl's words: "What the hell is that?" More importantly. How does it involve Sherlock Holmes? All I'm sure will be revealed in the next and final issue.
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Angels: Blood and Trenches is a memorable tale with art that exemplifies Byrne at his very best. The choices from the selection of paper stock to the decision to publish just Byrne's structured tight penciling were brilliant.
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This is an all around superior issue of Buffy the Vampire Slayer. Done in one, funny rather than stupid, dramatic instead of over the top, the story centers on continuity without shunning the new reader and attracts all with bona fide heart.
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Exiles is a treat for Jeff Parker fans, as it has his stamp of wit and intelligence. Salvador Espin and Anthony Washington assure that it's easy on the eyes.
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Back in space, Brunswick and McDaid reveal a particularly strange development. This element is also a nod to Kirby, specifically the Forever People, yet Brunswick and McDaid prepare their surprise so it has farther reaching implications as well as consequences and limitations.
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The ending neatly bridges Byrne's imagined adventures for Number One and her actual posting on Enterprise. Once again, Byrne gives us all we need to know in just one panel that will Trekkers hear the opening majesty of Star Trek's theme.
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I keep trying to like Amber Atoms, but I can't work up any enthusiasm over the book. The art is wondrous in terms of technique and imagination, but the story and the characters leave me cold.
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I'm not absolutely sure that Avengers/Invaders had a story that was sustainable for twelve issues. I think it might have been better to end the tale with the Avengers rescuing the Invaders from Iron Man's clutches and sending them home. I get the feeling that this second part is more of an attempt to recover some of the heroism lost during The Civil War. It's not going work. Marvel has made Iron Man irredeemable in comics and Ms. Martinet is just as bad.
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This ginchy issue of Madman Atomic Comics exemplifies the depth of drama one can draw from a narrative that when reduced is really quite simple.
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This fun issue of Marvel Adventures Avengers finds a perfect scenario in which Batroc works his charms and his twinkle-toes against Cap, Spidey, Hawkeye, Luke Cage and Wolverine.
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I'll concede that we don't know the full details of what Holmes is saying in the scene. Who was he trying to stop? The murderer? The suicide victim? Why didn't he use baritsu, a martial art, noted in the canon? He has done so in the past. It's also possible that Holmes is perpetrating a ruse to better solve the mystery, but as the characterization in the scene stands, it doesn't sound like or feel like Sherlock Holmes. The Sherlock Holmes recently seen in Moonstone's Sherlock Holmes and Kolchak is a much better representation of the great detective.
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In all respects, this issue of Bart Simpson Comics easily rests in the cream that rises to the top. The two stories satisfy in different ways that never the less seem intertwined.
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In short, the writing and art on Buck Rogers whets my appetite for more, and just because as advertised this is the end of Buck's adventures, there are enough questions silently posed to serve as the backbone for a series. By the by, I see dozens of loopholes out of the ending. So even should the talent decide to return to this particular era in Buck's life, I'm sure it won't be boring.
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Indeed, Dynamo 5 is a collaborative effort and all the contributors do their very best to produce a very entertaining book.
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If this review seems cagier than even my normal circumlocutory body of work, it's because I don't wish to diminish the brilliance of the gleeful surprises in store for the reader. I'd even go so far as to say that this is one of the most intelligently written pieces of science fiction that I have ever seen in a comic book and Marvel should really consider submitting it for a Hugo.
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When I first read Take a Chance my gut reaction was that this was something and C.E. Murphy continues to impress me with a literate take on the vigilante super-heroine.
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This issue of Marvel Super-Heroes is suitable only for those die-hard Hank Pym fans. I know you're out there somewhere.
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Buy this issue of The Simpsons for Chuck Dixon's second tale and the extraordinary artwork in both stories.
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Out of the three I can only recommend two stories in the anthology, and one has been read over and over again in reprints by generations of Sub-Mariner fans.
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Exiles does not abandon Jeff Parker's underlying comic philosophy. Comics should be fun. The art by Salva Espin and Anthony Washington complements this attitude. Recommended especially for fans of super-heroics unladen by continuity or Big Stupid Events.
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I thoroughly enjoyed this arc of Batman Confidential. Thanks to Jose Garcia-Lopez, Nowlan and Baron, Batman looks good, especially with the lengthier ears. Thanks to Weir and DeFillipis, he acts like the proper Dark Knight I grew up with. His team-up with the Riddler offers comedy but more than comedy relief, and Tut proves to be an interesting, even horrific foe.
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Angel: Blood and Trenches earns my highest recommendation. Its a feat of artwork showcasing John Byrne at his very best. Its also a damn good Angel story.
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I recommend this issue of Buffy the Vampire Slayer. I must, however, recommend it with the reservations of two unanswered questions that dilute the substance of the plot.
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The third issue of Jersey Gods energetically continues a cosmic story juxtaposed with a girl and her increasing attraction to a deity. The multitude of characters quickly become defined, and there's not one scene that makes one frown.
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Masquerade exemplifies how to write a proper super-hero detective story. Carlos Paul and Deborah Carita make Masquerade nee Miss Mask a very fetching, intelligent looking costumed gumshoe.
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The second issue of Star Trek: Crew is an exciting, stand alone thriller that serves as a perfect spotlight for Number One. Byrne's characterization for the mystery woman of Star Trek is spot on and makes you thirst for more of her tales.
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As with the premiere, the art's the most enviable quality in Amber Atoms. Kelly Yates' space technology, which includes very cool starships that look like streamlined World War II bombers, and the alien settings deserve to be seen and admired. The story however should stand out more, and the dialogue requires sharpening.
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The idea of an alien species based upon man's best friend could have been the sole source of entertainment gravy, but Verrone, Lloyd, Pepoy and Kane break from the leash to deliver a cleverly plotted and visually arresting issue of Futurama Comics.
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Although the presence of Sears does overshadow Williams as wordsmith, the latter flexes his muscles as the story progresses. He gives Indy some great lines and you can hear Ford delivering them. The Nazi spouts off extremely fun, grandiose dialogue that's in keeping with the pulpish classics to be found in the original Indiana Jones trilogy, and Williams' characterization and speech for the supporting cast adds color to the already impressive mini-series. Let's hope it's far from the last one.
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The plot is what will divide the fans right down the middle. I found it to be nonsensical, and the unexplained silliness cheapened the metaphor. Other readers might gibe with the weirdness. These elements are the basis of the story, and that's why even with utterly gorgeous artwork I can only give this issue of Marvel Adventures Fantastic Four three bullets.
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If you haven't picked up the individual issues, I urge you to spring for the trade paperback. Mercy Sparx exemplifies comic book writing and vivid artwork at its best.
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Phantom The Ghost Who Walks represents what amounts to a new season of the Phantom. Bullock, Szilagyi, Mulko, Pedroza and Aitkin focus on elements that were tweaked in the previous volume. They also add completely new flourishes that make this treatment of the Phantom a different and heady experience.
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Death-Defying Devil does it right. The creative team display the purpose of the super-hero while relating a thoroughly engrossing tale of identity.
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Pugh's popping colorful artwork compliments the barrage of bytes forming the artist's and Ellis' story and characterization. Photorealistic anatomy and facial construction is the order of the day, but so is action-packed drama given an unusually bright and sparkly palette that defies clichs of the dark, grim and gritty.
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Tigra fans cannot pass up this issue of Marvel Adventures Avengers. Those simply interested in a good stand alone adventure involving recognizable heroes dealing with the ramifications of time travel will enjoy it as well.
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Sherlock Holmes and Carl Kolchak meet in a tale that takes place in two periods. Gentile's skillfully related story makes me want to know what's inside the box that Sherlock finds and how he knew of Kolchak far into the future.
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I doubt even the television series writers can top Bart's ingenious exposure of the town's gross gullibility and stupidity. It even surpasses his Timmy in the Well gag.
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Byrne crafts a plot that's worthy to be the focus for Number One's first adventure. The mystery triggers intergalactic intrigue and the declaration of war by a familiar Star Trek foe. Byrne manipulates the panel layout to maximize suspense, and the numerous twists will keep any Star Trek fan rapt. Number One's characterization drives the finale in an unexpected direction, and as a result even the epilogue doesn't feel like an afterthought. Rather it seems a vital part of the story. Star Trek: Crew is a must for all fans of Number One and/or John Byrne.
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Dull. Sadly very dull. It's all establishment for readers who may not be familiar with the Witchblade universe. Hopefully the next chapters in War of the Witchblades will be more exciting.
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When Byrne did Blood of the Demon, I considered Byrne's Jason Blood a defacto Angel. This inference of mine became stronger when Byrne began showing Jason/Etrigan in mid-transformation, which was represented by something like Angel's vamp face. Now, that I have read a John Byrne Angel story, I can see that he was just warming up.
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As the story continues Nunzio DeFillipis and Christina Weir bring their Tut superficially closer to the television version. They derive Tut's secret identity as a homage. They catalyze Tut's birth with a crack to the noggin, but this Tut is smarter and more dangerous than Victor Buono's broad Egyptian clown could ever hope to be.
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In terms of artwork, I have no complaints. Mike Lily and Vinicius Andrade do a superb job. This is especially true when they illustrate the complexity of the Terror's plan and show the teen partners of the superpowers in action. In general, they actually live up to the promise of Ross and Krueger's intent. They make these heroes look powerful and valiant. Rather than also-rans, they look like the real deal and resonate their respectable history with each step.
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This issue of Marvel Adventures Super-Heroes is a perfect example of subjectivity. Although Stephen, Wong and even the villain of the piece are in character, you may find the story too silly. On the other hand, if your tastes tend to lean toward such forms of comedy practiced by Monty Python's Flying Circus, this may be for you.
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Well, I certainly didn't expect this issue to arrive so soon, but why look a gift horse in the mouth, especially when it's Take a Chance, C. E. Murphy's worthy addition to the subgenre of female vigilantes.
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So in summary. Namora takes a helicopter upside the Grizzly's body. It's not just any cape or cowl. It's Namora. Namora issues a sense of history. Namora is a Golden Age super-hero. Namora has a motivation for ripping a helicopter in two and smashing said helicopter into the Grizzly. Even Namora's dialogue sounds heroic. So you need not have read the last series or even the last issue to understand what goes on. Screw the talking heads. Screw the introspection. Screw the 'effin deconstruction. Show more scenes of super-heroes splintering aircraft and crushing villains. Stop creating super-heroes that merely fill a role. Stop making generic knock-offs of better super-heroes. You want to create a hero? Do the work. Make me care about him or her. Stop bringing back heroes in forms that are alien to their histories. Stop crippling, raping and killing the really good heroes that you've got, and let them do what they are supposed to do: rip the tails off of helicopters and s
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I thought for a horrible moment that Andrew was going to turn out to be the hero. That wouldn't be believable. Buffy must and does save the day. True, she has help from Andrew by a kind of remote control, but in the end, it's Buffy that does the unpredictable and renews the reader's faith in Whedon magic. Until Buffy, Slayers died young. The reason why Buffy has lived so long to use her experience is that she always does the unpredictable: whether by using a bazooka to stop a very surprised arch-demon or having Willow cast a spell that creates a new world in which "Every girl who wants to be a Slayer. Will be a Slayer."
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Take a Chance is a surprisingly well-constructed exploration into how a costumed vigilante might actually ply her trade in the real world, which exists as a kind of underground to the super-hero and super-villain. Despite the realism, Chance still takes names. She acts heroically, and there are crowd-pleasing moments in this subtle character's life.
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The overall story of Hellboy advances with a potential sacrifice. Goodly characters arrive to face an evil that echoes back to a modern classic of horror in the latest Hellboy: The Wild Hunt.
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The second issue of Jersey Gods should have been the first. The characterization and the character interaction is stronger. The artwork draws even more power from these elements.
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The two stories in The Kolchak Annual will satisfy any fan of the Night Stalker, and the student of the horror genre will find the tales even more rewarding.
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The first tale is a less absurd and anarchic than others have been, but the rare realism is beneficial and gives the story impact. The second short is a Tylenol moment waiting to happen. It reminds me of Bob Clampett's mind-blowing "Porky in Wackyland." It's a free-wheeling Kitchen Sink effort that's astoundingly goofy. I think I liked it.
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Each tale has a plot, a beginning, middle and an end. Simultaneously, the writers lace in an abundance of comedy, keep true to the characters and write some fantastic dialogue and twists. The artists within their own styles maintain the model of the show and master the timing of the sight gags.
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The Doctor alleviates the potential boredom by simply walking through Moore's and Reppion's pedestrian science fiction. That's a testament to the writers' excellent skills at characterization but not to their rigid plot. Replace the Doctor with a generic character like Booster Gold, and Whispering Gallery would be absolutely mind-numbing. For these reasons, Moore's and Reppion's tale is merely a first draft of a better story lurking inside.
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Combine gags, examples of excellent teamwork, an almost scary ease at characterization and a spoof that has better characterization than the source 90% of the time, and you've got an issue of Dynamo 5 that's pure dynamite.
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In all respects, this is a superior issue of Marvel Adventures Fantastic Four. I hope to see more of Villagrasa's artwork in these pages, and really, the Powers That Be at Marvel should just chuck the other FF book and stick with Tobin's title.
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The premiere of Amber Atoms is recommended with reservations. The art and the characters are engaging, but the story needed a little more polish. It has, however, intrigued me enough to follow.
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Jay Faerber introduces the team for the newbie. He stirs the faithful fan's interest. He creates a fast-paced plot that has a beginning, middle and end. In addition, he sets up the next Big Bad for the future issues and brings back a former foe. All done in ten for one.
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Laugh out loud funny scenes with the Hulk and a bewildered police officer, multiple moments of Ka-Zar's lack of driving skills, a strong redesign of an old Marvel foe and a cute as a button creation that also wears a lab coat completes a perfect issue of Marvel Adventures Avengers.
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Dixon and Blackburn gamely add a long lost love to the mix, and while the story is somewhat entertaining, it just fails to pack the wallop of a joke-filled Simpsons episode. I really only laughed when Mr. Burns stepped onto the stage. His comical evil is simply wonderful.
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Death-Defying Devil moves like lightning. The addition of yet another super-hero pulsating in Fajardo's haunting hues adds to the story without undermining the Devil. Salazar's astounding frenzy keep the pace at breakneck, and the ending surprises.
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If you're a fan of the Invaders, you'll definitely want to pick this up. I imagine the followers of the Avengers fled in droves when Marvel made them the villains, but still those who appreciate Captain America may consider this issue an auxiliary purchase.
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Originally I only intended picking up Batman Confidential to marvel at the artwork, assuming Garcia-Lopez and Nowlan were up to snuff. I'm actually looking forward to the next chapter in the story as well.
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The subtlety of the dialogue between Hellboy and the girl hooks you into the interplay. Thanks to Mignolas beautifully considered phrases and Fegredos attractive character building, this girl becomes so substantial that she doesnt even need to be named to facilitate the feeling that she has depth.
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The book concludes with a fun period backup piece by Rousseau and Roger Langridge. In the story Cap gets his own Lois Lane while trying to root out a spy amid the cinema set. I recommend this issue of Marvel Adventures Super-Heroes for any true fan of Captain America.
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Masquerade is a refreshing variation on the origin of the super-hero. Miss Masque's motivation gibes with what was unsaid by the original character, and her wants make her an enticing hero.
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The bottom line is that if you want to learn about the Phantom, this is the place to start. Bullock and company have made it easy. If that wasn't enough, they fill the remaining pages with beautifully illustrated fact sheets designed like gaming stats or Who's Who in the DCU.
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The Agents of Atlas return to resist the Dark Reign of Norman Osborn in the alternate Marvel universe once ruled by the Iron Tyrant. With their return, Parker reminds readers that once there were heroes. They rise again.
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Buffy made no secret about how she felt about Satsu. She was honest with her. Satsu took the position of Team Leader Japan in part to help her get over Buffy, but in this story, it's as if she's waiting for Buffy. Naturally, they would still have feelings for each other. Emotions can't be switched off, and getting over somebody takes time. Satsu though knows it's likely not to happen in an eye-blink. Kennedy states that Satsu was promoted to team leader "like two minutes ago." So I'd love to know why Kennedy is actively kicking Satsu away from Buffy. Kennedy's urgings are unnecessary. They're not entertaining; neither are the multiple reminders that Kennedy and Satsu sleep with women. In fact I question why this story needed to be told.
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Dynamo 5 comes back together for an enjoyable bash. Mahmud Asrar and Ron Riley are on hand to make the fight choreography gorgeous, and it's refreshing to see the super science of a super-hero universe taken into consideration when characters would otherwise be mortally wounded.
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Eric Rogers crafts an engrossing story with romantic intrigue and an insidious plot hatched by a pair of arch-villains. John Delaney and Dan Davis draw down the sight gags and slapstick. Instead, they favor the accenting of Leela's sensuality as for example the strap to her slip falls coquettishly off her shoulder. Zapp and Kif look downright creepy, as do the cadets. Dan Davis' shadow-work underscores the eerie atmosphere. Add Nathan Kane's kaleidoscope of colors, and you've got yourself a perfect Futurama adventure that's more dramatic than a number of Big Stupid Events I could name.
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Under Pugh's tender love and care, Alice's pale skin emits an exotic chalky glow unless warmed by the gold of sunlight or the amber of sirens. Her fur fringed jacket and hair look soft and touchable. Her leather seems to creak as she ducks, hits and runs and drives her motorcycle. Her bright red pvc like outfit shines and looks slick. Her eyes rivet your attention. It's difficult to put into words how gorgeous this book is and how real the characters feel. I urge you to buy at least the first issue. You'll be kicking yourself if you don't. This is not homogenous artwork following a robotic house style. This is the kind of illustration that should be adorning the walls of a gallery.
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Glen Brunswick combines New Gods with earthly matters of the heart for a potent tribute to Jack the King Kirby. It's too early to tell if an homage is all it is, but I'm willing to follow Jersey Gods for awhile to see where it goes. Dan McCaid's artwork is pleasing to the eye and energetic for the frenetic story.
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Although I knew very well that Monstat did not kill Joe and the Atomics, I couldn't really expect how Allred was going to pull their fat out of the fire. This issue of Madman is not only coherent, it's clever, and it easily sports the most feel good ending I've read in two years.
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This issue of Witchblade provides a satisfying conclusion, and actually intrigues me enough to check out the storyarc that's about to be woven. This is the issue that has impelled me to add the title to my pull list.
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Buckaroo Banzai is a double-sized no-ad fully colored comic book that's worth the slightly raised asking price. The adventure centers on a real life practice rather than retreading Lectroid or Hanoi Xan territory. The guile of Buckaroo directs the adventure even when he's not seen and this is the kind of intellect you would expect to find from a modern Doc Savage.
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I believe Shooter had very little to do with this story. I suspect that he came up with a finale involving a smart use for the data rippers, good science fiction and a more original finish to his series. The Infinity Net comes out of nowhere, and Brainiac Five's plan of virtual attack is far too simple and vague. I wish I could at least partially recommend the last issue of the latest Legion reboot, but Ramon Bachs' imitation of Francis Manapul is piss poor and in no way can the short, bulky Gazelle in the pages be the same stretchy, elegant figure on the cover.
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Paul Tobin's latest foray into Fantastic Four territory reads like a Futurama plot. This, however, makes for a surprisingly good fit for an FF that's more likely to solve an outr problem than fight a super-villain.
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In a lesser writer's hands this latest Nancy Drew case could have been a real mess, but Stefan Petrucha, Shannon Kinney, Sho Murase and Carlos Jose Guzman are the usual suspects. As a result, Nancy Drew is at an all time high.
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This latest Sheena mini-series was an entertaining echo to the pulps. Sheena is just as deadly as she was back in her original days and the artists emphasize her physique rather than exploit her form for titillation.
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Arrowsmith questions war through a fantasy setting that becomes darker as the weapons of the good care not how much evil they can spread.
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Matthews' and Turitz's story in The Lone Ranger & Tonto is a mosey down the dusty trail. The artwork by Vatche Mavlian and Fajardo presents a massive scope and gives teeth to a monster-of-the-week type story.
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Apart from the art, there's certainly some hilarity in Tobin's dialogue for Iron Man: "No one's above the law. Not you! Not me! Not even the President!" My, oh, my, this Iron Man is the antithesis of the Iron Douche from continuity. The conversation between Spidey and a monster is well reasoned and comedic, and I took an amazing amount of satisfaction from the scene in which the big bad Bullseye gets taken down about a million pegs by the Hulk. In the end though, the premise to Marvel Adventures: Avengers is just stupid and suitable only for the truly faithful fans of these characters.
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Boothby mines comedy gold in an ore of lard. Ably abetted by Delaney, Davis and Villanueva as well as letterer Karen Bates who stencils The Constitution and a plethora of heavenly games make this issue of Simpsons Comics a tasty treat, lacking empty calories and fortified with a free poster.
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Len Wein does not convince me that his Composite Superman is superior or necessary. He also does not give me the Superman/Batman friendship I'm looking for, but then he'll just nail it with such scenes as Batman's decisive duel against Metallo. I gave up on the Man of Steel a long time ago when he started floating over wreckage and weeping. I'm not at all used to seeing Superman being so effective and tough, except on Smallville. It's these factors combined with the incredible art that forces me to recommend the book, however flawed.
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The story ends not how I expected. The bad guys are vanquished. Kate lives to fight another day in a future that can't be tampered with unless extraordinarily stupid means are employed. Good-bye Manhunter. It's been a blast.
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Louise Simonson returns to comics with a stylish Thor story that's gorgeously illustrated by Buschemi. The lively tale stays true to the source while expanding on it for a modern audience.
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Mike Bullock and Kevin Grevioux could have slacked off and let the momentum of the event be the story. Instead they draw the potently characterized Phantom, Mandrake and Lothar into a solid story that's evocatively illustrated by Goncalves and Jenson.
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All in all, this issue of Death-Defying Devil gives me exactly what I'm looking for in a super-hero comic book. The Devil and the Silver Streak are old, powerful heroes and treated with respect. With the help of Justine who adds a little romance, the crime-fighters efficiently take down the bad guys. The art and the story convey an exciting adventure that's rooted in the modern day but in the context of a super-powered universe.
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Once again, I'm amazed that some of the best female heroes are coming from a book that was the closest thing to porn for the adolescent crowd. The plot is solid and entertaining. The characterization of the effective female heroes and the art draws you in.
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Broken Trinity is not a book that's suitable to my super-hero tastes, but the story's put together well. The characters are clearly shaped. The protean players of the tale are changed by the events in the story. Add Brian Stelfreeze's appealing artwork, and you have a good comic book that just may be ideal for the followers of the Top Cow characters.
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In this issue, because of Harmony, because of incompetent journalists, because of a vapid viewing audience, the public becomes aware of Buffy and her vast sisterhood of Slayers. Because of Harmony's charm, fomented by media attention, public opinion turns against them and favors the poor, put upon vampires.
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Hellboy: The Wild Hunt runs on humor laced horror that spotlights Hellboy's ability to wail on things three times his size. The background on Gruagach is surprising and effective in deepening his character, and the second tale regarding Koschei does the same to Hellboy's recent foe. Might we see him test his mettle again against Big Red? A possibility.
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Mercy Sparx continues to be an example of solid storycraft and attractive, kinetic artwork that's perfect for the violent story of a demon that's a more human and more likeable than her holy quarry.
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The superb issue of The Phantom promotes and preserves the legacy. The action-packed artwork of Zeu makes the clashing swords and beautiful damsels a joy to experience. Bullock's story once more condemns the slave trade, but in a lighter fashion than previous issues. This is not a realistic look at the slavers who roamed the high seas but an Errol Flynn styled swashbuckler that gains its edge through its subject.
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Now, so far, this comic book has been a straightforward good comic book worth four bullets, but then Kara makes an inspired choice for a prison. Her decision is filled with poetry and humor. Finally, Supergirl floats over the planet listening to the turmoil of the humans--some of it realistic, others in the context of DCU. Superman gives her another lecture about letting humanity help itself, and that's to be expected. That's the weak explanation that the Powers That Be at DC use all the time to excuse lazy writing and a dearth of imagination. The crappy explanation is the mainstay for confining Babs to a wheelchair. Supergirl, however, is a symbol of hope, and she decides that today humanity's affairs are her affairs. In the end, she rekindles some of the flame that has cooled in Superman. The cousins soar toward Earth ready to interfere. Will they hunt down the murderers of an Iraqi family? Will they stop insurgents before a civil war can break? It's up to the reader to deci
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"Call me Tony" is a complete douche. While I knew he wouldn't die, I couldn't have cared less about him, nor could I root for his rescuers. I cheered for and cared more about Dr. Doom and Batroc Ze Leaper when they threw their lot in with Spider-Man, Vision, the Scarlet Witch and the bona fide Captain America to fight the Dark Rider and Mr. Hyde, respectively. To put it another way, and to paraphrase Crow T. Robot, "No matter how much Marvel insists that Iron Man and his lieutenants are still heroes, I must respectfully disagree."
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I'm going to miss Legion of Super-Heroes. This penultimate issue is another that exemplifies why. Shooter infuses these fledglings originally shaped by Mark Waid into a group of interesting heroes that sometimes followed his former designs but on occasion took some intriguing departures. He injects honest to goodness science fiction into the future world of the Legion, and he makes every word count.
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Writer Paul Tobin and artist David Hahn make the FF so likeable and iconic that you don't even need to see a word on the page to understand them or their relationship. The addition of Moondragon is a witty choice that Tobin and Hahn make welcoming, and despite the whimsical tone in the writing and the artwork, Tobin and Hahn do not shun the traditional fisticuffs that make comic books great.
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Three stories and one forgettable short comprise Bart Simpson Comics #45. Only one tale is outstanding. All the art in the book captures the comedy and construction of The Simpsons television series, but one is in that respect severely lacking.
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It was a little long in coming but the latest issue of Indiana Jones and the Temple of the Gods was well worth the wait. If the artwork delayed the return to the racks, the delay is forgivable given the uninterrupted flow of visual narrative and the detail to actors seen and unseen on the silver screen.
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It's the origin of Ant-Man updated and adapted for Marvel Adventures Super-Heroes. The tale is pretty fun but fairly fluffy. There are, however, a few laugh out loud notes in the absurd chorus that make the book worth reading.
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Issue #4 is easily the best issue of Superman/Supergirl: Maelstrom. The story and art intrigue and makes the reader laugh. The characterization uniquely makes Superman and Supergirl human, and it fits into what very little continuity DC has left.
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Seeing Buffy rendered in this style makes one even more disappointed that an animated series never surfaced. The caricatures, the vivid colors by Lee Louridge, the frenzy of motion--such as Buffy's constant cheerleader twirl of stakes--make this issue of Buffy the Vampire Slayer memorable. Its a necessary purchase for any fan of the show or the comic book series.
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Ross, Krueger, Lily and Andrade combine forces to make the second issue of The Black Terror an enjoyable, climactic actioner; though it's far from mindless. The narration shows the Terror's reasoning cutting through the muddle of ideas and viewpoints othes may hold to define his actions perfectly.
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The latest issue of Madman satisfies the science fiction and super-hero fan. An old villain raises his less than ugly head and joins a bisection of beautiful artwork.
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Andreyko neatly employs the benefits of the medium to guard Kate and her cast from being the next victims by an uncaring hack. The multiple artists do not upset the balance of this penultimate issue. It's a surprising but optimistic end for Kate.
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The fun-filled romp has heroes enjoying some rest and relaxation. Iron Man isn't a douche. Tigra and Spidey make for a perfect double-act, and Namor, Hulk and Luke Cage are all in fine form.
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Banking on current Simpsons continuity and story style, Templeton writes and illustrates the perfect imitation of a television episode. Rote's inks and Villanueva's colors beautifully compliment the artist/writer.
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I see a lot of potential in Take a Chance, and I'm willing to see if Murphy and Syaf can reach it. Chance could be the next Manhunter.
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Each issue of Terra has been consistently written and illustrated all with the goal of razor sharp quality. The eponymous heroine is wonderfully optimistic and operates with a humanitarian attitude that doesn't get in the way of her enjoyable, kickass arts. Terra in addition fosters the best interpretation of Power Girl since her pre-Crisis guest-appearances in Justice League of America. Terra is simply put the best mini-series of 2008.
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Buckaroo Banzai: The Prequel exemplifies a book that has a premise, concepts and characterization that overcome flaws elsewhere. This may not be as well written or as well illustrated when compared to some of the other books I'm reviewing, but it still merits a favorable review because of the things it accomplishes.
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It's the all Butch Cavendish issue of The Lone Ranger. Normally, that would be the kiss of death for a book as far as I'm concerned, but I'll be damned if Brett Matthews, Cariello and Pinto don't make this character study absorbing.
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The first issue of Death-Defying Devil looks promising. Salazar's artwork suits the characters and the action quotient. Casey's and Ross' script neatly sets up an arc while being self-contained with a beginning, middle and an end.
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If you had told my younger self that Witchblade could ever read this well or look this good, I would have laughed in your face, but the team of Ron Marz and Stjepan Sejic make Witchblade a feast for the eyes and entertaining for the mind.
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Who are the hunters, and what is the hunted leads to a merry chase for the reader in Hellboy: The Wild Hunt. The energy mostly missing from the last Hellboy mini-series reforms for the latest effort by Mignola, Fegredo and Stewart. Mignola keeps the focus squarely on Hellboy and as a result he doesn't seem like a guest star in his own book. He's an active participant.
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The stronger third issue of Superman/Supergirl: Maelstrom is a fun romp that makes good use of the differences in the cousins' temperaments. Their dialogue rings true, and Noto makes them look superb.
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Terra is a terrific mini-series with great art and understated writing that reminds readers what a super-hero is supposed to be about. The star of the series has ties to former DCU players that are clearly explained, yet she stands as her own character: a happy, caring individual who is every ounce a kickass kind of gal.
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There's nothing special about this issue of Marvel Adventures Fantastic Four, but given that the title is uniformly good reading, being average is actually an asset.
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I rather enjoyed the team-up of Hulk, Iron Man and Spidey, but the departure isn't devastating and won't have you wishing for somebody else to fill the panels. This new team-up is a fun little romp with Dr. Strange and Spidey in fine fettle.
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The second issue of Sheena's second series of modern day adventures offers the reader a rousing adventure that's played seriously. The writers respect the cast, and Sheena retains her status as a strong female hero.
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Normally when you leave a book unsure of what occured, it's a sign of weakness. Buffy the Vampire Slayer's moot ending is a sign of strength. The key is that Buffy returns to the past, but the reader still has no idea what future door that key will open. The story, though, was more than just a question of will the what if be, and the heady crescendo ends on a giddy note.
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The gleeful story behind the veneer of cynicism ends warmly with another expression of closeness from the characters. It's a fitting Christmas special for readers.
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Technically speaking this is an average issue of Legion of Super-Heroes where the heroes uncover the links and engage in an ordinary day. The creative team's skill propels what should be mediocre to a higher level of entertainment.
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When I saw Ross and Krueger's name attached to the Avengers/Invaders project, I suspected it wouldn't be the same old team-up or slugfest, and so far those suspicions have been proven correct. Combining forces with Sadowski and Berkenkotter, they have treated the book as a critique on modern day shock tactics while still hammering out a strong story that addresses the concept of superiority.
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This issue of Dynamo 5 is a deceptively ordinary battle of good versus evil, but the reader will find a deeper rationale behind the fight and a surprise revelation given proper impact by Takara.
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Marvel Adventures Avengers will appeal to fans of Tigra and this incarnation of the Avengers. Tobin, Lolli, Vecchia and Arreola respect Tigra and all of the heroes.
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The stories in this anthology issue of The Simpsons all have something for the reader to discover, either in art, cleverness, or idea.
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In short, the second issue of Superman / Supergirl: Maelstrom isn't as good as the first in the mini-series. The art suffers and this part of the story isn't all that interesting.
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Palmiotti and Gray do more than write a generic super-hero's story. They create a character that's smart, strong and courageous. Amanda Conner compliments the team of Palmiotti and Gray with absolutely gorgeous artwork that respects female anatomy and sensuality. Kudos also to Paul Mounts whose lifelike fleshtones become very important for this chapter of Terra.
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Black Terror is another feather in the cap of the Ross/Krueger team. With Mike Lily contributing artwork attentive to anatomy and dynamic motion and Vinicius Andrade's evocative colors, the beginning of a new super-hero renaissance may be imminent.
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DC celebrates the Legion's 50th anniversary by canceling the animated adventures spin-off title. Huzzah. At least it goes out on a happy note. "Where was I when the Legionnaires united?" Why I believe I was reading Zero Hour.
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This outstanding Nancy Drew volume twists and turns the formula of standard mysteries while highlighting the relationship of the principals. The art, though manga, is never the less beautiful. It's delicate when displaying the subtleties of visual characterization and ferocious when unleashing action.
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Noto's art is irresistible to me. Palmiotti's presence, though, allows for one of those rare birds that actually works within the context of what little continuity DC has and as a stand alone adventure requiring very little knowledge of such things. These aspects make Superman/Supergirl an essential purchase for fans of the characters.
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I realize that the economy is stagnant, and comic books are really a luxury, but Terra is deserving of your consideration. The book is well written and gorgeously illustrated. The star is a bona fide super-hero rather than an incompetent time traveler, an anti-hero, douchebag or an outright villain. This type of book deserves your support.
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I will never regret Cap's inclusion in the Avengers, but he was created to be a Nazi fighter. This is his milieu. Given writers and artists who care, I never will tire of such reverberations. Theater of War echoes with impact.
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The Chapel of Moloch is a good starting point for new Hellboy fans, and it's also a thrilling adventure for the faithful readers. The done in one format forces Mignola to cut to the chase, and Hellboy as a result is at his best.
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DC, of course, intends to cancel Legion of Super-Heroes. I will miss this title, and I'm still interested to see where it all ends. Shooter has promised that there will be closure and I'm confident that he will deliver.
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I haven't read a proper FF book since Mark Waid left a distaste in my mouth when he had Dr. Doom wearing the skin of his once great love. The Civil War artificially split the team and all for little reason. I don't know what the quartet is like in Marvel proper; probably Skrullish. What I do know is that in Marvel Adventures the FF act like the super-heroes they are supposed to be. They take sides, and they have fun standing up for the right thing. They haven't been encased in '70s amber either. Rather Tobin and Hahn make Marvel Adventures Fantastic Four sophisticated entertainment for people who don't like to wince or roll their eyes when they read their comic books.
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After a riveting battle and the revelation of a second secret, the superpowers address the people and declare war on the puppet masters. They accept that they will be considered terrorists, but this book questions that general use of that label and the labelers.
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Dark Rising looks to be a good follow-up to the modern debut of Sheena. The addition of Lee Ferguson keeps Sheena jungle fit for an energetic story.
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All three stories in this week's issue of Bart Simpson Comics amuse as the artists adhere to the Matt Groening model while staying true to their individual styles.
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The way I figure it is that Paul Tobin was probably sitting in his living room watching Buckaroo Banzai and he suddenly had a giddy idea. What if Klaw was the musical leader of the Hong Kong Cavaliers? Tobin takes a useless villain like the Klaw and gives him new life in a story that also spotlights Spidey, Hulk and Iron Man acting like the heroes they once were.
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Comic books of the modern day wallow in decompression that attempts to excuse padding. They are more apt to be chapters in never ending Big Stupid Events rather than singular works concerned with beginnings, middles and ends. They have become the playgrounds for bad writing and boring artwork. Thor: Truth of History is a stand alone story sporting eye catching artwork that compliments a sophisticated story with heroes behaving like heroes. Careful, Marvel. Keep publishing books like this, and you might just instill hope.
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Dynamo 5 is so refreshingly old school. The characters are not mere ciphers for pedestrian stories. They don't conveniently suffer from amnesia to excuse Big Stupid Events. They instead think and feel within the context of the story. They have memory and history, and these attributes affect their daily lives and each other. That's what makes Dynamo 5 a pleasure to read and this particular issue exemplifies the best.
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Sometimes Madman can be challenging. Allred says something, but he conceals messages and foci in numerous masks that can leave the reader dumbfounded. Maybe that's why this issue of Madman left me somewhat unsatisfied. I think I prefer the bafflement.
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The smiling heroes of Marvel Adventures Avengers are more authentic and more sophisticated representations than the Machiavellian Avengers being led by Iron Douche. Because of Marvel Adventures Avengers' humor, their sense of camaraderie, their willingness to serve justice, they're more realistically portrayed than the melodramatic and miserable heroes of mainstream continuity comics.
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The 99 cents special whetted my appetite for more, and if you did pick up the zero issue you won't be disappointed from repetition. The proper premiere of Mercy Sparx is a complete, unseen story. The story is an engaging and attractive work benefiting from an infectious cast of characters and a stirring philosophical premise.
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In this shambles of an economy one must ask can comic books become too expensive a hobby? This double-sized issue of The Phantom is pricey. You can buy two comic books from the Big Two for the price of this Phantom finale, yet I am going to argue that The Phantom is worth the price of two milquetoast comic books from DC or Marvel. I am going to argue that you should forgo getting Teen Titans and Batman and the Outsiders or Ms. Marvel and Iron Man: Whatever in favor of The Phantom. There are no advertisements in this book. That's twice the pages of full story and art, on decent paper stock. The book represents the very best of The Phantom and it concludes the story arc celebrating the Phantom's 72nd anniversary in a most satisfying manner.
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Dixon's and Blackburn's story approaches the comedic level of the classic Simpsons television episode in which Lisa attempts to determine who is smarter, her brother or a hamster. Their story, however, is based less on one-upmanship and more on the trauma Lisa faces when she learns all she knows could be wrong.
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At first, you're carried along through Avengers vs. Invaders by the shear whimsy of the dialogue, the little things in the plot and the enjoyable distortions of well known heroes, but once you encounter the Torch's ponderings on his true nature and the Holocaust, the mood shifts, the heroism skyrockets and the idea that this book is just a really good ripping yarn fades. The story's much more than that.
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The subtle changes in Marvel Adventures Hulk produce broader consequences. The story pays tribute to the original, but it's originality smoothly unites with the artwork to make the Hulk a hero instead of a monster.
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Booster Gold is prominent in this issue of Legion of Super Heroes in the 31st Century. Torres' story doesn't make me feel any warmer toward the character, but even readers such as me who loathe Booster Gold will still enjoy Torres' latest foray into the future.
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I was getting ready to drop The Lone Ranger from my subscription list if Brett Matthews continued his decompressive padding. This far more compact issue looks to usher in a promising change.
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This issue of Manhunter should have been disastrous, but Andreyko's writing and the multiple artists' respect for Andreyko's script make the latest another winner.
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In general, you can bank on a Boothby story making you laugh until milk shoots out your nose, and this one is no different. However, the adherence to Futurama continuity, old and new, as well as the stunning artwork makes this issue representative of the best.
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Though I would have preferred Hellboy to take a more active role in the story, Crooked Man is still recommended for fans. Richard Corben's attention to the grotesque gives the story a unique, organic ambiance. It's very strange when Hellboy is the most normal looking character in the series.
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The two stories in Marvel Adventures Fantastic Four have strong characterization and artwork in common, but flimsy plots, one that barely excuses the presence of Iron Man, make this issue a superfluous purchase.
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If I spoiled the story in the review, you would probably slap your head and agree with me. Remove this dumb bunny, and the story greatly improves, becoming an amusing straightforward time travel tale in which the avenging trio combats a Marvel staple villain. The entirety is expertly imagined by Lee, Pallot and Staples, but the antic is too salty for my tastes.
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Project Superpowers stars heroes that you may have only passing knowledge of, but they're written like the real deal. They resonate with history and conviction. Ross and Krueger update these underrated legends without losing their essences, and their characterization unfolds to reveal hidden depths. Paul and Carita compliment the writing with bracing scenes in which the heroes walk the walk and talk the talk. We have a new Justice League, and it's the Superpowers.
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DC is well aware of their fraudulent product. Since at the very end of the book at the foot of the last page, they include this statement typed in what appears to be size 6 font:
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Williams hammers out a rip-roaring pulp adventure with Indiana Jones at the center, fighting off Nazis, bandits and gravity. Steve Scott, Massengill and Atiyeh do justice to the modern myth and keep the two-dimensional pages three-dimensionally animated.
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Morrison has done the phenomenal. Rather than cheapen Superman by nullifying his power. He has instead created a super man in both mind and body. He has given Superman senses beyond ours and the intelligence to comprehend practically everything, even the wonderfully chaotic humans that he defends. He has made Superman an alien raised human and therefore gifted with humility. For the sake of drama, Morrison crafted menaces that often dwarfed Superman in power. By doing that, Morrison reminded comic book readers that before there were all these copies of Superman flitting about, there was only one Superman, and often he was the only one who could save us all.
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This finale of Kolchak the Night Stalker of the Living Dead ties up the story with a sad, yet satisfactory thud. Mills never falters in his mimicry of Darren McGavin's delivery, and Hamilton and Sokoliwski draw curtains of darkness and spray a judicious amount of gore to make The Living Dead an impressive Kolchak mini-series.
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With two stand-alone stories starring a cast of characters that are recognizable instantly by sight and by feel, Parker and Tobin, the art teams and even letterer Dave Sharpe who accents personality in font craft a superior title that may be all ages but is still more sophisticated than the dreck that's been passing itself off as Mighty and New.
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The Roller Derby setting is a novel one, and the art team takes full advantage of what that arena allows. Eric Rogers keeps Marge in character while she expands her horizons for the love of her daughter. It's a sweet tale without being schmaltzy.
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It's my sincerest hope that Byrne will return to dish out more assignments for Gary Seven, Roberta Lincoln, Isis and Betty, the Beta Five Computer. Assignment Earth read and felt like the series that could have been derived from that back door pilot on Star Trek.
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Dynamo 5 doesn't just spotlight the new team's abilities. The plot's intrinsically clever. Scrap displays an engaging ability to lead. Mahmud Asrar's and Riley's art impresses even more with the depiction of unfamiliar players beating the tar out of criminals. Perfect, especially given the albatross of tradition hanging around the new team's figurative neck.
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When the focus becomes personal, Beavers brings out a wide range of emotion from the characters while sticking to the animated model. Brainiac 5's reaction to being confronted by three angry heroes is both humorous and dramatic. It also emphasizes to the reader that Brainy really did not mean for his fail-safes to be malicious.
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I'm sure other readers can come up with an equally more exhilarating sequence than what's shown, and Cariello is more than capable of illustrating the above sequence as well as many others. The point is that this is The Lone Ranger. Make the Ranger take action.
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Angel Marin's color choices for the book create an even more attractive package. He casts the Hulk in a beautiful shade of green, a little darker than tradition I believe, and the clash with the pink androids makes for an eye-catching treat.
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Marvel Adventures Spider-Man's satisfying simplicity offers the jaded reader a refreshing stand alone respite from the weekly dragouts and Big Stupid Events of the competition.
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Until Doctor Who returned, Buffy the Vampire Slayer could be considered the best series on television. I have no hesitation in saying that right now Buffy the Vampire Slayer is the best comic book series on the racks.
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This chapter of Manhunter opens strongly with Kate Spencer, the eponymous heroine displaying her lethal charms. Gaydos' execution of Andreyko's setup is fairly flawless, from what I can see.
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Asprec's, Novin's and Hamill's simple two-act play between Lisa and Milhouse as well as Bart's Frank Sinatra imitation add to an already outstanding story by Bates. While "Cool Rules" isn't impressive, Santiago's, Rote's and Villanueva's transformations for Lisa are better than the concepts. "Lisa's Bad Word" isn't much, but the art by Rivette, Glines and Hamill excels in exemplifying Lisa's embarrassment and the bad day that took her to the bad word.
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Jim Shooter accomplishes a helluva lot in Legion of Super Heroes, and he does this without sacrificing characterization, plot-strength and world building. Francis Manapul complements Shooter's writing with a distinctive cast of thousands and exciting choreography that, enhanced by Livesay's inking and Jo Smith's colors, essentially animates a battle that takes place while the main characters sit down in comfy chairs. Bonus points for the return of Night Girl in cameo.
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When the team lands on the object threatening the earth, they encounter a cute alien life form that brings even more humorous expressions to the proceedings, for when Reed blows it, he blows it big. The friendly alien's point of view is at once warm and funny. The tiny error in Reed's invention sets up the raucous escape and the witty ending to a superb issue of Marvel Adventures Fantastic Four that echoes back to the beginning of the story.
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Tiny little tweaks bump an acceptable super-hero adventure to another level in Marvel Adventures Super Heroes. The story starts in the middle and unfolds the past while catching up to the present. The tale introduces absolutely hilarious new alien life forms that pester Iron Man, Spidey and the Hulk, and you laugh with the team rather than at them.
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Murase deals with action scenes with equal skill. Her choreography of Nancy running for her life enhances the believability in the threat Petrucha and Kinney conjured for the sleuth to face. The sweat dripping from Nancy's face as she becomes a potential squeeze toy, a fate hinted at in the matter-of-fact narrative, makes the moments more intense. You also may notice that in these scenes Murase curtails the space within the panels. The danger Nancy faces really seems to be nipping at her heels, and Murase's control also creates an illusion of the creature's speed.
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In the second story, Gross and Pacheco turn ultra-cute creatures into things that belong in a Scooby-Doo mystery. Gross and Pacheco give excellent spotlights to all the gang, and they enhance their personalities with some inventive comic book panels, such as Daphne's groovy framing and Velma's perfectly round panel which no doubt reflects the shape of a magnifying glass. Gross and Pacheco also have the rare opportunity to show Scooby and Shaggy acting like serious sleuths. You can enjoy their expressions of curiosity and concern.
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Clues are given. Deductions are made, and Costanza, Novin and Villanueva cut to the chase with a brilliant use of space within a single panel to create scale, scope and the illusion of depth.
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The mimicry of dialogue, as if delivered by Peter Weller, Clancy Brown and the rest of the Hong Kong Cavaliers, is the best thing about the book. A rapid pace adds to its worth, and although I question the inclusion of duplicate Wilbur, the scenes in which he and Buck interact are fun to read.
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Even if the plot elements are hard to swallow, Russell's story is still a good romp, and the art from this team has never been better.
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Francavilla captures the innocence of doomed love. He illustrates ferocious attacks from both parties that while stalemating never seem monotonous. Francavilla is at home in period Hammer pieces and modern-day settings. His art also gels with the general style of Frank Frazetta, whose masterpieces of fantasy art inspired the book's publication.
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Hellboy: The Crooked Man is so fluid and so tight that one can easily miss how impressively constructed the entire comic book happens to be.
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J. Torres appears to be building up some dissent in the Legion with regard to Brainiac Five's controlling nature, but I question the need for such an undercurrent.
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Less David Mamet, more Sergio Leone is my advice.
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The denouement is easily the best scene. It exemplifies the merging of talents. Santacruz, Fernandez and Marin translate David's sense of humor and maintain a heroic look for the Hulk, generating an ideal moment.
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Matt Merhoff from Sheena handles the art, and combined with Medeiros' vibrant color palette Mercy Sparx looks professional and attractive. I'll definitely be checking out the first full issue.
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Sadowski's illustrations aren't just potent in the fight scenes. The Washington D.C. architecture is detailed and looks accurate. He embodies frustration to a sword in the stone scene. The scientists wanting to perform a live autopsy on Toro maintain a certain detachment. The flame on moments impress as does the evocation of another golden age hero.
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In addition to the genius of Whedon, Karl Moline makes the Slayers ultimate gymnasts. In Moline's hands, the Bond-like opener in which Melaka interrogates a Lurk becomes an Olympian acrobatic routine executed in mid-air between futuristic sky vehicles. He doesn't miss a single beat or waste a panel. Owens inking and Madsen's colors enhances the textures in Moline's pencils. Melaka's hair looks silky, and the purple tinges merge attractively into her natural black. Dawn's mane looks luxurious, and Willow's hair at different turns looks soft and sumptuous.
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In "Street Monsters" Dan Didio is a black-market arms dealer. No, seriously. Take a look.
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All of these lengthy diversions slow down the story considerably. I also didn't enjoy Manhunter slumming with an inferior part of the DCU. Namely, the artists formerly known as the Suicide Squad, fake Huntress, somebody named Zinda and Oracle. As Kate Spencer she has already met the Justice League, defended Wonder Woman and encountered Superman. As Manhunter she briefly crossed paths with Batman, no doubt reining himself in as a favor to Wonder Woman. Kate does not need to be associated with third and fourth tier characters.
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The villains that Byrne crafts are xenophobes that do everything in their power to bring about planetary destruction. They fear that given an even playing field, the target planets could threaten their existence. How this organization ties into Gary Seven's history strengthens the story and catalyzes a satisfying conclusion.
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Not only does Mr. Puckett end this thought-provoking Supergirl epic in an unexpected way. He uses time travel correctly. This makes the thrilling conclusion of Supergirl's quest to find a way to cure a boy of cancer worthy of, I kid you not, Doctor Who.
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While I wasn't the least bit involved in the football scenario, the old school pummeling of bad guys by two competent female super-heroes left me grinning from ear to ear. Faerber creates two interesting characters. One battles for good, and her motives differ from the typical vengeance-fueled, subpar Batman tripe. The other is no mean villain. The conclusion to Dynamo 5 promises for more fun to come.
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I've drawn the high score mainly from the art, but there are a few elements to Geoff Johns' story that stand out. I would have given the art alone five bullets. The story would have gotten two bullets. That's seven bullets total. Divide by two, and the book averages out to three and one half bullets. I don't like the half bullet grade. So, the art bumps the book's worth more toward the four range. Justice Society of America Annual is a must for fans of Jerry Ordway and the one true Huntress.
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Nolan bestows nobility in the alien duelist's countenance and poise to his stance that fits his future plans. You cannot help but accept the alien at face value and feel for him as well as FF.
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Carlos Paul gets a lot of help this time around, but the art still stays consistent, an element no doubt aided by Carita's colors, to spotlight moments of daring-do, high-speed, hallucinatory heroics, individual body language and distinct often subtle expressions. The artists take the time to highlight a moment for the villains of the piece that's affecting. Can a robot cry? Can a robot feel emotions? These are questions the reader is forced to ask.
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Every once in awhile Batton Lash comes up with something even screwier and more unexpected than usual. When that happens, you cannot help but take notice and be impressed by this on average brilliant comic book.
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Despite the lack of Francis Manapul, Shooter and Greene's team up with sharp inking from Nathan Massengill and brilliant color from Jo Smith make this issue another winner.
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"Yivo Loves You!," and I love Futurama Comics. Boothby, King, Davis and Kane continue the fine tradition of beautifully rendered absurdity inherent in all of The Planet Express crew's deliveries.
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You may rightly argue that Marvel is trying to exploit their movie successes. After all, all three heroes in Marvel Adventures Super Heroes are the stars of Marvel's lucrative movie franchise. While this is true, Marvel Adventures Super Heroes isn't a contrived means to create a book with the Marvel Trinity. The truth is that Iron Man, Hulk and Spidey are Avengers in the Adventure-verse. They already were team-mates, before Iron Man and the new version of The Hulk. Marvel Adventures Avengers has been foreshadowing this book over two years now.
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If you're a Nocturnals fan, you cannot pass up these new stories. If you have never read about the Nocturnals, here's a cheap but not cheaply made crash course. If you like what you've read here, pick up the newly issued, full color Nocturnals hardback collection. It is fantastic.
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Wildstorm now copies DC's nauseating paradigm. You can't simply have heroes adventuring any more. You can't even have a couple of harmless team-ups. No, no. Besides spines, everything has to be connected. It all has to be a Big Stupid Event that feeds into another Big Stupid Event and then another. The story is never going to end, but my brief association with Wildstorm has. I feel cheated.
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As per usual, you can't go wrong with John Rozum's myth lessons--the best being the tall tales of the lumberjacks, ably rendered by Karen Matchette and the good folk of Heroic Age. Along with an amusing fashion lesson from Daphne by Barrios and Ottolini, three of them round off these enjoyable cases for Scooby-Scooby-Scooby-Scooby-Doooooo.
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The book falters where the plot is concerned. Parker opens the book with a strong appetizer: aliens seeking out the FF and finding Avengers. The application of the Ultimate Nullifier makes sense, but it's the actual execution that's filled with empty calories. The different contests are quickly placed on the table and taken away before the reader can sample a taste. I think Parker would have been better off by skipping the soup and salad and sticking to the main course.
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The ending of the book gives back Abe Simpson's dignity as some of the television episodes do, and perhaps it informs the reader that senile old men might have actually been heroes in their lifetimes. I just wish the message was given through a successfully comedic tale.
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No matter which you prefer Tim Hamilton and Ian Sokoliwski are on hand to instill an eerie atmosphere that pervades around sweating, terrified victims and Night Stalkers alike. They instill perverse comedy in the wide eyed gazes of people unlucky enough to share a flight with Carl Kolchak as he records this recent foray into fear.
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Shawn McManus hasn't quite got the hang of Legion animation style. His mutton-chopped Cosmic Boy looks like a chimpanzee. Phantom Girl in profile looks frightening. Perhaps, a better story would have inspired him.
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You need this comic book. You must buy Marvel Adventures: Hulk. It's too fun to pass up.
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American Dream came as a complete shock. I expected a time waster. Instead, I read the best mini-series of 2008. Each issue accomplished multiple feats of writing strength. The chapters gave insight into the Dream's origins and her motivations. They signified her place in the Avengers and the MC2 universe. They reinforced her status as Cap's successor. They introduced plot threads to be laced together tightly in the conclusion. Nauck, Koblish and Ro made Shannon Carter graceful dynamite. Let's hope the American Dream resurfaces.
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Finally, we come to Cap and Bucky. I confess that I don't particularly have any feeling for Bucky. I always saw him as a generic sidekick shaped from a mold of a mold of a sidekick based on Robin. Cap needed a sidekick. This is the best we could do. Krueger and Ross grant Bucky resonance, if not his appeal, by displaying Cap's absolute faith in him. They also give him the last scene, and it's a doozie. "Call me Tony" gets his comeuppance through physics and his unfamiliarity with a symbol of justice. How poetic.
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Harry Sullivan, M.D. -- One of the Doctor's few male companions. Harry was a member of UNIT -- The United Nations Intelligence Taskforce -- and assigned to tend to the Doctor after his third regeneration. During the course of events, Harry wanted to prove, for the patient's own good, that rational, sane people do not travel around time and space in police boxes. He walked into the TARDIS and instead found a very large surprise. Harry stayed aboard until "Terror of the Zygons". Harry's last adventure, albeitly earth-bound, was "Android Invasion". The Doctor's habit of using his old companions' names as aliases began in the Third Series episode "Tooth and Claw".
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Mignola's atmospheric tale fits the eerie, rurality of the setting. Satan has come a calling. Witches, or if you prefer, Wise Women, abound. Some skin fits too loosely. Hellboy's here to bring sledge-hammer sanity and put an end to it all. The soul of one of the Appalachians seems to be the prize.
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While perusing Manhunter, I noticed that DC hilariously included half of Adam Hughs' poster depicting the current pitiful number of women still breathing in DCU. My jaw dropped. Not because Zatanna is positioned behind Babs Gordon but doing nothing about her broken spine. No. It's because DC cut off the only black, female super hero left on the island and, not counting Wonder Woman, their only lesbian super-hero. You know the one the media made a fuss about, the one that most everybody outside of comics thought was the one portrayed by Yvonne Craig on Batman, the one that they claimed was going to be a breakout star but has stayed in the closet since her debut in 52. For bloody's sake DC, don't you have anybody in quality control? Couldn't you foot the bill for a centerfold? I mean you should have enough money from customers that you bilked with the crappy inventory issue of Supergirl. Diversity is being represented by what a cadre of white women? The real power behind DC is as
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Byrne isn't breaking new ground in Star Trek -- Assignment: Earth. Rather he's re-exploring old areas and showing how perpetually bad ideas tailor made for the '60s Cold War pertain to the tumultuous 21st century. At the same time he mitigates the possible horrors, and truly these visions are nightmares, with three extremely likeable heroes.
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I imagine that Puckett really didn't know where this story would take him. Maybe he just created the character of Tommy as a tiny part in the original tale that kicked off the philosophical debate. He may not of even had cancer in the first draft. He may have simply been a fan of the Girl of Steel, but then Puckett added this nuance. Maybe he originally intended for this to be a lesson in humility for the Maid of Might, but he recognized that it didn't fit the characterization he was trying to forge for her. Then he had the epiphany. What if Supergirl actually refused to give up? What if she tried to find the cure for cancer? Part of being a writer is letting the pieces fall into place. Next issue, we conclude this philosophical debate, and I find myself rapt.
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Nina Matsumoto and Mike DeCarlo remodel familiar faces in the story, and they also bring in newer characters that motivate Bart's and Milhouse's final decisions. The motivation arises in conveying what a couple of kids might find cool.
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Eliopoulos' plotting isn't outstanding, but his characterization for the quartet rings true, and their dialogue is a delight to read. Ronan Cliquet and Amilton Santos bolster Eliopoulos' story with superb artwork that's realistic and detailed without being being overwhelmingly photo-based. Nolan and Anderson's colors impress with natural textures and a hot depiction of Johnny's flame.
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As with previous issues, this chapter of The Phantom ends with a juicy cliffhanger, perhaps the juiciest of all.
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Project Superpowers allows the interactions between the heroes and the villains to forge the story. That's a good way to go given the richness of the cast.
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Not counting the titles in the Marvel Adventures line, American Dream is the most entertaining series Marvel has produced in something like two decades. I'm ready to declare Shannon Carter equal to Tigra, my favorite Marvel character.
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The zesty story allows Ig Guara to foster some smart gags based on the expressions of the characters. Wolverine smiles broadly on page three. The Wrecker exhibits rare humor on page twenty. "The Hulk" displays glee on page twenty-six. Guara crafts a gamut of facial twitches and twists while the heroes meet the villains in the millieu of dynamic action you've come to expect. Ribeiro's weighty inks provide depth and intensity, and the rainbow of colors from Arreola make each clash vividly memorable.
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I'm calling foul on John Rozum and Scott Neely for the Calchona, the subject of their latest bestiary. This monster looks like an escapee from an original series Star Trek episode -- think horned white ape suit, and his behavior emulates Yogi Bear. Nope. Not buying this beast as a bona fide legend, perhaps the delusion of one drunk storyteller that Rozum overheard in a bar one night.
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Comedy comes in many forms through these pages. Some of it's based on character. Other bits involve beautifully timed slapstick. Cutaway jokes and carefully planned gags pepper the proceedings. Dixon brings out some long forgotten supporting cast members to add to the antic. Along the way, we discover the legacy of Duff and a remembrance of Barney's time at NASA. So good that I thought I was actually watching an episode of The Simpsons rather than merely reading Simpsons Comics.
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The ending to Clandestine suggests Alan Davis has more tales planned, and I couldn't be happier. The Destines are enjoyable characters to follow, and the artwork makes one salivate.
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If I have one quibble, it's that Marvel overcharges for the book. There's no reason why they had to up the price a buck. Reprints, if unadvertised, should be free. While I would say that Hulk: Raging Thunder is worth two-ninety-nine, I can't say that it's worth another dollar. Maybe had Marvel added some Colleen Coover Thundra cartoons.
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Art by Atkins, Ketcham and Heroic Age consolidate Impulse into the design of the television series. The creative team within the sublime look create an illusion of animation through the panels and pull a wide range of expressions that are appropriate to the characters.
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What could have been a perfectly fun issue of Madman Atomic Comics, which when at its best reads like a slightly askew Hanna-Barbera adventure toon, becomes marred by the author's mistaken belief that more angst was needed. Fortunately, the visual experimentation and the grinchier dialogue outweigh the over-indulgence.
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It is ultimately the Hulk and Banner working in conjunction that save the planet from the Champion's, cheesily but wonderfully named, Omega Cannon, and it's at this point that Scott's art triumphs with unusual poses for the Green Goliath that nevertheless remain proportionate and decidedly Hulk-like, even when this behavior is clearly rare.
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Hill's actions force Shannon to follow Cap's boot-steps. This gives DeFalco the opportunity to have Shannon flashback to Clint Barton's dojo and fill in more pieces of the puzzle. Upon graduating his class, she is given a codename, but chooses a different direction:
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The resistance, in the form of such heroes as Spider-Man, Luke Cage and Iron Fist, are the good guys. They plan out next issue's attack on the Tin Tyrant and his goose-steppers to rescue the Invaders. Some though have already taken steps to extricate themselves from Iron Man's THRUSH-like organization.
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I would have preferred a finish that involved all of the League, but the final issue of Justice League Unlimited serves as an excellent swan song for one of the greatest comic book series ever made.
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DC really needs a strong female role model like Buffy the Vampire Slayer, and Kate fulfills that need. Let's hope they don't kill her in the latest Big Stupid Event. Too cynical? Tough. DC used to have multiple flinty female role models. Now, all they've got is Supergirl and Manhunter. Not that male characters are portrayed that much better, except unsurprisingly in these pages.
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Though I feel cheated, I give Supergirl this much; it should be considered as a candidate for the next free-comic book day. It's an exposition-free introduction to Supergirl that contains nothing unsavory and serves as a crash course in her origins and current friendships. Rob Randall's and Shannon Blanchard's artwork is attractive and reader friendly. As the continuation of the series, and a chapter in a theme, it sucks, and none of these writing triumphs belong to Pfiefer. They belong to Puckett.
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Lex Luthor's B story is the least interesting thing in All Star Superman. When was the last time that happened? The dialogue, however, is pitch-perfect: encapsulating Luthor's ego and hatred for the Man of Steel. His niece is a riot, yet I almost wish that Morrison had simply dropped the section involving Luthor to instead focus on Superman's final battle against a cosmic threat to the earth. The two stories don't mesh very well, and that's why the book itself isn't as ideal as other chapters in the series.
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"Wolves at the Gate" was fantastic. The story orchestrated a devastating threat against the Slayers, brought in an unexpected guest-star that was even richer than the portrayal on the show, opened new doors for Buffy to explore and moved on the oil of the finest, wittiest dialogue. Furthermore, it lasted four issues and therefore lacked a single iota of padding. Because of Georges Jeanty, Andy Owens and Michelle Madsen, every scene sparked with perfect cinematography. Every issue received five bullets from me, and when you put the chapters together nothing changes.
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Joss Whedon and his work's freedom from continuity were the only things that were keeping Astonishing X-Men on my pull list. I have to say that even if Whedon stayed on the book, after this finale, I don't think I would still stick with the title. I'd like to think that he was bored or that his original idea was scrapped and Giant-Sized Astonishing X-Men was just a desperate attempt to meet a deadline, but I haven't any proof of this, nor have I heard the inkling of a rumor. I'm sorry to say this is the dumbest thing Joss Whedon has ever written.
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David Hahn and colorist Mari combine considerable talent to create a hand-made look to the comic book that's accented by the technology of color shading. Hahn draws the characters as unexaggerated people rather than muscle-bound cross-hatched figures. With just a few expression lines and an attentiveness to body language he gives the cast personality. They also get the chance to design new uniforms for some recognizable facsimiles, and these actually are so good that they could be incorporated into the regular tales. The Torch's fire effect differs strongly from the continuity proper version, but it's a neat look and still looks valid. Thanks to Hahn and Mari though, the Torch isn't the hottest thing in the book. Sue is.
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Ultimately Marvel Adventures Iron Man is a quick done in one issue starring a recognizable Iron Man and Tony Stark that's far closer to the movie version than Marvel proper's can ever hope to be. Lolli contributes a clean line for Cornia and Vechhia to follow, and Neziti brings out some very subtle shades, such as a pinkish red background, that almost subliminally enhance the drama.
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Niles and Jones make the setting of the story important, but I'm very biased in this respect. I firmly believe that Gotham City should be the second safest burg in the world. Batman has been around, even in this continuity-light story, at least five years, and that should be reflected. Only the stupidest or most arrogant criminals should exist in Gotham City. Batman is a deterrent. His presence should be like dropping the meanest, biggest cat in a ship's hold filled with rats. The rats would learn how to swim.
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So what is it that makes this story great? One guest star, captured to perfection by the entire creative team. The doofus guest takes the planning to a whole new level of stupid, going beyond Fry's ineptitude and making Leela's time below the fields hell.
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Due to the adaptive nature of the creatures, Ultra-Boy with his power-switching gets an impressive showcase, but the whole team start to catch on to the way to defeat the monsters. While Francis Manapul, Livesay and Jo Smith make the battle attractive and strategically sensible, Shooter furthermore laces the dialogue with humorous interactions between teammates. This helps distinguish the Legion roster as well as give them a little personality, too often subsumed if not careful, during big battle scenes.
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A particular scene toward the end highlights the waste of war and global schism. The scenario generates a pall of sadness that sharply contrasts the feeling of daring felt in the opening pages. The expert staging and the meaning give Star Trek--Assignment: Earth far more weight than the typical Star Trek tie-in.
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By putting an end to decompressionist pap, the creative team actually illustrates American Dream like a comic book of old but losing none of the sophistication that many aim for but frequently miss. We learn American Dream's origin. We see her sort out bad guys and her own needs. At the same time, the book addresses dicey issues like illegal immigration and the abuse of power in the government. While they show the reality of trauma, they do not let reality get in the way of rational storycrafting within the context of a super-hero world. In short, American Dream is a perfect comic book.
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The two stories both in terms of artwork and writing as well as their overall unification stick another feather in the Black Coat's cap.
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After the disappointing and expensive Dynamo 5 Annual I'm really sick of seeing the Nobles, but here they are again. Instead, Doc Noble is backed by a whole octet of them. Why? The villains have been defeated. Dynamo 5's headquarters has been flooded. I get that Doc Noble is the de facto Doc Savage and therefore needed for Maddie's comatose state, but talk about overkill. If he needed back up, two would have been fine.
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Both the technique of Dini and Rocafort as well as a heaping help of pastel colors from Imaginary Friends make Madame Mirage a unique experience in the super-hero genre.
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Ig Guara, Jay Leisten and Ulises Arreola make Marvel Adventures one beautiful looking comic book. The Avengers have never looked more impressive. I mean, they look Justice League impressive. Guara's pencils create a testament to anatomical verve. The action and the small character moments get equal attention. Leisten's inks give the entirety a lovely luster of added depth and dimension, and Arreola's colors vividly compliment the uniforms while adding the illusion of texture and subtle natural shadows.
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Rozum returns with Karen Matchette for another lesson in folklore. This one I'm happy to say I heard about, and Matchette comes up with a completely different look for the beast that still suits the descriptions. Though essentially an edutainment spot, Matchette makes Velma ham it up for the camera through subtle yet emotive gestures, with regard to her characterization.
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The story escalates in levels of absurdity. The weakest portion of the tale, where Dixon employs a joke that has even a longer history than those unleashed during the backyard barbecue, still causes laughter thanks in part to the adherence of The Simpsons model and the party colors of Art Villanueva.
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Putting aside the orientation questions; Batgirl's dialogue rings true to the form of the classic. The plot to Batman Strikes is a good one, and the surprise ending adds another dimension to the story as well as bumping up Batgirl's intellect. This issue of Batman Strikes is recommended for Batgirl fans.
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As events boiled down to the conclusion, which does explain some of Walter's strange behavior, I really wanted to find out what happened next in Clandestine, and that's all one can ask for in a good story.
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Archer's artwork suitably details Phantom Girl's action-filled struggles against the ghosts as well as the emotional turmoil she's going through. Archer's linework is some of the most weightless I've seen, but his designs are still aesthetic if ethereal, and in keeping with the show's design.
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Just when you think the book can't get any better, a superb guest-star in witty form drops by. This is the most fun I've had reading Marvel Adventures Hulk since Dormammu possessed monkey.
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The key to believing that the culprit was capable of perpetuating all of the trappings of the crime lies in the energetic performance and the almost Disney like design artist Rachel Ito bestows. If not for the character's desperation and animation I doubt Petrucha and Kinney would have been able to convey such substance to the enigma.
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Judging from press releases, Number of the Beast apparently hooks up to the Wildstorm crossover Worlds End. The collusion of Beatty and Sprouse makes me simply want to read more adventures of this particular super-hero team, regardless of whether or not theyre part of a bigger story.
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The art excels this issue, and if it wasn't for the Silvestre Szilagyi and Bob Pedroza, the chapter would be skippable. It's not bad. It's just not really necessary. I think the big moment could have been worked into a meatier issue, and the pacing could have been stepped up a notch.
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The artwork by Carlos Paul and Deborah Carita just about covers the bases for this tale. It's not as spectacular as previous issues just rather nice. I wonder though if this is due to the mediocrity of the chapter.
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The depiction of Batman should be momentous. Maguire gives the same resonance to Batgirl. In the third panel, Babs takes off her glasses and lets loose her flashing hair. The fourth panel shows her drawing her utility belt from her purse, and the fifth shows her pulling apart her bulky clothing to reveal the truth behind the facade.
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Art by Steve Cohn is frequently off model. His Flash--for some reason both creative forces favor the Flash--is dead-on, but his Superman is sometimes too thin, and his arms are way too long. J'onn J'onzz and John Stewart are adequately represented, but Cohn's Mary Marvel fluxuates from decent to horrible. The weird open-mouthed expression as she emotes for instance makes one cringe.
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Shannon doesn't often dwell on these shortcomings, and once she's presented with a crime, she instantly becomes alive as a determined, strong, smart, athletic Avenger that energetically entertains the reader via Nauck's artistic sense of kickass. Some really nice color combos by Ro complete the aesthetic.
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If anything, the Invaders represent how far Marvel has damaged itself irreparably. They represent how far the mirror universe Avengers have strayed from the concept of heroism.
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This is an issue of Buffy the Vampire Slayer that earns high marks by just being bona fide Buffy the Vampire Slayer. The story's witty. It's sharp. It's surprising and shocking. It's well drawn with characters who resemble the stars of the show and act in ways consistent with their histories. For what more can a reader or a watcher ask?
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Rutan -- There appears to be one on Tharlot's screen. The coelenterate-like Rutans are the blood foes of the Sontarans. The Doctor took care of a Rutan in the episode "Horror of Fang Rock". The Doctor first met the belicose Sontarans in "The Two Doctors" although they first appeared on screen in the earlier episode "The Time Warrior". Well, it's a time travel show, isn't it?
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This is a very odd story thats somewhat similar to screwball shorts of live action comedy teams and vaudeville skits. It works well however thanks to the comic timing and the excellent artwork by Dave Alvarez and Mike Decarlo.
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The instability of the penny however creates chaos. Some would call it creative. I call it anarchy. A talking cat is probably the least outre thing that happens in the story. Congratulations Madman, you've baffled me again. Bonus points for the Looney Tunes homage with a very inappropriate eye.
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The punchline to the story doesn't work. The villain cannot be this stupid, and I can't understand why he would feel paternal toward this character. What's more, the villain of the piece knows Reed Richards. He therefore would not waste his time listening to idle prattle.
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Puckett continues to make Supergirl a pleasurable, thoughtful read. He exhibits a deep understanding of Karas multi-faceted personality, and he once again gives ample evidence why Kara-El deserves to wear the Big Red S. The presence of Ron Randall merely adds to the quality of the book.
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Shooter keeps the Legion of the Super-Heroes an engrossing read without abandoning the freshness of the 'new' team. His team, however, are definite heroes with heroic goals and thats what makes them so likeable. Shooter fully considers the implications of a future setting, and his science fiction elements work smoothly in whats shaping up to be an absorbing mystery. Lopresti makes an able substitute for Manapul. I wouldnt mind seeing him illustrate if Manapul ever leaves the title.
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Koblish known primarily for his inking does a good job penciling the book. His Iron Man is well designed and proportionate. Koblish also captures Iron Mans body language whether he be aiming his hands to blast the earth or jetting through the air. Where he falters I believe is with Howard Stark. I cant remember a single scene where Howard Starks mouth isnt comically open. Admittedly Van Lente makes Stark a massive complainer and therefore prone to keep flapping his gums, but Stark wears on the reader visually as he does textually.
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I can't think of anything more a super-hero reader can possibly want. Except perhaps, a smooth visual choreographing, characters having anatomic and aesthetic composition. Thanks to Mahmud Asrar, Dynamo 5 has got that as well. Lest we forget, the book in addition benefits from the vibrant colors of Ron Riley. This issue the emphasis is on red and blue, lots of blue.
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McDuffie and Van Sciver craft this done-in-one Justice League story with care to characterization that flourishes among a simple plot that turns on the grease of a villain with a rational motive for committing the crime. They do this also without mimicking the Cartoon Network's Justice League. This is not the Wally West or Diana from that show. These are characters from a different continuity. One that's actually better than whatever the hell comprises the current DCU.
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Tony Digerolamo, Jason Ho and Hamill round off the book with a webisode of Angry Dad. Digerolamo thinks of a slapstick skit that could have been conceived by a ten-year-old but still appeal to adults; the mustache gag is fairly sophisticated, but Bart is actually pretty sharp, and it's within his purview. Ho contributes two types of styles successfully. He illustrates the typical Simpson look, and the more primitive art that attributes the Angry Dad episodes from Bart's imagination.
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Regardless of whether or not A does or does not connect to B, I'm a little surprised that Tobin went for the punchline that he did. It would have been funnier had the contestant chosen Sue as her date. Such a scene wouldn't have suggested any implication for girl/girl action. Sue is about the straightest Marvel character there is. Rather such a choice would have just expressed the contestant's disdain for the boys' juvenile behavior and put Reed in his place. I still can't figure out why Reed agreed to judge the contest; his devotion to Sue is core to his character. Perhaps, he just wanted an excuse to see Sue dolled up.
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The whole story appears to suggest that the apocalypse is coming to a theater near Number of the Beast, but there's a twist to the story that takes it out of the realm of the Christian cataclysm subgenre. Beatty better ties in the military/government "subplot" that was juxtaposed with the '50s super-heroes. This entanglement leads to some intriguing possibilities.
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John Rozum finishes the page count with another of his mysterious entity lessons delivered in Velma's reedy voice. This time we tackle the Acheri, yet another creature that I never heard of, and damn it, I'm a cryptozoology buff. Rozum informs and entertains through Scooby and Shaggy antics that intertwine with the lore. Roberto Barrios Angelli and Horacio Ottolini contribute some moody, down-right creepy panels that wouldn't be out of line from a regular, as opposed to all ages, horror comic. I suppose because this creature is as stated mere myth that they have a little more leeway to scare.
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The Loch Ness Monster(s)--In the episode "Terror of the Zygons" we learn that Nessie is in fact the Skarasen of the Zygons. The Skarasen as the Doctor indicates in this story is a cyborg. Later in "Time Lash" the Doctor personally sends the lobotomized Borad, a mad scientist turned monster, into the Scottish lake.
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Torres tries to pay homage to his predecessors while crafting an original take to the way the pivotal point in Superman's history turns. It doesn't work because the continuities clash and distract the reader from the story.
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It's been a long wait for this issue of The Lone Ranger, and I can't say that it was worth it.
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The mvps this issue are Kevin Sharpe, Jay Leisten and Ulises Arreola. These guys put together a very attractive, colorful package detailing the characters that have become Marvel's Justice League. Furthermore, they express humor without losing the dignity of the characters and relish the action-packed pacing.
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The cleaned up version of Abe's war stories is also a fantasy to appreciate, thanks in part because of a non-sequitur nature that in addition flies in the face of one of the early rules that Groening and company set out to follow.
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Asamiya's artwork and Natsume's have their strengths and weaknesses. Asamiya has a much surer hand when it comes to shading. His Batman was much more evocative and of course gifted with the long ears that the Bat-Gods intended. However, Asamiya also had a nose fetish; all his characters, male or female, have big noses.
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The real champions of the book are Steve Scott and Terry Pallot. Proportion and scale signify their artwork. Their architecture on the temple is also aesthetically notable. The action is inventive, and when Hulk uses a little strategy beyond the simple yet satisfying "Hulk Smash!" method of dealing with foes 'tis a thing of beauty orchestrated with an eye for fluid motion.
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Without Sprouse, Number of the Beast would be merely a technically well-written diversion. With Sprouse, the diversion becomes a more than pleasant reading experience.
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Serenity: Better Days is good when contrasted to most comic books polluting the racks, but when compared to Firefly and the movie, Better Days is a little lacking. Maybe Whedon and Matthews need to move forward with the story rather stand still at a specific point before the culmination of the series.
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While the trap is set for Elmer, Bugs gets caught too, and it's Pablo Zamboni, Horacio Ottolini and of course Dave Tanguay who keep things riotous and colorful.
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Sumptuous artwork, decent to good writing and some familiar faces make this issue of Clandestine one of the better ones.
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McCulloch of the comics is simply a mercenary. The original Mirror Master who sold his "license" and equipment to McCulloch was a bank robber. It is, in fact, that Mirror Master who is seen in Justice League Unlimited, but the more I look at these "lost" stories, the more I think that they are inventory tales for Justice League Adventures that DC is trying to burn through before they unfairly and unwisely cancel the book. So I'm not going to worry about such a continuity gaffe that likely the writer couldn't possibly have anticipated. Besides, Pontac really makes the tale moving, without being sappy, and the quality of the story would make up for a minor detail.
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Whether or not Diana actually is dead, the Phantom and his family act as if they never will see her again. The Phantom however was never an angst-ridden hero, and the creative team band together to keep things from being too stark, too morose, in order to keep Moonstone's incarnation the quintessential Phantom.
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The incident involving Death-Defying Devil could have been written for any generic hero, but the creative team make it intrinsic to the character. Angry at his imprisonment, he looks at Paris turned into a lawless third world country and acts to change things. When he raises his boomerang, it's a moment of classically depicted heroism.
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Apart from really thoughtful writing that's trying to give the Girl of Steel an unusual spin that's still well within her character, Supergirl benefits from very clean, undemanding artwork that merges with the words in a flawless display of visual storytelling. Drew Johnson and Ray Snyder actually contribute the lion's share this issue. Ron Randall adds three pages that while noticeably different still exhibit a neatness to fit right into the flow of the tale.
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David Hahn's artwork is absolutely adorable. There's no better way to describe it. He creates a really distinctive style for the comic book. His designs are just slightly cartoony and always attractive. Sue is a babe and a half, and sexier even still for her want to kick ass. All the cuteness in the book is proportionate as well as distinguishable. The FF's many expressions suit the moods of their personalities. Hahn's take on the Mad Thinker offers the reader a visually amusing contrast to Jack Kirby's foaming at the mouth, mad in his eyes Shemp-haired loon, and Mari's colors look like vivid acrylic applied by hand. This helps carve out a unique look unshared even by others in the Marvel Adventures line.
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Koblish's artwork is a massive boon for Alpha Flight. They act very youthful and spritely. They appear to have zero angst, which pretty much defined the team when Byrne created them. I also love Koblish's ability to render subtle expressions ranging from the incredulity when a scientist discovers Iron Mans more than merely metal muscle for Stark International and Iron Mans Doh moment when he finds Alpha Flight lacking in the finesse of teamwork. Tartaglia's participation is signified by bright colors and a variation for Iron Man's usual shades to accompany a creative variation of his everyday armor.
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If Wolverine: First Class was a continuity free series, if it simply acknowledged Wolverine's and Kitty's friendship and used their teamwork to facilitate new adventures, the offshoot might be fun for everyone. As the premiere stands, Wolverine: First Class is only recommended for the most rabid X-Men fan.
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The remaining pages are filled with a preview of Apathy Cat. No thank you.
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A really good premise which banks on fairplay "murder" and the dead-on art rises above hit or miss japes and a weak secondary plot.
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I love Gargoyles, both the television series and the comic book, but this arc in which Weisman throws down scenes like Pick-Up Sticks only confuses. Such a pity because artist David Hedgecock contributes some very nice work in the book. Artistic standouts include the mid-air drawing and quartering of a robot by a new Gargoyle named Constance and the subtly staged meeting between Arthur and MacBeth.
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The art by Tim Hamilton and Ian Sokoliwski is suitably dark but neither dreary nor murky. Instead, it creates atmosphere without going too over the top. There's a blue sky in Nebraska, almost as blue as the Sheriff's blouse, and the colors at the fair are bright in contrast to the inky shadows.
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The ham-fisted creators of that bone-headed protocol would have passed out had they learned that the super-hero Light Lass spent the evening with the super-hero Karate Kid. Furthermore, she doesnt intend to pursue a full blown relationship; they remain friends, and the guilt-free sex was great. Needless to say any scene that will make fundamentalists cry is a bonus.
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Sheena's introduction to the twenty-first century is a success, and I hope to see more of this most worthy addition to the sisterhood of kick ass super-heroes.
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Nigel Raynors art was the best thing about the Terminator / Painkiller Jane crossover, and he finishes up with excellent examples of anatomy comprehension, the language of action as well as the explosive requirements in any Terminator story.
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Superman saves a life during his daily patrol. He does not catch this life out of the sky. He does not snatch that life from the certain doom of a death ray. He saves this life with his presence, his words and his honesty. He saves the life by simply being Superman. The scene is perfectly executed, and it is why All-Star Superman isn't merely a good book but a great book.
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Marvel Adventures: Avengers continues to outshine the continuity titles, and now that JLU's cancellation is imminent, it's easily the best team book on the shelves.
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"Surreal Cereal Spook" by Robbie Busch, Jaime Garcia Corral and Conchita Mas Fentes has the same problem as "Worse than a Curse". The spook's unimpressive. More to the point there's no explanation as to how the perpetrator of the crime can perform the spooky things, such as floating. No clues lead Scooby and the Gang in the right direction. The motive behind the crime is a good one, but this story really needed more time to grow.
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John Costanza and Phyllis Novin emphasize the "a and b" story technique of the show through a clever placement of slapstick background action. The writers of The Simpsons have said that Homer makes for a good star character as well as a good guest starring character in, for instance, a Lisa or Marge story, and Costanza and Novin prove the point with their aside scenes. Even the third tier characters get special attention with regard to visual characterization, and the artists' mecha designs are notable while confined within the Simpsons universe. Art Villanueva makes a fairground sparkle with as much vivid life as the healthy greens of grass, and when the rumble comes, a rainbow accompanies the riders.
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Incarnation -- Time Lords had the ability to regenerate. Each Time Lord or Lady could do this twelve times. At the point of death, a Time Lord or Lady underwent metamorphosis. This resulted in a new body that typically issued a different temperament. Thus, a crotchety, balding old Time Lady if, for instance, poisoned could transform into a healthy, cheerful, young beauty. The Doctor has regenerated nine times. He currently is in his tenth incarnation.
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The effect also emphasizes Titus' power. All this energy coming at him, and it only makes him shrug. This is what makes Stern's and Byrne's work so enjoyable. They do not depower or dumb down the heroes. Instead, they craft a villain that is worth their attention. The average comic book hack amps up the villain and doesn't once credit the hero's intellect, skill or power. Byrne and Stern not only acknowledge the Justice League's awesome might. They throughout show the team orchestrating strategies that would work on any other villain except Titus. That makes their final victory more resonant.
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Timber Wolf uncovers a plot with deep ramifications to the Legion and the United Planets, and he utilizes all of his sensory perceptions, his natural ferocity for the good fight. Simple but satisfying, kind of like a sugar cookie.
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While I did predict that Joe would return, I didn't quite expect Mike Allred to have her return in such a smart and fitting way. Joe's return makes an otherwise routine issue of Madman somewhat interesting. However, some of the art, such as the depiction of motion through multiple Frank images, struck me as stretching the point.
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The only good thing about Marvel Adventures Hulk comes in the form of Steve Scott's, Nathan Massengill's and A. Street's slick, energetic artwork. Their more realistic and richer design for Betty Ross also deserves kudos. What a pity that their art was used for such a slimy, sleazy tale of betrayal that would fit right in with the dank, odorous continuity of the Marvel Universe proper.
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I'm not truly disappointed in Serenity: Better Days. I just think that Whedon and Matthews should have probably avoided some of the past relationships of the crew that came to a head in the movie. Either that, or the writers should have handled them a little more subtly.
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One other thing must be said about Clandestine. This issue exhibits some of Marvel's worst production values. The paper is thin and flimsy, prone to wrinkling. Some of the pages were falling out. I had to basically assemble this comic book. Fortunately, there were no actual rips or tears in the stapling area, but come on, Marvel. You should have higher standards for your products.
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I really wonder if DC gets the veiled insults that are being backhanded in The New Frontier. I'm guessing not since they published it, but let me put it to you this way: Rip Hunter disses the concept of 52. You really don't need to pick up Trinity since they've been done now in one tightly written book, and then there are the clashing continuities of Wonder Woman and Black Canary so casually merged. Maybe I'm reading into it. Maybe not. What matters is that it's Darwyn Cooke doing what he does best by adding to The New Frontier.
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Is it Whedon or Goddard who can be credited for a lack of cliche and pretension? Is it Whedon or Goddard who can take a bow for continuing a mature tone that lacks prurience and engages the audience as sophisticated people who are not interested in burlesque humor and see no moral outrage in homosexuality or lesbianism? Perhaps, it's both. If so, Whedon and Goddard write a seamless, beautiful story that's enriched in the humanistic elements that makes Buffy the Vampire Slayer so damn enjoyable.
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Meanwhile, mercenaries infiltrate the Aquarium, Dynamo 5's headquarters. A mother bargains for her son's life, and Maddie learns a secret about the leader of familiar faces who have a beef against the team. The team's unity saved them from a sneak attack, but will it rescue them from the ambush to come? This reader wants to find out.
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At three-fifty a pop, though benefiting from zero advertisements, I can't say that I'm ready to put Echo on my pull list. It certainly bears watching, but if Terry Moore wants more of my money, he's going to have to cut to the chase.
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It's a crime that DC intends to cancel Justice League Unlimited and replace it with toyline inspired shambles. This is the place where everybody shines and the real heroes can be found. It was nearly the only place.
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I think my detachment arises in the unrelenting visceral quality of the story. This is essentially a Terminator and Jane beating the crap out of each other, with Maureen tossing in the occasional gunplay. I need more substance than that.
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It's yet another winner for Supergirl. The complex story and aesthetics combine forces to add to the "never-ending battle for truth, justice and peace" while also working as a stand-alone curiosity.
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David Hahn, Kris Justice and Gullem Mari make the battle between Ben and the Abomination a beautiful, brutal smack down that has a point. There are heroes that are stronger than Ben Grimm. There are heroes who are invulnerable. There are heroes who are faster than Ben Grimm, but nobody is tougher than the Thing. Give him a reason, and he will fight until his very last breath.
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I swear I laughed out loud. Tony is free of arrogance, or at least his ego has been diluted by his humanity. This self-deprecating wit is absent from the Tin Tyrant director of SHIELD and the SS Avengers. Thats what makes Marvel Adventures Iron Man so enjoyable, especially this issue.
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Julia Bax handles the lion's share of the artwork, and she has a knack for expression. However, I really wish she wouldn't eschew sinew when illustrating the girls' musculatures. The best art comes from Colleen Coover of Banana Sundays and Small Favors fame. Though she depicts the Black Widow in a comic strip style, she still makes her far more proportionate than Bax and Cruz.
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Hilary Barta who has illustrated previous Bart Simpson's "Treehouse of Horror" episodes for the comic book specials was an excellent choice for the tale. His shadows and more dimensional illusions fit the eerie ambiance of the science fiction in the flexible reality of the series. Robert Stanley's sickly greens give the opening a particularly impressive chiller theater spotlight.
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The man who makes people better -- A reference to the Doctor's chosen name from the television episode, "The Sound of Drums".
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My only qualm with this issue of JLA Classified is that the momentum of the story comes to a stop when Titus attempts to psychologically seduce the Justice League. Although this tactic doesn't seem out of character, and Stern's imagining of the Leaguers' desires as well as Byrne's redesign of a god-like JLA are intriguing, there's just a stark contrast between these end moments and the more dynamic portion of the story.
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Then we get to the underwear scenes. Whereas it seemed like Shooter was previously arguing for a different set of social mores here it looks like Republicans got a hold of the book and started censoring things.
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The back up story may disturb some democrats because this is a tale of Sundra Peales youth and how she made her decision to become an intelligent operative for Ursula. Rude and Baron create some Spitting Images of Hilary Clinton and Ted Kennedy, and Baron resuscitates the odd Republican myth that Clinton is actually a lesbian. So, what? She built Chelsea out of a kit? I am a Democrat, and I respect Hilary Clinton and Ted Kennedy for what good they have done, but I like any political gag thats funny, and this is funny. The story is also more focused on the star of the book, and thats why the back up is actually superior to the main feature.
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The Terror promises the Yank that yes, his time is up. He will not only die, but the Terror will see to it personally. He continues to threaten the Yank even when his target shifts slightly, and I just found the whole thing hilarious. Theres something really funny about seeing the Black Terror pop out of the ground with a threat on his lips and continuing to threaten this old, old man - who knows hes going to die anyway. Maybe its the cube rule of comedy. Tell a joke thrice, and it becomes funnier. Go four or five times, and it stops being funny. Go beyond that, and the joke becomes funny all over again. Such wonderful absurdity was an unexpected treat in Project Superpowers.
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"The Origin of Harley Quinn" is easily the best part of the book in terms of both story and art. Timm makes the brief section animated, engaging and memorable. The scene with a recently reformed Harley shouting out to the world from the passenger side of the Batmobile is going to stay with me for a very long time. Though I can't see it, because he's is in silhouette, I'm betting that Batman's got just the slightest smile on his face. Scott Beatty who has also written some excellent issues of the various animated Batman spin-off comic book series ably accompanies Timm's dramatic drawings.
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These attributes fit in with Dini's uncommercial tone. The Madame is not interested in surrender or the taking of prisoners. She's not going to mollify the cries of the politically correct. Children should not be reading her adventures, because Madame Mirage intends to systematically eliminate the villains who long ago became victorious, or so they thought.
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While I'm clearly just an old horndog, embarrassingly so, kids will find probably just find the Black Widow "soooooooo pretty" and enjoy the Widow's gymnastics as she fights beside the Avengers while staying true to form. The Widow always has her own agenda. Of course, a small sample of children will hit early puberty after witnessing the Widow's genuine eroticism.
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Finally, Keith Champagne's "Snacks on a Plane" is a charmer that operates more on the characterization than on the punch of the puzzle's solution. This story is all about misplaced Scooby-Snacks and the fact that only Scooby and the Gang seems to know what they are. Karen Matchette brings her singular style to the Gang. They're on model, and she bestows a comic strip quality to them. The fun comes from their interaction with the other passengers and flight attendants; the very impressed blonde one steals the show, and Velma's expression during the scene is hilarious.
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Anybody who doesn't laugh at Homer's attempt to mingle with the ostriches hasn't a funny bone in them. The more human scenes are equally rewarding. So take your head out of the sand and pick up this issue of Simpsons Comics.
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"Signal to Noise" didn't really need to be, and I can't really see myself picking up the next issue, but it's an okay Superman retelling or re-imagining. I'd be more interested in a completely new Superman story from B. Clay Moore, Phil Hester and Ande Parks.
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The new era of The Spirit begins. I'm sorry to say that I miss Darwyn Cooke already. While there's nothing bad in this issue of The Spirit, the foundation just didn't wow me as much as so many of the Cooke issues did.
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In an awesome almost casually brilliant panel, Byrne combines forces with inker Mark Farmer and colorist Allen Passalaqua to emphasize Superman's burning alien nature. Wonder Woman often gets sidelined when Superman and J'onn are around the Watchtower, but Stern accents her warrior status. She conceives a bellicose stratagem that momentarily stuns Titus, and her dialogue like the others' speech patterns bring to mind the voice artists of Justice League Unlimited not the history deprived representations that are being further maligned by DC. This is the real deal. No wonder it's classified.
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Legion of Super-Heroes in the 31st Century is rather deceptive. On the surface, it's a simple updating of the terrorist versus super-hero plot mixed with a stranger in a strange world theme. Upon reading though, you can see several complex ideas and all of it rendered attractively.
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While I'm giving the book three bullets in comparison to say the issue where Dormammu possessed a monkey, it's easily a four bullet book when compared to anything in the dark, dreary, over-politicized Marvel Universe proper.
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As Marvel learned bitterly only Alan Davis can do justice to his creations, and that's what we get. It's classic Davis under the lush inks of Mark Farmer. The colors are a little drab, but that just may be due to the paper quality. In any case, Clandestine is a treat for the faithful fan and newcomers.
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Often writers will say in interviews that they prefer to write about villains, but the villains are the Royal Flush Gang, and they're as shallow as you would expect opportunists to be. The depth comes from the heroes. Wonder Woman optimistically supports the Queen's reform. Green Lantern is more pragmatic, and at the end, he sees the good in the Queen's actions. The Queen is at the heart of the conflict, but she's not the villain nor antagonist. In the end, she becomes more of a hero.
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Busch returns for "Mars Need Swimmin'". Now, I'm guessing he based this absurd story on the pun and just drew the plot from the title. Whatever he did works. It shouldn't, but it does. This is a story in which anything can happen to shove the reader into the deep end. Fourth wall breakage occurs. Unexpected guest stars appear and one twist simply feels like being hit in the forehead by a bat. This is a tale that leaves one dazed. Leo Batic's artwork is much more sublime in depicting Bugs and Marvin the Martian, and it gives fluidity to a narrative that functions on complete chaos. "That's all folks!" Looney Tunes lives up to the title, and gives the reader her money's worth.
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If you're a careful observer, you can see the back door. Bullock has placed it in plain sight. If you look at the last page, there's a second, subliminal clue depicted by Szilagyi in the Phantom's memories, which are bared to the reader. This issue of The Phantom is a highly recommended catalyst to the next four. Everybody is playing fair in a story that appears to be woven from threads of historical complexity that will simply be burned away by the Phantom's wrath.
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In the midst of Superman's mistake, Kara meets a number of people needing saved. Some are ungrateful. They wish to be saved by Superman, not his cousin. It rolls off of Kara, but then she finds a small boy who is a fan. Kara tells him not to worry. She won't let him die. Superman even agrees with that sentiment. Kara near the conclusion learns something else, the fury of parents who are by my reckoning completely out of line. Kara though is a class act. She takes their verbal abuse. Superman tries to cushion the blows by talking to Kara's young charge, and that's when Kara-El really lives up to the name of Supergirl. Hell, she's living up to the name Superman in this scene. That's when the music swells. Puckett gives Kara a moving speech that rises in power with each of her words. You can imagine her voice thundering in the hospital room, and it makes Kal's sober reality check feel weaker and weaker. Will Kara succeed? Puckett in the story suggests she may, but even if
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While the latest of the mini-series lacks the energy of the previous issues, and the jump in time isn't warranted, House of M: Avengers is still light years ahead of anything Marvel is publishing that's not subtitled Adventures. The art isn't quite as distinctive, but set-pieces with the Black Cat stand out. The loss of funk however is detrimental.
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You wouldn't think to see Joe Lansdale on such a light-hearted book, yet here he is and doing quite well. Cliquet, Santos and Louridge make it a Fantastic Four.
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I suppose what I'm saying is that Boothby and his plethora of artists give more thought to a farce about super-hero comics than most super-hero writers and artists do for their allegedly sober tales, and cosmos help us if those writers think they're funny. Boothby is funny. He takes an absurd show like Futurama, translates it into a comic book and then makes it as outrageous as every superb episode.
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Luna the It Girl benefits immensely from this story. Her mind-meld with Frank heightens her already above average intelligence and gives her greater poise suitable for a super-hero. Laura Allred's colors wash pastels all over the story and make this such an attractive comic book. Even if you didn't care to read the book or felt inclined to care about the characters, you would still be enticed by these soft, complimentary hues.
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The strange thing about is Project Superpowers is that I didn't just feel something for one character. I felt something for all of them. I never read a single adventure with the Flame and Flame Girl, yet I find him potent and she sweet and caring. I know that the original Daredevil was supposed to be hot stuff back in the day, but I never had the opportunity to read a single story with him in it, yet damned if he doesn't look and act cool in these pages. If the Checkteeninfinitypackofjustice went away tomorrow I wouldn't care, but Samson's fate affected me. If Booster Gold were drawn, quartered and disemboweled, I'd shed few tears. Why then does it matter to me if the lives of Kitten, Miss Masque and the Red Arrow are threatened? It's in the writing. It's in the art. These characters may be also-rans to Batman, Superman and Wonder Woman, but the individuals involved with the series love them. They revere them. They treat them with respect, and each character's dignity emanat
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At the same time, one has to recognize that this is all just entertainment. It's not deep. It's not filled with plot twists. It's visceral, and it just about works. Painkiller Jane has had better issues. The Terminators have had better stories, but this latest crossover is pretty good and solid reading with congruent artwork.
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This moving, upbeat story is highly recommended. Davis knows the Fantastic Four. He plays with time travel respectfully, and he incorporates stunning artwork enhanced by Farmer's inks and Kalisz's colors into interpretations of practically every major Marvel Universe character--as well as those yet to come.
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Is there anything good in this story besides the artwork? No. In fact, I'm striking Red Sonja off my pull list. I'll still pick it up for the art, but Oeming and Reed have ruined this character. They have taken away her humanity. They have robbed her of purpose. They have erased her history.
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The big moment occurs when Amelia learns about the importance of the necklace that she had given to her friend Trisha. Amelia winningly fesses up the truth to her mom, and the underplayed emotion evoked in the colors and staging gives the scene the power necessary for impact.
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I still have zero enthusiasm for this Astonishing X-Men story and its characters. The conclusion certainly made me sit up and take notice, possibly for all the wrong reasons.
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This chapter of JLA: Classified feels as though you've actually read something. It has a beginning, middle and end. There's no sense of having to wait until the next issue to find the important pieces. You do, however, want to read the next issue just to see what happens next.
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Shooter's second issue of The Legion of Super-Heroes is as good as his new first. Manapul continues to elegantly bring Shooter's ideas to life. Livesay continues to impress with a respectful line to Manapul's pencils, and the colors of Nathan Eyring help to create a future mosaic for arguably the second most important team in the DCU.
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The core of the tale could be described as clich, but it's more of a truism that works because of Van Lente's light touch and his efforts to build up to the moment where we learn the truth and not dwell on it. Once Iron Man learns about his father, we cut away quickly to the end. That was probably a good idea. Any more, and the story would have led to schmaltz and waver into over the top soap opera. Instead, we get a slam-bang action story with Iron Man inventively smacking around older versions of himself and Graham Nolan, one of the consummate babe artists though grossly underrated, hubba-hubbaing Pepper Potts and Maria Stark, Tony's seldom seen mother. I kid you not. I look forward to seeing June Morgan daily. Needless to say The Phantom artist finds little difficulty in energizing Iron Man's latest. He as well facilitates the evocation of emotion in the traditionally emotionless.
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The saga of platypus Dudley's dilemma continues sometimes hilariously in Moore's Hogsbreath, the talent's lovely tribute to Berkley Breathed's Bloom County. As usual four strips sign off the issue on the inside cover of this highly recommended series.
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This has to be Alex Sera's and Jeff Albrecht's best issue. Serra creates an illusion of rapidity in each of Saturn Girl's death-defying escapes. The vigor in the panels is palpable. The care in Serra's pencils and Albrecht's inks can be also seen in the expressiveness of the characters. Saturn Girl's and Lightning Lad's faces change incrementally as they hide out from the Five. The final scene where the two Legionnaires make a substantial attempt to address their feelings for each other bears equally impressive staging.
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Ig Guaro and Norman Lee handle the artwork this issue. With Arreola's vivid colors, their style gives the book and the characters a more cartoony look. This may have been Marvel's attempt to mitigate the rather unsavory issue of Erik Josten essentially stalking Janet. In any case the artists keep the story firing rapidly and contrast the massive action sequences with understated emotion. Particular notice should be paid to Spider-Man, who accompanies Jan on her quest to find the "missing" Henry Pym. You can tell an artist knows what he or she is doing when that person can evoke emotion from a mask that doesn't actually lend any hints. Guaro and Lee craft an animated, comical body language for Spidey that fittingly makes him a sort of human Bugs Bunny.
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These two exceptional Scooby snacks will please any Scooby fan, and kudos must also be given to Heroic Age for an overall attentive coloring that serves to create an eerie mood in the second story.
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The disaster is given epic proportions by Valenti, Novin and Villaneuva. Widescreen panels and "crane shots" give the story scale and scope. They spotlight the incredible work done by the kids to save their town, emphasize the gargantuan wave--given depth through Villaneuva's colors. That each of the huge cast are ringers for their animated counterparts is the rainbow after the storm.
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Batman, Superman and Wonder Woman figure prominently on the marketing poster to Final Crisis, but thanks to 52 Aftermath The Four Horsemen, people should know that such symbolism means absolutely nothing. That's what this mini-series has taught me. Never trust DC ever again. Never take them at their word. Never believe the blurbs. Never blindly put things on my subscription list. It doesn't matter if it's Keith Giffin or Grant Morrison. Never hope.
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Intricately plotted, beautifully illustrated and benefiting from characterization that's quintessential to "World's Mightiest Super-Heroes," the underhyped Stern/Byrne JLA: Classified is nothing less than a masterpiece.
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Artists David Nanayama, Gary Martin and Michelle Madsen make Marvel Adventures Hulk memorable. The book looks gorgeous. The penciling carries the story down a flow of silver. The inking polishes and defines. The artists chisel the Surfer out of silver, cabled muscle. The Surfer looks like he can kick the ass of anybody on the beach. I used to laugh at the most emo of all heroes. This incarnation is a character I can respect.
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The artwork in Sheena is simply breathtaking. Merhoff, Pedroza and Dzioba make Sheena beautiful and fierce. She fits right in with the verdant and lush background of Val Verde's jungles. The action streams through the panels, and along with a greater attention to character proportion, the artists intricately design strong facial expressions that run through the many emotions at play within the story.
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Jay Stephens and the Allreds pinch hit for Nick Cardy, and they do a splendid job. Stephens and the Allreds make the mop-topped aliens look bizarre and the beast men pure Star Trek. Kennedy appears to have escaped from a pop art museum. The Titans possess proportions that befit their youth, and when Donna cries, the reader feels a little sad for her. In short, it's groovy. What's not groovy is the ad for Green Lantern in the midst of beautiful sketch pages of the Titans by Nick Cardy. "Who are the Alpha Lanterns?" I don't give a flying fig. The temerity of DC just knows no bounds. The ad placement was just insulting.
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That surprise and depth, along with perfect characterization that distinguishes Denny Colt from his most obvious counter the Batman, make Cooke's and Bone's last issue of The Spirit not merely a good comic book but a great one.
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"Here's a you bad thing" -- "Here's a bad thing you did." Some of the more casual Slayer Speak involves the simple shift of pronouns and the elimination of verbs that are understood.
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Dynamo 5 is still more entertaining than most of the team-books on the rack and drawn with more care. The story just feels like it's eking out when compared to previous issues.
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While the Joker and Harley earn some bruises as they best the League in round one, round two is a different story. The League realize that any foe of the Batman should be treated seriously, powers or no powers. They combine forces, form a smart and funny strategy and in the end boisterously give the returning Batman a surprise anniversary gift.
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The aim of that victory resuscitates the Lobster into action. Mignola within the story perhaps plants the seeds for future Lobster Johnson stories, and with Jason Armstrong who adds oomph to an underwater battle gives fans an added bonus of pitting the Lobster against the Nazis. Very little more can be asked.
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I'm happy to declare that Kelley Puckett, Drew Johnson and Ray Snyder with an assist from Lee Ferguson have done what I thought was practically impossible. They fixed Supergirl. By playing with conventions and concentrating on the star character, they have underscored the new Kara-El with a refreshing maturity. In turn, Johnson, Ferguson, Snyder and colorist Brad Anderson make Supergirl look unique, without losing traditional heroic themes. It's a perfect union of sophisticated writing and singular artwork.
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The first issue of the new Legion of Super-Heroes is a winner. Shooter has immediately brought the team back on track, and Manapul expertly distinguishes a massive cast while detailing the future universe.
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This is the best issue of The Four Horsemen, but I cannot give it that much higher of a return. The Four Horsemen was advertised as a one-shot. That made sense. If Batman, Superman and Wonder Woman join forces practically nothing can stop them. I doubt even Cthulhu, the most heinous creature from literature, could do much more than make their victory an exhausting one. The Four Horsemen aren't anywhere near the glimmer of Cthulhu's level. In terms of threat, the Four Horsemen make Ali Babble more formidable. It's difficult however to feel any kind of emotion regarding their supposed capabilities since they're menacing characters who are two-dimensional whiners and/or thoroughly unlikeable, stupid and far from innocent.
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Costanza relies on close ups and tilted angled panels to emphasize the drama to be found in the bizarre Perry Mason milieu. Novin's sharp inks refine the detail, especially during a really smashing Man from UNCLE gag. I wonder if Peyer also bought the attache DVD set?
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House of M: Avengers is just an awesome comic book that feels so naturally written. Gage just looks at the possibilities and events and beautifully crafts a tapestry that rivals if not betters actual continuity. Every scene offers cleverness, and Mike Perkins more realistic art which puts more street in the costuming of the characters when needed synchronizes elegantly with Gage's words.
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Van Lente tries to inject a little originality to his story. The villagers have distinctive personalities that affect the plot. The leader doesn't behave like you may expect, but these few novelties just don't offer enough twists to make the tale more than average.
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Scott Beatty's story is a rushed, uninvolving piece of twaddle that could have been rescued if the book had a good editor. Ethen Beavers artwork needed a bit more fine tuning before being put to printed page, and the press that printed the page needs a good cleaning.
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I must admit to being a little concerned when Dini revealed Mirage's big secret, but the revelation hasn't affected the quality of the storycrafting, and Rocafort's art has lost none of its art noveau beauty.
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Good story, good artwork--despite being from a fill-in artist--and a smart use of the guest stars makes this issue of Marvel Adventures Avengers another winner.
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Colorist Lee Louridge must also be given his due. It's his deft command of shading that delivers the punchline in one of Ms. Sinclair's jokes. Had the colors been too vivid or too pastel, the joke would have failed. Instead, his contribution adds to the funny in this undiluted celebration of the Fantastic Four.
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Very rarely do crossovers actually interest me. I see them as the younger cousins to Big Stupid Events, but I've had good luck with the Terminator crossovers. Painkiller Jane certainly whets my appetite for part two, which will be broadcast in the latest Terminator issue from Dynamite.
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This chapter of Red Sonja is nothing but a useless work of padding. So, I'll tell you what happens. Sonja gets possessed by a tree demon. Yep. A tree demon. Why, yes, that is lame. Thanks for asking. Gath decides to intervene out of pride, thus setting up the next chapter for Gath vs. the Tree Demon. The clock ticks for Red Sonja. I'll put up with one more bad issue, but that's it.
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I give you the worst, most inconsequential issue of Scooby-Doo. Let's hope this doesn't start a trend.
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The impressive story calls for a complete makeover of the Springfield cast. Costanza and Novin rise to the challenge. They refit the players in the series without losing their identifiable essences. At the same time, they keep the story moving as Homer falls into one predicament after another, each given colorful atmosphere by Art Villanueva.
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It's an okay issue of the Gargoyles, but it lacks pizzaz as well as action. Setting scenes in various time frames doesn't give them enough build-up to fully develop any impact. Hedgecock's artwork however captures the look and feel of Gargoyles.
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Mario Gully's artwork is excellent. Thanks to his planning, the story flows even when flashbacking, and the characters look suitably proportionate and in scale. Scott Koblish's inks give Hulk's musculature powerful depth.
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Ultimately, Spider-Man/Red-Sonja is a decompressed repeat of Marvel Team-Up, and the hearts of all involved do not really seem to be beating all that fast.
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Whedon seems to be holding Giles and Faith as a Steed and Peel back for the massive climax that will no doubt arrive when Buffy, the Slayers and the Scoobies face off against the newest Big Bad and his army. I can see the beginnings of Whedon's long game, but even without the context, this issue of Buffy the Vampire Slayer where Faith scores a massive victory over the forces of evil and the darker needs of her own nature is without a doubt one of the best.
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The characters in Dynamo 5, the simple good versus evil plots and the beautiful blue and red motif overlaying Asrar's proportionate characters acting out in carefully choreographed panels make Dynamo 5 a consistently entertaining super-hero book. This issue is outstanding in the way the characters though split still act as a team, through the characterization of Slingshot and Scrap and because of the pure heroism from the group.
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This issue of House of M: Avengers is almost as good as the previous issue and continues the funky, Shaft/Marvel Universe fusion. Raul Trevino's colors are aptly washed out and reflect the grindhouse aesthetic of the seventies. Mike Perkins either inking his own pencils or relying on David Hennessy swathes the book in a realistic look filled with proportionate, powerful looking figures.
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The whole need for an explanation regarding a minor divergence in Zatanna's history isn't necessary. It's more reasonable to imagine that Zatanna while investigating new tricks to perform, simply learned about the occult. You don't need to resurrect Zatara. You don't need some contrived nonsense about his forbidding her to use witchcraft. You also don't need to add this issue of Justice League Unlimited to your collection.
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While fantastical, one difference between the pulp adventure novel and the straight fantasy or science fantasy novel is the application of a tried and true method. Pulps had a credo. If you shoot enough bullets into the beast, it will die. Mignola follows the rules, if you will, of the pulp. As a result, he creates an engaging pastiche as well as a fascinating new pulp hero.
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Supergirl turns out to be a delightful surprise. The Girl of Steel gets a family she must say good-bye to and a living relative, who cares about her well-being.
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The Four Horsemen was advertised as a single issue starring Batman, Superman and Wonder Woman. We get a glimpse at what might have been, but it's not enough and it took too long to get there. Giffin treats Wonder Woman shabily in the story, and the intellectual conversation between the Chief and Veronica Cale which I guess acts as a bizarre geek climax is complete rubbish. “The nervous system, neurological clusters, the ‘circuitry if you will'" does not remain intact after an individual dies. When death occurs, the entire body decays. Necrosis starts instantly. Tissues immediately begin to wither. The cellular powerhouses stop, and each fiber of the being begins to unravel. Everything in the body dies, including the “nervous system, the neurological clusters, the ‘circuitry if you will.'” If the body is resuscitated in time, cells replicate to replace the ones that have already been damaged beyond recovery. Brain damage can still occur during the
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Part of this feeling comes from the dead-on likenesses illustrated by Kazaleh, Pepoy and Hamill. They also craft a hilarious caricature in robot form to match Rogers' odd choice of targeting. This issue of Futurma Comics deserves attention not just for the variety of jokes, but the respect the creative team displays for the characters.
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Frank brings some of the Atomics to his location. They've got a dictator to overthrow, and that's where the art kicks in. Set on a back drop of Laura Allred's crimson hues, the Atomics and Madman standout vividly. Their actions bring a peppiness missing from early issues of the book's reincarnation, and the new characters echo back to those seen in issues of Astounding Science Fiction.
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Graham Nolan's art polishes the armor of the good and the bad. There's nothing ugly inside these pages, and The Phantom artist makes the most out of Van Lente's script diversions which cast Doom in a new position. Pepper Potts looks sufficiently cute and distraught. Jim Rhodes appears to be a believable rock. You can expect nothing better than the best from Nolan, and that's what you get.
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Mac Rauch and Ken Wolak cap off the book with Buckaroo Banzai and an alien-themed trip to Bethlehem that staunch religious nuts will find subversive and insulting. Naturally, I loved the story. With few pages, Rauch & Wolak recapture the Buckaroo magic, establishes new villains and new allies while keeping to the theme of Moonstone's latest collaborative.
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Zeu brings a svelte angularity to the Phantom. His version of the character alludes to Ray Moore's quintessential model. Period detail flourishes within the panels, and Zeu's Phantom can be light or dark depending on the mood. Diana and Kit in Zeu's hands are button cute, and the elder Diana as well as the female guest stars exhibit class, beauty and poise.
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Abnett, Lanning and McKone do in one issue what most hacks can't do in six issues. They skillfully display all of Batman's and Superman's facets. The epilogue indicates that this issue was meant to be the precursor to Dwayne McDuffie's and McKone's Justice League Wedding Special. For once, the publishing hiccup doesn't affect the story one whit. The story feels complete, and if you have read the League book, you know that Light's in for more punishment.
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A pleasing story that deals with affairs of the heart, Legion of Super-Heroes in the 31st Century also allows for continuity nods, strong heroics and an effervescent star backed by a potent supporting cast, all of which are illustrated in an energetic style.
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An extraordinarily dull issue of The Lone Ranger suffers from decompressive storytelling and repetitive art that tries to signify power but ends up whimpering on the pages. The story doesn't really have the weight to warrant such complexity in the characterization, and the best scene occurs when Cavendish discovers a leech among his pack of cowed men.
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While Templeton keeps pretty much all the heroes chipper and gives to them senses of humor, the Hulk's lines in the context of the action are priceless. Templeton continues to demonstrate why he makes an able succeeder to Jeff Parker in Marvel Adventures Avengers.
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I'm not sure the old Green Arrow argument works with Johnny's character, but Way more than compensates for the preaching with a fun counter-argument that works explosively in the FF's favor. Some of the flow to the story could be a little better, but on the whole, I don't have a lot to complain about. Good artwork, good story, good character interaction and in the case of the villain hilarious dialogue equals good comic book.
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And so the evil decompression fairies strike again. To pad out the pages for a trade paperback, we get this nonsense. It's not even good padding. It's a smattering of undead. a whittling of the guest cast, and features only one good Sonja moment--where she uses her chains and momentum on the sorcerer. The only time Oeming and Reed seem to wake up is when turning their attention to the now uninteresting relationship between the Goddess and Gath. Bah!
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"The Phantom of the Rock Club" is the only clunker in the box. It's quite possible that a communication problem developed between writer and artist, but the words do not gel with the art. At one point Velma refers to the Phantom as a "puppet," but puppets aren't diaphanous, nor do they get sucked through air vents, and Velma relies on a piece of evidence unseen until the final reveal. The evidence should have been present throughout.
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Boothby's choices in writing make this issue a particularly worthy addition to your collection. The story exemplifies an understanding of the characterization and the morality play. Homer naturally would have no problem taking down Flanders, or numerous Springfieldians. Unless caught in a fit of rage, he would also naturally stay his hand if the target was a family member, and that is why Boothby picks the most innocent of potential targets. That is what makes Homer's simple struggle to be human so rewarding. He has no investment in the character. He simply does the right thing because it is the right thing.
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Those that follow Cooke and Bone have big shoes to fill. I'll certainly give Sergio Argones a chance, and he and his artist can succeed if they keep The Spirit a romp that's unique among the comic books on the rack.
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Previously I've spoken about Frank Quitely's scope, and while the anamorphic widescreen treatment can be seen in these pages, it's Quitely's treatment of character that proves to be more fascinating. Given two knew Kryptonians, Quitely uses body language to distinguish them from Kal-El. You actually don't need to read a single word in this comic book to understand the story and the characters. You can observe Quitely's artwork and comprehend the plot, the interaction of the cast and what makes each character tick. As well, you can feel the emotional depth that's reflected in Morrison's story.
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All of this maelstrom of writing just doesn't seem to go anywhere. It's too piecemeal to grab the reader's attention, and if not for the artwork, this chapter in the soap opera would be an indication of "circling the drain" to quote Tom Servo.
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As mutants become the dominant species on earth, humans repopulate the ghettos. Heroes who wish to protect humanity become outlaws as a result. There's a stark contrast to the Marvel Universe proper that makes House of M rewarding. Events do not change who the heroes are. Luke Cage does not throw in with the bad guys. He sticks up for mutants as well as humans because Luke Cage knows that prejudice is prejudice.
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It's another Marvel Adventures feather in the cap. Ray like Hulk! Ray like Strange! Ray like Monkey-Dormammu!
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Stefan Petrucha and Sarah Kinney rev up the formula to Nancy Drew. Sho Murase and colorist Guzman serve in the pit crew to tune the artwork for a thrilling race.
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I will give Marvel this much. At least they didn't cut the spreads with advertisements. Still, Marvel's advertising positioning leaves much for which to be desired. After the first page--admittedly a splash, we get an advertisement. After that we get a spread, but that first ad being ballyhooed so soon almost feels like a slap. There are a helluva lot of ads in Spider-Man/Red Sonja. I counted twenty-two pages of artwork. This is contrasted by twenty-two pages of advertisements, four Marvel house ads and that demeaning Valentine's Day leftover where the House of Ideas expresses them about which fictional character they would date.
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Setting aside the interaction of the characters and the sumptuous artwork, it's still very difficult for me to care about what happens to the inhabitants of Breakworld. As a result I feel even more detached from this story than I did from the horrendous Star Trek Presents the Danger Room Coming Alive saga. I've said it before, and I'll say it again. Breakworld is a real sphincter of a planet. Blow it up already. Good riddance to bad rubbish.
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Anybody familiar with the way Whedon works knew how this story was going to play out, but it could have been enlivened with stronger character interaction between Buffy and Faith as well as Buffy and Willow, who only get a moment and don't say anything particularly witty. The oomph missing from the writing however is replaced by the strength of George Jeanty's pencils. Any Owens' inks cannot be ignored either. His lines give depth and texture to the cast, and Dave Stewart's choice of colors enhance the mood of the story with dark shades in surveillance rooms and bright hues in bathrooms.
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That's all that's motivating Hellboy in his punching the snot out of Koschei. Add this to the juxtaposition of the Baba Yaga kissing a goat to continually resuscitate Koschei, and you've got macabre comedy gold.
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Accompanying Fisch, Gordon Purcell and Al Nickerson easily recreate the look of the series, and they energetically depict a fight between Ralph and Batman that arises naturally from events. The illustration of clues adds to the fairplay mystery, and together the creative team chalks up another spectacular issue of Justice League Unlimited.
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In The Iron Prometheus Mignola carefully weaves pulp traditions and his own sense of the supernatural into an original mural for Jason Armstrong and Dave Stewart to paint.
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So, is this the beginning of a new era? Kelley Puckett produces an intelligent script and characterizes the genuine Girl of Steel. Drew Johnson, Ray Snyder and Brad Anderson illustrate the genuine Girl of Steel. I don't know if this issue does warrant a boast of such stature. I will say Supergirl finally bears watching, and if Puckett, Johnson, Snyder and Anderson can match this issue's quality or dare I hope surpass it I just may be adding Supergirl to my pull list and keeping the title there for a long time.
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What The Four Horseman amounts to is a marketing ploy targeted at hardcore DC heads. The lure of Batman, Superman and Wonder Woman smacking the Four Horsemen around in a one-shot, even a six issue series, would appeal to somebody like me, but that audience will find their heroes sadly lacking and being undermined by DC's precious 52 ciphers who are all important because DC told you they are. As far as I am concerned, DC has committed fraud by false advertising. I will never trust them again.
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Compared to The Four Horsemen, Dynamo 5 is a five bullet book. That said, when compared to its own superior sampling, this issue is simply an adequate time-killer. Hence, it earns three bullets instead of four or five. It's a good issue, but there aren't any revelations or particularly inventive moments like previous issues.
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If you have some spare change after your comic book day haul The Simpsons Summer Shindig is worth adding to your collection. It's a forty-eight page ad-free book of superior fun and exhibits absolute toil by the artists.
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Special note must be made of James Lloyd's comic book gags, which feature continuity specific references such as "Krusty's Playhouse Comics" but also odd little riffs on Basil Wolverton, Superman, musicals and obesity. Andrew Pepoy's inks come into focus for forced perspective shots. Nathan Hamill's colors add a particularly beautiful nuance to a three panel change in time, and quite frankly allegedly serious comic books should be this beautiful and this inventive with their angles.
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What makes this story palatable is that the girls settle their differences and reconcile. The boys do not get anywhere with the Amazons, which stay true to their historical characterization. True love wins out regardless of gender. Nitz preserves all the Legionnaires' powers, experience and intellects. Indeed, the conclusion depends on these elements. So, if you are a comic book writer, and you believe that your plot cannot function without the inexplicable stripping of a female character's super powers and her blouse, I suggest you take a moment to read this issue of Legion of Super-Heroes in the 31st Century. You just may very well learn something about how to craft a tale where everybody has intelligence, everybody has super-powers and through the teamwork of men and women good triumphs over evil.
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While the Ranger and Tonto grow into their roles as tamers of the lawless. Butch Cavendish reverts back to his simple badman days. You can put a suit on a murderer, but he still will be a murderer.
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Everything in dialogue, movement and displays of power has been Dini's attempt at replicating a magician's distraction, and he succeeds. Madame Mirage is a clever variation on pulp heroes.
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The artwork by Cordeiro and Erskine adds intricate detail to armor and examples of high tech, but it never looks busy. The artists instead use an economy of precise linework to denote Iron Man's systems and Stark's inovations. Though succumbing to a few outlandish expressions, for the most part, the artists assemble a collection of believable emotional moments for a surprisingly powerful story. Garcia's colors also must be appreciated, as his glowing effects generate a layer of visual depth.
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On the surface, the story is nothing more than good versus evil and a character piece giving Kevin Maguire the opportunity to strut his artistic stuff, but there's also an underlying theme in Velocity The Pilot Season. Casey shows the enormity of power Velocity possesses but through her characterization displays why she will never abuse that power. In so doing, he depicts the schism between those who do good and those who do evil.
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Although no story really gives the reader any meat, all the briefs inform, entertain and evoke the characters of Scooby-Doo and the Gang. That's good enough for me.
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Templeton inexorably brings the vignettes into contact and through the passage of time reunites the team to combat this "menace." Given the current state of the Marvel Universe, it's impossible to ignore the differences in the way the writer and the artists direct the heroes' behavior. The moment where Iron Man beats on the door and calls out to Spider-Man is particularly stirring. Here is a heroic Iron Man who genuinely cares about Spidey and all of his team-mates. The Avengers recognize the Hulk as an equal, and they don't jump to the conclusion that he's on a rampage. Rather Templeton makes all the heroes as smart as they should be. Storm observes that there's something wrong with the Hulk. Wolverine confirms her observations through the interpretation of his hyper-senses. This is a different, friendlier Marvel Universe that's smarter than the continuity proper one. By employing the intelligence and cleverly implementing teamwork, Templeton easily crafts a supremely enterta
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I didn't know Niles was writing Marvel Adventures: Fantastic Four. The title just happens to be on my subscription list. While I knew the Agents of Atlas art team would of course render an excellent job, I became somewhat nervous upon noting who wrote the story. As I became engrossed in "The Hulk" I discovered a writer capable of infusing wit and charm. Niles knows who the FF are. He knows how they are supposed to interact, and he knows how to kick off a beginning, maintain an exciting middle and come to a thrilling end.
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My one complaint about Red Sonja is that the story doesn't feel substantial. There's too much hopping around from Gath to Sonja to the winged Lion aiding the villagers. That last scene probably could have been cut in favor of more action, and the events in the scene could have been encapsulated in the dialogue of a future scenario. That said, I'm still enjoying Red Sonja, and find her to be a highly credible ass-kicker.
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The ending to this issue of Simpsons Comics is infuriating, unfunny and unnecessary. I am sorely tempted to use the critic's/reviewer's ultimate weapon. In deference to the rest of the story, and the hard work that Costanza, Novin and Villanueva did to make the book visually arresting, I will not divulge the ending. Instead, I will suggest that the reader before perusing the book take a piece of scrap paper, cover the last page, and use a box cutter, an artist's scalpel or a simple razor blade to cut it out. If you're a kid, go ask your parents to do it. If they balk at defacing a comic book, let them read it first. They'll understand after the ending hits them like a wet flounder. Next crumple up that last page and toss it in the garbage can, where it belongs. If not for the ending, this could have been a five-bullet issue.
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At least the shenanigans between the two are mildly interesting, in a bad movie sort of way. The soap opera section of the book isn't. Because of her actions in a previous issue, May Day's little brother may never hear again! Moose hates Spider-Girl because he believes she killed his father! There's trouble brewing in Boyfriend Land! May Day didn't win the election she had already pulled out of! One tragedy could have provided impact and contrast. Multiple tragedies, and I'd argue that only one can really be considered tragic, blanket each other. The problems lack significance because they blend together, and you really cannot tell which one is affecting May the most. She reacts to them the same way. What it all amounts to is that May's life has become an indistinctive and boring ball of harsh, and she has become one of those hyper weepy-eyed women from old romance comics. Let's hope she hits somebody in the next issue.
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This issue of Gargoyles does act as filler, but readers can breathe a sigh of relief since Greg Weisman is still writing. Gordon Purcell and Dustin Evans do such an excellent job that they really should be considered for the position of regular art-team.
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I'm left with the conclusion that Giganta is correct. Linda is "smug," and the Flash just seems like a callous jerk. Very Hal Jordan, not Wally West. An attempt at winking humor also falls flat because the change is so mercurial and a far cry from the more honest emotion seeping through book, if taken from the point of view of Giganta. I do not believe the reader is supposed to question the ending. Instead, I think the reader is supposed to take it as a triumph of good over evil. That doesn't quite work due to the complexity of the emotional content.
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I'm sorry to say that I haven't yet seen anything in this mini-series that's better than the single issue of Marvel Team-Up, which served as Medusa's blood for this project. Sure. Spidey and Sonja have a stronger bond, but that's a given. Spidey and MJ are in love with each other and married. Marvel Team-Up though is tighter and the panel design better thought out.
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"You and I are of a kind. In a different reality, I could have called you friend."--classic Star Trek line spoken by the Romulan Commander to Captain James T. Kirk in the episode "Balance of Terror." Faith seems to be starting to misquote it when attempting to assassinate Gigi. (IMDB)
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Boothby doesn't just follow the example set by The Simpsons where homage is paid. Instead, he considers the movie parodies within the context of the future, and that opens the doors for twists in the expected gag. The result of Boothby's story added to the artists' expert execution of animated and comedic timing leads to a thoroughly enjoyable excursion into the Futurama universe.
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Things don't go as the mastermind plans, and Mignola ends the chapter of The Iron Prometheus in an explosive cliffhanger. Lobster Johnson is smart, savvy and fun.
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Jorge Pacheco's inks bestow a roughness to Scott Roberts pencils. The effect works well given the subject matter, and of course throughout all three tales, David Tanguay offers the reader as much varied color as one can find in a Halloween candy-bag.
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For a feature with a kick-ass super-hero fighting zombie hordes, go see Resident Evil: Extinction. Stay away from 52: Aftermath--The Four Horsemen. I will never trust DC's promos again. Never before have the legends of DC been so stagnant.
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The story ends at a helluva cliffhanger. Next issue will most likely have the cemetery dwellers picking up their own pieces before they can open a portal to save Michael. Moore has my undivided attention and instills a want to know what will happen next.
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Arrrr, Matey! Rafa Sandoval, Roger Bonet, Martegod Gracia render a treasure map of undersea adventure and techno-marvels. Their fine quills swab the detail of Iron Man's armor and the phases of human expression. Add the jolly Van Lente's sense of humor about the episode, and Iron Man is a worthy shiny bauble for ye treasure chest. Arrrrrrrrr!
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"Invisible Children" is a truly momentous story for the Phantom that tried and I hope succeeded to bring to light a real-life evil. While addressing the issue, Bullock never forgets that he is writing the Phantom, and the Phantom never fails. Szilagyi backs up that simple fact with artwork that makes the Phantom a powerful figure of fear and justice.
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Even without the fascinating first page, I would have given the infectious done-in-one story four bullets simply because of the characterization, the sense of humor apparent in some of the scenes and the artwork.
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Faerber could have ended the story tragically. He could for instance have had Scrap accidentally kill in order to lead to some false pathos, but instead, he naturally teases out a happy ending. Nobody dies, and a mind-wipe, of late given far too much realistic credence in comics, leaves behind one character with a second chance. Maddie's love for Captain Dynamo proves to be a motivation in her actions, and I'm beginning to wonder if she doesn't believe that in another world these children are the children she could have had with Dynamo.
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The Legion and the Lanterns clean up the mess, and J. Torres devotes the remaining pages to reestablishing the bond between Legionnaires and Green Lanterns. Dare I say it? This issue of The Legion Of Super Heroes In The 31st Century kicks ass.
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Liberty Comics is a quarterly venture by Heroic, and this issue marks an impressive premiere. Don't be deterred by the size or the price. Kudos must also be given to colorists Rod Montero for a particularly attractive shade of bronze and Marolo for his angry reds during Kriegerin's epiphany.
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I'm happy to see Madman get back on track and drop the mystical mumbo-jumbo as well as reinforcing the heroism of Frank N. Stein.
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Once again Jeff Parker embarrasses the regular Avengers titles with a bouncy, rollicking done in one Marvel Adventure. New artists Steve Scott and Ronan Cliquet, Nathan Massengill and Amilton Santos with the reliable Val Staples maintain this title's high quality. The pencilers oversee excellent anatomy in action and focus more on the pleasant emotions. The inkers keep things smooth, and the colorist makes the presentation vivid.
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Toward the end the Surfer finally learns the truth, but it's far too late for my tastes. Van Lente attempts to parody the self-help movement that has metastasized through the airwaves, but he has to make the Surfer supremely dumb to make his plot work.
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This issue of Scooby-Doo has some gems, but the weight of the captions and the preposterous motive of the monster make the foray into the snow a tough slog.
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As great as Sheena is portrayed in this latest comics series, the hated Bob is simply annoying. I understand that the writers are probably attempting to redeem him through Sheena, and you have to start with a diamond in the rough, but as a reader I feel that there's nothing in Bob that's worth saving. He comes off as such a jackass, even when he's helping Sheena, and I think it's because every line he speaks sounds insincere. Every one of his actions seems to have an ulterior motive, and he is not funny, although he tries to be. Bob is basically dead weight. Without him, or with some sort of balance to signify his humanity, this issue of Sheena could have easily been four bullets.
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Boothby ties up his A story with its B side in a completely absurd way, and Lisa becomes in the epilogue an unfair victim of ribaldry. In short, I laughed until I shed tears.
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When Venom does make his entrance and Spidey and Sonja do team up, the book pick ups speed immensely. Spidey makes with the quips. Sonja focuses on her true enemy, and she even gets in a couple of unwitting wisecracks at Spidey's expense. I was also pleased that Sonja treated Venom like the loser that he is, and Gath killing all the redheads is a nice little glimpse at his hatred and fear of Red Sonja. Now that the decompressed preliminaries are in the can, Spider-Man and Red Sonja just might turn out to be half-way decent.
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I was delighted to have encountered The White Tiger, Tamora Pierce's and Timothy Liebe's writing as well as Phil Briones', Don Hilsman's, Chris Sotomayor's, Alvaro Rio's and Ronaldo Silva's artwork. I hope this isn't the end of The White Tiger. Perhaps the sales of the trade paperback will sway Marvel to back Liebe and Pierce to continue The White Tiger's prowling.
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All involved can do way better than what's seen in the book, and this whole story was from the get-go idiotic; though not as obscenely wasteful as this week's Nova, which has such a dearth in entertainment value that it cannot help but put Amazing Spider-Girl in perspective.
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The final battle takes a page from the Doctor Who episode "Brain of Morbius" as does Reed's paraphrasing of the Doctor's "While there's life, there's hope." The device's design however is pure Kirby inspiration, and the final chapter to the Fantastic Five was pure fun.
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If The Wedding Special is an example of McDuffie's run, The Justice League of America will no longer be a book to be shunned. DC would also be smart to keep Mike McKone on monitor duty. His artwork looks sumptuous and lacks the homogeneity plaguing the art in so many comic books.
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Number eight of The Lone Ranger is a good, solid issue, but it moves a little too slow for my tastes. Tonto could also use a little more of the writer's attention.
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The only real question is which writer was working the joystick of the flight simulator, and which one had on the microphone for the voice to text software. They actually got paid for playing a video game. I am stunned, and this is my last issue of Nova. Hopefully it will be your last issue as well.
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Five by Five--Faithspeak for everything's fine. Five-by-Five has actually a long history regarding the audio quality of radio-signals among the military personnel. (wiki)
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It's unfortunate that the rest of DC will likely forget Rozum's story because Rozum updates the Scarecrow without betraying the original character. His characterization for Batman gives the world a nonchalant type of detective that's not trying to self-consciously recover from the past sins given to him by hacks. Instead, he's always been Batman and always will be Batman.
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Batman has no words for the turmoil Rama Kushna has caused him, and Hawkgirl watches him shift quietly away from the scene of hard won victory. He hasn't been broken, but he has been dented. After the answer to why the Spectre went off his nut is revealed, Hawkgirl furtively flies off after Batman. The final page is about how Hawkgirl won't let Batman suffer without reprieve. The touching moment is set off with a gentle tap on the Batwing's cockpit, and Hawkgirl knows just how to deal with Batman. She knows exactly how to approach him and how to remind him that he's human. Magnificent.
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Dialogue that's terse in the tongue of Lobster Johnson and B-Movie goodness in the phrasings of the bystander distinguishes characterization, feeds the plot and establishes the period. A clue leads Lobster Johnson into Chinatown while enigmatic figures in nondescript trenchcoats and hats force Johnson into the sewers where we meet his operatives. "Holy cow!" This was fun.
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Before ending the anthology, Kress lines up the Mad for one last literally painful joke. I have to admit that the book did make me curious about the video game, and all the shorts in the anthology are funny, clever and self-contained. So, the marketing gimmick is forgiven.
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Smartly plotted, nicely illustrated and with a strong heart, Painkiller Jane is well worth adding to your collection. Jane is a sophisticated action hero for a mature audience.
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I'm really hoping for 52: Aftermath--The Four Horsemen to get better. I'm hoping, but I suspect I'll be disappointed. If you took out the 52 and the Amazons Attack references, if you made the meeting of the Big Three Minds special and focused less on the villains, I think this story would have been better.
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While DC, surprise, surprise, did not hype The Batman Annual, Batman fans must not miss this book. I want Peter Milligan, the Lopezes and Mulvihill back on a Batman book right now.
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Back in the Baba Yaga's Russia, the arch witch forces the battle in truly one of the most disturbing images ever seen in comics. That was disgusting, and Fegredo and Mignola milk the scene for all its worth. The end result is an exhilarating battle steeped in flame and light.
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That line comes from a particular florid-minded SWAT team member. However, the story, the plot, the behavior of the characters and the application of their powers all make sense. That's why The Last Fantastic Four Story is worth reading. Add these strengths to gorgeous, action-fueled artwork in a vein reminiscent to that of Jack Kirby's masterpieces, and you have a book that's well worth adding to your collection, especially if that collection revolves around the FF.
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The book ends with a gathering of the new Outsiders featuring swirly Metamorpho, the Martian Manhunter in his stupendously stupid fetish outfit and Klingon chin formations and bad hair-cut girl in red and orange. That's a desperate whimper if I've ever heard one.
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This issue of the ever-late Astonishing X-Men should be absolute dross, and yet the power of Joss Whedon's words saves it from ending up in the rubbish heap. Impressive.
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Templeton has a trickier task than usual for this issue of Bart Simpsons Comics. He must not only mimic the style seen on the show and create the illusion of animation for the regular cast but also consistently reinforce that stamp while reimagining the characters in slightly different forms. Given the fact that these characters are not easy to draw, it's doubly impressive that Templeton also nails their look and their behavior when they're presented in different stages. Inker Andrew PePoy is on hand to pick up some of the slack from Templeton, and his inks nicely over dramatize things like Bart's mask and Colossus' mad cackles. Colorist Art Villanueva gets some aid from Nathan Hamill, and all the artists must be commended for their at times intricate detail and rainbow of colors that make the Bongo books so attractive.
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Ron Lim, Scott Koblish and Rob Ro illustrate their best to accompany some of DeFalco's best. Their depiction of Doom is so entertaining to watch. He walks regally and preens regally and gloats regally. This dead on body language can also be seen in the F5's heroic stances and the Imperious Rex as he's tortured by Doom. Dignity in Namor's current position isn't easy to comport, but Lim and company carry it off.
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This group of Avengers works together as heroes serving a common good. Their personalities are sharp as are their wits. Everybody in this book is to a degree intelligent, and the snappy plots are fun and done-in-one. This issue represents one of the best. The plot moves like lightning. The characters crackle with distinctive life that's generated in the art and the dialogue.
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Marvel Adventures Fantastic Four is a satisfying meal with plenty of meat to the story and the artwork. Tasty characterization and tangy variations to continuity add flavor to the repast. Simply delicious.
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This issue of Marvel Adventures Iron Man isn't a must purchase. The story features some strong elements as does the artwork, but Justin Hammer and Spymaster are pedestrian menaces for Iron Man to face. Van Lente I feel got more mileage out of his reinterpretation of Plant Man last issue.
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The least of the stories in the anthology is "Back to School Ghoul." It's fairly obvious and so brief that little time is spent on the Gang's character. Dan Davis' art however is quite enjoyable.
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Cooke's The Spirit has been a mostly treasured series, and this issue is another excellent issue. I will be saddened to see Cooke depart. Let's just hope Countdown isn't in the Spirit's future.
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These pedestrian After School Specials have got to stop.
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Simpsons Comics is without a doubt a funny book, but that doesn't mean the creators slack off. Dixon comes up with a cunning absurd plot that draws in The Simpsons continuity. Costanza, Novin and Villanueva add in so much colorful background detail per panel that it could easily overwhelm, in lesser hands. These artists however make the detail a natural part of the backdrops to accompany a lively on-model Simpsons cast.
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If you really love Agents of Atlas and have some disposable cash, buy Spider-Man Family for that. If you like Eilopoulis' stuff, there's a good reason for you to add Spider-Man Family to your brown bag. If your collection is missing the classic Amazing Spider-Man reprinted in the anthology, Spider-Man Family is worth having. Otherwise, wait until it appears in a fifty-percent-off pile.
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All of these really winning aspects of Amazing Spider-Girl are left in the dust after DeFalco concocts a real challenge for May Day Parker and Ron Frenz and Sal Buscema put decompressionist drivel to shame by showing that the language of super-hero books is action, action and more action. While the story in Amazing Spider-Girl is a good one, it's actually an extra animated and strategic rescue that makes May Day Parker's foray against Carnage positively gripping. The artistic execution and the physics of the save are impeccable.
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I always look forward to Dynamo 5, and this issue is another winner. I care more about these characters than any of the Legion of Outsititans from Beyond, and the art in my opinion is ten times better than the homogeneity dulling DC and Marvel.
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The characterization in terms of the heroes and the villain, the artwork, the story is all good, but the splash page depicting the fruition of Doom's plan, that is genius.
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Lacking twists, originality or dignity, this issue of Nova stinks.
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Within the psychological attacks, the Phantom systematically derails the Army's operations and leavens the hearts of Him's victims. That is how it should be. If the Phantom fails, we as readers have been cheated. This would be an affront to the oath the first Phantom made on the skull of his father. It doesn't matter that the reality hasn't changed. We cannot expect a fictional hero to affect reality. Though the Phantom already has. We expect him to succeed in a fiction that's based on reality. The Phantom is pure heroism. The good guy wins, and perhaps by having the reality in the book, perhaps Bullock gives the victims' voices. By having the Phantom succeed against his fictional foes, perhaps Bullock will help facilitate the will to stop this threat.
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While you cannot choose the Oeming Red Sonja over the Marvel Red Sonja, or visa-versa, this issue of Red Sonja is clearly one of the best. It's filled with fascinating character-driven scenarios as well as a brief duel between a slashing She-Devil and outr might.
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As Batman finds himself as helpless as the police, he becomes more violent. Rozum at one point has him utilize his more lethal, razor-edged batarangs. It's nice to see he still has them. The common criminals fear Batman even more because thanks to Rozum, you get the sense that Batman could if pressed fall back on the deadlier ways he employed in the thirties. Ironically, Scarecrow's new power makes Batman even more of a nightmare.
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Spot the Loony--A skit from the legendary Monty Python's Flying Circus.
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Despite starring Pepe Le Pew, this issue of Looney Tunes doesn't stink.
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The conclusion of Spider-Man & the Fantastic Four is a winner. Parker engages continuity to dispel an intriguing invasion, and he uses the FF's status of explorers and Spidey's ability to think through problems to eschew a violent answer to the global transformation.
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If you already own the Spidey & Red Sonja Marvel Team-Up, you can probably wait until the second issue of this update to try out the second partnership.
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Lash renders the majority of the book in his usual crisp, clean black and white style, but for the LA tale, he expands on his court briefings with added singular character designs and episodes where Wolff & Byrd relax a bit.
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The Slimefolk--Intelligent magical slugs; to honor them, strip naked and let them slime you. Wearing their odor is like wearing a badge.
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The problem lies in the pacing. This plot needs a good kick in the ass, and Ben Grimm's trip down memory lane only drags things out needlessly. Fantastic Five isn't a bad time-waster, but it could be much better.
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Moppet--weird robot dog from Battlestar Galactica, the original, not the one with the sexbot Cylons.
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On the surface Call to Darkness is a simple story with the characters trying to achieve simple needs. Hellboy wants out. Baba Yaga wants payback. Her eternal hitman wants to die. Under Fegredo's line work and dark shadows, Mignola adds outr twists that are based on Russian folklore. He relates fables within an action-oriented confrontation and breathes new life into ancient myth while giving Hellboy something to hit.
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As per usual, the Marvel Adventures verse continues to best represent the Marvel super-heroes. This one in addition best represents a fan favorite villain.
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Sho Murase is more than just an arch designer of manga--a genre let me assure you I still loath. Her distinctive approach creates unique camera work that serves the needs of a mystery and creates an artistic consistency in the positioning of the players. Given the ramped up threat, Murase also takes advantage of the opportunity to imagine more action-oriented panels. The scene with Nancy on top of the train is a nail biter.
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Artist Homs bestows an astonishing ethereal beauty to the moment of Sonja floating in the water and meeting the creature face to face, and the artist creates a sense of awe and wonderment as the story plays out to combine the forces of nature.
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When Shark Man battles the Sea Witch, it's a fiesta of color and painted heroism. The back-story may be complex, but the main story for this issue is simple good guy versus bad guy that allows Pugh to make the art the centerpiece of the comic book starring a striking, effective aquatic hero.
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The artists make Sheena formidable. They contrast Sheena with the ultrasophisticated villain of the piece. They give a severe cut to the villain's suit. They bestow sinew beneath the hero's bronze skin and give her the strong body language of a warrior. Sheena's return to comics impresses.
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As much as I love Gargoyles this issue represents another tense balance between polish and flaw. The art is excellent. The story reads a little bit better than previous chapters, but compared to the Quarrymen arc that opened the new "season," this story and this chapter pales.
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The one good thing about this issue is Christine Boylan. She comes up with a plausible means to defeat Brainiac Five. She gives Superman the intelligence to see through Tharok's scheme. She bestows empathy to Phantom Girl, and about the only thing I doubt in her plot is the way she waylays Bouncing Boy. I don't think that ploy would work against Chuck, but I'm not going to quibble because the issue was almost a total loss, and I'll take what I can get.
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Sergio Cariello and Marcelo Pinto combine forces for more than just architecture. With a depiction of the weather-changed atmosphere and the drably colored settings, they capture the flavor and texture of the filthy, literally mucked up west. It's as if they transplanted a vivid, larger than life Masked Rider of the Plains to the nastiness of a dank spaghetti western. The contrast works beautifully and makes the Ranger unique in the environment. Even Tonto fits into the nature of the bloodier west, but the Ranger in his blue shirt, red kerchief, black velvet mask and firing silver bullets stands out with a hearty "Hi-Yo, Silver!"
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Giant-Sized Marvel Avengers includes two back ups that reprint the stories that introduce Namora and Venus. These are available in the absolutely smashing Agents of Atlas hardback, but it's a nice bonus for kids who may not have twenty dollars to spare.
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Reed's defeat of Galactus catalyzes the Silver Surfer's revolt and confinement--as usual, but instead of Galactus acting out of a sense of betrayal, his actions appear to be petty and small-minded. Hamscher's artwork is passable, but it's far, far too cartoony for the gravity of the story.
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Painkiller Jane does not sugar coat the violence, or the frank sexuality being explored. The book doesn't talk down to the reader. There's a reason behind every scene in the story, and this makes the book a smarter read than most. While Palmiotti and Quesada claim that Jane isn't a super-hero. I beg to differ. Jane is indeed a super-hero, and a most substantial one at that.
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Bullock surprises the reader who would have simply been pleased by watching the Lord's Resistance Army being shattered ala Phantom. He ends the story on a cliffhanger that blends continuity into the already impressive fusion of fiction and fact.
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The quality and quantity of the tales in Scooby-Doo make this book and in particular this issue a worthy addition to your collection.
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In Shazam: The Monster Society of Evil, Jeff Smith combines shrewd notations with the growing might of Captain Marvel, the fun super-hero antics of Mary Marvel and talking insects, whose ubiquitous appearance through previous issues turns out to be foreshadowing a tight plot.
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About the only bad thing I can say about this issue of Simpsons Comics is that you suddenly realize that the story can't be finished in one, and no matter how often you look, there aren't any more pages. Damn it. It's a rare two-parter.
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The answers to the readers' questions do not only serve as mere explanations. They create a backbone for the rationales of the characters. They strengthen the relationship between the characters. The fact that The Spirit knows Silk's history and his reluctance to remind her of that pain speaks well of him. They play an important part in the visual cues of Cooke's and Bone's animated series sensibilities. The answers in addition simply work well within the context of the plot and add complication without making it seem artificial. This issue of The Spirit is easily one of the best.
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There are some problems in the current storyline of The Amazing Spider-Girl, but added depth to an otherwise worthless character makes this issue notable.
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The main plot is a pretty peppy attack from Dr. Doom, but Doom's plan is a repeat. That doesn't seem to fit Doom's creative genius and a determination for original and spectacular schemes to end the lives of the Fantastic Four, or in this case the Fantastic Five.
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Hopefully, this will be the final issue of metaphysical mumbo-jumbo, and Madman Atomic Comics will pop with the vigor it once had.
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If there's anything wrong in the latest chapter of Nexus I cannot find it. The writing is brisk and to the point. The reliance of technobabble, which seems to be a common misstep among space operas does not occur here. The type of gun being used and firepower isn't important. It's more important that the reader get to know the characters and become attached to them. Reading this issue may do the trick.
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Nova isn't bad. It's competently written, but it's a little daunting for somebody not following Annihilation, and the technobabble comes at the reader in shovelfuls. A little restraint would be nice, except in the case of the Phalanx, and would it kill Abnett and Lanning to have Nova shout out just one "Blue Blazes" per issue? Of course, that want may just now be academic.
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If you like Bizarro, this is the All-Star Superman issue for you. You'll be in heaven. If you dislike or don't care about Bizarro, the issue of All-Star Superman is a passable time-waster.
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That's meta, right? Everybody likes meta.
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The revelation of Chrysalis and the nature of the Captain's resurrection still doesn't work for me. It doesn't work because Captain Dynamo lacks resonance. He's just not that recognizable of a character and hasn't been around long enough to gain a history. The Dynamo 5 issues more resonance than Captain Dynamo. While both revelations are meant to be dum-dum-dum moments, they just induce head-scratching and shoulder-shrugging. Still, this agreeable issue of Dynamo 5 demonstrates a cohesive effort by the creative team to do their very best.
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Red Tornado (cameo)
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Bart Simpson Comics features three short stories and one two page joke that provides more laughs than most comedy features. The artwork in all the stories syncs with the television series' designs. Nathan Hamil's vivid variety and Art Villanueva candy coats are as beautiful as those on The Simpsons.
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Hatred of the Baba Yaga and essentially a cold war waged by the supernatural beings of folklore adds depth to Hellboy: Call to Darkness. While Mike Mignola isn't contributing the artwork to his creation this time around, Duncan Fegredo who has tapped into Mignola's shadowy, cubic style is a logical replacement.
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Cue Elmer Bernstein, The Magnificent Seven ride again in the form of the Avengers, Marvel Adventures style.
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Homs illustrates frenetic and hauntingly beautiful underwater scenes depicting nightmarish characters straight from the Lovecraft method of design. His human cast exhibits gorgeously accurate anatomy. Vinicius Andrade's exquisite colors for these moments of deep sea action help evoke the illusion of the environment. Not since Thunderball have I seen a better depiction of poetic violence beneath the waves.
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There's not a single exploitative shot to be found in Sheena, and there was a lot of opportunity for such pandering. I admire the restraint. Sheena's sex appeal arose from her take no prisoners attitude, not just the amount of skin she displayed--which given today's costuming for super heroines was the square inch equivalent of hide bared under petticoats. Sheena tackled crocodiles that preyed on the hapless. She took down witch-doctors up to no good, slave-traders, hunters that didn't respect the laws of the jungle and of course Nazis. Sheena always kicked ass, and I'm pleased to see the fine tradition continue.
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Beautifully illustrated with precise black and white linework, Boneyard looks as good as the excellent characterization and the inventive story reads.
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Infectious Lass' miasma proves to be beneficial. Her presence and her effect on the story makes this issue not just the best of three but one of the best of the Legion, in all its incarnations.
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Part of this je ne sais quoi comes from the delicate, stylish art of Kenneth Rocafore. There's always color to Madame Mirage's cheeks and a smile at the corner of her lips as she takes down the suits and ties masking the super-villains who now rule the earth.
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James Cordeiro's, Scott Koblish and Studio F's Manuel Garcia combine their forces for not just super-hero action but also soothing background detail. The artists' ability to engineer technopoli and build meticulous mecha that never the less remains aesthetic and unobtrusive reminds this reviewer of Byrne Robotics. The artists are a boon to this title, and while their treatment of the human characters is a little cartoony, they also give them a gamut of expression that can be subtle or overt.
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"Aaaar, me hardy!" Board this week's good ship Scooby-Doo for a pair sea chanties involving pirate ghosts and a monster from the deep, then moor your time to a land-lubbing tale about the mall haunting privateers. "Aaaar."
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Each artist apes the conventions expected from each motif. Nina Matsumoto and Andrew Pepoy unleash the speed lines and bug eyes to fill the black and white manga. Because the Simpsons must look specific, the story here is far less homogenous than other manga. The French story bears the detail, delicateness and wide shots typically ascribed to the works, and in this story Templeton, with Pepoy and the candy-coats of Art Villanueva, dares to vary the look of the Simpsons to better mesh them to French stereotypes. The Bart-Bart story notes the dots for eyes and the cowlick that's Tin-Tin's signature. John Delaney, with Pepoy, for the Mexican story imbues certain members of the Simpsons clan with a casual sensuality and overly dramatizes shadows to compliment hammy performances. Ole!
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The story ends with the promise of a wild card from an unusual source that just might prove to be earth's savior. I suspected from issue one that Parker wasn't about to sacrifice a Marvel staple for his story. The man lacks hubris and simply wants to entertain. He succeeds.
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Jordi Bernet is best known for the violent, hardcore crime comic strip The Torpedo, but for this Spirit story, he lightens his style considerably and includes some charming burlesque styled cheesecake. Perfect for the summery tone of the story.
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Justice is a testament to an American mythology that was created in the comic books. These are the immaculate heroes with which my generation is intimately familiar. So are Jim Krueger, Doug Braithwaite and Alex Ross. Im ready for my Absolute edition now.
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Normally, such a story with such a half-assed premise would earn my deepest disregard. However, Amazing Spider-Girl's strengths save the book from being a complete loss.
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Artist Cory Hamscher gives the characters just the right cartoony touch. Sometimes he goes a little too far into anime realms for my taste, but by and large, his work enhances the fun.
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Off Nova goes into space, never to return, and I couldn't be happier. When I put Nova on my subscription list, I was expecting it to be free of Civil War nonsense and be the source for space-based, adventure stories. So, good riddance, "Call me Tony." It hasn't been pleasant.
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Science saves the Black Coat, but the perfection of the formula escaped the crazy Willhelm, still very much alive and crazy beneath the wreckage at the bottom of the bay. According to Willhelm's cohort, the formula isn't so much an elixir vitae but a drug that the Black Coat will need to take for the rest of his life if he wants to live sane. A tragic end for our hero, but Willhelm left notes, and I'm sure the fine minds of Nathaniel and Ursula will be able to decipher an answer to give the Black Coat liberty. Before that they'll need to contend with a league of comprised of legendary monsters brought to life by Francavilla's evocative art.
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"Don't embarrass us."--The line Perfect Tommy spoke to Buckaroo Banzai when he was about to enter John Warfin's hideout and save Penny Pretty. Quite apropos.
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Batman's inability to recognize an old, hated foe, his lack of fighting skill, acuity and the fact that he wasn't prepared for anything makes this issue of Detective unfortunately skippable except for Don Kramer fans. Kramer's work really takes a leap in terms of depth thanks to the intriguing character interactions in one gorgeous scene from Dini's otherwise unimpressive script.
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It's a quiet issue of Dynamo 5 lacking action and super-villainy for the kids to stomp, and perhaps that's why it feels a little lethargic. Well written, but kind of innocuous.
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Wonder Woman
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The sixth issue of the Lone Ranger is one of the best. The writing shines. The artwork gleams.
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Grim, lifeless and enamored of The Civil War, Omega Flight is the antithesis of fun.
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The conclusion of Helios satisfies with a smart infiltration scheme thwarting smart villains in a believable fashion. While I'm always going to miss Gabe Pena on the artwork, Andres Guinaldo's and Kwang-yong Huan's artwork is growing on me.
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Darkness Calls serves as a good continuation of the Hellboy saga, but this chapter is probably a little too heady a mix for newbies wanting to sample Hellboy. That said. Mignola still visually summarizes everything the reader needs within the issue.
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Despite a plot point having slight similarity to Justice League Unlimited, this issue of Dynamo 5 is smart and pleasant. It's also a fine example of the super-hero genre. Heroes band together to protect the innocent, including the threat.
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Researched, comedic and sketched with eyes for detail, this issue of Futurama Comics is outstanding.
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Now that Allred has established the rules of the book, this latest volume of Madman looks like it will be getting much better and will have the same attention to characterization as previous volumes. That's something I can recommend, but the Allreds haven't gotten there yet.
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This is teeth gnashing villainy at its finest. Cordeiro, Koblish and Garcia make these scenes absolutely juicy. They provide contrast from this wonderfully nasty figure through the devoted and damn cute Pepper Potts, and they hone their talents to construct an impressive Iron Man, coming off as a modern day knight who does indeed look like he's having fun while doing the right thing.
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The artwork lacks the daring of previous issues, and even the way in which Cooke reveals the Spirit logo lacks imagination.
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The schism doesn't make the story better, nor does it open up any new possibilities. The main plot of Thailog attempting to retrieve Delilah could have worked out fine without the added, needless melodrama of Elisa's and Goliath's broken state. Once again, I'm hoping that Demona has placed a spell on Elisa, and Elisa will soon come to her senses. However, because of the delay between issues, the split between Elisa and Goliath seems to be lengthier and therefore more damaging to the integrity of the series.
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For older fans, the book sports a nicely woven triangle between Lightning Lad, Saturn Girl and Timber Wolf that alludes to a previous incarnation of the Legion. Though of course one knows that Timber Wolf isn't feeling anything more than friendship and a need for empathy. Else, Saturn Girl would pick up on his more intimate thoughts, which would arise quickly to the surface. We however see the encounters through Lightning Lad's point of view. A decent issue of Legion Of Super Heroes with the gag of Timber Wolf getting space-sick becoming old very fast.
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All of course turns out well in this stand-alone tale of Avengers fun. Perhaps as another nod to the original Wasp, the Marvel Adventures Janet Van Dyne gains a new outfit, that's still just as functional and even more flattering and strikingly hued than the old one.
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Despite some missteps in terminology, Painkiller Jane still relates a supremely satisfying, fast paced story having an actual theme. None of the zeroth twenty-five cents issue is reincorporated in the pages, if that was a fear. The tale's focus on the title character reveals a strong, sparkly, introspective voice and consequently a resonance very few "newer" characters possess. Lee Moder's artwork continues to be a boon for Jane, and anatomy and proportion rendered in style eliminates the potential for visual sexism and allows the reader to better appreciate the heroics of Painkiller Jane.
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The art's fantastic. The story's readable, and it's difficult not to recommend a book that has Sonja fighting zombie pirates, but that said, this issue merely treads water. The plot is pedestrian when compared to past issues, and Sonja winds up being in the same place she was at the story's start. Gath's chortling becomes repetitive, as does her predicament.
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Two out of three isn't bad, and the art throughout the tales while varying in style preserves the look and feel of Scooby-Doo.
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The motivator for this issue is Marge's addictive personality as well as her aforementioned instinct for order. The result will include guest appearances by the Olmec Head, the creepy Burger King mascot, Jimmy Carter, the duelist and a completely unexpected guest-star whose dialogue captures the voice actor's talents to a tee. Simply convolutedly gorgeous.
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By the end of the book, all the characters learn something about themselves, and we learn more about them. In short, this is the best issue of Spider-Girl's entire run, and that's no mean achievement.
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Van Lente plausibly embroils the Fantastic Four in a classic detective story device while the art team brings a decidedly futuristic nuance to the panels as they animate the characters.
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Well, congratulations Nova. Keep this up, and I just won't be able to keep you on the subscription list. Belly-laughs can be lethal, you know.
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What I find most interesting about Spider-Man & The Fantastic Four is that Parker crafts a believable world threat and mitigates his usual freewheeling wackiness seen in the Marvel Adventures line. In a sense, the story is dead serious. Parker however doesn't confuse the attitude of the story with the attitudes of the characters. The characters behave as themselves and adapt to what's presented in the story. They don't become slaves to the story. They don't drop years of characterization for the sake of the story. That's what makes Spider-Man & The Fantastic Four so entertaining.
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52 isn't quite good enough to be mediocre. Therefore I cannot bestow to it the bland, emotionless score of three bullets. On the other hand, I'm not outraged over 52 just puzzled as to the whole creative reason for its existence. I can see the monetary rationale. It therefore earns two bullets. I didn't enjoy it. I didn't hate it. It was unnecessary, if you ask me.
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This is another unimpressive issue of Astonishing X-Men. Whedon is just not up to snuff in these pages. He lacks passion for his subject and his own story. Cassaday's and Martin's art is as usual pretty, and Kitty gets naked. If that's enough to warrant your purchase, please be my guest.
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"Action Jackson"--Carl Weathers' sexified, uber-funky character in the blacksploitation movie of the same name.
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McGraw conceives of inventive deaths that fit the victims' profiles. He plays fair with the reader and characterizes Batman well. He also perfectly captures Batman's terse words and inner-dialogue. While I found the mystery a little too easy to solve that may not be the case for those who haven't dined on a steady diet of the detective genre.
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Dick Giordano's sole tale works much better in color. His fine line work gives the colorist an easy guide to follow, and naturally Giordano's drawings are classically beautiful. The remaining pages are devoted to recolored, often rare Sonja pin-ups by John Buscema, Giordano, Chaykin, Frank Thorne, Bruce Patterson & Neal Adams, David Wenzel & Duffy Vohland and Rudy Nebres. All in all, it's a good collection at a bargain price.
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Great art and nostalgic writing that still acknowledges the modern day styles makes for good reading. I'm pleased to recommend Hawkgirl.
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Mignola's shadows are more than just trappings. They're part of Hellboy's signature. I was a little concerned when I learned that Duncan Fegredo was slated to be artist on this latest Hellboy excursion. I like Fegredo's work, having encountered it on several Batman cover paintings, but would he be suitable for Hellboy? The answer is yes. Fegredo follows Mignola's patterns to the letter and adds more detail to the characters to make them his own. The latest Hellboy ride promises to be a good one.
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This issue of Justice League Unlimited also represents a welcome return to the animated lensed art of Carlo Barberi and Bob Petrecca. They make Crimson Avenger an impressive, dignified special-gun wielding vigilante, and their depiction of Stargirl's youth in panels bestows to her limber playfulness that works perfectly in conjunction with the writing. Barberi and Petrecca furthermore contribute to the panels a sense of timing that facilitates a snappy pace, and they not only accomplish animated accuracy but the illusion of movement in battle and in body language, whomever's body may be featured. This is a spectacular issue of Justice League Unlimited.
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Looney Tunes had me in tears. Every joke is worth reading. The diverse art makes this issue visually special and indeed a celebration.
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Whatever happened to fun? This book with murky artwork by Kolins and Reber isn't fun.
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Artists Szilagyi and Petrecca impressively illustrate the Phantom. A purple-clad, sinewy gent with a full range of expressions. Szilagyi exhibits excellent dramatic timing in the panels, and Szilagyi's and Petrecca's design for Angela Carlyle suggests they would be excellent artists for Doc Savage; in their hands Angela becomes an analogue for Pat Savage, Doc's bronzen, golden eyed cousin.
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The pessimism of the modern day world contrasts the magic of Captain Marvel, as well as Mary Marvel who Mr. Smith distinguishes carefully from her brother in a more considered way on how their powers work.
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Meanwhile, Lois tucks in some kid in bed. She apparently acquired him in some other book, and Superman doesn't hit anything. I'm very close to dropping this title.
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Bart's impish nature gets him expelled in "Elementary School Dropout." Earl Kress demonstrates plausible reasons through the tale explaining why Bart wants to return to the warm comfort of the status quo. Aided and abetted by the panels of Niles and Pepoy brightened by Hamill, he creates an Odd Couple inspired comedy piece, which ingeniously changes Seymour Skinner's mind.
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Justice is just begging for Absolute collection treatment. The art is eye candy. The story is brain food.
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Liberty Girl is a very worthy comic book. It instills a different feeling in the reader and the character has a distinctive voice that readers should value hearing.
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When I first bought Red Menace, I expected nothing special. I had after all read numerous pastiches and satires, but this creative team crafted an intriguing story that had a well researched historical backdrop with fully developed characters, both real, imagined and mixed. In short Red Menace gave me more than I bargained for. If you missed the series, seek out the back issues or get the trade paperback.
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This is a good quiet start to the Legion of Super-Heroes, and for once, it's not a reboot.
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Andreyko's writing is so easy to digest that it really doesn't need explanation. He does not hit you with one lump of information. He feeds you the characterization bit by bit in the dialogue and the way he directs the scenes. The artists enhance the book's natural feel by contributing proportionate characters acting amid perfectly staged dramatic scenes. Read Manhunter.
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Parker and the art team combine forces to excel with a ludicrous story that yet makes sense when you think about it in the only book on the racks worthy of being called The Avengers.
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Sonja's success sets her free of the strange lands, offering a respite from Kulan Gath's unchecked thirst for power, but Oeming hasn't finished with the reader, and it's the last scenes showing the fruition of Gath's plans as well as his hubris setting up his downfall that keep Red Sonja from crashing on the rocks of mediocrity.
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Robbie Busch's "Texas Tooth-Step" is the best of the three stories. This time the plot makes sense. The monster's genuinely creepy, though his greed tips his fang too quickly making him even less of a figure of fear. The intricacies of his scheme stretch the crime farther from the formula of mere real estate fraud. This chap will be speaking to the federales. The inker, this time Busch, again alters the look of Joe Staton's pencils, but you can see his intent beneath the odd yet able embellishment.
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The art by John Costanza and Phyllis Novin is mostly good, but some of the art is horribly off model. While the book has switched to cheaper shiny paper, the effect the paper has on the art cannot be this pronounced. Art Villanueva's usually brilliant colors though do suffer from the paper switch. I'm sure everyone involved had they known about the printing changes would have adapted their styles.
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I never thought I'd give this book , but there you have it.
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I was hoping Nova would be a good comic book for space-spanning, swashbuckling adventures. I had also hoped Nova would be free from the shenanigans of Marvels Big Stupid Event. I guess I should have known better.
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The ending acts as a decent solution--that makes good use of the backward nature of the Bizarros, but the final scene just made this reader roll his eyes.
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Amazing Spider-Girl is exactly what I want in a comic book that deals with the legacy of super-heroes. DeFalco and Frenz incorporate heritage into the story. They address how the heritage of the characters helped mold them. They take no easy outs. Rather they let the plot evolve into a satisfying blend of emotionally charged heroics and domino arrangements.
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Welcome back Amelia Rules. You have been missed.
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The second issue of Dynamo 5 is more exemplary of the kind of stories that we can expect from Jay Faerber and Mahmud Asrar. As such it's pretty good.
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In summary, Wha? Really nice artwork either reminds the reader of what will be lost should the truth win out, or hopefully, this is the quality of illustration that we can expect when we discover that everything-we-know-wasn't wrong.
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Mann does convey several good ideas in the artwork. The FF look closer to their cartoon counterparts, probably a good idea given that this is currently the place most will find the classic Fantastic Four, until the second movie gets out. I also like how he has altered the scale between the Thing and Alicia, almost wisp-like in contrast, and his Time Variance Authority is decidedly cosmic with a weird look that distinguishes them from ordinary sentients who just happen to travel through time.
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It's no surprise to me that Jeff Parker writes Spidey and the FF so well, and those who unjustly ignore the Marvel Adventures line are in for a treat. My high expectations have been met.
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Angela takes the wet route to escape Sano's continuing stupid actions, and Liebe and Pierce have a perfect plot twist based on what I thought was a throw way gag ready for the cliffhanger. The presence of this plot twist nicely summarizes all the strengths of Liebe's and Pierce's comprehension of the shared universe, the mechanics of writing and what's simply cool.
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"Feminine-Hygiene Product"--Douche, as in Douchebag, as in "Kenny is a Douchebag."
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What can I say, I thought they would blow it, but instead the creative team behind Detective Comics blew me away.
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As usual, Helios continues to be a brilliantly written super-hero book with interesting characters and an equally interesting universe. The book functions through an effective, well-timed plot. A smart alternative to the usual suspects.
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The art's on model. I suppose that's something, yet it's art devoted to Guy Gardner, "the bestest super-hero in the whole darn universe." I'm going with a worthless on this one, except for those who are blindly devoted to Guy Gardner. The author's speaking your language.
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Three stories, star characters, on model artwork and amusing to laugh out loud funny gags make this issue of Looney Tunes a must buy.
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George and Bess care what happens to Nancy. They'd hate themselves if something bad happened to Nancy, even if her behavior would make this inevitable were she not so good at solving crime. I think this is the secret to Nancy's success. At the core of the mysteries, it's Nancy, George and Bess inseparable. Petrucha easily replicates and advances their camaraderie to create a snappy dialogue rhythm that propels the detective story to its satisfying conclusion.
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Am I intrigued to buy another issue of Omega Flight? I'd say so, but I'd rather read a Michael Avon Oeming, Mel Rubi, Steve Buccellato issue of Red Sonja any day.
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If you don't think any of that is worth a quarter, then I don't know why you're even frequenting a comic book shop.
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This is an all right anthology. If you ask me, Dynamite would have been better off making this book a short-story collection rather than a chapterplay combo, and why on earth haven't they included the Lone Ranger, Darkman, Xena and/or Ash? Savage Tales doesn't intrinsically imply sword and sorcery.
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Fess up, Superman writers. You conceived this story because some girl decided that it wasn't a lucky night for one of you, or perhaps both of you. This issue of Superman is crap.
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The depth of the episode belies its odd Matt Groening styled designs, and never before has "Don't You (Forget About Me)" by Simple Minds, which plays the episode out, gained so much resonance. Suffice to say, after witnessing this Futurama episode, if you believe that Fry would refer to his brother as "stupid" you just haven't been paying attention. Len Wein knows the Batman universe, and he may have a gleaning of the Futurama universe, but what's lacking is the deeper comprehension that makes Futurama such a fantastic show.
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Elisa seems dead certain that she and Goliath cannot have children. Where in stone is that written? Aquaman, Namor, Hercules, Spock and the Doctor are half-human. Vincent and Catherine had a child. As did Robin and her "lover," who was a reptile, on V. Elisa and Goliath shouldn't necessarily jump to any conclusions without proof, especially true for Detective Maza, and given that magic and sci-fi are part and parcel of the series, almost anything seems possible.
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Kolchak Tales Frankenstein Agenda is a quiet story that may retread some old material, but it does this in such a way to make the points of The Modern Prometheus fresh. Michelinie takes advantage of our vast advances in biology to pose ethical questions and hold a mirror to those that would look away from those moral quandaries.
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Athena surprisingly does very little, apart from get pissed off. Granted she did a helluva lot in previous chapters, but in the conclusion, she's more like a witness. Ultimately, the story will probably read better in trade paperback form than in comic book form. As for the cute tag scene at the end, passable, but how you approach it will depend on your opinion of things like the World Newton Family Tree.
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The one drawback in this issue comes from a gratuitous butt-shot from artist James Fry. The panel with Brynne bending over detracts from the drama of the heroes' battles against the villains.
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With a wounded leg! At this point I'm hoping I misinterpreted the whole thing, and it turns out that Stuart Moore was actually writing a Mystery Science Theater 3000 styled comedy. Alas, I know I'm just being optimistic.
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These story elements and more can be found in a neat, economical package designed with proportion and an eye for action, action, action courtesy of Juan Santacruz and Raul Fernanadez. Act now!
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Red Menace may be winding down to the conclusion, but it hasn't lost any of its potency. The rich characters possess depth seldom seen in what on the surface seemed to be essentially variations of the archetypes. The plot's textured with multiple themes and the art's simply gorgeous.
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The two stories are rewarding. The art's on model, and you lean something after reading. In other words, good solid Scooby-Doo.
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The only complaint Spirit fans can lodge against this issue is that Cooke has Silk Satin outshine P'gel and Ellen Dolan by about a million candelas.
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May does come clean with her parents. In stirring words that equivocate her heroism, she tells her parents that she will be Spider-Girl because it is her responsibility, and that should be the major theme in any spider-comic.
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"Muppety Odin"--Odin as a Muppet, surely that one was obvious. Ah, but is it more than that? A puppet god perhaps? The idea of a god being useless as a puppet? An allusion to Angel turning into a puppet in his television series? Nah. Odin as a Muppet.
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The Ranger plies his trade, and Cavendish's enforcer works in his own gruesome fashion. He finds himself partaking the hospitality of Dan Reid's wife, unaware that she and her son are doomed. As well, the reader knows this to imbue the scene with even more chilling menace. We hope that this evil man will spare this beautiful, poised, civil woman who unwittingly invites death into her home, but we know he will not spare her, or Reid's son. We also know that there will be a reckoning.
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This thoroughly enjoyable issue of Marvel Adventures Fantastic Four is well illustrated by Mann and Pallot. Though their angular cartoony style may put some off. The colors by Lee Louridge reflect different casts and shades of light, but the technique often makes the cast look unnatural.
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I don't even regret Superman being more of an element in the Prankster's formula rather than the actual chemist. What I do mind is the return of the Advertising Whore. She's a bad lay. We get a "Jimmy Olsen Must Die!" ad, followed by two pages of story, then "The Search for Ray Palmer" ad, followed by one page of story, then "The Seduction of the Innocent" ad followed by two pages of story. That's too many ads in a succession. Given that these are house ads for Countdown--what no World War III ads? There's an Amazons Attack ad--they don't need to be here. They're not paying for this book, and Countdown certainly doesn't need the hype. However, if you had to put a house ad in the book, one would have sufficed, and obviously "Jimmy Olsen Must Die!" just might make Superman fans curious. Because the Advertising Whore wouldn't take no for an answer, I'm using the fifth bullet to shoot her.
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What follows is a satisfying mix of sweet scenes and the promise of slapstick as Michael delivers the comeuppance to Lilith. A sexy epilogue, done in Moore's crisp black and white, featuring a severely hung-over Abbey concludes the chapter, and four Bloom County inspired Hogsbreath cartoons instill laughter on the inside of the jacket's final page.
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Captain Clockwork proved to be a nice surprise. The black and white thirty two-page book costs three dollars but contains no ads and is printed on decent paper stock that's perfect for capturing the medium.
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The art isn't a saving grace. While Andy Clarke and Nathan Eyring turn in a decent Robin, their Bruce Wayne eschews tailor cut suits for the stylish, new business muumuu, baggy trousers and of course color clashing Hush-puppies. He appears to have been stricken ill with the mumps, and he also seems to have acquired scleroderma of the hands. His eyes lose their ice-blue threat in favor of what appears to be black marbles surrounded by halos of periwinkle. In short, this was crap. You deserve better. I deserve better, and anybody on the fence should not buy this issue.
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I didn't know what to expect from the Dynamo Five, but I'm so impressed that I'm adding it to my subscription list.
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The best this issue of Justice League Unlimited has comes in the form of Dave Santana's artwork. His depictions of Metamorpho being pleased with himself and the multiple applications of his power would have been winning in a combination with Beechen had the author been up to snuff. Instead, Santana's work while in itself peppy and fun cannot mask the stretched out plot or the bad characterization.
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Although my support of Manhunter has not dwindled, I cannot help but be slightly disappointed by the lack of focus on Kate in this chapter of an otherwise interesting story.
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This issue of the Phantom shows how the current incarnation became the Ghost Who Walks. By teaching this lesson to criminals, Kit learns the significance of his legend and his oaths.
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Lightning does not strike thrice for Keith Giffin and J.M. DeMatteis. I didn't laugh once, nor was I interested in the characters. Bax's art though is simply beautiful.
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This strong issue of Red Sonja moves the story forward to a promising new chapter while Homs' artwork continues to be a boon substitution for Mel Rubi's signature sketching for the She-Devil with a Sword.
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Shazam! The Monster Society of Evil gives fans of Captain Marvel and the Marvel Family a real alternative. Smith uses the more fantastical elements as symbols of optimism in a grim, dark world that faces an even greater threat, and if you're not careful, you just may actually smile while reading this comic book.
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This .99 cents issue of Sheena is highly recommended. It's priced right, has a beginning, middle and end so you can decide for yourself at little cost.
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Chuck Dixon's story "The Burger Meister" is the best of the lot, but it's still a toothless war between Homer and Bart involving a Burger contest. I enjoyed the Snoopy and Red Baron gag at the opening more than the entire story. At least the art by John Costanza, Phyllis Novin and Hamill--combining to illustrate a splendid biplane by the way--pulls you through the minor episode.
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J. Michael Straczynski thought it was a good idea to have Spider-Man's dead arch-villain plow the fields of Spidey's dead girlfriend. Kaare Andrews thought it was a helluva good idea to make Spidey's sperm radioactive and use it to kill Spidey's wife. Not only does the latter make not one bloody ounce of sense from a scientific viewpoint, but, also standing proudly with the former, the examples of each author's disrespect for the characters make an incestuous kiss between mother and son for six panels positively charming and innocent by comparison. So, Heroic should send bouquets of roses to J. Michael Straczynski and Kaare Andrews for imbedding the bar so deep in the asphalt.
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There's no doubt in my mind that Supergirl, an honorary member of the League, will be doing that next issue. Justice's story is so good and moves so smoothly that you almost take it for granted. The eye-popping visuals from the Howard Pyle of comic book art impress on each page, but the story is almost old hat. The League attack the Legion of Doom and kick ass as expected, but then the beauty of a plan that takes into account mind-readers and super powers fruits at the cliffhanger and raises the book from being really good to being great. Perfect.
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The Frankenstein Agenda is proving to be far more than stitched together set-pieces. Rather it's a coherent Kolchak case that hasn't yet lost its electricity.
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While I'm not appreciative of some of the fleshtones, the artwork by Santacruz and Fernandez easily gets the job done with proportionate characters, a va-va-va-voom Morganne Le Fey and action, action, action.
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Even had you not given Red Menace a try, there's always Ordway's and Vey's artwork to provide detailed eye candy. Not from the painted muscle man school of super-hero art, Ordway and Vey add visual attractiveness by showing costumes that aren't skin-tight and let the man or boy behind the masks be seen. Brass flies as .45 cannons fire. Cloth wrinkles as do the faces when a gamut of emotions radiates through the panels. The pacing never falters in scenes of action, suspense, or shadowy intrigue oozing from the deadly doings in Washington D.C.
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Despite there being only one story that behaves like a bona fide mystery, this issue of Scooby Doo is a fantastic if confusing celebration of Edgar Allan Poe. Poe had nothing to do with Valentine's Day, and I question the decision to give the issue two themes instead of sticking with the stronger one.
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It's not a fantastically funny issue of Simpons Comics, but the narrative is a strong linear send-up and amusing, without losing sight of the characterization. The artwork goes the extra-mile with its period settings and fashions. That's enough to make it worth your attention.
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The mixed message doesn't inform the reader nor open the subject up to debate. It doesn't even mete out the consequences of a world without a Superman. When Superman's not around bad things happen, but this woman survives with what is essentially a fictional flesh wound. Instead, the authors by trying to satisfy both camps and be politically correct engender a weak ending to a forgettable story that lacks thoughtfulness or punch.
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Darwyn Cooke's third issue of The Spirit is a winner. Usually I tend to shy away from revisits of origin stories. Usually the updated versions tend to add superfluous information or do not significantly change the origin enough for the better to warrant the second view. In many ways, it's like the remake of a classic movie. Why remake The Day the Earth Stood Still? Better effects do not always translate into a better presentation. Just rebroadcast the original. Occasionally though, sometimes the re-evaluation is worth reading, or in the case of a movie seeing. The Spirit is such a beast.
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The school setting takes up too much time, but the multiple hunters in the story make for a smashing party that's crashed by the Amazing Spider-Girl.
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Neither gripping, ground-breaking or epic, the best thing I can say about Astonishing X-Men is that it's pretty, but pretty for a lack of story isn't really enough of a saving grace especially given the talent involved.
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Darkman vs Army Of Darkness has to be the surprise of the year. Although I knew that Stern and Busiek would put together something readable, there's no way I could have known it would be so fun and intelligently scripted. Nor could I have expected the return of James Fry doing his best ever work for an in hindsight, almost natural, team-up.
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Manhunter is too good for comics. She should be on the Cartoon Network and in novels. Oh, well. At least we got a Kevin Nowlan cover illustrating Kate and Batman before some author who doesn't care one whit about the character has some super-powered snot punch off her head and/or raped by some loser with a fin on his head.
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Is it any wonder that yet again an all-ages book is superior to the books geared more toward adults. Here we have a cohesive Fantastic Four split by a prank that hurts the feelings of another member. Nobody acts out of character to get the story moving, and the plot carries a sophisticated political angle that's far more mature than the artifice of secret identity outing.
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Petrucha's characterization and dialogue are simply superb. He cleverly works into the story each girl's "role" to better the plot. Bess' expertise in all things mechanical at one point takes center stage. George has never been portrayed tougher, except when in the original adventures written by Mildred Wirt Benson. In this tale, we see her backed into a corner but ready to fight. Nancy though for this volume takes the cake. Petrucha gives her the most dimensions. While George is ready to fight, it's Nancy who actually clobbers somebody. A softer side that cares about the world and the cousins balances her sharp intelligence and thirst to solve mysteries. Without a doubt, "Global Warning" is the one of the best in the newest series starring the Girl Detective.
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Sorry. We're shut down for spoiler removal. Come back next mini-series.
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I do have one question. What does DC consider this book? Is it an imaginary story? An Elseworlds? A retcon? A result of Superboy punching time? I consider it an All-Star version of Captain Marvel, clearly updated for the present day, which slides it right out of continuity, and quite entertaining.
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The issue of Detective Comics caught me off guard. I didn't expect much. I thought mistakes were made, but Dini instead acts smart throughout the crafting of an excellent mystery that should be nominated for an Edgar.
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I don't know what happened. I don't really care. I like Booster Gold, but I don't give a rat's behind about Speedy. I think I would have preferred Vibe or the Color Kid as Booster's partner. Regardless, Baron doesn't adequately explain what Speedy did to blow Polaris' shuttle. The reader needs more than a stone-tipped arrow and Newtonian physics to illuminate the explosion.
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Matthews is clearly stretching the story out to fit the length of the series. He could have encapsulated the dirty deeds of those mounted against the Ranger without including their meaningless presence. The real draw to the chapter is the magnificent Silver, exquisitely rendered by Sergio Cariello. The rest of the piece lacks focus and meanders.
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Oeming saves the best surprise for last. Sonja isn't the only Robert E. Howard protagonist in the book, and the introduction suits the character and his resonance. For a book not actually focusing on the main character, Red Sonja entertains immensely.
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It's rare when something so beautifully written and gracefully drawn pads through the super-hero genre. If you haven't bought the series, I urge you to pick up the collected version
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If you think the art may save this book, think again. Dan Jurgens is at his most perfunctory. He even phones in illustrations of Superman, the character with whom he is most associated. Batman's ears are short to the point where you can simply call him Helmet Man. Wonder Woman looks like a male Russian bodybuilder on steroids, lots of steroids.
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So here's my advice. Don't read the story. Pretend the Hawks are the Hawks you like and just follow the art. Don't read a single word. Reduce the tale to good guy versus bad girl versus good girl, and you'll sleep a lot easier. Oh, and in case you're wondering. My Hawks are the pre-Crisis Thanagarian Hawks.
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The artwork by Don Hudson offers good likenesses of the Kolchak cast and keeps things moving at a fair clip. Kubina's colors enhance the mood. The mystery will not strain anybody's brain, but several episodes of the series were hardly exercise for the gray cells. Regardless of the believability or the enigma of the monster, you follow Kolchak for Kolchak.
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This story could have gone very wrong so very easily, but the artists and the writers all prove their mettle in the first Phantom Annual.
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The autobiographical account comes in digest form on sturdy paper-stock. The printing is of high quality, as are the miniature reproductions of comic book covers from the era. I'm amused that he picked most of the ones I possess. Recommended.
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Avengers Next is easily the most underrated series Marvel produced in the year 2006-2007. Even White Tiger received scant hype. Avengers Next was barely promoted. Don't let this series fly beneath your radar. Nuanced with nostalgia, the story is excellent. The art bares the sensibilities of proportion, scale and super-powered kinetics, but done in a stylish manner that demonstrates the maturity of a well-known comic book penciler.
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Nathan Hamill as usual exhausts his "crayon" box. However, Bongo's change in paper-stock makes the usual vividness of the hues look somewhat faded. This is especially true with regard to the flesh tones.
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Welcome back Parker, Santa Cruz and Fernandez. Your brand of zaniness has been missed in Marvel Adventures: Avengers.
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Kano and Lopez's artwork further tones down the obvious conclusion as to the way the women are portrayed. The Teeny Teens act vapid, but the artists make them look youthfully cute. They give them a variety of body shapes and facial characteristics. They're not a succession of Paris Hilton knock-offs. The artists show the women mooning over The Torch and Ice Man in the same way that generations of women, regardless of their intellects, fell at the feet of Elvis or the Beatles. The end result isn't a flock of buxom sheep but rather a group of different, young women that have boys on the mind and have yet to experience the pleasures associated in the acquisition of knowledge. The story's female hero suggests that they will.
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It's novel and laudable to see a hero actually prevent rapes and murders rather than avenge them, but in terms of a Phantom story, the issue is nothing special. Of course it still surpasses most of the books haunting the racks.
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Red menace works on many levels. The Eagle represents the felling of idols. His daughter and the Gray Falcon symbolize faith and optimism. The historical accuracy of Red menace gives way to imagining an evil thirst that cannot be quenched in a world of super-heroes and super-villains that now work for the government. There is pertinence and parallel when one considers the rare combination of idiocy and corruption sitting in the White House. If that's not enough to entice the reader, it's all drawn by Jerry Ordway with Al Vey on inks and the delicate hues of Johnny Rench & Carrie Strachan.
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If this wasn't enough to entice the reader, Oeming includes a reprint of a seldom seen Roy Thomas chronology for Sonja's Marvel adventures. Red Sonja art by such luminaries as John Byrne, Esteban Maroto, John Buscema and Frank Thorne accompanies the guide.
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Dan Davis illustrates Rozum's object lesson and despite the scant length still manages to put plenty of character into Scooby, Shaggy and Velma. The art by Scott Neeley and Tim Levins in the main short stories bring the Gang to life, make good comical use of Scooby and Shaggy and offer detailed backdrops for the sleuths to explore.
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This issue of Simpsons Comcis is a surprisingly weak anthology and a departure from Ian Boothby's usual derangement. The artists' of course follow Groening's footsteps throughout each tale, and they come up with attractive visualizations of cast even when metamorphosing. The story's subject matter allows for even more colors to spread across the pages, but those pages have a different paper stock and alter the general look of the book.
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There is no comparison between The Spirit and the lion's share of comic books on the racks. The Spirit is the better in every respect, but this issue sports a few flaws. The pacing for the story isn't snappy enough. Too much time is spent going back and forth between Ellen's home. Ultimately this issue, while worthy for purchasing, isn't as zippy as the brilliant premiere or the special Batman/Spirit.
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The Xena Annual is a must for all Xenophiles and for those who like a little thrill.
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Amazing Spider-Girl is surprisingly complex, but it reads smoothly thanks to the talent involved. You would normally dismiss this issue as almost inventory themed where a substitute protagonist interrupts the story proper, but DeFalco and his Merry Band in reality create a stand-alone tale that serves as the core for the ongoing story's revolution.
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Smolin, Lee (2006). The Trouble with Physics. New York: Houghton-Mifflin Co.
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Simply put. I love The White Tiger. This is one of Marvel's best titles of 2006. I'm betting that it will remain that way in 2007.
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Chronovore--Time eater first seen in a different form on Doctor Who, during the Jon Pertwee era. Later reappeared in a different incarnation in the Hugo-Nominated Doctor Who episode, "Father's Day," during the far too-short Christopher Eccleston run.
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Usually Boneyard appeals to its readers as a jokefest. There is also another aspect, which explains the title's success. The characters have heart. They like each other. Michael does everything to protect Abbey. He embarrasses himself. He confronts mind-blowing wonders. He tolerates Glumph. He does all these things to save Abbey from the potential wrath of the Illuminary. Hildy drops everything to help Abbey. Glumph co-operates. Robin, the newest member of the cast, will do her part. It's a very optimistic approach to story writing that should be adopted by more books.
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Possibly Cat Man (cameo); not absolutely sure who this guy is, but it could be a heroic version of the Batman villain Cat Man.
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Andreyko while adding characters from the DCU, does not forget the characters that he created or borrowed to fine effect. In this issue of Manhunter, he strengthens the relationship between Dylan and Chase. He expands on her history while setting up next issue's big Bat guest-star. He gives weight and substance to Mark Shaw's subplot by utilizing a largely untouched parcel of DC continuity, also tied into Bat-lore. Here is an author who understands what continuity means.
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Simply put, had Sonja beheaded the villain, to which point the story had evolved, the book would have earned .
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The idea of Superman doing nothing may have seemed novel to Busiek, but it actually describes about ten years worth of the post-Crisis Superman run. Who can forget Superman bravely floating over wreckage and doing nothing in the aftermath of Our Worlds at War? Who can forget him weeping at the drop of a hat? For these reasons I cannot fully recommend this issue of Busiek's Superman.
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Had it not been for Agent Brands tactical idiocy, I may have given this issue of Astonishing X-Men , but Brands apparent lack of intelligence, which reflects Whedon not thinking things through, forces me to knock another bullet out of the chamber.
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I've got to hand it to DeFalco. Not only does he come up with a very impressive reason behind the crone's mischief, he makes it characteristic and historical. He furthermore never cheated the reader. He laid the clues to the scheme up front and foreshadowed the spanner in the works issues in advance.
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I doubt art for the Simpsons ever can be considered a chore. Carlos Valenti, Phyllis Novin, Nathan Hamil, James Lloyd, Mike Rote, Art Villanueva, Phil Oritz and Mike DeCarlo all convey their excitement toward their work onto the pages. Each story adheres to the model of recognizable silhouettes. The illusion of animation through the panels fluidly compliments the words, and the visual timing for the jokes is impeccable.
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This issue of Detective Comics epitomizes the quality of storytelling I expect from Paul Dini. "Double-Talk" keeps to the title genre. It allows Batman to be a super-hero, and upends conventions making a pleasurable page-turner. Kramer, Faucher and Kalisz make "Double-Talk" a visually athletic escapade and as well detail the subtle moments expressed by a puzzle-solver extraordinaire.
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Following up on Batman's information, the Captain visits an old foe, and its his humanity that demands that he set his enemy free. The characterization for this scene rises above anything given to the Big Red Cheese previously. It's a wondrous moment that's pure perfection in dialogue, expression and narration. It even trumps the astonishing two penultimate pages depicting the League in a new form doing a hero's walk reminiscent of the Bruce Timm Justice League.
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Infant Terrible--Actual Fantastic Four foe, duplicated by the friendly folk at Beyond Corporation.
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Busiek's and Stern's Darkman vs. the Army of Darkness is not to be missed. The sensible plotting and thoughtful artistic endeavors in addition to superior characterization makes the series the perfect realization of an unusual yet in hindsight natural team-up.
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It's another great issue of Helios: Under the Gun. The quality of this book is becoming almost predictable.
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The best part of the script occurs at the end. Matthews tweaks the introduction of the final component to the Lone Ranger legend. The set up is perfect. The visual rewards.
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The creative team unfortunately shunt Hulk and Wolverine to the sidelines, but they atone for the probably unavoidable relegation with a great one-liner from Spidey, spotlight moments from Giant-Girl, a clever rescue from Storm, which also believably keeps her from the action and a humorous, good use of strategy from Iron Man, an absolute hero in the Adventureverse unlike the gold-plated Nazi from the mortally wounded Marvel continuity proper. Yes, that also sounded like a moment of deja vu to me. This does not bode well.
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When the Eagle contacts an old friend, the culmination of corruption drops heavily on not just the Eagle but his counterpart. How the Eagle will find his freedom merely whets the reader's appetite for the next issue.
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Before the reader reaches the discovery, the battle against the icky androgynous demon spawn rages on and facilitates Mel Rubi's and Brian Buccellato's aim to fill the panels with action and grue.
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John Rozum returns to the pages of Scooby-Doo for the scant but filling remainder of pages that inform the readers of a snowman legend that hasn't anything to do with Frosty. Despite the length and the subject, Dan Davis contributes his professional best and keeps Velma, Shaggy and Scooby in perfect character.
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The trio of tales lacks a single clunker. All give the reader a laugh or a smile, if not two, and the Maggie story is very affecting.
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While I can't get behind the entire series, I can fully recommend these last two issues of Union Jack. Given Mike Perkins excellent photorealism laced pencils, Andrew Hennessey's carefully crafted inks and Laura Villari's muted colors, I can say the trade paperback will be worth coin.
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I declare this first issue of The Spirit a success. Its easy to enjoy and benefits from Darwyn Cookes superb artwork and galvanized writing thats seven kinds of cool.
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Though the meandering from the main plot slows the book down to an almost complete halt, Amazing Spider-Girl's main plot is still riveting and atones for the lackluster May Hartman, May Hartman pap.
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The biggest bombshell in Avengers Next results from Ultron's presence, but to comprehend the meaning behind my tease, you'll just have to buy the book yourself. The gambit's too juicy to reveal, as is the cliffhanger.
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The story ends on a humorous note that serves as a release from the menace posed by the Quarrymen. The only flaw, and it's a small one, in the issue can be found in the scene in which MacDuff debates a bellicose ADA who sees the Gargoyles as dangerous monsters and wishes them caged for laboratory study. The televised debate is a little derivative of Dark Knight Returns, which to my knowledge is the first book to intercut televised reports and debates with the action. Gargoyles however soars above this deference, which does at least factor into the tale.
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The intent of Marvel Adventures: Fantastic Four may have only been to convey a simple message, but in the end, the nature of the robots and Reed's actions toward them evolve a more thoughtful tale. I don't know if Zeb Wells meant for this to be, but regardless, serendipity should be recognized.
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The art and story in Agents of Atlas is just incredible. Parker and company run through all the traditions of the super-hero tale in a tightly paced tableau of visual power that impresses. They hint at mysteries that keep the reader looking for the next page and the next issue.
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Snyder, L. (1976), The Encyclopedia of the Third Reich. McGraw-Hill: New York.
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As well as Dini's ever so weak Bond-inspired leftovers and/or poor characterization, Don Kramer and Wayne Faucher fail to reach their previous levels of artistic quality. The opening action sequence is easily the best part, but the rest of the panels are merely passable. One section of the story is absolutely awful. In a flashback to the remainder of the Batman Family's 52 "three-hour tour," Kramer and Faucher foul up Nightwing's anatomy something fierce and make Tim Drake look way too old, even taking in account the sliding scale of years DC tends to use as a guidepost. Overall this issue of Detective Comics is a lump of coal.
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Ho, Ho, Ho, Justice League Unlimited readers! This is one present
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Special note must be made for colorist Dave Tanguay and letterer Ryan Cline. Tanguay uses practically every shade in the spectrum to enhance such things as the scope of Vegas kitsch and the atmosphere of a sunlit desert mesa. Cline's words help punch the jokes and give the entire work a warm feeling.
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Manhunter returns. Let's hope that her title lasts as long as Spider-Girl's run.
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No doubt many passed up the underhyped Next, but Williams' story is a smart, science fiction tale that wisely employs guest-stars from the DCU and as well creates new interesting characters for the reader to follow. If you didn't pick up the mini-series, pick up the trade paperback.
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Thanks to Palmiotti, Gray and Conner Supergirl could very well become a best seller. Bonus points for basing the dinosaur's design on a Joe Kubert Hawkman cover.
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White Tiger is not to be missed. The writing craft tickles the ears. The artwork pleases the eyes. The characters attract and rivet your attention.
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All the villains of the piece look in their own special way smug. They think theyre going to win. From the looks of serene triumph the reader can tell that they think they have a foolproof plan. When these plans sour, Cooke masters looks of individual disgust on their visages but leaves the readers of Batman/Spirit with smiles.
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Avengers Next offers the reader more of the same. Courtesy of DeFalco, Lim, Koblish and Bob Ro, consistency is a beautiful thing.
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This issue of Liberty Girl suffers from unnecessary explanation, back pedaling from Doc Savage lore and a beloved character becoming a stupid, preachy right-wing windbag. Seriously, do you really believe Ham Brooks could possibly be so naive? He was a lawyer. He met Doc and friends during World War I. He should know that things in the real world--especially where wars are concerned--aren't black and white.
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"Kneel before Zo"--One letter away from being completely obvious.
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Because of the lack of a single character worthy of applause and/or sympathy, Purity didn't really engage this reader. I can't say that I hated anybody, but this is because there's no way to compare or contrast the actions of any of the characters. Every one in the story is loathsome.
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The Goon's creator Eric Powell shows up for the last tale. This ghoulish story involving relations with emus and cannibalism begins with a Lad's Magazine as a catalyst. The short just tears down The Simpsons style of storycraft but with a seriously twisted subject matter. Powell shadows the characters and gives them an almost three-dimensional semblance. These factors culminate to produce an ever more disturbing end. Kudos also sticking with the Treehouse tradition of slipping in Kang and Kodos.
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We can't have another movie. We can't have a television series. Moonstone however has given Buckaroo Banzai new life in the comics. Sayonara for now, Buck.
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Boothby brings all the stories together in an amusing bow. The way our heroes leave The Scary Door makes sense, and almost all the jokes are hits rather than misses.
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Planetary Brigade: Origins is not a bad book. It's simply too derivative of the authors' previous work.
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Artists and writers sometimes depend on a period setting to act as an artificial buffer between their characters and the better-known models. In this case, while Ordway's, Vey's craft and the pale color washes of Johnny Rench create atmosphere and accuracy, it's really the characters and richness of the story that makes the Eagle soar in Red Menace.
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This anthology is more slapdash than most, but thanks to the talent, each story gives the reader a laugh or a smile.
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The theme still doesn't make Damaged any better or any worse. The characters still need to be fleshed out, and there's a surprising lack of conflict that makes the story less than indelible.
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The look of insanity on Scott's face as he shoots describes him to the reader more so than words ever could. The way in which the art team presents Ord as a blustery bruiser and far, far removed from the realms of superior alien intellects gives weight to the comedy he produces. The anger they seethe from a third-tier character helps Whedon draw dignity from the shambles of the Holodeck gone mad affront. The way in which they frame Hank McCoy as he enters the fray makes the whole scene work. Cassaday and Martin are David Boreanaz and Sara Michelle Gellar to Whedon's scripts.
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When looking at the cover to The Infiniteens, you are sampling the artwork. In fact the artwork inside even looks better. The entirety appears airbrushed, but in all likelihood, the soft natural shades and highlights come from a dedicated artist's computer palette. Whatever the medium, The Infiniteens looks beautiful.
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These are substitute artists. Writer Bedard is just keeping the seat warm for Jeff Parker's return, yet the quality of work in Marvel Adventures Avengers has not noticeably deviated. That's doubly impressive.
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Petrucha adorns Nancy with his typically brilliant characterization, and he develops Ned Nickerson, Nancy's boyfriend, quite nicely. He surprises with George and Bess and expands on their talents in several good scenes. These facets in addition to Petrucha's trickery and Vaughn Ross' decently illustrated manga make "The Charmed Bracelet" a thoroughly entertaining Nancy Drew read.
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The Phantom it is said possesses "the power of ten tigers." He didn't even need one to do away with his current nemesis. Nobody beats the Phantom, and this villain doesn't even walk away from battle with his skin intact. After obsessively carving the Phantom's symbol into a bar table last issue, our Big Bad proves to be a big loser. He thus adds to the legacy of losers who thought they could best the Ghost Who Walks. You can immediately recognize them by the skull-shaped scar on each of their jaws.
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"Sushi Me? Sushi You!" shows that Jymn Magon has the chops for Scooby-Doo. His strong characterization of the Gang sizzles amid a tantalizing puzzle that on occasion seats Mystery Inc. in deadly danger. The solution to the culinary crime proves to be most satisfying. Criminal ingredients and Scott Geralds and Jack Purcell's tasty animated panels are on the menu.
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Trainor's story acts as more of a slightly amusing, emotional story that doesn't really ask you to laugh. It's a good story, but man, do I miss the jokes.
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I firmly expected to slam Union Jack again. I groaned when I saw it in my bag at the comic book shop. It's on my subscription list. I feel honor bound to take it. Imagine my shock to find that this issue of Union Jack is so far a solidly good read. Then Gage does something totally unexpected. He saves his best stunt for last. The final "WMD" of the "terrorists" is an over-the-top comic book lovely that resonates with history. Color me impressed and stunned.
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The White Tiger is a six-part mini-series. Let's hope Marvel has the sense to extend Tamora Pierce's contract and keep her intriguing readers with Angela del Toro striped super-hero exploits.
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Even were you to chuck the Hobgoblin's characterization and this unique moment in Amazing Spider-Girl history, you still would be left with a simply terrific battle sequence filled with that special brand of spider-wit that compliments the perfectly timed visual comedy in May's school life. Ron Frenz and Sal Buscema should never part company. Chain them to their chairs if you must, but don't let either stray too far from Amazing Spider-Girl.
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Aya, looking like hell, seems doomed, but Vincino unveils a final surprise in the third act that can only be successfully accomplished in the unique format of a comic book, or perhaps the absurd comedies of Matt Groening.
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Alas, Jalila has limits, and she soon finds herself in a particularly Bondish situation but due to the straight delivery of the subject matter, the death-trap acts as a tense ticking clock rather than campy goodness. The aftermath emphasizes the mood.
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Marvel Adventures: Fantastic Four continues its trend of being better than the original title. As to the Guiding Light crossover, I didn't read it. Sorry. Its inclusion doesn't alter the price of the book. It's an unnecessary addition but at least not costly.
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Oeming and Rubi wisely do not spend much time on the battlefield where massive armies may threaten to sweep the story away. Massive armies work better in widescreen with actors than in comic books or novels. The constant violence and hackery can get boring if read in great clumps. Because this is more of a personal story, Oeming focuses on Sonja's duel against Creepy Boy, and Oeming makes this a three-way duel just to accent just how much of martial threat, not just a demonic threat, Creepy Boy represents. "The Return of Kulan Gath" in Red Sonja so far has lost little steam.
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While Dystopias are nothing new and have been in comic books since--oh, at least the Atomic Knights if not earlier--Superman goes one better with the artwork. Pacheco's artwork is just so incredibly detailed and gorgeous that you cannot help but be impressed by his dark visions of a dead world and the characters that populate the universe of Kal-El.
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I'm not calling for the end to advertisements. I understand that advertisements keep the costs of producing whatever you happen to be creating, but how about a little respect for the flow of the story? Stupid, stupid publisher.
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Steven Bryant and Jason Millet make Athena Voltaire a beautiful exploration of classic cliffhanger archetypes. They keep the characters proportionate, realistic and give the book an underlying verisimilitude that keeps the book from teetering into over the top histrionics or cartoon lampoonery, always a possibility when one stirs Nazis into the mix.
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As to the artwork...When did Ron Lim get this good? Seriously. You cannot solely credit Scott Koblish's inks however expertly crafted they are. Ron Lim used to have some problems in the area of anatomic depth. All gone now. Lim with Koblish and Rob Ro create a professionally beautiful comic book. The characters' physiques look rounded not flat or overly angular; two deficits I found in Lim's past work. His ability to express emotion has undergone an astounding transformation. He handles equally well the larger than life moments and the understated body language of the characters. Lim has improved greatly, and that improvement benefits Avengers Next.
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Chou, T. "The Management of White Phosphorus Burns." Burns (27): 492-497.
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Huntress
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Three Kolchak tales, and all feature enjoyable bumps in the night rather than clunks against readers' brains.
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Smith's and Wong's art continues to be a boon in a book that plays with quantum realities and time travel. At the same time Smith and Wong make Superman look powerful as well as proportionate, especially when compared to Sion, who is far freer with his form than anatomic fairness allows.
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You can do worse, but this issue of Bart Simpson Comics isn't a necessary purchase. I'd only recommend it if you had some spare cash lying around in the vault.
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The telling moment of the book occurs when Cold gives up the information Batman requires. Batman easily cuts through the facade of the Legion of Doom. They still are behaving like villains. Even if the dreams they see are true, the Legion behave like the base greedy and power hungry megalomaniacs that they are. There should always be real basic differences between the heroes and the villains. Often times in comics you cannot see these differences, but here in Justice the differences are crystal clear.
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"I want the New Rhinestone Maximums." Ohhhhh, sweeeeeet. Ellie gets the best lines this issue, and here's one of them. Rhinestones were considered the chintzy equivalent of diamonds back in the disco era. “Maximums” equals Ultimates.
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Dave Stewart's colors must also be recognized. The opening page almost blares at you with psychedelic purples, greens and reds. Stewart in fact almost opens up on the story with primaries that basically belie what's ahead for the eyes. Turn the page, and you learn of all the shades green can have in Gloriana's domain. For Williams' Kirby period, Stewart makes the colors bolder as if to acknowledge Kirby's larger than life products of the brush. Subdued, natural shades swathe Arthur's quest, and with Klarion the colors grow sprightlier. Stewart emphasizes one color, the faerie blue, amid the oranges and browns of the natural world. Outwardly, Mr. Miracle is urban, but the subtext is the outre as influenced by Jack Kirby's Fourth World. For this section, Stewart creates neon flashes and Cherenkov rainbows, and that's how Seven Soldiers of Victory ends with a rainbow of hope.
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While half the book focuses on the newly energized May Parker, and introduces her supporting cast without the clunk of exposition, DeFalco and Frenz soon get her into action in a plausible way, and if you read the narration--which you should--you can see that May loves the thrill of it all as well as the want to do good. I highly recommend Amazing Spider-Girl for new readers and faithful fans.
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Matthews characterizes the antagonists in The Lone Ranger as weirdly villainous. They don't just clinically shoot people. Again, the villains could only go so far in the original series. Little kids were supposed to root against the villain. They weren't supposed to see parallels to modern-day serial killers and be fundamentally disgusted by their actions, yet ghoulish murder occurred during the time period. The western period of American history was not an age of innocence. Matthews essentially extrapolates from the facts and the crimes committed. The fantasy comes in the form of the Ranger whose silver bullets will end the tyranny of the monsters who would prey on humanity, and you can still hear the birth cry of the hero in the form of the famous William Tell Overture.
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Shannon Gallant and John Stanisci are no Manuel Garcia and Scott Koblish, but they provide decent artwork, which professionally relates the visual component of the story. They offer a good handling of the characters, and they make the timing for Giant Girl's entrance perfect for the gag.
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Oeming sets up the notion that sorcery will pull Sonja's fat out of the fire, but this acts only as a clever and cool misdirection. Sonja's brutal strategy furthermore suggests in the mind of the reader that she cannot be beaten. Oeming creates very distinctive levels of power players. Khulan Gath for instance is a dangerous evil sorcerer, but through Sonja's encounters this issue, Oeming shows that there's a difference between sorcery and godhood.
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Perhaps the story with the gang strapped to a table under a swinging pendulum will do the trick. Nope. I'll give Peterson this much. The way in which they extract themselves from the "trap" is within the characterization of Mystery Inc. and Scooby-Doo. However, he doesn't provide a good enough reason to explain how they happened to be in the predicament, and again, it's nothing. Completely benign. The false phantoms and masked monsters of Scooby-Doo Where Are You?, really attempted to get Mystery Inc. out of the way. Here all three stories amount to misunderstandings rather than crime. Bah!
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In closing, this is easily the best issue of Simpsons Comics ever published. Brilliant, gentlemen. Simply, brilliant.
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Terrorism isn't out of bounds for comic books to use, but it must be used within the rules of drama. Batman, for instance, in a John Ostrander issue of JLA attacked a group of terrorists that intended to destroy Gotham City as a political statement. These were not costumed crazies. They mirrored the terrorists that would do such a thing. Likewise, Aquaman in an issue of Brave and Bold brought down a plane, that was loaded with a bomb sensitive to pressure that would have detonated and destroyed Gotham, into an air-pocket under the sea. The people who were behind the scheme were not garish ninnies. Instead they mirrored the drug lords of Afghanistan. Union Jack cannot decide upon a tone. It tries for all and fails miserably.
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Darkman and Brynne next use The Book of the Dead to call upon "a legendary hero" to fight the demons. Enter Ash. Before the book leads to the cliffhanger, Busiek and Stern tempt the reader with some funny repartee between the good doctor and the good chopper. Darkman vs. the Army of Darkness promises to be a rollicking good time and shouldn't be missed by any fan of Sam Raimi's works or supernatural super-heroing.
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Despite some caveats regarding the portrayal of astral forms that still persists with this issue I highly recommend all three parts of this JSA: Classified story, and for once the ending culminates in a magnificent crescendo rather than an off-key triangle chime.
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The rationale of the villain also does not make sense. The villain claims that his company is "hemorrhaging." Fine. Stop spending money on the frivolous things evinced in the book. In addition, rather than hire Crusher Creel to beat up Aunt Petunia's favorite nephew, the villain should invest that money into research. Wells' plot is unfortunately hopelessly flawed.
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This issue of The Next is still far cleverer and more entertaining than about eighty percent of the comic books on the rack, but in comparison to the previous issues, it just doesn't measure up.
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This lightning paced modern day stand-alone story reinforces the power and legend of the Phantom. Bullock's foray into the jungles of Bangalla is a success, and he sets into motion a juxtaposed subplot that will no doubt affect future issues.
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Even the murmurs of the Civil War do not distract readers from an outstanding issue of Agents of Atlas. The sublime lines of Leonard Kirk and Kris Justice allows for the complexity of character provided by Jeff Parker to be absorbed without the impediment of over-rendered pap in an action-filled mystery echoing back to the past.
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This issue of Aya is not only entertaining; it's an arousing informative panel by panel instruction manual for people looking to add excitement to comic books. I wish more people would study.
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This issue of Detective Comics was a huge pick-me--up from last issue's blatant sexist artwork. Indeed, Dini shows Batman interacting as a gentleman with two powerful women, and none of them offer the hint of being doormats for misogynists, nor do they writhe in scraps of clothing. Delightful.
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You can call "Rotten to the Core" a witty spoof of a strong science fiction action adventure story, but Eric Rogers tale of torrid terrors also can be taken as quirky sci-fi with heroes and villains and miscreants that fall somewhere in between. Impressive.
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In terms of story, the brothers create unnecessary subplots that slow down the story far, far too much. This could have been a very tight fast moving escapade against super-powered terrorism. Instead, the dolts let themselves be captured and act as lambs to the slaughter. A pity they weren't.
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The art by Carlo Barberi looks a little different but does not suffer from substitute inker Zach Howard. Barberi provides an action-packed mix of fantasy-oriented violence and heroic courage. He as usual handles the subtleties of expression within the context of the Timm animated style.
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Art once again by Norton and Lee offers the reader simplicity in the design and lively fight scenes with some excellently staged slapstick and comedic expressions. The artist's depiction of the characters gives the reader a strong visually appealing cast. Liz is even bubbly, and together with David, Norton and Lee bring to the pumpkin patch a no-nonsense superior Spider-Man story that also works with the holiday.
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Before we get there, Zein in the guise of Dr. Amgad, a criminal behaviorist, must deal with one of the inmates possessed by the god. Such executions require actions and valor, and Rafael Kras, with Anne Hertzog's natural and supernatural colors, ably provides. As Zein, he meets the possessed again, but this time the consequences prove to be grave and unexpected.
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The conclusion to Helios promises interesting events to come, and you will want to discover what will happen next.
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Is Galactic Bounty Hunters a fairy tale read to a daughter? Did any of the events happen? By the end of the book, the reader finds out and will be tickled by the premise.
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I don't remember why I skipped these issues. It may have been due to a fear of the issues being incorporated into the nu DCU, or perhaps I assumed Geoff Johns was doing them and simply ignored them. Serendipity provided me with a second chance, and I'll probably seek out the finale next week. These were very decent comic books.
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I'm really sorry to drop Supergirl and the Legion of Super-Heroes. This was the only place one could find a decent version of Supergirl. This was the only place Supergirl actually maintained the proportions of a human being. Her moments though in each issue are few and far between, and to paraphrase Crow T. Robot, no matter how much DC insists that Supergirl and the Legion of Super-Heroes is a Legion book, I must respectfully disagree.
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The capper of the whole mess is when we learn that Cyclops is up and about. His move against Emma definitely rules out the possibility of time travel. This time Whedon hamstrings himself with his own cleverness. Cyclops is once again holding back his own optic ray blasts. No, no, no. A thousand times no. Cylcops has no control over the physics of his power, and none of Whedon's apologists can claim that Emma Frost is using her power to hold them back. She's trapped in a hole far beneath the mansion, and the other White Queen has just acquired a pair of smashing red holes to offset her ensemble. This issue of Astonishing X-Men was a huge disappointment.
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The artwork by Shannon Gallant and John Stanisci gives an above average interpretation of the super-heroes. I still prefer the regular team of Manuel Garcia and Scott Koblish, but Gallant makes no gross anatomic errors and keeps the characters energetic. Stanisci while not disguising his love of crosshatching maintains a sublime less busy look for the book.
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In the end, Reed finds the solution, but his reward isn't a trip to the Eternals City. Instead, he takes Sue to the movies, and frankly, I think that's better deal. Once again, history repeats itself. The Marvel Adventures titles surpass the continuity proper titles.
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Nextwave: Agents of Hate: it's the language of slapstick violence humming to an Ennio Morricone score with the judiciously added lyrics of Tom Jones in over-the-top majesty ala Mars Attacks!
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New penciler Scott Jeralos comes up with some unique but on-model designs for Fred, Daphne, Velma, Scooby and Shaggy. He as well displays some spirit in his original creations, inked very carefully to create a cel-like appearance by Jeff Albrecht.
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Phil Oritz, Mike DeCarlo and Art Villanueva contribute their usual best. The opening in the present where we meet Marge's rival exhibits a superb range of expression done in a Groening style. The flashbacks to the seventies adhere to the Groening eps that featured this period in the Simpsons' lives, and as Homer's schemes grow more hectic, the art becomes more animated, though set in static panels.
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I cannot believe how much I enjoyed this issue of Superman. The Man of Steel while being sympathetic does not hold back to save the planet. Arion's role in the story hints at some unforeseen consequences, and the relationship between Callie and Superman along with a strong setting give the world greater weight than the cobbled together thing left behind after Infinite Crisis.
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In summary, you can't go wrong with vampires and Union Jack. Sadly, the book doesn't fully explore Union Jack's role as a vampire killer. Instead, Gage teams him with dubious helpers and throws him against the terrorists d'jour. No vampires, no sinister beekeepers, no reason to read if it's a choice between this and Nextwave: Agents of HATE.
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Moore is no mean cartoonist. Moore's crisp black and white artwork offsets the sharp comedy and deep insights into the characters that makes Boneyard so special. He has clearly studied the Warner Brothers masters. Gifted with masterful timing, he crystallizes characterization through nuanced interactions and subtle expressions. Be sure not to skip the letters page.
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Flare fills its remaining pages with a Tigress adventure. It's short on plot, but thick with character both provided by Wilson Hill and Dick Giordano. Giordano does his usual excellent job in the opening scenes where Tigress introduces herself to the Chief of Police and when Tigress encounters a special guest-star, but he fails surprisingly in a couple of scenes. Either he was rushed, or colorist Melchmann who does in some panels create some rather ghastly shades altered the artwork to an unacceptable level.
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Williams' smart, scientifically mellifluous dialogue is like candy for the ear. His plot reads as a nice bit of science fiction that allows for a very nasty antagonist to appear and draws Superman naturally into the fray.
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Parker leaves the proceedings on a cliffhanger that gives readers a taste of the Big Bad last seen in The Avengers and promises excitement. I'm fairly certain Parker and company will deliver.
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The story by Vicino maintains Aya's sharp characterization, and her disguise as a private detective is an ingenious addition, but Vincino devotes the lion's share of the tale to the murders, which despite his claims, are not as ingenious or as cool as he thinks. I also question a scene where Aya confronts the murderer but does nothing to stop her. The guy holsters his weapon, and Aya could have just karate chopped him in the back of the neck. She should have done something, at least slap a tracer on him.
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All of this cheesecake no matter the style shares one thing in common. The women are not just objects of desire. They are also portrayed as having brains. The figures appear to be in control of their situations or unconcerned of the poses they strike. There's intellect behind their eyes. Benitez's cheesecake hasn't any filling or syrup. It lacks spirit, and his women come off as vapid sex objects.
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This issue of Jalila offers a complex story comprised of simple events that when given a time line escalate. Jalila while the most powerful of all the AK super-heroes still shows to be vulnerable to the passing of time, expertly achieved by the Raphaels and Santiago. It's an outstanding issue.
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Elongated Man (cameo)
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Artistically speaking, there's nothing wrong with The Lone Ranger. Carriello gives the ambush and deaths their due drama, yet I'd still rather watch the Clayton Moore series, widely available on DVD.
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The final story stars Foghorn Leghorn. Frank Strom brings to this tale Robert McKimson's sheer oddness while allowing Walter Carzon and Ruben Torreiro to work in classic slapstick involving Foggy's nemesis the Dawg. This issue of Looney Tunes brings back colorist David Tanguay. His shades are in perfect synchrony, and they enliven the characters and the art. This is a perfect issue of Looney Tunes.
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Norton and Lee give the story more lift with expressive artwork lacking obfuscating scratchwork. Their characters are nice and subtle and carry more visual weight through the little lifts of eyebrows and the multitude of grins. The artists save their pencil and pen lines giving texture to hair, cloth, scales and big honking fingernails. The colors by GURU eFX, you know I wish colorists would stop mangling the English language, provide a vivid and aesthetic collage.
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Her present doesn't serve any more of an integral purpose. Sonja and company trek in the snow. The androgynous vessel of Kulan Gath strikes out with Rubi's imaginative monstrous creation. It's such an excellently conceived beast that it instantly reminded me of Ray Harryhausen's stop-animation work. What a pity it was used with such economy.
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Dialogue and personal narration by Zein inject life into what is essentially a very old dog. The new trick comes by way The X-Files, but there are enough elements outside of the plotting to give the traditional story a little more spark.
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Only one mystery remains at the end of the issue. When exactly did Luthor lose that eyebrow?
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In short, Force 51 is a good opening for a series that looks to have a little steam. The characters need to be fleshed out, and perhaps the lead is a little too gung-ho, but if Pietro sticks with the book and Lewis continues to grow as a writer, this series could become a serious contender.
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Please note that while the illustration and the story to Justice, are without question, masterful. The actual printing process left much to be desired. Several pages of the each copy of Justice at my comic book store were torn by a jam in the printer. Check your copies. Hopefully DC will rectify this mistake.
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The sharp black and white artwork never proves to be bloodless, and Lash stretches his artistic muscles a bit by keeping Wolff & Byrd out of the courtroom and providing amusing melodramatic gestures for certain characters. The book concludes with a fair abundance of pin-ups, some telling a story with just one scene.
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I've remarked before on Cassady's ability to illustrate in a convincing photorealistic fashion, and this issue marks no exception. What's more noticeable however is how he displays Kitty's power to phase through objects and take people with her. Cassaday with the tactile colors of Laura Martin gives the insubstantial visual substance.
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The artwork by James Lloyd and Andrew Pepoy in both stories gives the reader Matt Groening's style in a variety of the characters' moods and poses. Nathan Hamill's colors actually match the multitudinous rainbow collage employed by Art Villanueva.
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Red Sonja surprises this week by stretching the limits associated with the sword and sorcery field as well as dipping into the themes of another genre to give the story resonance. Mel Rubi's and Steven Sadowski's artwork gorgeously captures the glory and the gruesome.
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Sources: The WordNet book, WordNet: An Electronic Lexical Database. Copyright 2006 Princeton University.
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Manhunter has been given a slight reprieve, and Andreyko adds an impressive cliffhanger that should attract even stubbornly habitual non-readers of Manhunter. Here again, Andreyko pays attention to what One Year Later means. I hope it's enough.
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Issue four of Marvel Adventures: Avengers offers more of the same compact, thrilling stuff of super-hero tradition that bears the sly sensibilities of witty writing. Don't accept the padded pap of Not Avengers. Go for the real deal, kid-friendly but maturely considered.
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Indiana Jones--legendary archaeologist portrayed by Harrison Ford in three movies and one episode of a television series; imitated this issue by Tabitha.
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The mystery is in where Fish's story really excels. It's a fairplay all-ages drama. Fish introduces the suspects. He gives the reader the clues, and Pope in turn sances a decent and periodic faux ghost for the Gang to unmask. The message at the end of the story doesn't come off as forced but genuinely sweet.
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Boothby makes Lisa's observation skills the hub of the insanity. The story then spreads out in the vibrant colors of Villanueva to touch upon how the residents abuse this newfound power until once more, against all odds, the play eases back to the status quo. Boothby's method of de-evolution impresses.
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Vicino's pacing and his characterization for Aya naturally evolve these strategies to their logical fruition. Rapaak's staging of Vicino's scenes perfectly visualizes the writer's intent. Precision inks and evocative colors make the final chapter in "The Clone Order" all the more appealing. Such is the importance of observation; the creative team highlights Aya's eyes in the panels. They become striking reflections of her intellect. The quality of this issue of Aya: Princess of Darkness is the bar to which all others will be measured.
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Well, that's it from your old pal Rawhide. Maybe we'll do this again when the next issue comes in, or maybe I'll be out of this blasted bed and out saving the world with Buck and mi amigos the Hong Kong Cavaliers.
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The artwork by Stravis Moore with the inks of Zak Hennessey and Daerick Gross offer the reader a very polished attractive look with Blond's excellent cool night time colors, but this issue just lacks the pep and super-hero power of the previous tales. Jalila however still looks great. The artists give her the dignity of proportion and sinew.
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Together, Gray, Santacruz, Fernandez and Louridge sculpt another fantastic issue in the Marvel Adventures line of comics. The Fantastic Four is an all-ages comic book that won't insult your intelligence or your patience.
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Speaking of the Justice League, Williams displays a cognizance that he's playing in the DC universe sandbox. The Next are ostensibly his characters, but he's aware that they've come into the DCU. Last issue, Metron made an appearance. This issue, in a small scene but important scene, Williams addresses the League's lack of presence in his book. Superman's a member of the JLA. It would be stupid for him not to notify them of this time disruption. Williams' tiny acknowledgment allows for a greater sense integration and verisimilitude.
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The book's cliffhanger whets the appetite. Arion leaves his companions, still in a state of exhausted bliss--or extreme abuse depending on which idiot you ask--and literally cuts a way to the twenty-first century. I'm impressed.
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If you missed The Black Coat, I urge you to pick up the trade paperback. This was a thoroughly engaging series with tight writing, strong characters and a unique look that also pleased the eye.
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The story in Zein is slight but fun. The solid artwork nicely keeps the pace crackling to the end, and the monster's an inventive concoction that relies on mythological descriptors that still work in modern times.
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By the end of the book, you know that you're in the hands of a new maestro. My hope is that Agents of Atlas will one day have a crossover with Birds of Prey so Bob's technology can fix Babs Gordon's spine.
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Bomb Queen vs. Blacklight is a lot of slapstick fun. Wherle respects both characters. While it would be implausible from a marketing tack to think that Blacklight may actually capture and imprison Bomb Queen, Wherle does let her make her mark. Given Blacklight's relative inexperience as a crime fighter, her fight with Bomb Queen, a pro villain in the Image universe, should be considered a big deal. As should the smile-worthy conclusion.
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If I have one complaint it's that there's no possible way the reader can identify the murderer. Dini does provide a fairplay mystery. You can figure out who done it, but you cannot dope out the explicit identity of the killer. Dini however balances this deficit with a simply Batmanesque denouement where he eerily converses with the killer and explains how it was all done.
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Ice
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The story, the power and history of the heroine, the jaw-dropping artwork, all these aspects make Liberty Girl original, engrossing and gorgeous.
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Do you admire Roy Thomas' writing? Do you like stories set in World War II? Do you have an affinity for heroes of that era? If so, Anthem will likely be a right fit for you. Be prepared though to wade through some subpar transferred artwork from a source material that was apparently the best available.
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Mike Kazaleh opens the story with a beautifully imagined non sequitur, in which the Planetary Express crew becomes something other while still maintining certain facets of their physical personalities. Kazaleh's job becomes increasingly difficult in the panels due to the choices of angles. Leela being a cyclops presents unusual challenges in perspective that Kazaleh meets. Novin's ink more than enhances Kazaleh's pencils, they also allow the future setting to gel. Hamill's colors make use of every ray of the rainbow and all the blends. Of particular note is the moment Leela becomes the prism for a split in time. Here all the creators' talents pull together.
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Rubi's influence can be seen throughout the book. His depiction of Sonja's unique face and her proportionate frame contrasts the deeply pregnant Ice Queen who bears the life of the villain. He also creates a very original look for the Dark God's army. Those expecting overly detailed armor with skulls will be sorely disappointed. Instead, the Dark God's army looks the way a heroic army is usually illustrated. Finally, Rubi and Buccellato must be applauded for the latter wide-screen scenes that vividly recall the imagery that reading Weird Tales often evoked.
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Pithily written as a pure pulp adventure and painted with a sense of texture, color and natural movement, Shusetts' and Pugh's Shark-Man has a tremendous bite.
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First-rate artwork combines with excellent writing and inventive twists to the midwife of science fiction's plot. Add a daring, competent female super-hero, and you've got one damn good comic book with the resonant name Aya: Princess of Darkness.
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After the disaster, the story becomes less interesting. Jalila's first case is a relative easy one, and compared to the hero's premiere issue, it's almost perfunctory. I can definitely see why AK didn't open with this issue. The latter half might have made Jalila merely a curiosity rather than a full-fledged contender.
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Buy Manhunter. Don't spend your money on books that betray female characters. Spend your coin on a female super-hero who will not be used and abused. Spend your money on a female super-hero who has dignity and deadly grace. Buy Manhunter. She would have ripped Dr. Light's ghoulies off.
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The fourth act unfolds as expected. The Avengers in fine character and with rapid-fire banter hand Zemo his buttocks. I love this book. It's like the anti-viral for padded nonsense and Big Stupid Events.
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Short gags by writers Scott Cunningham and David Kravitz with artists Scott Jeralds and Dan Davis fill up the remaining pages. Both these vignettes act as how-to segments gone wrong and both offer funny punchlines.
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So what did I like out of this issue? Press me, and I'll say that I liked Paul Smith's artwork, even if the colors looked drab. I liked the scene with Mallory Book and Amazing Andy. I also liked that J.J. was still married to Marla. I've often wondered if anybody would remember that continuity, and I'm glad it was Slott who remembered.
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The way in which Bates solves the problem and brings back the cast to the status quo displays an ingenious understanding of pacing, characterization and domino playing. A good solid issue, but a little late to be all that pertinent.
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Whenever I flip through Supergirl at the Phantom of the Attic, the hack-writing and abysmal artwork nauseates me. Waid on the other hand seems to actually like Supergirl and knows how to write for her. He no longer has any idea how to write for the Legion. He used to be able to combine forces with Stern and Peyer quite ably, but his enthusiasm for the Legion seems to have vanished. Barry Kitson knows how to illustrate Supergirl. He continually gives her grace and poise even when his pencils fall under the too heavy inks of Adam DeKraker. I propose then that DC cancels Legion of Super-Heroes and transplants Mark Waid and Barry Kitson to Supergirl. As for the former Supergirl team, well, they can work on incest-based porn. They seem to have the knack.
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Without a rock solid continuity how can the reader pin down any suspects? Without a strong continuity, how can the reader become involved when he does not know the stakes? What's the creature's motive? What's the history? Why does the creature mimic the "mass, strength and kryptonite eye-blasts" of a dead Superman foe? None of this, as the dialogue states, makes sense, and there's not enough meat to make me care. I'll be skipping next issue. The mention of Hal Jordan's presence makes me want to care even less.
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The art this issue looks rougher and vastly different from the premiere, but there is still an interesting style to found in these pages. The artist's skill at drawing unique faces and lank body structures must be noted, and he keeps all the action scenes quite exciting. Recommended.
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Lois Lane, Perry White and Jimmy Olsen, who is my least favorite character in the entire Superman mythos, look and act as they should. Furthermore, Busieks new identity for Lana Lang makes sense and makes her presence less contrived than some of the other ways lesser writers have attempted to stick her into Clarks life.
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Staz Johnson returns to comics. Johnson penciled a few issues of Detective Comics or Batman during the mid-nineties, and his work showed more than a modicum of skill. Here his improvements come off the pages, but his evolution as an artist is surprisingly hampered by a too pale color choice by the usually reliable Lee Louridge.
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The book finishes on a Civil War prelude, but even this gains weight with a handsome potent rendition of Captain America confronting Carol on the final splash page. Don't misinterpret that. The Civil War is one of Marvel's dumbest ideas, on par with the Spider-Clone saga, but De La Torre's Captain America is something to behold.
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I really expected nothing from The Next, but the talent behind the book kept me pleasantly surprised, and they didn't squander the presence of Superman.
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The artwork by Bill Galvan and Robert Hawkins is wonderfully old school, and the artists portray the kids especially well. There is a tendency among artists to draw kids as merely miniature adults, but Galvan and Hawkins distinctively illustrate the young cast and to the scale of an adult world.
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Civil War is simply more unrealistic crap. It's right up there with Infinite Crisis. If Marvel really wanted to make a stand they would have had somebody like Spider-Man uncover a plot to reveal a CIA agent's name to the press in order to punish an ambassador for revealing the lack of substance in a war created by an oil cartel so they could get richer and at the same time to secure their power impose Draconian martial law on the American people. The lobotomized goat in chief would retaliate by labeling Spider-Man a terrorist and demanding his arrest, and then the heroes would decide whether or not they should stick by Spider-Man. Hint, they are super-heroes, and almost every one of them owes Spider-Man their lives. This counter-action would then lead to the mad administration classifying every super-hero as a terrorist and any who speak out against policy as treasonous. That would have been something. That is taking a stand. Civil War is a gutless, badly conceived notion shred
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Despite unleashing limbs and grue in the panels, Byrne makes his final issue of Blood of the Demon his lightest. The tone is very much in keeping with a dark comedy, and Etrigan his own badself turns out to have the greatest sense of humor.
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The entire creative team deserves accolades, for they force me to do something I never thought I would do. I'm putting a Batman book back on my subscription list. I will stay with the title until Dini leaves.
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Devi interested me enough to buy another issue, but this first story while not without merit is entirely shippable.
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Leigh Gallagher's and Jesse Delperdang's artwork presents precise renditions of the Timm League in constant action and in clever set-piece, after set-piece. Close ups of Superman demonstrate his determination. They paint a look of fear and doubt in ten and elegantly handle the special effects. Their Batman is dark and tough. The Martian Manhunter acts powerful, and though her moments are brief, Black Canary's time in the book is memorable. I for one am glad to see the Sonic Cry back in action. You may not be expecting it, but Justice League Unlimited offers the reader depth and dimension.
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In short, Last Planet Standing is a good follow up to Last Hero Standing, but it also can be read without previous knowledge of the other mini-series. DeFalco and Oliffe show the Marvel heroes at their best in a story that's cleverer than one expects.
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Thanks to Dan Slott and the rest for eight enjoyable issues of The Thing.
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The printing on this issue of Anthem offers better representation. It's a little blurry, but the jaggedness of the lines has thankfully departed. Jorge Santamaria Garcia's artwork is solid enough but less personal. He's more interested in detailing the action than the emotions of the characters, but there's nothing really wrong with that since Thomas' story demands a lot of action-oriented visual storycraft.
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In the final story, Tony Digerolamo gets Bart, Milhous and Martin into trouble. Digerolamo makes one laugh out loud when Skinner gets into the act and the two enemies break down in an attempt to clear the conscience and comfort each other. The art by Ryan Rivette, Mike Rote and Villanueva beautifully highlight the emotional release all still contained in the Matt Groening style.
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Andrea Dworkin--massive, deceased, rabid decrier of pornography.
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Raab presents an interesting personal dilemma for the Phantom, and he uses it to inform readers unfamiliar with the legend of the Ghost Who Walks. The Phantom doesn't drag his feet. By the book's end, he rescues the children, leaves his mark on a plug-ugly and ponders his own mortality. The story will likely continue, but the chapter itself is a stand-alone.
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Busch brings in a sense of drama to his tale very early. Freddie for instance tackles Daphne in danger from being squashed, and Velma later expresses her movie incarnation's disgust. The solution to the mystery of course makes perfect sense.
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Mark Evanier joins Aragons for an interesting take on Batman. It's a story that thanks to the villain seems wacky, but Evanier makes some shrewd observations regarding Batman and his effect on his universe. Aragons illustrates a pretty decent Batman. He's still rendered in Aragones' cartoony style, but Batman fights with gusto and skill. His long ears are such a welcome change from the helmet head that's adorned him since I think No Man's Land. Batman is also presented as sly. So, better than what I'm used to seeing of the Dark Knight. Tom Luth's Lee Louridge's colors only enhance Aragons art.
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In summary, Supergirl soars in only three pages this issue. Her super-feats include flight, using her x-ray vision and being super-nice. The rest of the Legion are as shallow as a small puddle, but a newer character named Theena exhibits more depth than expected. Barry Kitson is up to his usual excellent level of artistry, but despite these assets, I really can't see anybody having feeling anything for the Legion, as they are portrayed in this newest incarnation of their book.
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Giant stars in the back up story. The tale and its art are solidly okay though a bit on the seamy side. Though it's not exactly like their breaking new ground. Valkyrie I believe was a decade older than Airboy, and nobody seemed to mind she pursuing him.
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Bearing in mind that I hate Jimmy Olsen and hate Doomsday, I still feel that the story is only a passable diversion in the All-Star Superman canon. However, I do not feel I can judge this tale too harshly even though I sorely want to do so, especially since it seems that Jimmy is going to have sex with Lucy at the end of the story. The character is just too unwarrantedly lucky.
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Whedon did no favors for John Cassaday or Laura Martin when writing at his lowest ebb in previous issues. Cassaday's ability to create a tableau of photorealism within the framework of traditional comic book action has always evidenced itself, but this time out Cassaday brings to Astonishing X-Men a gamut of artistic sensory gems. He creates a sense of old school fun in his battle between Peter Rasputin and Sebastian Shaw. He creeps you out when Kitty meets a dangerous cuckoo in the nest. He makes you burst out laughing when we see that Wolverine is indeed the best and what he does. His homage to Byrne at the end of the book makes one smile. He gives the third-tier character's actions incredible weight. Laura Martin's colors vividly deepen the emotions at play--Emma's tear-jerking--and gives depth to the settings--such as the fiery hot Kitty trap. This issue of Astonishing X-Men lives up to its name. Whedon, Cassaday and Martin have a right to be proud of this one.
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With outstanding writing by Cogan and an opulent tapestry of black and white uniqueness from Francavilla, The Black Coat once again arrives as welcome pulp adventure.
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This issue speaks out beautifully thanks to artists Hedgecock and Terell. The Gargoyles look powerful and grand. Elisa looks beautiful and in later scenes acts quite tough. The Quarrymen bear an intriguing, unnerving look. I'm not absolutely sure that their presence could have been conceivable on all-ages cartoon, however dramatic. The art team stage action easily, and they capture the emotions of the characters well. With Greg Weisman, creator of Gargoyles, on board, this comic book could not sound like anything but one of the top shows from the series.
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It's difficult to disconnect the artwork from the story. Ultimately, Justice reads like a literate series of paintings hung in a fine art gallery. It's a book to be savored with wine and cheese.
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Pat Oliffe's and Scott Koblish's art easily displays the emotions coming into play and percolating to the surface. The power cosmic takes on a thrilling aspect in action packed panels, and the timing between the panels is near perfect; heightening the suspense and detailing the reactions of the cast.
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Artistically the best element about Manhunter is still the number of proportionate ladies in the cast. Even the Phantom Lady looks like her old self, ala Matt Baker, rather than the ridiculous Falling Out of Costume Lady. This attention to anatomically and aesthetically pleasing physique makes the cover that more ludicrous and out of place. Why in the world are Manhunter's honkers so huge, and why did DC let the cover artist get away with essentially spraying on a costume to her clearly naked body? Perhaps I shouldn't complain. Maybe covers of the Kate nude will drum up sales and push this living on borrowed time series past the issue thirty deadline.
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You like these characters. You can follow the plot. The plot has a beginning, middle and end. The story has a point. Marvel Adventures Avengers is simply brilliant tight writing.
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Oeming continues to surprise the reader. This time he uses the setting for a shocking entrance. This unforeseen cameo from one of Hyperborea's denizens stops one of Sonja's old friends from interfering from her just kill as well as deflects her initialing of the coup de grace. There's also a good chance Dog-Head ended up dead from the turn of events, but we'll have to wait until next issue to find out what happens next. Oeming though makes you want to know.
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Gimple to make matters worse flies in the face of tradition by not reverting things to the status quo. The book ends with a definite change that would have to be carried over into the next episode. The Simpsons only did this with the death of Maude Flanders. Nearly every episode reverts back to the start or a point that can be glossed over in the next story. Homer becomes an astronaut, but by the end of the story everybody's celebrating the carbon control rod while Homer's drinking beer on the sofa. Again, half the fun of this Simpsons signature is watching and wondering how it will be done. This issue is simply put very dull and lacks the spark of imagination I'm used to seeing.
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While there is a catch, Verheiden gives we readers so desperate for the return of Helena Wayne, the "real" Huntress, what we want. This issue of Superman/Batman is carefully plotted tale that's exuberant in its celebration of what was, meaningful to these characters--even those who never existed--and self-contained. Kevin Maguire also really does draw the whole damn thing. Consider this then a diamond among the coal.
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First, local law enforcement, not a fictional organization that lacks jurisdiction, respond to the hostage crisis. Second, the locals recognize Liberty Girl's costume, but they do not accept her as the real deal until the very end. She, unlike Donna Troy, exhibits the confidence and skill one expects from an experienced super-hero. Third, Liberty Girl, like Donna Troy, seems to make a tactical error, but her reasons are given, unlike those of Donna Troy's, in the locals' dialogue. The "error" in this case turns out to be planned. Fourth, the way the hostage situation plays out actually surprises. Fifth, Liberty Girl's ties to her past are not sledgehammered into the story. Instead, the writers remark on Liberty Girl's past in dialogue that exhibits the characters' personalities. As a result of this story, I can honestly say that I like Liberty Girl. I can't say the same about Donna Troy.
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Patrick Gleason compliments Gibbons' dark and grimy tone with shadowy artwork that's enhanced by the inks of Prentis Rollins. The deeply shaded muscle tone and hyperdramatic cast to the characters swallows moose Baumann's colors that include ubiquitous glowing greens. That's an asset for the atmosphere, but a deficit for those looking for swashbuckling space tales.
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The art boils off the pages when the Big Bad gets his reintroduction, and Gray takes plot twists that strongly differ from the source material. Because of these diversions, you cannot predict what will happen next, but it all happens in one exciting issue filled with characters who are a fusion of the FF movie incarnations and the team you remember reading about when you were a kid.
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It sounds as if Dr. Strange is going to conduct some tests, have some lab work done and call Carol with the results of the diagnostic. Another twist in the plot brings from Reed's characterization even greater depth to Dr. Strange. Sadly though the reader by this time runs out of pages, but for once she will actually want to find out what happens next.
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Fun, unpredictable, funny and with sharp, sharp satire Supernatural Law has lost none of its bite, and while it might be number one with a silver bullet, it earns five.
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The whole book lacks Nicieza's usual spark. It's just filler to tie-in to Marvel's Big Stupid Event. Grummett's work hasn't lost its charm. I like for instance that Gyrich has gained a few pounds, and Iron Man's resemblance to Riker from Star Trek: Next Generation is laudable. This just makes his actions appear doubly stupid. Imagine if the Enterprise crew defied Starfleet by heading into the Neutral Zone to prevent the Federation headed by corrupt Admirals eager to go to war from attacking an innocent Romulan Empire, and Riker sided with Starfleet. That's the stupidity of The Civil War in a nutshell. Pun intended.
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Supergirl
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Pat Oliffe's and Scott Koblish's artwork captures the mayhem and the emotions of the heroes as they face certain destruction. Yet none of them give up. They fight and fight until the very last panel issues the ominous cliffhanger.
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There's nothing in Marvel Team-Up to recommend.
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Wonder Woman certainly is pretty. With the Dodsons on board it could not look anything but pretty, and I'm sure that they felt Wonder Woman was a step up from Spider-Man: Let's Rape the Black Cat, but the story and re-jiggering of continuity in Wonder Woman is a headache inducing nightmare of bad writing. The dialogue is lifeless. The plot is filled with holes. The continuity overwhelms what should have been a simple reintroduction story, and I fear that this type of kitchen sink writing will exemplify the nu DC.
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The premiere of Aya: Princess of Darkness is a good start for the hero and the reader. I look forward to seeing more of this far from generic crime fighter.
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Helios has everything. Rand's lean, swift writing infuses depth to the uniquely designed characters and builds on an engrossing plot involving a deep-rooted conspiracy in the NTF organization. The full-color artwork makes every panel aesthetically pleasing, and while this issue is slightly more expensive, the page count has increased, and no ads break the escalating tension of the tale.
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The debut of Jalila offers the same level of quality to be found in Aya: Princess of Darkness and Zein. The title character is a knowledgeable, powerful addition to the fine tradition of female super-hero. She differs strongly in voice and action from her darker "sister" but takes part in no lighter adventure.
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Oeming's words and Rubi's art--this time accompanied by living legend Pablo Marcos--are violent poetry that makes reading Red Sonja a thrill.
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The writers attempt to convince you that Thulsa Doom is still a credible drama by killing off one of Sonja's friends. Ahhhhhh, the pathos. The predictable plot element just acts as an artificial attempt to provide ballast to a story that's traveled way, way over the top. I mean the character basically states in the dialogue "damn, it's a good thing I'm going to be retiring tomorrow." Anybody who thought he would last longer than this issue hasn't seen a single cop movie. Ah, well. Will Conrad and Scott Kester at least make Sonja good eye-candy. Their consistently masterful depiction of Sonja is the metaphorical boob flash in a seriously bad movie.
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My only small issue with the book is that it ends on a surprising downbeat that just doesn't fit with the wackiness being unleashed in the previous pages.
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Slott ends The Thing on an upbeat note. The funny and clever epilogue japes with time travel conventions. It's a shame Marvel canceled this series, but it really was to be expected. Big Stupid Events overshadow the engines that can. Infinite Crisis killed Manhunter. Civil War killed The Thing. At least you can still find Ben in good spirits in the continuity-free Marvel Adventures: Fantastic Four.
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My one complaint? I'm not absolutely sure that tying the villain into Zein's origin was a good idea. Initially Zein moves at a very fast pace, but the villain with his expository dialogue slows things down considerably. Knowing Zein's origin doesn't make me care about the character any more, and I think the story would have been perfect had Zein simply delivered the coup de grace to stop the villain and rode off on his Hover Bike into the sunset.
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The beautiful art of Francesco Francavilla produces a unique textured look that ably animates the ample action--the standout being the take-no-prisoners fight toward the end of the chapter--as well as the proportionate scale of the characters. Throughout the artist of The Black Coat maintain a precision time-perfect atmosphere and choreograph a flowing story that breathlessly captures the power of the story carefully crafted by Adam Cogan.
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Buckaroo Banzai roars onto the racks and demands that you keep up with its frantic pace. Blue Blazer Regulars will not be able to get enough. Monkey-Boys need not bother.
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Beneath the spectacular colors of Nathan Hamill, Michael Kazaleh provides extraordinary artwork. Not only does he perfectly bring the cast to on-model brilliance, he also imagines the Groening style for caricatures of Ed Sullivan's head, a certain group's Yellow Submarine Starship, a particularly bloated Fry and a hilarious Yoda cameo. His imagination extends to the bots as well. Aided by the sharp, smooth engineering lines of Phyllis Novin, Kazaleh makes the feminized robot denizen actually cute and captures the Sheriff in robot rampage mode. This issue of Futurama Comics is a triumph of the sincerest form of flattery and fun.
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What occurs on Asgard affects the earth and at an inopportune moment. This allows Spider-Girl to crack wise while saving lives. The issues furthermore reveals a direct tie-in to Last Hero Standing, and while things look grim for the MC2 Universe, the presence of the tie-in creates hope that Galactus just may have bitten off more than he can chew.
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Lettermatic 7053--Why you shouldn't skip Nextwave's letter page.
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It doesn't work. You cannot give a good reason for any super-hero defending such an asinine idea. I don't know how much of She-Hulk was Slott's idea or by The Big Stupid Event committee edict. I'd like to believe that Slott was smart enough to see the inappropriateness of the plot. I'm sure if he wanted to raise the issue of a woman's right to choose or make a statement about the death of Dr. Slepian, he would have done so in a much more sensitive and stronger story. I think this is another case of the "White Power!" Superman tee-shirt behind advertised in Previews. Somebody, in this case Marvel's Big Stupid Event planning committee, wasn't thinking.
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Barry Kitson ducks out for this issue, but he's ably replaced by Adam DeKraker. DeKraker provides maniacal moments for Brainiac Five, acrobatics for Timber Wolf and makes the previously mentioned flight ring scene exemplary in timing and cuteness. It's much in the spirit of Romana's regeneration scene from Doctor Who.
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Pope creates a problem that demands the Batman's involvement, and along the way he touches upon the legend. Through Jim Gordon he extends that legend. Through the Bat's smart strategies he bows to the resonance of the World's Greatest Detective, and in throbbing, velocitous panel after panel Pope drives the Bat to the satisfying conclusion where the criminals quiver in fear.
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Saving lives, killing villains, using the gray cells, looking great in red, there's very little not to like about Kate Spencer alias the Manhunter. Screw you, DC.
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Parker and Garcia once again have given Marvel an all ages hit that outshines all the other books based on the same source. Marvel Adventures: Avengers kicks ass.
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Robert De La Torre is equally impressive when conducting the artistic mechanics of the battle high in the sky. Palmiotti enhances his luscious and vicious artwork. Chris Sotomayor chooses appropriately cosmic colors and adds to the character with a cool effect to Carol's eyes as she powers up and readies to unleash a bolt of energy. This issue exhibits pure professionalism on all fronts.
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"Field of Screams" by Scott Cunningham takes the reader back to basics. The arena here is a Little League game, and the "ghost" beautifully designed by DePorter, again pencils and inks, serves as a scarecrow to keep those meddling kids and their dog away from his criminal activities. The mystery is another fairplay slider with numerous potential suspects.
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What should be the ending isn't, and that just leaves the reader scratching her head until the next page explains what the hell has really been going down in the finely rendered Groening-inspired panels of Oritz, DeCarlo and Villanueva. I applaud the insanity.
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Almost every page gives the reader a source for artistic admiration. The artists flawlessly depict a from behind shot of Reed Richards as he surveys textured barren rock . One notes also how the hallway behind Sue, rather than lie flatly on the page, actually appears to go somewhere. Palettes of red and orange heighten the drama of Reed's discovery. The depiction of destruction looks fantastic. One character appears to be swimming in space. Thus, the artists create the illusion of motion. The artists give battle scenes more oomph by having some of the debris from one panel being knocked into another panel. Lines lending depth to advance an already proportionate body design score Ms. Fantastic's breasts. Wanda's fingers appear to be posed in an usual way to denote a spell-casting form. Color blends create the special effects such as hex-bolts and bioelectricity, but these depictions never seem out of place or distracting, a problem I found in Spider-Girl. They work with the st
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Timing they say is everything in comedy, and Marvel Adventures: Fantastic Four runs like a Swiss clock. Parker understands the fun in the Fantastic Four's characterization and provides a caper worth their appearance. Santacruz and Fernandez illustrate the quartet and their nemesis beautifully.
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As stated, Will Conrad provides this book with gorgeous artwork. I do not just mean that he makes the women gorgeous, though they are--including Tigra, my favorite of all Marvel heroes. Conrad pays attention to differences in proportion among gender. You can easily see the changes of stature, from Shulkie to Jennifer Walters. This attention to variety can also be witnessed in the brief talking head sequences as the trial goes on and the characters interact. Conrad's choices of angles furthermore keep the eyes entertained. The static camera in a legal drama can be utterly boring. Conrad employs over the headshots and utilizes the full three-sixty degrees for a more energizing look. Conrad in addition illustrates some very powerful, and in some cases for some characters very painful, action sequences.
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While the characterization begins taking on a form that's not particularly attractive, Nicieza's plot and Grummett's artwork makes it impossible to ignore The Thunderbolts.
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Well, congratulate yourself, DC. You've finally done it. You've worn out every shred of optimism I had for your future. I'm now officially as detached from the DCU as I am Marvel. No offense to Marvel. I just never had the kind of affinity I had with the DC heroes.
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The asses the heroes kick belong to Heatwave and Killer Frost also in a relationship that faces a rocky patch due to Frost allegedly flirting with Captain Cold. Beechen beautifully characterizes these villains as complete selfish egotists. Their tiff causes massive weather damage, but neither of them cares. The heroes put aside their questions and band together for the common good. Justice League Unlimited gives all a super-hero fan that for which he can ask. It is a perfect issue of a damn near perfect series.
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Marvel-Team Up lacks a story. What's given barely makes up a vignette. "Freedom Ring" has no original characters. It has no original dialogue. It hasn't any original ideas. It lacks super-heroes in the main plot, and about all I can recommend about it is Andy Kuhn's artwork, which really isn't even to my tastes but is at least technically competent.
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Open the book, and you'll see a vivid portrayal of Wendy's sorrow over her boyfriend Ben. McClaine renders a nuance to her eyes that captures the depth and emotion of the character. Read on and you'll see engineering art that rivals the best as McClaine illustrates a jet and its takeoff. There's something about McClaine's artwork that just makes him perfect for The Middle Man. He understands just the right amount of reality in artwork that's needed to carry this story and enhance its verisimilitude.
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That final scene is meant to be a shocking cliffhanger, but it loses its potential impact. It makes no sense. Fortunately John Cassaday and Laura Martin provide their usual gorgeous artwork, and though mediocre, the story's far better than the last tale: Danger Room come alive and gone amok.
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Between these channels, Tom Peyer, James Lloyd, Andrew Pepoy and Hamill render a sweet short where Chief Wiggums expresses his love for his son at a baseball game. Jesse McCann, Mike Rote and Hamill entertain thoughts of revolution with another disturbing and bizarre episode of "Worker and Parasite."--the Russian version of Itchy and Scratchy that made Krusty on the show pause a few bug-eyed moments then cry out "What the hell was that!"
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The backup Sparkplug tale finishes the story started in the sheer awful last issue. Jimmy Dooley finds himself in possession of a magic belt. This attracts the attention of loony cultists who attempt to kill him and de-girdle him, but not necessarily in that order. The second part like the first part of the backup is an action packed short with snappy dialogue. A good spoof with a strong backup and excellent artwork throughout brings Flare back into the light.
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Speaking of the crown, why does the prince resemble Shang-Chi, Master of Kung-Fu, and why does he sound like every other pampered royal who has to learn a valuable lesson about governing and not letting others govern for him. Feh.
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This scene offers another good suspenseful cliffhanger. It invites anticipation from the reader. Instead Morrison continues. The book jumps one billion years later. The Sheeda have taken over the earth, and Frankenstein is there to kill them. All right. First, I hope DC doesn't intend to publish 52 Billion in an attempt to explain what happened between this page turn. Second, the whole act just seems perfunctory. We have no build up. We have no reason how the Sheeda have taken over. We know they're badass faeries, but there should be numerous obstacles in their path to victory. We have no explanation to where all the other heroes went. I know one-billion years in the future pretty much kills any hope of Batman saving the day, but what about Wonder Woman and Superman, who in DC One-Million Morrison has suggested is ageless? What about the Green Lantern Corps? What about the Legion of Super-Heroes? You cannot cite continuity and not address it later. What? The Sheeda just
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So, what about this Legion incarnation? In order for me to really judge their role in the story, I'd actually have to have some kind of feeling about them, and I don't. They're less snarky than they were last issue, drawn really well though I have some issues with the redesigned costumes--especially Triplicate Girl's awful orange cape and dog collar--but very few of them have any real substance. A former favorite Legionnaire, Shadow Lass is growing on me, but she's only one of two that has any real spark in the dialogue. Light Lass' personality develops because of her negative reactions to Supergirl. She doesn't really exhibit anything of her own non-dependent personality. The rest of the team are like blank slates, well drawn blank slates, but blank slates none the less.
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This is another excellent issue of The Thing. It's so good that it even overcomes the Spider-Man eyesore that was foisted upon the web-slinger by people who should have really known better. He's not the only guest in the book, and Marvel fans--Slotted and un-Slotted--will be delighted by the surprise cameos.
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The characterization and the character interactions are too thoughtful to consider Big Max a spoof, and the situations are too dramatic to suggest parody. Big Max is rather a straightforward super-hero comic with a strong cast and excellent artwork by James Fry and Andrew Pepoy that's just a little cartoonier than the duo usually contribute.
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Black Coat takes advantage of a seldom explored arena for crime and corruption that fosters the birth of an interesting hero with ideas beyond the time frame in which he battles. Aye, I think I'll wear this book awhile to see how it fits.
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In Justice, myth becomes reality. Two dimensional figures seem to grow thirds, and the storycraft behind the artwork is just as powerful and oh so fitting for the Justice League of America.
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Few of these scene-shifts offer any segues. The end result is a scattershot issue in tone and execution that tries to do too much and does too little. Manhunter is supposed to be action-packed not a dissertation involving events that have yet to happen and subplots that inch along with the speed of a bloated garden slug. Kate needs to hit something. So do I.
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Nextwave is the super-hero book that's satisfyingly savvy, silly and stupefying through the slickest sketching from Stuart Immonen, the sharp inks of von Grawbadger and the sun-kissed colors of Dave McCaig.
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The art team provide scenes that could be transferred straight to film and draw upon the laws of proportion to make their jungle protector a powerful figure for the fight against oppression, yet another good sign to be added to the many others in this series.
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This issue of Red Sonja proves to be very deceptive. It seems to be a traditional story in which Sonja becomes mentor, but Oeming and Rubi unveil subtle surprises that make the tale stand out among others of its ilk.
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The remaining pages offer a return to Ghastley mansion where Shaggy and Scooby as well as the reader must negotiate a maze to retrieve the Shagster's missing socks and shoes--which indeed were left behind along with his dust. This issue of Scooby-Doo also features a delightful short by Daryl Taylor Kravitz and excellent Scooby-Doo artist Scott Neely. Kravitz and Neely make use of Shag's and Scoob's shared habit of stealing each other's food in an inventive and tasty gag.
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Ty Templeton's excursions to Springfield are rare but always welcome. The author/writer gives the fan of this particular episode of The Simpsons a deserving sequel that packs everything for which he or she could wish. The voices of the characters are easily heard through the dialogue, and the jokes are both complex in construction and quick in their delivery.
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When Batman returns to his headquarters, he and his group of compatriots--consisting of a Robin and a non-crippled Oracle--discover the hidden messages concealed in the tooth and the reason why the Fed was killed. Pope takes his corrupt future borne out of the slippery slope and brings a threat to that future that goes beyond mere staining. This new escalation demands the attention of Batman. Fortunately for the world, Batman is back!
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This issue of Boneyard is probably the least necessary issue of the series, but it's difficult not to recommend the stunning black and white artwork and these likeable characters.
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An accomplished art team--Garcia/Koblish and Sotomayor--that provides detailed backgrounds and strong anatomy lessons that eschew stiff poses and never get in the way of the fluid action, sets the stage. Marvel Adventures Fantastic Four is not to be missed, and if you ask me, it's the only Fantastic Four book anybody needs to read.
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After a really good premiere issue, Reed falters badly when trying to control his narrative. He stacks up too many weak plot elements and doesn't build a solid basis for the underlying rationale of his tale. His characterization for Ms. Marvel is fine. It's even good, but by amplifying the threats, he distracts the reader from the star, and if he repeats these mistakes, she will be a falling star.
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On the back of the book, the publishers spotlight a scene in the story where Nancy gets bitten by a spider. Petrucha does an impressive job of making this spider-bite an important and continuing theme of the story as well as the herald Nancy's comeuppance. Unlike some of her mysteries, as the story progresses, Nancy earns a severe disheveling and suffers the embarrassment of multiple mistaken diagnoses. Apart from adding a touchable humanity to the character, the trials and tribulations she encounters reinforces the idea that Nancy will let nothing get in the way of her mystery solving.
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This is by no means the worst or the best issue of Thunderbolts. Dave Ross and Cam Smith do a nice job keeping everything aesthetically pleasing, and while there's little action to be had, in this issue, they illustrate it well. The sudsy writing gives the art team the opportunity to show off their ability to render a gamut of expressions, and one hopes they soon get hired permanently on a super-hero book.
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It's become rather fashionable to trash John Byrne's artwork and his storycraft, but I have nothing but respect for this amazing artist/writer who provides top-quality work on time and with flair. Blood of the Demon continues delight with the power of artwork and unpredictability.
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I can't say that I enjoyed Infinite Crisis, but I can't say that it hurt me either. It's Big. It's Stupid, and it's forgettable. It also doesn't seem quite so momentous as DC made it out to be, but I have become numb to such time-share sales talk from DC. Infinite Crisis seems to do nothing more than preserve the status quo: one earth, one moon, I'm assuming one sun, the same old heroes and likely the same old problems that could have been fixed had all the editors of all the books simply gotten the writers to do better jobs and called them on the many continuity errors that erupted basically from the get-go.
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And yes, identifying those characters was added fun.
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The artists render a decent early Mike Mignola impression. Mr. Mignola wasn't always about deep, deep shadows, and he always did have talent. He used to show more in his blocky, abstract form than he did now, and that's how the artwork looks. It works remarkably well, and I actually like the artists' version of Wolverine.
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The dialogue can be quite beautiful at times as can the artwork. Morrison and Quitely have a forte for expressing super-heroes. Perhaps it's because they actually like them.
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It's a shame this book isn't getting much in the way of buzz. Sable & Fortune is a hoot and a half for fans of the super-spy genre and the great artwork of the legendary John Burns.
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Despite being outnumbered, the Middlemen, if we include "Dubbie" Wendy, seem to have the upper hand, but Grillo-Marxauch combines all these elements into a chaotic final that very plausibly produces a cliffhanger ending.
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The question becomes whether or not Slott can sustain Alicia's involvement naturally, and he does find a way that's simultaneously humorous, natural and important to the plot. Top the tale off with the reappearance of a loser of a villain as well as a surprise guest villain, and you've got a solidly written comic book cemented by masterful old school artwork.
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Hunter's greatest crime seems to be sending men to kill Sinn, but this is a matter of survival. That's where I felt the book took a few wrong turns. Hunter lets Sinn walk away. He sends men into the alleys to their deaths, but he lets the wise man pick up Sinn and take him back to his home. At the very least Hunter should have tracked him down. At best he should have blown up their shack, and Vera does not address the reasons why he did not do these very sensible things. If Hunter can find Sinn within an alley in a teeming city, why can he not find Sinn in a shack in a desert near a road?
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The bonus What If piece sends up sitcoms in a big way. I Dream of Jeannie serves as the centerpiece for artist Mike Kazeleh's hilarious depiction of an angry, fed-up Leela whom Fry discovers in a bottle. The short just gets loopier. Dr. Zoidberg becomes the wacky neighbor. Amy becomes Sam from Bewitched, and Boothby attempts to answer that age-old question who is more powerful Sam or Jeannie.
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Javier Pina and Fernando Blanco with Steve Buccelato once again address Andreyko's thirst for good old-fashioned super-hero action. In their hands, Kate is a sinewy red predator blasting across the night sky and conducting a short violent gymnastic routine on the rooftops. Year Onecannot stop the deification of Manhunter.
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Toto--elevator music band that fascinates the Lettermatic 7053 in this issue's HATE Mail.
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Pat Novak for Hire is an intelligently written detective story filled with engrossing characters and steeped in wit. A new master of light and shadow that's beautifully captured on the perfect paper stock illustrates it. I can't recommend this book enough.
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Accompanying Oeming on this excursion, Mel Rubi once again provides gorgeous artwork that's often intricate in displays of Sonja's intelligence and resourcefulness. His depiction of her face reveal a gamut of subtle changes in what's often a hard mask.
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Juan Bobillo is sorely missed, but the reliable Will Conrad from Buffy the Vampire Slayer and Serenity provides his excellent artwork for a packed cast that includes some ludicrous space babes in Eros' flashback. Bonus points for the Futurama reference and making me remember ISAAC.
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The plot, not involving Supergirl, with nods to Isaac Asimov's Caves of Steel helps establish the rebooted Legioinnaires as representatives of the United Planets. They abuse their new powers, but they also do good. Honestly though, I could not have cared less. I'm in this latest reboot for Supergirl.
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Any true Batman fan simply should not overlook Batman: Year One-Hundred.
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Simone offers the reader slip-shod plotting, atrocious dialogue and unformed characterization in a cohesively bankrupt story. Her love for her creation Tudik and The Some Mercenary Guys is evident, but a cogent, effective League that's comprised of "The World's Mightiest Super-Heroes" does not balance her love for a derivative character I recently saw an episode of South Park that spoofed the Super-Friends. It was far more reverent to its source material and creative.
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The story just flows from one scene to another. The plot bubbles with snappy dialogue and strong characterization that's distinguishable from The League and the Legion, which Giffin also wrote so many years ago, and the plot twist offers a genuinely moving moment. Can't ask for more than that.
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Short, informative vignettes and a few puzzles fill in the gaps between the two main stories, but for an all-ages title, this issue of Scooby-Doo won't even likely entertain kids.
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The Wardrobe--Could reference C.S. Lewis' The Lion, The Witch and the Wardrobe since it offers Sally a chance to escape.
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The Athenian Star isn't anything special, but it does open up a door to another space opera, and if space opera appeals to you, then perhaps this is your cup of soup.
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Peace between the heroes is quickly forged, and Parker's subtle use of African mythology keeps a joke running in the background for Ben Grimm. The concluding battle between Black Panther and the FF against the smugglers offers a quick resolution and more fun through vast overpowering.
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Jennifer Mays just happened to be downstairs attempting to broaden her lover Gabriel Webb's gustatory knowledge. Thus begins a carefully plotted mystery in which two more will die among the red herrings. Sousing out the killer's identity will require careful observation, and if you're not in the mood for the puzzle you can always sit back and enjoy the repartee between Jen, Gabe, Lt. Bliss and Simons as well as the smooth and creamy artwork by Padilla, Jacobson and Beredo.
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Saying that the reason for the town's madness stems from an impossibility that's allegedly science fiction runs counter to the whole point of science fiction. The use of such a plot device leaves a massive hole in the story, and I can't help but think that Morrison could have avoided this damage by choosing another enemy that had a sounder basis in fact.
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Morrison isn't interested in that kind of writing. He's here to entertain, and if any big ideas happen along with that entertainment, so be it. He knows we readers are here to see good triumph over evil, and that's what he offers in the thoughtful and at times uproarious conclusion to Mister Miracle.
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Note Thunderbolts costs a little more this week, but you are not paying for the reprinted issues. The main story is about forty pages long. The reprints are free, and the whole package is worth the time and money.
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Tom Strong, his author and his artist bid a fond and classy farewell to their fans.
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The conclusion unwittingly borrows from a scene in Dark Knight Returns, but this cross pollination does not mitigate the power behind the tale in which a child learns that her parents are not really the ideal in which she believed. Extrapolated to a more general sense, the theme gibes with the growing skepticism against cultural icons, from priests who rape children to Presidents that lie to instigate war. Vampirella's triumph is therefore of an underdog that was exploited by authority and justice against injustice.
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The plot elements haven't changed as drastically as some of those in the other One Year Later titles. From what I gather Aquaman has had a fairly major shake up. You can follow the story in Blood of the Demon, but the reader has the feeling that he just walked in during the middle of the movie. You have to trace the story back to the point of divergence, and you're never quite sure if the path you're taking is correct. The dialogue rather than clue the reader to the characterization more often clues the reader to the plot. Because of this the dialogue suffers from a very distracting bout of clunk. Blood of the Demon was one of DC's more tightly woven titles, but because of One Year Later, a few threads come loose this issue.
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Hellboy: Makoma is a head scratcher. Mignola relates his Just So... story in a smooth technique that's filled with wit. Corben beautifully captures the tone and Mignola's impressions. Confusing but kind of good. I imagine Hellboy felt the same way.
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A delightful issue for fans of the JLA, great artwork and smart storytelling. So, mosey on up to your comic book dealer and give Justice League Unlimited a ride.
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Paco Medina and Juan Vlasco keep things exciting and smartly staged. Again there's nothing really special in the artwork, but it's solid work that features greater artistic ability to visually craft a story.
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The artwork offers a pretty decent showing by Roberto De La Torre and Palmiotti. I noticed a few technical gaffes in scale as well as foreshortening, and I have to question the panel with Ms. Marvel smiling, since it appears the Joker visited a rictus grin upon her, but all in all, the artists keep everything nicely action-packed while expertly achieving subtle expressions and body language during the aforementioned lunch date.
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Nextwave is a fun, frolic that I cannot recommend highly enough. Reading Nextwave is as invigorating as drawing in a breath of clean mountain air.
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The artwork by Noah Sonlanga is throughout decent without a mistimed scene. Anatomy and proportion are solid, and the action is well choreographed. He does however come from the American anime scene that used to be Image's signature, and sometimes those influences become obvious.
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The best part of the story emerges at the end. Sonja reveals her intellect instead of her flesh, and Thulsa really does look doomed.
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The technology levels of the government border on the ridiculous. There is simply no way possible that the government of the period could perpetuate the lie in such a convincing manner. No way possible. I don't care how much money they threw at the problem, the technology was not there to suit their needs. The administration also risks innocent lives in perpetuating their lies, and if these characters really are super-heroes, then they would not, could not allow such a thing. A sufficiently corrupt administration may not possess a shred of conscience, but a super-hero would possess more than a shred. A normal empowered individual would object to such treatment.
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How often have we heard pretentious street super-heroes make some sort of claim that while you look at the big picture, the small picture escapes your notice? Whedon turns it all around, as he so often does.
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Is this issue the worst Bart Simpson Comics issue I've read? No. Despite being unable to get me to crack a smile, the writers do characterize the characters to their television models, and all the artwork matches Matt Groening's designs. These assets are enough to raise the book from two bullets to three bullets. It's not bad. It's just the definition of mediocre.
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The entire creative team works together as a single mind. Together they create a story that ripples with power and dimension, and it goes beyond a simple reclamation of the Black Widow. Morgan's story is an indictment of the Bush Administration's war against every day people. His story is an indictment against Domestic Spying, against the reclassification of documents previously released to the National Archive. His story is against an administration that demands your right to privacy on the net be destroyed. His story speaks out against a rush to war with no evidence, the knee-jerk patriotism that will no doubt fill my mailbox with hate-filled diatribes from Republicans who put a moron in the highest office and must take responsibility for every soldier that dies in Iraq and Afghanistan. His story speaks out against the outing of a secret agent to punish the husband who saw through their veil of lies. His story speaks out against an administration that would turn women into sec
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The conclusion I'm forced to strongly consider is that Gail Simone does not really like the Justice League all that much. This conclusion is reinforced by the cliffhangers in which Tuzik captures Some Mercenary Guys and tells them he's going to execute them. Thanks for that because I care so much about Some Mercenary Guys.
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And that is how I decide how many bullets a book can load in its chamber.
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Daniel Acuna illustrates the book, and you can see that if this is the same Acuna who provides DC with such lovely covers that Mr. Acuna has come a helluva long way. This is not to say that his work in Anthem is bad. It's just simple and a little crude. That said, you can see a lot of the talent he will become in the animation of the characters. The reprinting of the book does not offer the best quality. The line work looks scratchy, but you really can't blame the artist for this. Mostly Anthem is just an understated hoot.
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Pope's artwork is uniquely stunning. He does not illustrate male or female models. He does streamline faces or features. He instead concentrates on effect and motion. He considers panel layout and storycraft. His vision produces a fusion of government and sports celebrity through the design of the Federal troops. It equates beauty with duty to justice and humanism. Pope doesn't draw the prettiest figures, but these characters move, express and breathe.
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Encyclopedia of Super-Heroes--Jeff Rovin
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How will it all end? I don't know. I just know that somehow the heroes will triumph as they always do.
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Kate Spencer a.k.a. Manhunter kills another villain. She kills decisively. She kills efficiently. She kills remorselessly. Kate, I love you. I mean that. Huntress used to have my love, but DC went and killed her. I love you, Kate. Stay healthy.
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Apart from the aforementioned Barretto, Joe Abraham, Cynthia Martin, Mark Badger and Chase Conley provide pages of art that while they do not blend together do not clash. Abram's work is starting to grow on me. Cynthia Martin though has a stronger line and better depicts action. Mark Badger is a take it or leave it artist. He's always been that way, and for Planetary Brigade, I'll take it. His style certainly suits the surreal scenes. Chase Conley best illustrates subtle gestures and facial expressions. Each artist works with his or her strengths and makes Planetary Brigade attractive and entertaining. I hope that this technique is used on future issues.
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Oeming and Carey execute a fairly layered story. Their characterization for Sonja and her nemesis rings true. The themes square with those of Robert E. Howard, but they falter when creating a satisfying conclusion. The twist they come up with during the final battle between Red Sonja and the maniac is a good one, but they don't follow through and inadvertently concoct an ending that lacks power.
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Look, I call them like I see them people. Issue by issue, and after a pretty damn good run, I'd call this issue the clunker. It's still better than eighty percent of what's on the racks, but in comparison to the previous issues of She-Hulk it doesn't rate the highest.
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Jason Ho-ookly-doolkly and Mike Rote-ly-doodly ably illustrate the cinematic jokes--including a hilarious homage to homage. Their whipped cream gags involving Homer are the tastiest, and they exhibit an overall sharpness in line work. Art Villanueva colors both stories in the find candy-coats of Springfield flavors. For the second tale he pulls out the dramatic shades, fiery reds and psychedelic purples.
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Kestrel on the surface intends payback, but her actions expose her subconscious. Natasha will not give Kestrel what she really wants. If Natasha feels guilt over Hunter's death then she will be admitting that what Kestrel did and is doing was and is just. Kestrel will then be able to reclaim her identity, which Morgan and the art team have visually diminished through the symbolism of a crew-cut. In the first series, Kestrel possessed long golden hair. She acted human and chucked the whole mission in favor of pleasure. In The Things They Say about Her Morgan has dehumanized her. Kestrel succumbed to corruption through the pretense of vengeance. Kestrel on a deep level that goes beyond government conditioning knows that what she did and is doing was and is wrong. The Widow will not give in to Kestrel's demands. The best that Kestrel can do is cause suffering, an absolutely pointless endeavor. The cliffhanger however gives Kestrel an edge. The next and last issue promises to b
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I haven't a complaint I can lodge. Marvel Adventures Fantastic Four treats loser villains like loser villains. They're not amped up. They're menaces to average folk but pitiful when compared to the might and intellect from the heroes. The artwork continues to operate through a combination of traditional old school anatomy and exciting panels with the successful movie versions of the characters. Squint, and you can see Jessica Alba kicking Klaw's hindquarters. That suits me fine.
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Lovely, and yes, I am rather biased. I hate Genis Mar-Vell almost as much as I hate Hal Jordan, and that's saying a lot. I've hated Hal Jordan a long, long time.
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John Rozum fills the remainder of the pages with a cute puzzle gag and information about a friendly legendary monster as told by Velma. Joe Staton illustrates the dreamy collage and easily outshines all the other stories. This is not meant to suggest the art in two main tales are bad. Joe Staton simply has a way about his artwork that's tough to beat and impossible to duplicate. Heroic Age must be commended for the unusual pastel palette that enhances the mood.
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If you're going to quote Gremlins, you had better be as equally as enjoyable, and The Middle Man is equally as enjoyable. The real reason behind the rules of Wendy's mission is a complete hoot and utter nonsense that crams multiple ethnic clichs into one very appealing package deftly rendered by Les McClaine, master of crisp black and white artwork that beautifies every panel.
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In terms of basic artistic mechanics such as proportion and aesthetic use of space, Athena Voltaire is a beautiful book. Furthermore, the well metered pace often explodes into breakneck action, and there's still time for well-crafted dialogue. A lot of fun and recommended.
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This book makes my mind boggle. Byrne surprises and delights while not shirking a deadline or a detail to the crosshatched muscle.
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The preview does this all for the measly price of fifty cents. That's right. Half a buck. Exactly why would you pass this book up, monkey boy?
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Welcome also to the hilariously named Colorbot 3000. Beneath those circuits are the familiar Bongo colorists that suffuse the story with brilliant vivid variegation. The 'bot never falters to bring out the best in disco pink and purple fusion, antithetical yellows and the myriad definitions of flesh.
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The ending as I suggested leaves a door open, and this very important event will likely serve as the impetus for the NTF's next actions. It deserves a center stage, and Pena and Rand happily provide the spotlight.
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Makoma offers a fresh style for Mignola and his creation. The comedy here isn't of the eerie "Corpse" variety, and while Hellboy's destiny gets a mention, it doesn't serve to direct the reader away from the slap-happy fun.
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The story and certainly the artwork isn't a total loss. Ethan Beavers does a good job at expressing Superman's pain and exhaustion. Though let me stress we still don't know why he's in pain and exhausted. He ably renders the characters to model, and Beechen throws in several amusing Taxi jokes as well as some fun technobabble that sounds plausible. Best of all, he reunites the original magnificent seven--a true moment for Beavers, and he even manages to have Batman be personable.
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It's another fun chapter in the zany time-traveling storyarc in Marvel Team-Up. Calling Kirkman one of the terrific ten or fine fifteen may be pushing it, but he knows what works and what will attract readers who actually like Marvel's massive, teeming continuity.
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I wouldn't classify this book as a let down, but there's no reason why the writers and artists couldn't squeeze the final battle between Sonja and the Big Bad in these pages.
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Sable and Fortune received very little hype, but it far outclasses in terms of art and story the average book of its type as well as quite a number of comic books on the rack that require convoluted story telling and hammy, unnatural or just bad artwork. This is the real stuff. Sable and Fortune are the Modesty Blaise and Willie Garvin of an alternate universe.
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King of the Cats--Karl Kyle, brother to Selina Kyle. An astoundingly obscure Batman villain. Historically, Catwoman was instrumental in having Karl turn himself in to the police. According to the unpublished history of the Morrison DCU, Karl reformed and became a super-hero. Congratulations, Mr. Morrison, you just beat out John Byrne, who previously held the record for Most Obscure Batman Reference, with an appearance by Knight and Squire in Batman and Superman: Generations.
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As for the Silver Surfer, Giffin/DeMatteis and Maguire haven't forgotten about him, and I'm pleased that I actually predicted how his subplot played out.
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Batman's joke is a good one, but these scenes are few and far between. Simone has the skill to be a good writer, but she needs to first employ restraint and let the characters not the plot talk.
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Tabitha Smith--another mutant who escaped that rather ineffectual spell Wanda cast "No more mutants." She should have consulted with Zatanna.
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You can't talk about a character like Red Sonja without referring to the color scheme. Scott Kester finishes the intentions of David, Lieberman and Conrad with vivid fire oranges and blood red hair, sumptuous flesh tones and expressive green eyes.
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Now, here's what I want whoever's reading this review to do. If you decide that my words have not swayed you and you intend to buy the trade paperback or worse the back issues of this abomination against writing, I want you to accept that you do not have to own every comic book or graphic novel being published. I want you, even if you are a Black Cat or Spider-Man fan, to resist the urge to buy this graphic novel that's ostensibly about the rape of the Black Cat but, apparently given the ending, isn't. I want you to take the money that you would have spent on Kevin Smith's offal, and I want you to contribute that money to a battered woman's shelter. Marvel should do the same. Whatever money they received from Kevin Smith's written feces they should give it away to battered women shelters across the United States. In fact they should as well give his paycheck to a battered women's shelter. That's the only worth I can see ever coming out Kevin Smith's Spider-Man/Black Cat. Togeth
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You may think this packed story neglects Ben Grimm, but Slott follows up on what Ben learned from Carlotta in the previous issue. He shows all facets of Ben's rocky countenance, and this gamut of emotion also becomes reflected in the artwork. There's not a single fault I can find within this issue of The Thing, and it belongs in every fan's shelves.
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J. Lo--the artist formerly known as Jennifer Lopez. A dubious singer who admittedly gave a decent acting performance in Anaconda.
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Devil's Keeper costs three dollars an issue. I suggest you save your money and invest it in the uncut DVD of Enter the Dragon. That's a classic martial arts film starring the greatest martial artist the world has ever seen--Bruce Lee, the real one--and filled with excitement as well as a super-cool plot.
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Manhunter's a quick read. It's fun. It's open-minded. Kate kills another villain. The artwork's scrumptious, shadowy and oh-so crimson with memorable imagery. What's there not to love about Manhunter?
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This issue of Maze Agency is a little more risque than most, and it gives Ariel Padilla, Ernest Jocscon, Romulo Fajardo to illustrate some luscious skin as well as some interesting situations. All these scenes are carried out tastefully, of course, and the gist of the mystery as well of the construction of the characters bears talent and appeal.
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I wasn't really looking forward to this Dixon issue of The Phantom, but his first chapter in a two part serial does the Phantom justice.
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The band's battle within the city is full of gusto and masterful artwork detailing Sonja's deadliness. Frankly, with Sonja on their side, the band is so good you wonder if this is the end of the story, but Oeming and Carey have another card to play. The twist is a good one because it not only provides a further impediment to the goal. It reveals another piece of the armor that makes Red Sonja.
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The tortures together create the step-by-step traps that parallel Mister Miracle's ballyhoo. In other words, the baseball bat beating is like the straitjacket. The next humiliation is like the chains wrapped around the straitjacket. As gruesome as these actions are, they set up the potential for a big escape--hopefully seen next issue.
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Artwork by James Lloyd, Andrew Pepoy and Nathan Hamil nicely brings characters to life and in conjunction with the setting provide knick-knack details and defined shadows.
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Another aspect of Cold Steel that may escape some is that it's only two issues, but Moeller gives a complete story that neither feels rushed or bloated. He even includes plausible romance within the tale that eschews typical boy meets girl stories. JLA: Cold Steel is another masterfully related tale in both art and writing by Christopher Moeller, and I have to say given this second chapter, it easily becomes JLA: League of One's equal in terms of quality.
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Parker does not only provide plot, he proffers characterization fitting the foursome. Reed's brilliance with Lockjaw's help saves the day. Sue's amazingly cute in her interaction with Lockjaw and powerful when providing super-heroics. Johnny and Ben contribute to a tag-team comedy, and of course, the topper or rather the bottom is the Street.
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The artwork by Tom Grummett is top notch as usual, but I just really found it difficult to care about the characters. As a trivia note, this is probably the most purple issue of a comic book I've ever seen. The Swordsman is purple. Zemo is purple. The Purple Man gets a cameo.
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The second mystery "Total Wash Out" by Frank Strom doesn't live up to its name, but it's not exactly memorable. This is a shame because Karen Matchette loads the story with a number of visually interesting characters.
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Mike Estlich and John Heebink, respectively, contribute varied and complimentary colors. Estlich's colors become extremely noticeable when Kassidey meets her feline mentors, and the color of her hair is a nice visual signature for the character that distinguishes her look from Selina's black hair or Tigra's tawny mane.
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Despite Vampirella wearing the scantest uniform of any super-hero ever created there is no hatred for womankind or sexism in Revelations. Instead, readers find one of the few still resonant, still capable, still impressive characters created in the silver age.
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Mike Kennedy's plot fits with the organic versus inorganic nature of Aeon Flux, but against the farther reaching story in the film, it just seems like a shoulder shrug. As with the artists, I would love to see Kennedy work on something else. His plots are finely tuned. He seems capable of producing a beginning, middle and an end, and I'm sure there were constraints associated with producing Aeon Flux that he had to follow.
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Ortiz, DeCarlo and Hamill return for the panel pieces, and this time their talents must be directed for scenes filled with multiple denizens of Springfield. Needless, they succeed and make certain that the storyboard never looks cluttered.
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Artistically, Black Widow benefits from a striking look courtesy of Bill Sienkiewicz, but this issue some scenes may have benefited with a little more care. The Widow's boobs look mighty fake, and the way in which she carries Sally appears unnatural.
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Byrne's artwork has never been better, and he doesn't just impress with pyrotechnics or Batman's mystique. He creates an opening scene that beautifully captures exactly what's going on in the panels. He shows the strain in the Demon's limbs without spotlighting his face as he tries very hard to break something in half. Later, Byrne displays witty visuals for which he is not known. Blood of the Demon is laced lovingly with black humor in the dialogue and the display, and Byrne just doesn't miss a beat.
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Fabrizio Fiorentino's artwork reminds me a little of Chris Batista's work. Fiorentino isn't bad, but his panels are too busy, and this combined with an overabundance of dialogue muddies the choreography. You need a "cleaner" artist like Daniel Acuna who provides the gorgeous cover on Doc Samson.
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Don't worry, JLU is more than just political insight wrapped in metaphor. The wiretapping allows for the expected battle against the Freedom Fighters. Usually these things depress me, but it's just so nice to see Phantom Lady without a sword stuck between her breasts and Superman literally walking through fire and uttering classic dialogue that I couldn't help but be swayed by the fun of it all.
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Marlene is not for kids. The sex and violence however should not disturb a mature audience, and the plot which does not really surprise is superior to the characterization.
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The final experiment endangers lives. This forces Spidey to hold back, and the Thinker who now holds the wall-crawler captive now can demand answers as to how the web-slinger can thwart his mad-genius. The answers won't earn the Thinker any sleep but will provide many a grin for a reader.
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Paco Medina and Juan Vlasco with Studio F's Marte Garcia expertly take on the choreography of this superb example of madness gone amok. The story bears just the right visual style to keep the serious nature of Chronok's assault as an undercurrent. The surface bursts with super-powered, action-filled proportionate goodness and sly, knowing smiles that occur when one has the means to save the day.
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Cahill's Dominic Fortune is probably not the original. More simply and more likely Cahill intends to make him a descendent, which is fine by me. Cahill's Dominic is smarter than the original and has the more current occupation of private eye. Cahill gives him Dominic's lighter attitude, and the contrast between the two is a match we couldn't have thought of but seems perfectly natural.
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Doug Mahnke's Frankenstein is still a powerful visual, and his scenes involving the romanticism of the beast ring true. What doesn't ring true is Mahnke's Mars, which is inked too heavily and should really be sharper, more realistic to contrast the weirder elements. As it is things just blend together.
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Spider-Man/Black Cat is like an idiot who believes himself to be an idiot savant. The one hope we have is that crazy Wanda by saying "no more mutants" wiped this miserable excuse for one writer's ego out of Marvel continuity. Imagine the irony. One bad mistake by Bendis canceling out the evil that one man did to the readers of Spider-Man.
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Casey Jones aids McDuffie's words with a strong representation of the characters done in a sublime line that lacks overdone crosshatching or hyper-detail. Jones makes Sue and Reed subtly emotive. Doom walks regally and looks simultaneously sinister. Johnny and Spidey both issue a common man humor. The Thing appears powerful and action-packed, and Jones' panel arrangement perfectly suits McDuffie's choreography. Danimation must also be commended for a full palette of multiple shades in the rapid-fire story that's also a thoughtful exercise focused on friendship.
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The last story by Mallone and Tim Burgard is mostly harmless. Flare visits a children's ward--nice at a hospital. That's exactly what super-heroes are supposed to do. She then reads the myth of Jesus Christ's birth. On the one hand, I suppose a Greek goddess wouldn't care if children believed in a myth purporting to give them a peace loving savior. On the other hand, it's all bit silly to have a Greek goddess do this. It would be like Wonder Woman praying to the Christian God instead of Athena.
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Butch Guice provides a photographic representation of the League in pencil and ink. Superman hasn't looked this good in years. The first page that greets you makes Kal-El eerily real and makes his gaze all that more awe-inspiring. Every Leaguer gains stature from Guice's nimble fingers. Needless to say, Guice should be the new artist for JLA.
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Espinosa's artwork is a take it or leave it type. If you can connect with his broad painted slashes delineating shape and his use of color to denote mood and atmosphere, you're in for a treat. If you cannot, the story might woo you anyway.
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The Goon's Eric Powell dramatizes a dark future. Tom Grummett and Gary Erskine cap off the book with a simply beautiful Slott punchline, and for a dollar more you get two issues of premiere She-Hulk books--Savage and Sensational--which keeps with the theme.
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Slott uses Marvel continuity to the fullest in The Thing. Apart from emphasizing Ben's enormous strength and determination, he adds things like Tony Stark's status of Iron Man and Nighthawk's strength. He strengthens his own character creation characterization through a neat little scene involving the Thing and his girlfriend Carlotta, and he displays knowledge of conventions by avoiding them while simultaneously keeping things witty and snappy.
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The most annoying thing about XIII is Alias' release schedule, but the book has a lot to offer, and putting up with such stupidity on the part of the publisher to enjoy this solid entertainment is a major inconvenience but worth it.
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As Amandine goes back to the "real" world to search for her father, Stone unleashes a slightly off-kilter sense of humor on the proceedings. He takes the stuffing out of an old horror clich and shows the power within Amandine's hands and words as well as the personality behind her deeds. It's issues like this that makes me root for The Grimoire's survival in the comic book racks.
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This chapter more than most spreads out to include the rest of the League and begin to paint for them a tapestry that needs to be unraveled. Ross' artwork and sensibilities create iconic visuals in such a way that the League can be recognized without their uniforms. Which three women share a table at a posh restaurant? We know who they are, and Kreuger and Ross pose the question of what happens when the villains learn of the heroes secrets far more intelligently than half-witted Big Stupid Events. Justice was the series that should have been hyped. All others are mere inadequate imitations.
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Javier Pina and Steve Buccellato enhance Andreyko's words with their artwork. Pina doesn't get the opportunity to draw Manhunter in costume, and Buccellato also doesn't have the chance to bring out the reds. Their work stays within the real world, but that doesn't diminish its power. When Kate's instincts take over, Pina imbues the determination to the character's face, and Buccellato makes her green eyes flash angrily. When Andreyko's writing leads up to the big reveal, which is a knock you out of your socks kind of surprise, they give her a realistic and understated look of surprise, and in between Pina's panel construction, segues and aesthetic sensibilities create a quick pace that's nothing short of being reminiscent of Alias, the television series.
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Next issue will be the last issue of the Powerpuff Girls. Not exactly happy about that, but their adventures will continue in Cartoon Block Party. Look for the reviews of that book right here.
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On the whole, I can't fully recommend the Bulleteer, but I can't fully disparage it either. If you like the character, this teeters to a higher grade. If you're lukewarm on the character, the book teeters to a lower grade. Morrison has done better but mediocre Morrison equivocates to friggin' great Alan Smithee.
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Costanza, Novin and Villaneuva do not falter despite the myriad characters in the script--sometimes duplicated and without a copy and paste function. The art team on the first page brings displays their skill. In the Groening style, Bart imitates indy, and the line by Novin is smooth, contoured and subtly heightened to create the illusion of depth. Villanueva shadows the characters with a lighter shade to provide a more natural look that contrasts the cartoony anatomy. The book progresses, and the colors just expand and broaden to touch every bit of the spectrum while Costanza and Novin capture the Simpsons body language with expertly timed "D'oh!"s. Their attention to guest stars enhance the comedy. The running gag involving a particularly familiar individual would not work quite so well if Costanza and Novin had not imagined how that character would look an act for real. And hey, kids! Free poster.
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The Big Plot of the book almost gets lost in the glare of spotlight on these very human non-human characters, but Di Filippo gets his science correct, even when speculative, and this just makes the fiction stronger. It's no fun to watch great characterization play against cardboard, and what we have here is far from paper-thin.
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The two sections of story knit neatly together toward the end, but there's a good chance the next issue will not be seen. So, readers intrigued, shouldn't get their hopes up. It's a shame when a good comic book series is hamstrung by problems that lie outside the narrative, the continuity or the artwork.
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Amelia Rules is the tonic needed in the new Dark Age of comic books, and Jimmy Gownley writes sophisticated stories in a simple style that employs the full extent of what the comic book medium is capable.
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In between these pieces Slott goes Warner Brothers with a zippy little Deathurge tale ably tooned by artists Mike Kazleh and Bill Crabtree. Deathurge you'll remember of course was last seen stuck in the body of a squirrel. This is why Slott dubs the story "Squirrel on Squirrel Action." "Get ready to rumble!" Here's hoping this isn't the last GLX-Mas special.
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After a mostly harmless Ralph short, Strom returns to enter the Twenty-Fourth-and-a-half century! occupied by Duck Dodgers. Looney Tunes' Duck Dodgers stories have been hit or miss with me. Strom though definitely gets a hit with this robots attack tale that gets sillier and sillier by the second. Neal Sternecky and Scott McCrae bring a number of robots off the assembly line. They all come from the "clank, clank" "kill, kill" school of thought but in imaginative variation of a basic form.
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Manuel Garcia and Scott Koblish with Crossley while using the movie FF as their core models translate a more realistically styled FF. They keep the book action-packed and filled with visuals just as fun and smart as Parker's script. Their expertise in compression captures the important moments while maintaining a snappy pace.
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The sub-plot involving Mach IV, the Thinker and Blizzard hints at something big. I have no suspicions here but just a hope for some hero that was needlessly killed, and Nicieza as usual deepens the characters and strengthens their team-work without needless exposition. The brief narration accents what occurs on the pages and gives an inner voice to the characters.
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You may think I forgot the second story, but no. I'm just saving the best for last. "Ghoul Ascending Staircase" is genius. I never read a story like this before, and I am an avid reader of comic books and prose. It's fairplay yet on the surface surreal, and the story's creativity and cunning just left me absolutely stunned. Staton's and Ottolini's singular supporting cast only added more to a sturdy framework.
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The plot in the mini-series deals with an attempt at keeping the encroaching fauna but at the risk of psychological damage to those living in the city. This plot is entirely different from that seen in the movie, and while it does work, the movie's plot is just more complex and based more on actual speculative science.
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I can't help laugh at people who speak out against Byrne's work. Blood of the Demon is another example of his consummate professionalism and his want to give the reader the best he can deliver, and on time.
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Richard Moore sketches Boneyard in crisp black and white, and he does not falter with changes of mood and atmosphere. It's the last act however that elevates Boneyard from merely damn good to perfect.
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So far, I can't say Cold Steel is as good as A League of One. League of One was simply pure art, and the narrative was more focused because of a single point of view, but let me tell you something. Cold Steel comes pretty freakin' close!
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With all these assets, only one sour note can be found. I'm absolutely delighted to say that Beechen, Barbieri, Wong and the good folks at Heroic Age cannot be faulted. There are a few minor artistic gaffes involving Hawkgirl's hair disappearing and reappearing from panel to panel, but nay! Tis' the origin of the Girder that plays a sour note. In a Bronze Age issue of the Avengers, the team visits my hometown of Pittsburgh where an envious co-worker knocks a steelworker into a vat of molten metal. A piece of uru chipped from Thor's hammer serves as the object of the co-worker's envy and the source that transforms the hapless victim into a metallic monster. Girder's origin is very similar. Remove the pathos, and Tony Woodward--a sphincter by all accounts--is thrown into a vat of molten steel that's been laced by STAR labs by-product. Geoff Johns, Master of the Infinite Lazyarium. Gosh, that felt good.
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Kirkman further blunts what could be rather heavy stuff with bouts of levity provided by an over the top villain's hilarious observations involving such things as the metastasis of X-Men from the original four and a laugh-out-loud, tear-inducing moment involving Captain America's shield. His toady with his deadpan and clipped delivery of dialogue offers the reader the second banana in this shtick.
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Maze Agency is being released as a mini-series from IDW, but don't let the format fool you. Mike Barr is back to bringing the detectives into stand-alone mysteries that make for good mental exercise, and Ariel Padilla, Ernest Jocscon, Ranier Beredo are continuing the fine artistic tradition of Maze Agency.
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At least the previous issue had Pasqual Ferry on its side, but this issue hasn't even that. The new artists are adequate, but Ferry gave the book at the very least a sense of weirdness and wonder that took it out of the realms of the ordinary.
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Spider-Man/Black Cat is a failure for one reason and one reason alone. Lateness. If you intend to put out a storyarc, put it out on time. Had Smith simply done six stand alone, unconnected adventures starring Spidey and the Black Cat, I sincerely doubt anybody would have cared how late the project came in because there would have been something worthwhile for which to wait.
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The book's back-up Flare story although rendered beautifully by the famous Alfredo Alcala an written by Scooby-Doo's Terrence Griep Jr. pales in comparison to the wacky central feature.
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Jackson Guice contrasts Mr. Ellis' larger than life treatment of the League. He creates a realistic soft look for the heroes that depart from the cartooniness we would expect to see from these heroes' aspects. After all, the only good League is the cartoon League. The League in JLA: Classified look like real people rendered by an excellent sketch artist, and Guice's own inks as well as David Baron's subdued colors take nothing away from the attentiveness to texture and crosshatching that produces realism in expression and body language.
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13. Let the weak villain get away. Because everybody will want to see another swordfight by Kitty who can turn intangible and the generic ninja-girl.
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The Middle Man started out as a riff on the Ghostbusters and the Men In Black, but the story and the characters evolved into something quite interesting and original. If you haven't picked up the issues, pick up the trade.
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Fortunately, the bonds of friendship and continuity offer our gal a respite. Fury's willing sacrifice perfectly fits with his history as a Howling Commando and Commander of SHIELD. He's been the Widow's friend throughout Marvel continuity, and Morgan has not changed that in these series. If anything he reinforces Fury's and Natasha's relationship and again gives a little nod to the James Bond type of cat-and-mouse games played in the sixties. Although Gynacon evolved from the Cold War, this long ranging conflict with its relatively mutually respectful adversaries was nothing like the greed-propelled savagery of the neocon spy game around which the Black Widow weaves her web.
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Michael Kalazen, Phyllis Novin and Joey Mason keep to meticulous Futurama model. New characters like the riotous Dr. Leech keep to the simplistic Groening ideal and provide multiple laughs. As does the sight gag of Dr. Zoidberg's redundant physiology. The panel-to-panel flow of the book duplicates the flawless, sophisticated animation of the series, and quite frankly the entire team combine forces to make this issue of Futurama perfect.
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The ending gives the book a little more depth. The title is Grave Grrrls, and its nice to see a group display teamwork for a change. Kamikaze gets some nice lines, and as Suzi Sioux rides off for therapy to treat her potty mouth, the future looks gory.
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An almost fairplay resolution to last issues cliffhanger sets off another worthy Red Sonja tale that's smartly written and gorgeously illustrated.
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If not for Buffy the Vampire Slayer, Frankenstein would have rated higher. There is nothing technically wrong with the story, and all of Morrison's and Mankhe's strengths can be found in each scene. I look forward to the next issue.
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Readers of the entire Seven Soldiers of Victory story will discover some answers revolving around the Time Tailor in The Guardian, and given Morrison's heritage as well as a very suspicious reference, there is no doubt in my mind that the Time Tailors were inspired by the Time Lords of Doctor Who.
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Perhaps the weirdest thing about this issue is that if you strip away the time travel elements and the recently deceased Hawkeye guest starring, it reads as a pretty engrossing trial with Jen showing why she earned a law degree. This however does not surprise the TVA who leaves the reader with a surprising cliffhanger.
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The ending fits with the more optimistic outlook of Tom Strong, and Hogan carries it off with confidence and charm.
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Colleen Coover's artwork adds the icing to the muffins, and I hope to see more from Banana Sundays and Colleen Coover's charming judiciously used lines in the future.
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Manhunter consistently generates interest without the exploitation of shock gimmicks. The book snares its prey with the well-crafted stories of Mark Andreyko and aesthetic artwork by Pina, Blanco and Buccellato featuring an appealing super-hero.
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While this reviewer will continue to hate manga, there's no denying the talents of Murase and Ito who flawlessly capture the look and feel of a thirties Nancy Drew story. They further distinguish the design of the characters and rise above the typical generic look and feel of most manga. Needless to say they do not succumb to saucer-eye and waif-woman syndrome. Instead, through a manga-orienated influence they keep a snappy pace that's set off by the titian hair of the most curious girl in literature.
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The book concludes with three one page gags by Sholly Fisch riffing off of that marvelous malevolent monkey's mentally meager method of Powerpuff Girl adaptation--a brilliantly bad technique explored in the episode "Doggie See Doggie Do Too."
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The third story is based on the Simpsons variety show segment, and Templeton here takes advantage of the Lost phenomena to cast Springfield's favorite family and the excepting Lisa, who refused to participate in such an empty-headed idea, on a desert island with a rock and roll hating volcano. It just gets weirder from there, and purposefully bad jokes make this story seem like a Mystery Science Theater experiment that some particularly inebriated programmer decided was just a peachy keen replacement for Nightstalker.
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Laura Villari's colors are Crossgen worthy. She doesn't make a single color error when depicting the metafictional history of Marvel. All the colors in each scene compliment each other and create an inviting final product. Kudos must also be given to letterer David Lanphear. This comic book would have blown without bold emphasis in the dialogue and the gosh-darn comic font for larger than life action. Now just one question arises. Did Dan Slott recently speak to his former partner Ty Templeton over lattes or are these stories set in a sandy arena a result of Lost's long reach?
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Jerry Ordway's artwork is as impressive as usual, but there are fewer sight gags to be found in the panels, and that's part of the fun. He does handle the kiss between Jackie and the Mermaid quite humorously--with Jackie in near Bondish flair almost literally sweeping the mermaid off her feet, er fluke.
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In Vampirella Revelations, we get a glimpse of bare nipples and frequent displays of the protrusions covered by her traditional scarlet swimsuit--apt for not just a distracting magician's assistant but also a shape-changer, both roles Vampirella fulfilled at one time. Lilly opts for the costume's realistic behavior. Thus, you would logically catch a peek on occasion, and since kids should not be reading this comic book, the natural hints of nudity do not come as a shock but as respect for the audience's maturity.
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Pallot's own style differs vastly from Purcell's sketching. The total package of Pallot's pencils and inks can be seen in the second tale, and he provides an emphasis on humorous expression and body language that fits the free-wheeling mood of the short.
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Parker's relaxed style suits the characters and the book. Manuel Garcia's artistry illustrates the fusion of old school brilliance and cinematic action. Another great issue.
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The main plot is a good one. Nicieza reminds fans that yes, Virginia there was a Nighthawk before Michael J. Straczynski and Marvel Max. This classic Kyle Richmond version along with his former colleagues in Squadron Sinister--two of which are now Thunderbolts--make for a fun-filled read with a neat little hook involving Dr. Spectrum and the Power Prism. It's just ponderous getting to the point at which the story proper begins.
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I still haven't been able to connect with any of the characters in the book, but the plotting, the technically excellently written dialogue and the big broad tapestry of the Rocketo universe makes me come back for more.
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Leo Batic--known for his Pinky and the Brain work--gives the Gang good scale and score. In fact it doesn't matter who is drawing Scooby-Doo and "those meddling kids." Joe Staton, Scott McRae, Leo Batic, Horacio Ottolini, Houngun meister Robert Pope and far from hayseed Pablo Zamboni acquit the Gang consistently and to the model of the cartoons.
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If this alien seems familiar, it's because he is the spiritual brother of Wile E. Coyote. The problem is that while he has the ego of Wile E., the alien lacks the genius of the Warner Brothers.
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The European artwork by W. Vance with Romero and Jim Holdaway influences continues to make XIII an attractive purchase for that element alone. Whether XIII is fighting or figuring things out, all looks realistic and staged by an expert eye.
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I said in previous reviews that Yanick Paquette needs to be put on a super-hero babe book of some worth, and I've gotten my wish. Paquette bestows quite a rack to The Bulleteer,. In fact, this is the largest cup-size I think I've seen on any of his female characters, but he balances out the boobies with a ripped, muscular body, enhanced by Bair, that suits somebody named the Bulleteer. Her waist is curved and thick. So there are no dangers of her torso caving in to her abdomen. Most important is that there is more visually to Alix than her metallic morning stars. Paquette constructs for the character a beautiful face in her human form, and he makes that face alien and her composure imposing in her Bulleteer form. There is no evidence that she can shift back and forth. That said, even as a human, there is no way she's drawn to be "twenty-seven." She's like no twenty-seven year old I encountered.
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Aeon Flux is also very timely. The psychological damage done by the noise from the Utopians battle against the plants mirrors the reports in the news about how sonic booms by Israeli jets terrify children and allegedly cause women to go into premature labor and suffer miscarriages. Sound, especially that of disco, of course has been used as a weapon of torture for decades.
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Blood of the Demon is one of the more gorier books that Byrne has written and illustrated, and this issue with its fluctuating dream states even more bloody than the first two issues in the series. It's well illustrated blood and grue which looks to flow and spurt from the wounds of the victims, but it might be a little beyond the scope of kids.
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Devil's Keeper reads as a dramatic episode of the sit-com Friends where the friends engage in martial arts: "The One in which Ross' Chi Makes Joey Bleed." The problem is that the book is not as silly or fun as that decription sounds. In fact this book desperately needs a sense of humor as well as three-dimensional characters and a plot. The fight choreography is decent; as is the artwork, but it takes more than chopsoky and pretty pictures to make a story.
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Beechen, Barbieri and Wong reinvent Vibe, and damn if they don't succeed.
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Kirk Jarvinen and Keith Williams provide their distinctive caricature for Kolchak. In many ways their illustration of the shabby newsman remind me of Charlie Adlard's X-Files. The comic book counterparts may not be photographs of the actors, but they capture the actors' essences and become the model for which others should follow.
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Carzon and Torreriero with the ever busy Tanguay offer the reader with taste meticulously timed sight gags that follow the flow of Porky's stewing. For this adventure in gustatation, they portray the pliable poultry with a smugness and indignance that offsets an incarnation that just may be one plate short of menu.
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Norton and Lee keep Spidey's actions quick and neat, and they comport the dignity that has always cloaked Doom. They likewises manage to wring out a gamut of expressions from two characters who should not so easily emote. Doom is covered from head to toe in armor. His face is plated by essentially an emotionless mask, and Spidey's costume is another form fit with a full face mask. The artists however accomplish the illustrations of the emotional play as well as the physical play of foe meets foe.
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The story ends up being essentially an amusing discussion between the two champions that's interrupted by the villainy and simple orneriness of a classic Spidey foe. I loved it and didn't feel armpitted at all.
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James Bates in "Bart's Stink Strike" does not with the story stink up the room. Instead, he offers a bouquet of carefully crafted comeuppance for the usually unflappable Bart. James Lloyd peppers the panels with illustrations that one may find unusual in a funny book. On the very first page for instance, the reflection of Krusty on Bart's eyes combined with the cathode-blue courtesy of Art Villanueva give the reader a hint of how Bart has become practically hypnotized into forgetting all else--including bathing. Lloyd and Pepoy also give the aroma of slyness around Homer as his plan unfolds. While it's true that Homer is a "slow-thinker" Bates makes his shrewd scheme pungent and within Homer's purview.
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Black Widow: The Things They Say About Her has everything: a believable super-hero who realistically came in from the cold of the spy genre, action, suspense, goombahs and wetwork assassins all confined by the intelligent writing of Morgan and the stylish artwork of Sienkiewicz and Phillips.
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Lest you think I'm making the book seem to dour, the big brouhaha fight between Namor and everybody in the corrupted Marvel universe is a cool battle with some really priceless dialogue:
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Ellis leaves League readers wanting more with a nasty cliffhanger that promises danger but not death and dearth of depth.
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It's a shame Bendis is doing the Spider-Woman book. I'd rather see Niceiza and Grummett grace her lines--both written and dawn, but I'll take what I can get, and what Thunderbolts gives is fun, intelligent and beautifully drawn.
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Shadowhawk did something I really didn't expect. It impressed me. It didn't impress me with gimmicks or Big Stupid Events. It impressed me by giving me two heroes I liked, putting them in a really fun, intelligent story and then topping it all off with gorgeous artwork that conveyed action equally well as it conveyed emotion.
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"Comic Book Clubhouse" concludes this issue of Solo, and here Allred demonstrates how he draws the reader into a story that seems to have one foot in reality and one foot in the world of the super-hero. The tale finally reveals its intentions quickly and painlessly with a fun, weird mod villain with a plethora of much more fun robot menaces granting the Allreds the opportunity to bestow upon the reader a double-page spread of the DC super-heroes in the multiverse. This eye-popping special treat leads into the conclusion that's nice and sweet and symbolizes why it is super-heroes have touched so many fans.
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Nibot expertly directs the character interaction, and the snappy dialogue makes for a quick pace. Colleen Coover once again provides charming, cartoony artwork with clean lines that enhance the clearly crafted story.
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This second chapter of Justice may be even better than the first, and that's saying a helluva lot. It relates a single Batman story while deepening and providing clues to the ongoing mystery of why the Legion of Doom are committing acts of kindness all across the world.
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Shawn Martinborough takes over the artwork after Rags provides bloody markers of the ever-burgeoning refrigerator, and here Andreyko muddies his own continuity. Of course what really turns me off is the presence of DC's versions of Dick Cheney and Condaleeza Rice--Steel and Amanda Waller, but rendered in moody perfection. The question the reader must ask is whether or not they're necessary to the story, and the answer to that would be no.
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Powerpuff Girls is usually a sure thing. Let's hope this issue is the exception that proves the rule.
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Frazier Irving's artwork truly blew me away this issue. The subtle, distinctive expression registering often the same emotions on multiple blue faces helps shape the denizens of Klarion's world as people rather than plot devices.
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The first issue of She-Hulk is a good opening statement for what we all hope I'm sure to be a longer series.
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It's a nicely done issue that takes the form of the many anthology episodes of the series but adds its own spin by grounding these tales in physics and biology as opposed to fable and tall tales.
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Jackie Phantom and her mermaid partner star in the best and most humorous segment. The gals need a special kind of bait for the capture of the carnivorous Bayou Billy--a nasty, punk-level intelligent super-fish. Jerry Ordway makes him wonderfully Muppet-like. Just the sight of him sends one into fits, but the setup just increases the potency of the gag, and the cliffhanger further sends you into delirious giggles.
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The artwork here offers a very different look at Rhonda and Reggie who are usually seen as bug-eyed, and for some reason I still think they're going to get together. Kyle proves to be a real jerk, and something unforeseen happens to Amelia.
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Futurama was not always about comedy, but sometimes the artists and writers would throw in dramatic bits that absolutely shouldn't have been placed in the scene. This would mutate a merely amusing scene into a gut-busting scene. Andrew Pepoy enhances the comedy of the comic book by creating dramatic shadows and effects in the inks that simply have no reason to exist given the tone. One must also not forget the colors of Joey Mason. Futurama was one of the most colorful shows on television, and the comic book does a great job in following its footsteps. Mason like his fellow artists does not merely pick and choose what colors match. He sometimes has to consider what will work on an original character or object to blend with the candy coats of Matt Groening's best series.
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What distinguishes Goon from being another boring zombie uberhorror comic can be summed up in one hilarious scene in which a minion refuses his master. Add a running joke about an inflatable chicken, and this is easily the meatiest purchase that's beyond the price for the week. Hell, if The Fancy Pants Edition is half as good as this special, I'm going to add Goon to my subscription list.
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I rolled my eyes when Medea after apparently winning, states, “I'll be back for the Grimoire. Count on it.” Imagine my surprise at seeing Caisse anticipate the reader reaction and combat it with a good unexpected twist. Then he tops that twist with another twist that in an original way and without deus ex machina extends the lifespan of the story.
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I laughed several times when reading this all ages title, marveled at the artwork and thoroughly enjoyed an FF I understood and with whom I felt comfortable. Marvel Adventures: Fantastic Four hits the prefect pitch of what I look for in a comic book.
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Incidentally, if you're thinking that some of what's in The Middleman is far fetched. Don't. Recently mad scientists at the NIH tested a substance to boost worker productivity in monkeys. I'm a proponent for science and science education, but even I find that extremely hinky.
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The second mystery by Robbie Busch also is less of a brainteaser, but against the handling of the characters elevates this from time waster to full throttle Scooby-Doo adventure. Batic and inker Horatio Ottolini have more fun with the antics of Shaggy and Scooby, but it's Velma who steals the show with a surprising appearance.
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Mike Kennedy provides a visually geared script that drops the reader right into the action. The art in Aeon Flux offers a huge improvement over the source. Cover artist Timothy Green, with the excellent colors of Dan Jackson, puts meat on the bones of the characters, maintains a snappy pace through the panels and for the second act quieter scenes almost emulates Moebus.
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Chris Bonham and Steve Ringgenberg are two names not often associated with Simpsons Comics, but reader unfamiliarity should not breed contempt for their trio of clever tales within tales within tales. “You've read it! You can't Un-Read it!”
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My theory? Blacklight failed due to shrapnel launched by a hyped up piece of crap that has alienated some people so much that they have quit reading comic books, and I have news for IC, they're not coming back. The Big Stupid Event has overshadowed worthy books that would interest people who actually like super-heroes, but it's too late. They're not reading any more, and that's a shame.
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Etrigan acts fairly heroically this issue. This would seem to indicate Byrne has finally mitigated his infernal post-Crisis nature to its original level intended by Byrne way back in Action Comics. It's once again a shame to see a worthy book go the way of other worthy books, but it's nice to see Byrne has come full circle on the character.
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Moore concludes the book with another welcome quartet of Hogsbreath comic strips that are mere footfalls away from Berke Breathed's Bloom County.
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Dr. Occult
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Although the book ends, it really doesn't. This left me scratching my head. Kirkman's pacing is almost non-existent. Either that or he's experimenting like a mad scientist. MTU doesn't follow the normal three acts of other works. It veers from formula, and I'm still not absolutely certain about whether or not the deviation is a good thing. In any case, Kirkman picks up a dropped stitch for this web of intrigue when Spidey and Wolvie pop in on Nick Fury at the SHIELD Helicarrier. Things we discover are not what they seem in Quasar's neck of the woods, and ultimately what we've got here is a really fun mess.
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Tom Grummett and Gary Erskine with J. Brown of Sotocolors bump the book up another caliber. There's nothing tricky here, just good old fashioned thoughtful panel composition combined with a reverence for anatomy. On a personal note, it's absolutely cool to hold a new book that has Spider-Woman looking and acting great in it.
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Unfortunately, Joe Toledo, Marc Deering and Kanila Tripp do not pool their talents for Blacklight's guest-appearance, but Carlos Rodriguez, John Larter and J.L. Rio do both heroes justice and keep the panels animated.
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Widow's deadly nature in each panel.
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My one complaint? Once again, Umar is wearing a badly drawn bikini that's poorly illustrated by Marvel's censors. Who wears a bikini when they're having sex! Come on! What kills me is that the Legion of Decency was so outraged by the possibility of breasts and nipples being seen in a super-hero comic book that so flustered they sometimes forgot to draw in the bikini when the panel-angle was more discreet. The end result is Umar's flickering bikini. I get the impression that the Defenders was originally intended for a more mature audience before Marvel decided to release the title for all eyes. The implication of sex alone would seem to strengthen the argument.
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The one thing you can count on from Byrne is detailed, aesthetic artwork that moves the story forward. Convergence moves at a break-neck pace but each panel makes you wish to slow down and just absorb what Byrne has illustrated to the pages.
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The second story offers a different style of art that's more fittingly cartoony than glamorous. This tale from Flare's past pits the much less powerful earthbound goddess-a weakness in the tale is given-against the male version of Darkon who is a hoot. In fact so is the story. Pure fun with lively cartoony artwork by Burgard to match.
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While this issue of Helios offers an entry point for the new reader, faithful readers will not feel bored by the introduction to the new team or the reacquaintance with Blur, Faade and Sunstrike. The faithful readers however will see the re-emergence of the secrets behind Neoforce both in the new and in the old threads.
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Quibbles? Oh, yes. Babs Gordon in a wheel chair. Ellis and Guice through flashback reminding the reader about the circumstances that led to the stupidity of incorporating her crippling into continuity proper. The reminder of course forces the reader to once again note that Babs Gordon lives in the same world as aliens and Amazons, both having technology that could fix her spine. I will not forgive. I will not forget. I will not let up. Bite me.
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been filmed through a recently used toilet.
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Sonja's troubles do not end with an army. As the narration reveals, the lecherous priest has more tricks up his sleeve, and one of those tricks drops our deadly crimson haired bunny down a hole of no return. Worse than this danger, the head honcho of the madness is revealed to be a creature from the stars pretending to be a god. This leads to of course sacrifice. Who's the sacrifice? That would be telling, but the cliffhanger leaves issue six advertised after a taste of Peter David's special Sonja edition in serious doubt.
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Go and see this movie, and see how it's done.
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Artist John Costanza keeps everything in tune with Matt Groening's mad designs, and in the opening he mixes and matches to produce laughs. He wrings out subtle expressions from Bart as his boredom becomes palpable, and derives laughter from abject situational dread.
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Tomb Raider: Greatest Treasure of All is a forty-eight page special having only two ads at the end. Forty pages depict what has to be called Joe Jusko's masterpiece. The rest of the book focuses on Jusko's artistic process and includes snaps of the models that he used to complete the greatest Tomb Raider treasure of all.
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Zany, with a smart ear for dialogue and a mind for satire, Di Filippo's story allows Jerry Ordway to run amuck with nasty expressions, humorous pastiches and panel after packed panel of sight gags alluding to various comic book sources--less Marvel this time around.
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absolutely zero interest in what hole DC will dig for themselves through The Big Stupid Event, but I was still interested in Manhunter.
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Marvel also has not shirked the artwork in the Marvel Adventures title. The artwork by Santacruz, Fernandez and Crossley is dynamic, expressive and simply cool. The scene in which Reed flavors his coffee displays a comic flair, the scenes between Lilah and Johnny issue sweetness, and an outstanding near splash page exhibits a deep understanding of visual heroic resonance.
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Christopher Cook's and Mike DeCarlo's artwork while capturing the look of Craig McCracken's designs, animates the panels. The Girls dance, fight, costume and fly with panache.
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I can think of only one reason why Mister Miracle would be subject to the Grant Morrison reimagining. One Soldier is supposed to die. Well, the black man always gets it, and more to the point, Shilo Norman took part however briefly in the Giffin/DeMatteis Justice League. The members of that team have been toe-tagged as sacrifices to DC's Big Stupid Event. To whit Sue Dibney, briefly part of JLE, raped and killed. Blue Beetle trepanned. Rocket Red dead. Batman's mind-wiped. If I were Shilo Norman, I'd be watching my back.
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Sorry. I just couldn't buy any of this. The narrative's a mess. The artwork can't keep up with the manic pace of nonsensical set pieces, and slapping a House of M tie-in as the penultimate chapter didn't help anybody trying to follow the story. Jessica's buttocks aside, I can't recommend this issue of Thunderbolts.
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This is a subdued celebration of Scooby-Doo's one-hundredth issue, but the story though flawed isn't a bad little jaunt through Rome, and thanks to Joe Staton Mystery Inc. has never looked better.
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Both stories are joyous little things. There should be more slaphappy web-spinning tales like these.
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That said. Blood of the Demon is visually creative. This inker respects Byrne's work. Thus, Byrne's fans receive a seriously creepy opening splash page, superb renditions of Spectre and Jean Loring's Eclipso and the gory torture of Etrigan courtesy of the former. I would just love to see Byrne take a crack at the Spectre. Of course, DC would do something stupid like cancel the book after a dozen or so issues and/or hire an inker that drastically alters Byrne's pencils like that boob Nelson does on Action Comics.
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Firestorm
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While I can't exactly recommend MTU, I also can't hate the book. While the villain stays in the spotlight far too long, and the heroes get scant time to flex their muscles, I still enjoyed MTU far more than any perusals of Countdown to Inflammation Crisis. Why? The heroes still act like heroes. They combine forces against a proven danger to the world, and just their mere presence reminds one that Marvel's Universe and continuity on the whole remains intact.
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While there was absolutely no point to the last arc of Astonishing X-Men, Serenity has a point. The mini-series introduced these substantial, resonant characters and the Western-based universe in which they live to those who never saw them before. At the same time, Serenity did not bore the faithful Browncoats. Instead, it provided a shiny new episode of Firefly comic book form.
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Baby Brain preserves the Sheeda in a jar of formalin. This jar ends up in Cassandra Craft's magic shop in Zatanna.
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XIII moves and keeps the reader turning the pages. The book simply grabs you by the throat and shakes you out of comic book complacency. The writing crackles with energy and excitement. The artwork beautifully and realistically generates a visually compelling story and earns my highest recommendation.
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Amelia Rules continues to surprise and delight through artwork and storycrafting ability. Ironically, Amelia isn't exactly the star of this issue. Though it's clear that she's the catalyst of events to come.
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Fact eight, John Cassaday can sure draw purty, but it takes more than really beautiful artwork to blind one to a lame story authored by somebody can write better even when stricken by say a mutated strain of flu virus.
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Finally, "Cross Country Clown" is a winner due to Lloyd's and Pepoy's visual camaraderie between Bart and Homer.
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The real hassle in this issue comes from a Carl Lykos alias Sauron clone who instead of turning into a pterodactyl as a threat kind of peters out at the end. This attempt at I don't know what makes the issue of Doom Patrol easily the worst of the bunch. That said, we kick up the grade a notch because Byrne draws in detail, proportionately, within scale and without stop to make Doom Patrol still a visual delight.
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There's a little too much verbiage in this chapter that's more than made up with the action in the issue's finale, and Djief's artwork looks a bit more rushed than usual. Still, he manages to carry the story forward and does not stab the eyes like so many other books that were supposedly carefully stitched together.
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JLA Classfied was exciting without being shocking. Everybody was in character or rather the characterization you hoped they would exhibit. This is characterization I may add that did not depend upon the spinning of a new continuity, and all the art just looked scrumptious. After reading JLA Classified Ellis even forced me to look up the phrase "bow wave" at wikipedia.com. When author is smarter than I am and transplants that intelligence to the story, I'm always happy.
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McClaine who is in tune with Grillo-Marxuach's characters beautifully illustrates the sequence that initiates the change. Another artist might have misconstrued the event as humorous or even worse as an over-reaction by Wendy, but McClaine shows within a brevity of pages, what was meant to her and honestly depicts how she feels. He also shows within the scene exactly what makes her the prime candidate for the Middleman. In terms of choice, this is turning out to be a Golden Age for indie super-hero and adventurer comic books.
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Most of the snappy dialogue that Grant Morrison has become known for is reserved for the dead Don, who gets better this issue, and has a violent tte--tte with Nebula. Interesting things that make sense happen in Seven Soldiers of Victory: Shining Knight.
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Gulacy's Tom Strong as expected gains a more realistic look while staying within the model. This attention isn't limited to Tom. Gulacy designs the adventuress to be a long lasting figure, and Michelle Madsen gives her gray eyes. Of course, she would have gray eyes because just the sight of her tells the reader that she belongs on Philip Jose Farmer's World Newton Family Tree--which branches out to envelop all the great heroes and heroines of yore.
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The growth of character isn't only limited to the humans. Go-Go very cleverly in the opening scenes displays superior spatial knowledge. Knobby peels back his Don Juan outer layer to reveal insecurity. While Chuck who instigates the conclusion, combines his intelligence with a nasty form of wit.
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Now, you may balk against Cadre's price. It's a forty-eight page black and white book priced at $4.95. However, all but three pages are filled with artwork and story not ads. The story is done in one issue that leaves threads but no loose ends for an ongoing series, and that makes the price reasonable.
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Artists Phil Ortiz, Phyllis Novin and Art Villanueva meet any challenge Boothby throws at them. Because of the subject matter, some period work must be expressed. No sweat for this team of artists. They antiquate Burns Sr.'s clothing. They caricature President Kennedy and translate a famous photo all in Groening style. They show absolute despair in orphans. They wring Homer's face through a kind of anger gymnastics and give Marge a meaty multidimensional presence. Thanks to these artists so familiar with their subject subtle slyness comes to Bart as easily as the sublime erects Professor Frink's futuristic transport.
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If so funny, if so artistically pleasing, why the lack of a perfect score? Editorial interference. Umar The Depraved was clearly naked in the original pencils. She now sports a badly drawn black string bikini. It's not that you could see anything in Kevin Maguire's original pencils. The bath water hid most of her form's naughty bits save for possibly the cleave of the buttocks, and she also pulls a hands-on-boobs move, but none of this makes sense if she's wearing a bikini. How many people take baths in bikinis? Why does a woman cover her breasts when they're already covered? Truly this is one of the most egregious attempts to downgrade the rating of a book I've seen. Given Umar's characterization, this censorship is especially damaging. The woman's as horny as a crash of rhinos, and in the story, she collects the Hulk as her intended sex toy.
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Am I happy the Cylons crashed Andreyko's party? Hell no, but the story is never dull. It's well drawn and stars the toughest, no-nonsense, take no prisoners super-hero on the block.
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How hot does Carlos Pagulayan make Sue Richards? In this issue she wears the disguise of a nurse, but she looks hotter as herself. I'll say it before, and I'll say it again. Whoever cast Jessica Alba in the role of the Invisible Woman deserves some kind of technical Oscar. There is of course more than just hotness to Pagulayan. Diablo's comeuppance comes in the form of a Reed fakeout, and if you turn back to the scene, you can actually see Reed performing the trickery. This kind of attentiveness to storycraft in a visual sense is rare. Awesome.
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Christopher Cook and Mike DeCarlo are the artists on duty for both tales. Cook borrows an idea from Manga to create the designs for the Micros, and although my distaste for manga is high, there's no denying a good visual gag. He creates more realistic citizenry for the Sedusa tale, and throughout the book with DeCarlo's thick Colorform line inks displays the might and powers of Blossom, Bubbles and Buttercup.
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The Erdel Gate is named after Professor Erdel who accidentally brought J'onn J'onzz to earth.
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All the characters look realistically like people in uniforms--or in the case of Kemlo dogs in people dress. Ordway's pencils and inks are without flaw. He creates the illusion of texture and Clicker shine. Crowd scenes do not faze him, and his layout and sense of space provide an aesthetic that would be difficult for another artist to match. Perhaps, the only big difference you can see in the artwork is that there are more Marvel references in Ordway's work than obscurities from comic book ages past, which were seen in Gene Ha's panels. Still, Linda Turner, the original Black Cat motors along, and favorite Top Ten cameo subjects the Lone Ranger, Tonto, Green Hornet and Kato can still be annotated, no doubt by Jess Nevins already at fevered work.
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A classy production with superb artwork and writing, Forty-Niners. is a fine art graphic novel that really should rest on every super-hero reader's bookshelf.
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The puzzles by Scholly Fisch, Paul Pope and Campanella on inks in two pages create a mystery, give the reader a suspect and use mistakes as the way to the solve the visual riddles. It's funny but the only comic book that recognizes mistakes, as what they are is Rooby-Rooby-Roo!
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Oh, and as much as I like breasts, Zatanna's outfit by Ryan Sook is distracting and ridiculous. Maybe if there were a story providing lift and support I wouldn't have noticed so much. This is almost like having Joss Whedon recycle old Star Trek plots for--What's that? Noooooooooooooooooooooooooooooo!
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So you're probably wondering why now if the book is so flawed and corrupted, how does Blood of the Demon manage to earn the generous score of three bullets. Simple. Byrne's artwork overcomes practically all the plot holes, the continuity problems, the characterization flaws, the entire messiness of the project. Although Jean Loring as Eclipso makes no sense whatsoever, in Byrne's hand she looks ominous and as if she's been Eclipso all along rather than on a whim. That's quite a feat.
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The Ultra-Lash backup while slight completes the package with a fun tale starring el hombre lucheros losero.
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In short Justice is the series that DC should have been promoting. This is the series that should have "changed everything." This is the series that could have fixed everything.
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Ignoring the above, the story is fairly slight. Jay gets in some good speed tricks, and the Scottish Mirror Master offers some fun. It's light years ahead of faux continuity stories, but this tale is just a time waster with good art by the usual suspects.
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What the stories all have in common is that they mimic Carl's voice--prevalent in the narration--as well as his attitude. Some of the tales are light. Others take a more serious tone, but all offer degrees of cleverness, which is what one expects from Kolchak The Nightstalker.
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In the final story, Frank Strom unleashes his first joke in the title. He focuses on one of Daffy's lesser personas, and humorously and smartly conjectures comedy from the persona's persona. Surprisingly, the tale lacks the cartoony violence for which the WB is famous--"Acme! A name you can trust!"--and gets by on concept and Walter Carzon's expression illustration alone. Torriero again provides a precision point to a peaceful yet nonetheless manic Daffy Duck story.
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When the heroes meet at Dr. Strange's abode, more fun ensues, and Giffin/DeMatteis/Maguire fans will especially like the clever joke paying homage to I Still Can't Believe It's Not the Justice League. Kirkman writes Spidey in rare form, and all of his characterization rings true. When the heroes actually face the beast needed a sound thrashing--or maybe not--it's actually disappointing in comparison to the build up. It's not bad, just traditional, and not the slightest bit as whacky and freewheeling as the previous scenes.
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Quinn and Wheaton excel as a Phantom artists. Their art meshes smoothly with Raab's writing. Their action scenes earn the right to be portrayed by the Phantom, but it's actually the aftermath of the turbulence that impresses the most. A tricky artistic display but effortlessly executed. Bucco make the Phantom's trademark purple look fantastic, and the colorist's reds enhance the tension, heighten the suspense and add to the authenticity of the setting.
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I can't wait for Serenity, but the comic book series that's pure Whedon and crafted with such care will hold me over until the movie hits the theaters.
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The reason why Batman: Dark Detective does not earn a perfect score is that Engleheart totally cops out on the reasons why Silver St. Cloud and Batman do not stay together. Batman: Dark Detective wasn't set in proper Batman continuity. The book is far, far too smart for that, and no stupid status quo needed to be preserved. Since Batman: Dark Detective was about logic versus madness. A logical conclusion should have been reached. Silver St. Cloud going home with Batman, and the Dark Detective ready for another adventure.
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The conclusion is what you expect, and rather than even suggest a will he or won't he situation, Byrne instead increases tension by panel compression. There's a ticking clock here tied into the metaphysics of time travel, but it all ends in the intraverse of the human heart. Very cool. Classic Byrne, and classic comic flair.
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Mignola's purpose to the story creeps into the narrative and knocks you off your feet. Can't and won't say any more. Sorry. Go out and buy this.
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To be honest, I was going to drop JLA Classified after the Bwa-ha-ha-ha-ha Festival of Giffin/DeMatteis/Maguire's, but Ellis, Guice and Baron have hooked me into staying for the next issue.
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The artwork by Carlo Pagulayan and Jeff Hunt with the vibrant colors of Crossley create a detailed, beautifully choreographed battle against the bug. The FF look like themselves. They act like themselves, and Sue once again looks hot as she morphs close to the Jessica Alba model. As always, a good thing.
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The Defenders is a fast funny exploration into Marvels least interesting team of heroes. Its whacky fun from the makers of One Punch! and will only offend those lacking a sense of humor. Even hardcore Defenders fans--I'm sure there are a few out there--should appreciate the new title.
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If not for Cassaday's illustrations of Kitty Pryde during her conversation with Colossus this issue of Astonishing X-Men would be good landfill material.
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GLA wasn't really a complete surprise. Both Pelletier and Slott provided comedy in She-Hulk but nobody really could have expected this series to be this good or this thoughtfully satiric.
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Yoshida reminds readers of the whole Ogun shtick that I'm guessing happened in the weird Kitty Pryde and Wolverine mini-series I saw on the shelves ten or so years ago. Yoshida attempts to explain what a pivotal moment this was for Kitty, and I just kept thinking that Paul Smith's likely accurate rendition of her disco Shadow Cat outfit and her Grace Jones haircut nullified any hope of drama claimed by the series.
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Manhunter is a book that could have been printed before DC decided to erase their sixty plus year history with the Crisis. It's that good.
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Christopher cook anticipates the Craig McCracken abstract style to create a monster in the way McCracken would approach the beast, and in Rozum's puzzle, he ably provides a cadre of creatures whose slight differences make the reader look harder for the answer to question.
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Artwork that respects the character and generates dynamic action fosters a smart script with strong characterization in the latest volume of Red Sonja She-Devil with a sword.
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The artwork by the reliable Costanza, busy inker DeCarlo and of course Villaneueva showing a depth of color even in night time blues and orange prison garb once again does not falter when depicting a wide ranging assortment of personalities done in the Groening style. More importantly, the animation of the panels dovetail nicely to create a fluid visual.
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Lash keeps the tone light, bouncy and absurd until the very end where the most shocking scene unfolds. Lash depicts the logical conclusion in the counter argument, an argument that has precedence in the extremism depicted by some Anti-Abortionists, homophobes and the Ku Klux Klowns.
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Witchblade is the kind of book I'd pretty much have considered mediocre back in the days of multiple earths and female super-heroes as powerful and as intelligent as their male counterparts. However, the bar has been lowered to truly unimaginable depths, and this "mediocre" book is something of a rare find. It provides about fifteen minutes of enjoyment in terms of both art and writing and does so without shock and without forcing the characterization into the realms of stupidity to serve a headache-inducing plot.
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Rounding off the book, Sholly Fisch, Staton and Ottolini contribute three art lessons in which Scooby-Doo and Shaggy meet some fun consequences in the Warner Brothers tradition.
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Serenity is a nice bookmark between the series and the impending movie. However, you need not have caught a glimpse of Firefly Serenity's designation to enjoy this rollicking sci-fi western.
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Artist Colleen Coover oils the characters' gears with distinctive, cartoony looks that help flesh out the beasts--both human and their cousins. All in all a winning combination that will occasionally make you peal with laughter.
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We then cut to the present. Yow! Wait, I left my liver behind. Here a modern day sensi teaches a painful lesson to a youngster in a modern day dojo. Confusion not Confucian wisdom sets in.
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Les McClaine jags up his smoother style and uses a heavier ink that works well with the heavier paper stock. The end result is that his artwork looks just as good here as it did on Highway 13. McClaine is also a true artist. He can illustrate an exciting action sequence, render offbeat humor and, as cool-down scenes between Wendy and her roommate show, display for his characters casual mannerisms that give the book its contrasting realism.
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If not for the courage of Tom Grummett, Gary Erskine and Chris Sotomayor, "the minnow would be lost, the minnow would be lost." I'm tempted though to give this book an even lower score. Although I recognize that I may be prejudiced against the Purple Pinbrain, but come on! This is Zebediah Killgrave! A total joke of a villain throughout his entire fictional life. Damn it, why couldn't Scourge have killed this Exasperating Eggplant!
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Cameron Stewart's artwork and Moose Baumann's colors of course are always a boon--especially during the action sequences and the aftermath, respectively. Though on occasion Stewart uses too heavy an ink this time around.
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When Batman discovers the Joker has kidnaped Silver in a scene where Evan and Bruce draw their lines in the sand, he immediately goes into motion, and again the creative team surprise you. Two-Face logically should give up the location of the Joker's home--a death trap no doubt inspired by the serial killer H.H. Holmes' abode, but Two-Face's abnormal psychology stands in Batman's way. Yet another twist gives Batman the answer and sets the stage for what I suspect will be a killer denouement. Dark Detective is how Batman is supposed to be.
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In good spirits, the Leaguers smartly battle a possessed Etrigan and dope out the means to free him. Even asides however ripple with proper characterization borne out of the history of the characters and not dimwitted plot twists. Batman merely looks bemused as certain doom falls his way. That calm is due to his "matchless knowledge" of the city. Superman spears through debris before it can do any harm. Wonder Woman kicks Morgan Le Fey's withered hide, and Etrigan delivers the coup de grace. What more can you want from a comic book than this?
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Apart from the big major battle, Barbieri and Beechen bring also subtly to the relationships of the League. The scene with Star and Wonder Woman exhibit the elder's love for sisterhood as well as a warrior's expression of affection for her younger comrade. They also very cleverly show Steel's strength through the way in which he throws his hammer. It cleaves the waves and the pressure of the water like a hot knife through butter. Superman though gets the short end of the straw. You expect him to be there, but he gets beaten a little too easily, and I could have sworn that the animated Atlantis was not water logged.
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Kirkman's Moon Knight excels. He's the spitting image of the way Batman used to be characterized. Doubt me? Check out Dark Detective or Blood of the Demon and see if Moon Knight does not blend well. All and all an issue worth reading but still a mess where the payoffs don't necessarily warrant the previous set ups.
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Murase's character designs--except for Ned, but that may be my own bias--all stand out among a crowd of big boobified waifs with saucer sized eyes and Ito's 3D flourishes give the book much artistic depth that's often lost in the black and white flatness of manga.
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James Lloyd, Andrew Pepoy and Nathan Hamill further strengthen the wacky state of affairs. They cast dramatic shadows to give the opening an even more uproarious feeling, and they even nail the poses of the characters involved in the more gentle type of such mysteries--always standing around and doing nothing. Truly this one must be read to be believed.
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"Demons in the Night" is the previous story's exact opposite. Psyche's multiple personality or possession issues offer the reader an intellectual puzzle with philosophical implications. The characterization fortifies a plot that better defines rape as the filthy crime that it is. Rhyming dialogue gently pushes the story into a surreal magical realm bordering modern day reality. The plot twists cannot be predicted, but writer Hill foreshadows all and plays fair with the reader. Artist Chris Marrinen and Mike Estlich on colors energize this story with powerful super-hero illustration and a vivid look that enhances the occult powers of the main character.
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If you're looking for art that makes the mouth water in a good super-hero book that's not suffering from decompressive characterization implosion within a maxiseries of miasma, sign up for Blacklight.
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Amandine; comedic moments; off-panel scenes of nastiness that dramatize the villainess; the fairylands, and a guest appearance by Beowulf that goes down smoothly. This issue of Grimoire has a little bit for everybody.
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In short, Ill be very interested in DC comics when they return their attention to the true universe of the Super-Buddies and the world where super-heroes actually act on behalf of truth, justice and peace for all mankind.
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Kitty says that she's a Ninja in the book, and Yoshida and Smith display her skills in a typical scene from any chopsocky movie, but it seems that both men have completely forgotten that Kitty has the ability to make herself immaterial. See, that means she doesn't have to fight. All she has to do is stand on air and phase out to let these bozos beat each other up. I tried to come up with a rationalization to explain this boring padding but failed miserably. Maybe she wanted to teach them a lesson? Okay, but letting them beat each other up would be more humiliating. Maybe she wanted to keep a low profile? Okay, but they wouldn't know what's happening anyhow, and the alley is dark enough to maintain the illusion that they simply haven't been able to hit her. Besides, who would believe them? Jet Lag? Okay, now that's a pretty lazy rationale. Nope, Yoshida just wanted to show Kitty fighting, but such a fight shreds her intelligence down to a Jessica Jones level. Frankly, that just
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The conclusion to Last Hero Standing makes sense! Yes! We got one! We got one! This is the first Marvel mini-series that maintained a rationale, came in on time and offered an above average level of excitement. It also made sense from issue one to this final issue. I'm so happy!
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Raab cannot be chastised too much since Lee Falk himself originated the conceit. The contemporary Phantom seen in the strips and the comic books, published all around the world, I may add, is the same hero who fell in love with Diana in the thirties, and this is the same thirties Diana who fell in love with him. You could argue that perhaps the Phantom legacy has just been falling in love with brunettes named Diana--Freud would love it, but it's a tough argument to cut with Occum's Razor. Still there's some real confusion plotwise though not as much as another time-line muddled story that in addition made the reader nauseous.
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Source: Encyclopedia of Fairies, Katherine Briggs
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This isn't the end though. For his final bow, Cooke recreates one of the finest Batman stories ever told. Seen in his minimalist colors, stark contrasts and one of the most vigilante yet valid depictions of Batman recently seen, the tale becomes mythic.
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See what happens when you have a cohesive, stable universe. You get payoff stories like the one in Spider-Man/Human Torch. Pivotal, sentimental, optimistic and fun.
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Not due to any fault of the writer or the artist this is my last issue of Wonder Woman. I have no interest in Infinite Halitosis which this book will soon become inextricably tangled. I have already had a taste of what happens when this book suffers an outbreak of photons that hurt, and given the threats by DiDio that Countdown to Keratosis will make the DCU a darker place I may not be coming back for a long time. Pity.
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European artwork of the action strip type always tends to be realistic and barebones good. The work by W. Vance is no different, and while some--usually those who draw like the dumb, annoying cousin to the artist proper--accuse European styled artwork being static; this cannot be said about XIII. Emotion is evoked rather than blurted, but these subtle expressions often are more effective than hammy cries of "Nooooooooooooooooooo!" You also never ask what these characters are feeling. You can see their emotions on the pages.
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Artwork also by writer and creator Richard Moore offers the reader concise lines that curve along the superb scale and dynamic yet toony anatomy of the characters. Stylish.
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This is Byrne at his most visually creative in technique rather than the creation of oddities. He also accompanies this flow of narrative not with shocks but genuine plot twists that rely upon the continuity he creates and the characterization. All of these elements in storycraft make Doom Patrol consistently superior.
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Although I see a lot of potential in Grave Grrrls I still can't really get fully behind the title because there's still too much wanting. None of the Grave Grrrls interact with each other in any meaningful or even superficial way, nor do they interact with normal people. Normally I complain about a lack of action in comic books, but Grave Grrrls needs some quiet moments and/or repartee between characters. For example, Charlie's Angels is a massive, kickass action-packed movie, but the Angels behave as friends, talk to each other and have some fun together. The movie slows down the pace a bit to deepen each character and to show their humanity. It's in fact the depth of characterization that makes the sequel's subplot tantamount to the story. Grave Grrrls is filled with gory action but the characters need meat on the bones.
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While a serious investigation into supernatural literature, Hellboy still retains a macabre wit; though this could be regarded as laced with the tragedy of loneliness, a feeling that permeates the book. The atmosphere and mood really makes the reader feel for Hellboy. He deserves better than isolating himself to prevent a destiny that he's determined see die.
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This is a comic book mini-series that's worth buying, and given that Marvel will likely manga-size it rather than collect it in a trade paperback, it's better just to buy the issues instead of waiting it out.
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Christina Z's tale is a little too preachy, and her aim seems to be to heap as many super-powers onto the Powerpuff Girls as possible. Really all that was needed here was strength.
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The drama of the story arises quite naturally from the events. Whereas in Chinatown politics mixed with water rights, Palmiotti's story brings out the corruption over another catalyst that affects family and society in general. I've read countless of pulp mysteries and hard-boiled paperbacks. So one part of the story I saw coming like a slow-moving train, but Palmiotti's very relaxed writing still made what was already known enjoyable to read. The other part of the mystery did take me by surprise, and that's really all for which you can ask.
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If Moxton doesn't play a part in this drama, then I can't see a thug or drug-addict like Joe Chill making a friend in the dapper killer sent to slay Bruce Wayne, and while criminals do make alliances, one criminal killing for another criminal is highly unlikely. Murder is not something criminals of the day took lightly. This friend of Chill's would have had to have been paid either in oodles of cash or in favors to motivate him into killing a kid. Chill always seemed like a low-level gunsel--constantly without cash and certainly not in the position to grant any favors. So why on earth would this unnamed friend of Chill's actually want to paint a target on his chest? It doesn't make sense. Oh, and if Joe Chill didn't murder Batman's parents, then hey, why would this friend of Chill's want to murder young Bruce Wayne? Awful. Simply awful.
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Regardless, with the Monkey Joe sigils on every other page corner and a hearty "Zut Alors!" from Batroc Ze Leaper, grossly disappointed science geeks and one seriously humorless, petty villain seeking vengeance as well as death by giant candy canes all rendered in Paul Pelletier's old-school styled artwork that by being more realistic adds to the hilarity, you cannot go wrong.
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JLA Classified once again proves to be superior to the disassembly of the JLA, but that's not really saying much is it? Let's just say if you're looking for a meaningful super-hero book that doesn't take itself too seriously, look no further.
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Another striking aspect of Manhunter is how you needn't have read any of the issues to comprehend the one in your hand. While this is part two in an ongoing story, it's also a great point in which new readers can abandon the revolting lion's share of the DC universe and jump on to Kate Spencer's adventures as a true hero out to balance the justice system.
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Carlo Pagulayan's and Jeff Huett's artwork stuns. Thankfully, Marvel Adventures Fantastic Four hasn't been manga-ized to better seek solely the female marketplace. This just looks like a really stylish comic book that a kid of any gender could pick up and from which learn how to draw dramatically without forgoing such elements as proportion, scale, shading and the expression of genuine emotion.
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Sholly Fisch's puzzle won't tax too many adult fans of the book, but kids might learn some observational skills. Robert Pope and Robert Campanella have fun with the few scant pages they have to evoke all the trappings of a full story.
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Even where we to discard this aspect of Klarion the book would stand out as clever masterful storycrafting in the vein of dark fantasy. The dialogue just feels so right for each character, and the plot while simple leaves room for so many ideas. The art by Frazier Irving resembles the careful art noveau illustrations from old childrens novels, and while Klarion seems to be chucking Jack Kirby's contribution to the DC universe. In reality, it does no such thing. We don't know where or when Klarion ends up, and with a little time travel, perfectly in keeping with the idea of exploration and wonderment, Klarion could still end up pestering his "Uncle Jason" as well as the rest of the DC Universe.
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The detective story exhibits no trickery. Lisa follows the facts that lead her to a logical conclusion. Name a serious book published this year that did that. Having trouble? Contact Jean Loring, the Scarlet Witch and Norman Osborne for help.
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Batman Begins ushers in a new era in which Batman once again prowls Gotham City to make it safe. The filmmakers have not forgotten the basics of the formula, and in fact you're better off spending five to eight dollars on this movie than you are spending half as much to buy a Batman comic book. Dark Detective being the exception. As a lifelong fan of Batman and somebody who believes himself to be an expert in all things Batman, I can say without a shadow of doubt that yes, Batman Begins is indeed Batman.
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Dan DiDio explained that after Infinite Cucarachas all of DC's continuity will take place a year forward. Yeah, thanks for that. That's really inventive. Do you really want to publish comic books worthy of an adult mind? Pay attention then to Dark Detective. Idiots.
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The rest of the cast does not really have a part to play in the story. After the opening bit with Leela, she's relegated to the sidelines. Fry acts a little too mean, and the only other member of the team that gets any recognition from the author is the Professor.
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After the battle when the team return home, Rand and Pena still are not through with the reader. Background politics produce an interesting subplot, and the very subtle contact between lovers adds romance. The book concludes with a big surprise for faithful fans, and even if you haven't read a single issue of Helios. The issue in your hand requires no real indoctrination.
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Pat Oliffe and Scott Koblish are once again on hand to provide no-frills, damn good artwork that relies upon scale, proportion and composition. This book could have easily become crowded. The artwork could have easily overwhelmed, but Pat Oliffe has already proven himself a master of a broad cast. He chooses the positions of the cast, all displaying characteristic body language, to meet an aesthetic potential created by the idea of a plethora of super-heroes together. Colors by Bob Ro once again invite the reader into the book. With so many costumes, the characters could have easily clashed, but Ro makes everything look beautiful.
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The Purple Man also gets his just comeuppance this issue. The best part about his end is that I wanted somebody to shut him up when he uttered the two words I loathe: Jessica Jones.
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Tom Strong and Solomon are in good character, thanks to Casey, but the tour of the metal manservant's innards gets tiresome rather quickly. His quirky behavior becomes hit and miss early on, and what really saves the story is Ben Oliver's ability to draw a very important smile.
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Short interviews with Forrest J. Ackerman, creator of Vampirella, Christian Bale, Sheri Moon Zombie and features on horror round off a pretty decent issue of the magazine of various formats.
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Looking for the Justice League in comic books? Look no further. Justice League Unlimited provides daring-do and personality clashes galore with humor, action and panache.
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Best of all Last Hero Standing keeps the mystery villain a puzzle for the readers to solve. Such is the ungimmicky strength of the writing and artwork that I really do want to know who's behind the abductions and why they are being carried out.
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The unceremonious comeuppance of the lame villain heralds the arrival of a beautifully Kirby-imagined creature Goom--even the name rings of Kirby/Lee, and this is where things get surreal. Just like comic books occasionally used to get. Best of all Parker adds just one more joke to make the Torch feel really miserable and throw the reader off her seat. Want to suffer from a laughing fit? Pick up this book.
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The best thing about this issue of Marvel Team-Up is once again Scott Kolins who illustrates both parts; normally when a modern day comic book is split it means a second and usually inferior artist handles the second part. Kolins makes everybody look on-model and keeps the proceedings action packed. His New York back-drop impresses and gives the whole book a sense of place, and this issue also offers a better sampling of his "good girl" work.
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Nieves, DeCaire and Lyon--whose explosive and emotional colors cannot be overlooked--give the reader pulp action at its best and add to the myth of the Phantom.
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Ali-Ka-Zoom based on Zee's description fits the character in the second issue of Shining Knight. She also mentions the Newsboy Army--The Guardian's irregulars.
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This issue of Doom Patrol excels through snappy pacing you can almost dance to, meaningful characterization and the typical dynamite action and artwork through which Byrne has built his professional reputation.
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Finally, Whipperette--my vote for female Batroc--who previously challenged Flare only to later design her house and turn out to be a friend of rapscallion Black Enchantress, tries through a loopy gymnastic ribbon performance to seduce Flare's beau. There's not one scene I disliked in this book.
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I didn't really think I was going to like The Grimoire as I am not one easily swayed by fantasy, but each issue just keeps me hooked.
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Jade Fire sets up a good story for a good hero who is far removed from the seldom-fed, flat-faced elongated waifs frequenting Michael Turner covers.
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Sadly this is Busiek's last issue of JLA. Geoff Johns comes aboard to infect the title with Infinite Necrotizing Faschiitis. I of course will be jumping ship.
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With Jessica Alba's casting as Sue Storm, Marvel has been experiencing a Sue Storm Renaissance. Brandon Thomas in Tales of the Thing made Sue a kickass super-hero, and Sumerak follows suit. He can't top Sue actually creating a force-field quarterstaff to beat the snot out of Wrecker, but he and Eaton work her ubiquitous cosmic powers to very satisfying ends. They show off her wit and an intellect that's only topped by Reed who Sumerak imbues with a calm cunning. Torch and Thing provide that special oomph, and everybody is out on the street trying to save lives. So, this is not a mindless battle and while fun has weight.
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The actual story in the book deserves the grade given, but that tacked on X-Men appearance really made me hesitate. I almost want to rip out the pages which feature the X-Men, but these unfortunately are juxtaposed with the actual story. So, I guess I'm stuck. I won't be buying the final issue.
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Dark Detective is the best Batman book on the racks, and Batman has never looked better.
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JLA Classified exemplifies how comic books directed toward a mature audience should be done.
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Javier Pina substitutes ably for Manhunter premiere artist Jesus Saiz. This issue notably drops a few points in artistic focus, but Pina continues to respect character anatomy and scale. It's not real surprising that he would feel a little tired after the completion of last issue's breakneck action, and there's still some outstanding moments of illustration. The ghoulish ragdoll quality to Monocle's body treats readers tired of seeing dead heroes, and mostly stuffed in refrigerators. Pina makes Kate in Buccellato's red action always looks good, and the genuine emotion he infuses to Firehawk impresses.
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Just when you think the book is winding down, another former villain decides to pay the T-Bolts a call, in a very loud and typically overblown manner. Truly fun and a massive improvement over last issues Secret Files style crud.
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Princess in the style of the get-rich-quick speakers of today almost succeeds in seducing the children of Townsville, but in a strange, strange way Busch shows that the Powerpuff Girls do not just react. They too are deterrents to crime. Christopher Cook once again provides the illusion of McCracken-styled animation for the Powerpuff tale.
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Source: Calder, Nigel (1983) Times Scale: An Atlas of the Fourth Dimension.
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Artists John Costanza, Mike DeCarlo and the always dependable palettest Art Villanueva do provide some grin-worthy gag panels. The Santa's Little Helper imitation is quite funny, and they also construct an impressive angle and backdrop for Milhouse's spectacular dive. The ghastly end result of fire ant infestation sets up the real joke quite nicely--I even heard Hank Anzaria at this point, and I'm as always impressed with how quickly and efficiently the team can load the art with nearly every denizen from Springfield as well as nameless extras to fill an audience. It's a lot of sketching, and it's on time.
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Artistically, Ty Templeton is as usual on the ball. He captures the look of the era all in his deceptively simple artwork. He even preserves perhaps the worst haircut Johnny Storm ever had, makes She-Hulk look damn cute in a fetching getup that's cheesecake by definition but not in presentation. Templeton captures the essence of our mystery guest stars, and the inking by Palmer and Geraci gives added texture to the astonishing variety of black costumes seen in the adventure. J. Rauch must also be noted for the natural shadowing of the flesh tones on display--especially with regard to Felicia's daring but tasteful gown.
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Together...for the first time...rated PG-13.
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The second mystery has an obvious solution. It follows Holmes' principle: "When you've eliminated the impossible, whatever remains however improbable must be the truth." In "Big Game Haunter," Rozum does something that's very rare in mysteries from any medium, but given the clues, "whatever remains however improbable must be the truth." The motive for the culprit in question makes sense, and Staton emphasizes the rationale with a "purloined letter" multiplied. Pepoy must also be commended for the spooky shadows plaguing Daphne as well as a heightened sense of illusory depth to the props.
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J. Brown's colors enhance almost every panel, and the fluid blues of Sue's eyes combined with her determined look and tough talk reinforce the idea that this is one lady you don't want to piss off. Thomas and this art team should be writing an ongoing Fantastic Four book. It's that simple.
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Apart from the repetition of plot elements from other sources, Rucka seems to be revealing that one of Diana's embassy staff is a cuckoo in the nest. I smell a tie-in to Crisis of Finite Boredom.
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Kolchak I'm sorry to say is the second interesting failure of the week. Sometimes you just need the right medium, and another cannot cope with the demands of the script.
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Simone sadly does not research her subject enough. How can Repulse affect a bronze statue? Bronze is a precious metal and unaffected by magnetism. Magnetism cannot bend light. Gravity bends light, and exactly why is Superman blinded by the infra-red spectra? He can see that far down the rainbow, but why would specifically that portion blind him? Magnetism shouldn't be able to affect Superman's ability to absorb sunlight. This is implied by Repulse's dialogue. In fact, Superman even blinded should be able to mop up the floor with Repulse and Polaris. Maybe the next story will be better.
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The "Hydra-haired"--see that's wit I expect from Whedon--Special Agent Brand of SWORD checks in on the superbly pathetic nasally-challenged alien that Lockheed burned in a previous issue, and he's the only provider of comedy. No, wait. Scratch that. Xavier provides humor too. It's funny when a man confined to a wheelchair challenges a killer robot that should be able to eviscerate him before he can think up some last words. My thought here was maybe you should call in some backup, Chuck. Like Babs Gordon for instance. The Wheels of Prey!
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This issue of Forbidden however does a solid job in introducing the main players, the world in which they live and a reason for readers to care what will happen to the characters.
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The art is heavily influenced by manga, but I didn't hate it as I do with most manga. I would have liked to seen hair with more texture rather than jagged lines representing hair ala Dragonball Z, but the artist excels when depicting Judo Girl and Judo Boy in action. The pixelated colors for the sixties adventure was also a nice touch, and even if his panel composition is odder than most, it's still fairly easy to follow.
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Batman once again becomes an impediment to the Joker's plan, and in the conclusion to this single issue, Englehart and Rogers enhanced by the inking of ever-reliable Terry Austin Batman and the Joker engage in what really is the metaphorical glove slap in the face but it has more excitement, more closure than the entire run of No Brain Land, Bruce Wayne: Murdering Fugitive and the latest excursion Infinite Torture of Gullible Fan Wallets.
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Now I can see some folk being offended by the tasteful display of Zatanna's skin. However, Byrne uses Zatanna's shower scene as a source of amusement and realism. How many times has the phone rung while you were in the shower? There is some cheesecake to be found in the splash page of Zatanna clad only in a robe-which mysteriously changes color-displaying her cleavage as she assumes a bent-over position in which to cast her spell, but you know what? I'll take cheesecake over rape, torture and murder of female characters any day. Besides, Zatanna is portrayed as being alone and in her apartment. It doesn't make sense that she would behave as if somebody were watching her.
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The second part of Sparkplug's homage to the Black Canary is fun romp that ends a little too cutesy. Facts concerning forest growth are blatantly falsified unless Sparkplug's earth is vastly different from our own. Still, this is not a bad story, and the stylish artwork displays an impressive resolution from last issue's cliffhanger.
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As if this book could not possibly get any better, three words prove you incorrect. Batroc Ze Leaper. "'Nuff said."
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Satisfying from beginning to end with potent imagery and dead-accurate characterization, this extra thick issue of Justice League Unlimited should not be ignored by any fan of the old DC comic multiverse or the Cartoon Network series.
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While Abby Denson's story is the least of the three, all three tales touch upon what makes The Powerpuff Girls a great all ages comic book.
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Rogue offers readers of strong female super-heroes, not just X-Men aficionados, engaging entertainment and accomplished artwork that details a well-trodden tale related though with style that adds freshness through dialogue and characterization rather than outrageous plot-twists.
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Shining Knight continues to be another Grant Morrison masterpiece of storytelling. Simone Bianchi with Nathan Eyring's unique color palette draws the reader into the pages with gallery-quality comic art that honors without mimicking the work of past masters such as Frank Frazetta.
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You gaze upon Sonjas beauty from afar, very, very afar. In fact, you stay out of bow and arrow range, because if she doesnt like your ogling, she can and will kill you extremely quickly and efficiently. This is the feeling I received from Red Sonja when done correctly, and this is the feeling I received when reading the latest edition of her adventures. The new team and the new Sonja book looks like an explosive winner from Dynamite Entertainment.
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And finally, Bates comes back like an infectious disease for "Flu Shot" which shows the devilish Bart finding a means to escape the needle and stick it to Lisa. Jason Ho with Mike Rote and colorist Nathan Hamil--what? Did Villanueva die during production?--draw a line of Springfield youngsters for your guaranteed yuks.
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Byrne begins a new plot thread with a characteristically valid Metamorpho and Sapphire Stagg, who shows off the conscience to which Rex was in the first place attracted. Meanwhile Rita and Cliff save the day in one of the scenarios, and again the save just exemplifies Byrne's ease of comprehension when regarding super power capability. In addition to the writing, Byrne meets his own high standard for art. Solid entertainment and without hesitation recommended.
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Though I can't really say I liked the book. I can neither say that I hated it. It certainly wasn't derivative of anything I've seen, and the artwork was something of a take it or leave it riff on Bill Wray and Harvey Kurtzman.
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Moonstone continues to produce diverse adventures of media heroes--soon including Buckaroo Banzai, and Carl Kolchak remains robust because of their efforts.
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With sharper preparation and plotting, this issue could have been perfect, but Rucka doesn't manage it. Perhaps he already saw these steps in his mind and took them for granted to be in the reader's mind's eye, or perhaps he has been distracted prostituting his talent on lesser works that end up with Blue Beetle being head-shot by Maxwell Lord. Never the less, Wonder Woman impresses through Rags Morales astonishingly non-exploitative artwork and a tighter grasp to the writing. I'm going to hate dropping this book when Countdown to Johnsicide begins.
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Zombies: The true zombies created through biochemical means based upon the poison tetrodotoxin found in various marine life are victims of a criminal act that places them in coma-like states. Upon awakening, the cultural influences combined with the damage to their brains makes them easy prey to cultists who usually force them into slave labor--a use that Morrison employs in Klarion. The mining scenes are very reminiscent of the Hammer classic Plague of Zombies.
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Another really nice thing about the book is how while we don't know the exact nature of each side, both sides tend to act without a blood lust. An electrical charge is enough to send one of the players scampering off. A prisoner is treated with respect. No need for anybody to die here, and that gives the book a light touch that's welcome in an unusual fantasy setting.
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Perhaps the only caveat against "Syndicate Rules" can be found in the references to JLA/Avengers. Kurt Busiek reminds his readers that DC really had a chance for a total reboot resulting from JLA/Avengers. It would have made sense. It would have been great. It would have given the chance for a brighter, shinier more coherent DCU, but alas DC chose the short path to greed rather than the longer road to riches. One more issue to go before the madness begins. Make sure your subscription lists are up to date.
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One of the things that's very impressive about JLA Classified is that the entire creative team makes these scenes plausible. These scenes could happen in the lives of these heroes. That's something that you could always count on with this team's Justice League. Ninety-nine-point-nine percent of the book was funny, and ninety-five percent of the book was a possible slice of each character's history. It was perfectly reasonable that the Blue Beetle who bounced around the rooftops and fought crime also was the same Blue Beetle stuck in Bialya awaiting rescue from Batman disguised as Maxwell Lord. This newest run is no different. Ironically, it's the so-called heroes from The Big Stupid Event that you cannot take seriously.
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Two inkers on the book usually signal big trouble, but both Blanco and Palmiotti blend with Javier Pina's pencils to produce an appealing, anatomically correct awesome display of Manhunter's Buccellato Red battle prowess. Man, do I love Manhunter. This book is so good it should have its own theme music.
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Three stories all linked together by one lovable quack as diagnosed by Ian Boothby, Oritz, Novin and Villanueva as well as letterer Karen Bates for Archie Disassembled. Take one issue of The Simpsons, monthly. Side effects include endorphin rush, convulsive laughter and ear-to-ear grinning.
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Jerome. This dwarf/troll's every word and action is annoying and grating. If this twisted, nasty and no doubt smelly monstrosity becomes Megan's sidekick, I just may vomit.
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Some members of the blogosphere have been promoting a very interesting theory that counters the idea of Keith Giffin's JLA being targeted outright. Instead, they suggest that it's the Charlton characters whom DC acquired long ago getting the bullets in their heads, and that this wanton destruction of fan-favorite characters is a result of copyright concerns. I almost dismissed that theory out of hand since DC owned Sue Dibney. However, it occurs to me that Breach probably would have been better as a bona fide Captain Atom reboot, and that Bob Harras was asked to change it into something "original." End result, the copyright issue becomes moot. Breach becomes property of DC--a white elephant, but still theirs. This makes Crapping Toward Crisis Light an even less artistic endeavor. Consider that DC could have killed off Booster Gold--pretty much a heartless character that only had one plausible role--comedy relief, but they chose Blue Beetle who had the resonance to be comical and
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Everything else. The talk show format used to discuss the T-Bolts isn't exactly breaking any new ground, and it becomes tedious rather quickly. "Convicted or wanted super-villains are categorized as terrorist threats." Oh, this is just assinine. Here are five terrorists then. Batroc Ze Leaper, Stilt-Man, The Ringer, Trickster a.k.a. Paste Pot Pete and the dreaded Hypno-Hustler. Do you get what I'm saying? Also, bad--Bill Sienkiewicz's artwork. Terrific for Black Widow. Woefully inappropriate for Thunderbolts.
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More good can also be found in Joe Staton and Horacio Ottolini spreading the Scooby-love throughout the entire book. Staton opens the issue with Scooby slurping up a literal soda fountain. Drop a couple of panels down, and he displays realistic body language denoting excitement. Ottolini in one panel emphasizes the spooky Staton shadows, and the hall of mirrors scene shows how artistically complex Scooby-Doo can become. Staton's and Ottolini's vignettes give the reader further examples of the Gang's distinctive body language and visual character to appreciate.
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That duckling! You know the one I'm talking about!
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This issue of Justice League Unlimited is as good as the first two episodes of the series, which I have finally seen this evening. It exemplifies how comics can compete with the quality in the best genre novels. It exemplifies that the basics of writing need not be thrown out the window just because the writing focuses on a different medium. It exemplifies that comic books, especially all-ages comic books, need not dumb down a story. Adam Beechen in fact does not question your intelligence.
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References: Encyclopedia of Monsters--Daniel Cohen (1982)
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Now, it may seem that Batman takes over Blood of the Demon, but he doesn't. Etrigan and Jason Blood are the stars, and Byrne has produced an interesting twist on the Jack Kirby originals and the more malevolent alter-ego that so-called continuity titles embraced. This twist allows for some swashbuckling occult action as well as some really sick humor that had me laughing like a happy maniac. All of it looks fantastic, and that's what one should expect from John Byrne.
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Pelletier provides old school artwork, but he shows how that style can still promote the bwa-ha-ha-ha-ha-ha moments. His I-Man for instance exhibits the sort of over-the-top bravado of Bruce Campbell. Sometimes the realism of the artwork combined with the bizarre plot makes for eye-raising and tickling instances. Given also that GLA bears some dramatic impurity, you also want an artist capable of delivering those stand out scenarios. Paul Pelletier is more than capable.
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Grave GRRRLS doesn't really pack a punch. The heroes are somewhat generic. The zombies, which have an intriguing origin, lack the ability to instill a credible threat to the heroes. The combination of juvenile sexual taunts and the zombie quest for food puts a damper on the remaining potential for entertainment.
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Kirkman's creative partner Scott Kolins in his own style beautifully illustrates Moon Knight. Many artists attempted to emulate Bill Sienkiewicz in his Neal Adams period, but Kolins bucks tradition and sticks with what he knows to perfect a Moon Knight that's just as dangerous a fighter as Batman used to be. Kolins also beefs up Mary Jane. At times she looks like her diet consists of Olestra crackers and does his usual snappy, gravity defying Spider-Man.
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P.S. Please consider Angelina Jolie as Wonder Woman. She fits every criterion to make Diana awesome.
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These two unpredictable stories feature likeable, off-kilter stars. They address the core concepts of heroism--even if the main characters do not believe themselves to be heroes, and readers scorched by burning earth of DC will find clever writing and enjoyable adventures in Black Enchantress.
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While DC's "finest"--ch'yeah right--collude to shoot Blue Beetle dead in the head, Byrne gives comic book readers the gift of depraved goofiness in an utterly mad villain. So pass me the neck-juice, Tom Servo, I'll have another.
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Morrison and Stewart just completely knock you out of your socks. This is a fine new addition to the myth of the Guardian and another of Laws Legionnaires worth seeking out.
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A tonic to the scorched earth policy DC seems to be employing, JLA:Classified offers carefully crafted interaction between super-heroes that you know and love.
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Atmospheric and eerie, the latest chapter of the Phantom is a real page-turner that ends far to quickly and whets the appetite for more.
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If not for the fact that Sunfire and the title character are mutants, Rogue could have been a very strong super-hero book that lacked ties to the X-Men. As it is, those ties are still very threadbare. That to me is a bonus.
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Impressive artistically and humorous on every page, Simpsons/Futurama: Crossover Crisis lives up to the promise that many crossovers fail to deliver.
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Thanks to Slott and Templeton Spider-Man/Human Torch is the best of all the webbed wonder's titles. Light, funny but poetic, the story is also written with intelligence and illustrated with care.
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The whole staging of the scenes between Shiels and Blair depend on the delicate changes in body language and expression that Gabe Pena easily provides. Transparency's nuances of warm gray shades furthermore imbue atmosphere to help foster the subtext. Pena is not however a perfect artist. Sometimes the male faces look too similar. On occasion, the faces of one character's bone structure changes from panel to panel, and there's also the curious case of the missing name tag on Kyle's shirt. He's in uniform, and all uniforms are shown to have a name plate. Kyle's goes missing only to appear later eventhough he has not moved from his original position. Still, there are worse artistic crimes perpetuated, and these minor misdemeanors are balanced by a flow of movement and an attention to anatomy that make Helios an undeniably attractive work.
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Fresh, at turns funny and dramatic, Manhunter stars a super-hero who actually bothers to fight crime--during the night and during the day. Witty writing spotlights an action-packed story as well as anatomically attractive artwork. These are the factors that make Manhunter a spectacular read.
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Excluding the always impressive artwork by Christopher Cook and Mike DeCarlo, the second best part of the book is Buttercup screaming "I...will not...be filed!" The line works in the context of the story, exhibits Buttercup's strength of will and almost alludes to The Prisoner.
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John Costanza's mimicry of the Matt Groening style is pure blue ribbon material. Mike DeCarlo serves up crystal clear inks, and Art Villanueva displays a smooth rolling rock solid run through all the colors the rainbow provides.
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More contrivance can be found in the way Rosa's fashion sense foils the Croc and the way in which the beast in a very neighborly fashion offers up its tender underside for a good stabbing with a handy piece of broken pipe Rosa finds at the bottom of the sewer. Bleah.
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I knew this issue of Wonder Woman would suck. I didn't believe it would suck like a black hole. All one requires is a second of thinking, and Wonder Woman falls apart. On the other hand maybe all one requires is the ability to time travel.
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Not a perfect chapter in JLA, and the plot doesn't exactly flow, but the parts of the whole entertain.
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While writing a slam-bang conclusion, Fabian Nicieza with co-plotter Kurt Busiek and the thrilling composition of Tom Grummett sets up the long standing storylines that will run through future issues. Photon (nee Captain Marvel) returns, and he will no doubt cause friction between Mach IV and Songbird. The placement of one character in the group will likely affect how he is treated by the team in upcoming stories. The skill of all involved impel you to look forward to these new tales of The Thunderbolts.
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Simone Bianchi is likely unknown to American readers, but readers who have a broader palate are aware of Bianchis experience in European comic strips and comic books. His work here impresses with visceral fight scenes that nevertheless still radiate an ethereal beauty that fits with the time in which the battles take place. The colors enhance Bianchis atmosphere, and the art team inflate Morrisons tale with the kind of majesty it deserves.
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My only caveat comes from the "vamp-faced" Jason Blood action figure. He and Angel seem to be separated at birth. The "vamp-face" hasn't been previously seen in any of the other Demon series and really just seems to be an unnecessary reminder of Joss Whedon's show not an allusion to previous Demon work.
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The H.P. Lovecraft elements are remotely interesting, and Lopez delivers in terms of artwork, but he can't save the entirety. The shabby treatment of traditional losers Kobra and his men as well as the stupid not shocking character derailment of the mystery villainess make Breach a hole to avoid. You've got two more issues to wow me.
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The second issue of Cryptozoo Crew is much better than the premiere, and Gross and Carr through solid comedy writing, a knowledge of their subject and cartoony yet distinctive artwork have composed a series that looks like it will have staying power.
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Humorous, brave, cute and determined, the plucky Amandine as a character does have the power to carry a series on her shoulders. The flashbacks introducing the raccoon-familiar offer the reader genuine humor as does the flying carpet scene. The finale leaves the reader interested, and the watcher in the weird plane turns out to be somebody the reader does not expect.
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Rozum and Pope also combine forces for two shorts. The first is a maze in which you have to steer the Mystery Machine clear of anything that might cause it a flat tire. The second investigates handwriting identification. Both are well worth the reader's time and cap off another successful issue of Scooby-Dooby-Dooby-Doooo!
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It's nice to see an all-ages entertainment book not relying on manga or American styled anime. Shane Davis and Larry Stucker offer instead the kind of detail, the level of proportion and tactility you expect from a "normal" comic book. They make a great team, and delight in displaying the Mole Man dramatically posturing, Spidey's arachnid-fueled acrobatics or the FF's family atmosphere. Also of note is that they make Sue look hot. I knew the casting of Jessica Alba was a good idea.
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Watachaca, Watachaca, Watachaca, Watachaca, Watachaca
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Inking is decent though in the future needs better focus. Several times the shadows under the characters head fail to meet their jaw-lines. They just stop. The colors are vibrant, but the paper stock makes them at times seem too thick. None of these factors however are too distracting. One thing though did catch my attention. The snake sequence too much resembles the snake sequence in "Secret Origins" on Justice League.
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In Rogers' story a supernatural detention slip seeks out Bart. Though whomever the slip passes to winds up in the hell of detention. Costanza provides some very animated Simpson doings for this tale. The more physical comedy takes a backseat to what is essentially action over a minor punishment raised to the nth degree.
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Captain Gravity while soaring seldom drifts and stays focused on a cliffhanger styled serial adventure related in the sophisticated tongue of today.
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Supergirl's part in the story exhibits power and thought, but it's lost in a cacophony of low-rent super-heroes--all nicely illustrated by Beavers--and the stupid moves by those super-heroes and their betters.
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You'll laugh and smile as you read Marvel Team-Up. Kirkman does not take himself seriously, and his relaxed style makes for pleasant plotting, fun dialogue and interaction acrobatics from the cast.
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Then there's Lois Lane. Lois Lane rocks! She's inquisitive. She's vivacious. She's courageous, and she's drawn hotter than she has ever been drawn before. Pay attention future Superman artists and writers. Lois can play an integral part in a Superman adventure and look great doing that.
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The Victorian was a masterpiece. The story dealt with big ideas and spanned them out in a comic book series that did the astonishing thing of ignoring the whole idea of padding. Every word, every scene of The Victorian was necessary for this final issue, and though I will miss seeing The Victorian on the racks and miss reading the adventure and intrigue, the finale was satisfying neopulp wonderment.
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That Morrison introduces or re-introduces these characters in a slam-bang adventure that does not shirk one shred of characterization and describes their histories--mostly composed only in this book--and their fates in what amounts to just one, not even double-sized, comic book really demonstrates how piss poor deconstructionists really are when it comes to writing. Morrisons work displays just exactly how many elements you need to craft a meaningful, entertaining story while bestowing three-dimensions to characters for whom the reader will care and without smearing the concept of the super-hero.
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If you haven't picked up the mini-series, don't hesitate to pick of the trade. Black Widow is the best Marvel storyarc of the year and possibly the decade.
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Richard Moore's Boneyard will soon be collected in a color trade paperback, but don't be fooled by bells and whistles. While I'm sure the color version will look gorgeous, the crisp black and white artwork looks just scrumptious.
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Rogue is a fast-paced treat with strong characterization. Moline and Bedard stretch nothing out to pad the story. Indeed, there's no need to show how Rogue got to Japan after dealing with Lady Deathstrike when a simple pair of paragraphs summarize. They explain the history of the characters visually rather than through chunks of exposition that would slow down the pace. They also energize flashbacks with an artistic twist displaying Rogue's abilities.
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Ty Templeton whose art appears far too infrequently brings a nice solid silver age foundation to the Spidey/Torch partnership. His artwork is absolutely perfect for the story, and his simple lines give way to a greater sense of action and animation--especially with regard to the athletic villain of the piece Kraven the Hunter. Also of note is how he too tries to reclaim the innocence of the characters through grins and propinquity. Alas the stench of Straczynski is even too powerful for he to combat.
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This was a long way to go just to turn Zeus' champion to stone. Oh, well. At least Wonder Woman looks pretty.
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Wasting none of the page count, Tim Bergard concludes the book with a very beautifully drawn spoof of Flare if she appeared in the Sunday comics. Man, but this was a fun issue of Flare.
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Batman downed the rest of his cocoa. This was almost as fun as watching Blackadder. Not that he would ever admit to having fun or watching Blackadder. The villain has a former hero as a partner. Batman frowned. Usually the phrase former heroes referred to dead ones, but who could His jaw dropped when this particular mystery was solved.
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The art team of Cassaday and Martin is still up to snuff, but this second chapter in Joss Whedon's latest X-Men excursion wasn't really worth the wait. The last line in fact is unwittingly hilarious. Granted, the succeeding chapters may end up providing the resonance sorely needed to make the story stand up to even cursory scrutiny, but judging by this chapter, Whedon has created a Mystery Science Theater 3000 experiment.
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Doom Patrol continues to be a thoroughly entertaining and artistically pleasurable adventure book that features characters for whom you care and instigates those feelings through more than mere nostalgia.
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This final issue and Fiona Avery's Tomb Raider: Arabian Knights gives a reason for the comic book title to exist. Hopefully, when Lara returns to comic books, the writers and artists will think of her as a character rather than a set of sarcophagi meant to attract boys and lesbians not yet old enough to legally buy Playboy.
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What you find beyond her cameo keeps you enthralled. I am convinced that some artists hate to draw super-heroes. To be kind maybe they're just inept. Not so Mr. Saiz. He understands that he is embellishing myth, and Saiz bestows artistic reverence to those in cape and cowl.
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Ivan Velez Jr. bases the second story on a silver age Superman tale that provides a rainbow of weird laughs. The starring role this time belongs to the series' most capable character Ms. Bellum, and every facet of her being the creative team examines. Top marks go to the Phil Moy for the drooling, bored Bubbles and the delightedly shocked Professor Utonium.
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I really hope She-Hulk returns, but I'm skeptical. I can't help it. Comics have burned me too often for me to keep a cheery outlook on the shenanigans of the Big Two. If this proves to be the last we saw of the Jade Giantess, the series will be remembered as a bright spot in otherwise grim and stupid season of comic book reading.
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Artists Phil Oritz, Mike DeCarlo and Art Villanueva accumulate the Groening style and also layer the laughs. Their deft handling of over the top dramatic shadows on page one starts off the comedy. The fourth page exhibits the comic timing one expects from these experienced Simpsonian forecasters. On page six, the pure surreal setup makes the reader burst, and of course their depiction of the guest Marvel almost pays for the book.
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Without a doubt the best thing about the book is Jerry Ordway. Man, can this guy draw. The textured artwork gives the whole episode a tactile feel. You can feel the wet of the rain. The grain of antique wood, and the softness of hair. Anatomic detail is high as is the depiction of period fashion, accouterments and conveyences.
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A tiny scene in the title just underlies its ambivalence to the larger super-hero universe. When noting the UFO book on his desk, the wife chides her husband Paul: "You don't really read this stuff!" Well a) given that she shares a bed with him, she should know and b) why would a UFO book be considered fringe literature when the numero uno defender of the planet is an alien?
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I just don't like it. In my heart, I know the League should win, but my brain objects. The Syndicate planned to invade earth. They prepared to take down the League, and the heroes were caught completely off guard. I don't like it, but I can't find anything technically at fault. Bugger.
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Ulanski cements the farcical nature of this issue of Tales of the Night Stalker by making it have the lowest body count and blood content of anything associated with Kolchak. Because of the nature of the beast, this makes absolute sense and provides superior entertainment.
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This is much more like it. A crappy issue for Wolverine lovers, but for the rest? Rejoice.
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Staton of course has perfected his look for the gang, and even though these are of the What's New Scooby-Doo? design, he still treats the Gang as serious characters to illustrate even when they may not be behaving seriously. His timing within the panels makes Scooby-Doo a breezy read but with meaty rewards.
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Nancy Drew is weeping. The Powerpuff Girls are striking their heads in unison, and Buffy is growling. Wild Girl sucks.
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The villains of the piece are an intriguing bunch with a clever name, a Kirbyesque look and a neat power. The guest star bears a substantial personality that is distinct from the other heroes and as culturally alien as it should be. Unfortunately all these assets to the story cannot disguise a worn out plot that probably would have been better had Beechen took the opposite approach. Still, Carlo Barbieri and Walden Wong's artwork with the especially needed Heroic Age is easy on the eyes.
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Kirkman said in an interview that he wanted Marvel Team-Up to be a one-stop introduction to the Marvel Universe, and in that respect he succeeds. His talent for juggling a large cast is worthy of attention, and Kolins' attempt to be Marvel's Jim Aparo is a winning aspect. This issue of Marvel Team-Up is not the worst of the series or the best. The story does move, and the artwork meets a quality standard.
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The cartoon look of Amancio's style disguises a mature exploration in human and Kryptonian behavior. Superman: Strength is a thoughtful work that belongs on the shelves of every Superman fan.
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I can without hesitation identify this story for sporting the best artwork of Greg Scott. While yes, there's still an elongated look to the players, his take on Vampirella is quite striking and fits the model. Sometimes you just need to see an artist work on an established character to get a reading of him.
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What definitely bumps up the grade of Beyond Avalon is the artwork. Goran--another one in the same year--Sudzuka provides artwork that wouldn't be strange in Metal Hurlant. Though his characters while beautiful do not offer explicitness. Sudzuka's illustration gives Beyond Avalon a European school of anatomic appreciation and judicious detail that by rights should make most American artists hang their heads in shame. Likewise, Len O' Grady's colors bestow an Art Noveau sense of design that fits with the faerie themes and just takes the reader aback.
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Artistically, Goran Pavlov, Bill Sienkiewicz and Dan Brown haven't as much to do when compared to previous issues. This is a more loquacious issue than the previous action oriented episodes, but their design for Black Widow as an older, taller, redheaded Jennifer Garner-influenced agent more than enough keeps the reader vested in the panels.
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The smart conclusion in the second tale offers more fitting comedy than the first story, but the first story does feature Tara's brains. The artwork by Carr offers a pleasant cartoony look that fits an adventure series that doesn't take itself too seriously.
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Attention to detail, a deft handling of the elements to storycraft and pure fun super-powered action added to an enigmatic villain make John Byrne's Doom Patrol a pleasure to read and observe.
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Purcell and Pallot both do adequate jobs when illustrating Flare's or Sparkplug's adventures, and in many instances, the artists carry themselves above average in the panels. Purcell's depiction of Andrea the Black Enchantress carries a little more artistic impact since she is supposed to be a younger woman than Flare. Thus, her proportions are several notches below the expected bombshell type of super-hero. Even Flare who meets the criteria bears a little more depth and scale than expected. One real problem I noticed regarding the artwork occurred in the early panels where every character seemed to have an asymmetrical nose. I don't actually expect perfect or homogenous features in characters. As with reality this would get boring real fast, but a plastic surgeon needed to be called in for some of these scenes.
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You knew Morrison would be good on JLA: Classified, but he's actually better than you can possibly imagine. Accompanied by Ed McGuinness, Dexter Vines and Dave McCaig as well as, unsung hero, letterer Phil Balsman who adds some terrific emphasis effects to Wonder Woman's shout of "Hola!" and gives the illusion of grunting speak to Grodd make JLA: Classified the first triumph of this spinoff Justice League title.
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I'm hoping that James Lloyd and Steve Steere Jr. soaked their hands in ice after finishing this job. Without a single flaw, they animate both of Groening's bizarre parallel universes. Rick Reese provides colors that are astoundingly varied yet complimentary in every panel. All in all this is an impressive follow-up. It's so impressive that I'm going to forgive the mistakes in the TARDIS appearance. It's a blue Police Box, guys.
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As to Abe's predicament, I guess you'll have to wait even longer because he and Kate Corrigan only get a cameo of two pages. More time is dwelt upon characters for whom you do not care one whit.
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Finally, don't skip over the letters page, for instead of the usual compliments all readable to be sure, Powerpuff Girls fans will get inside the brain of Amy Keating Rogers who also happens to be the head writer of the very cartoon on which the comic is based.
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About the only qualm I have about the story is the classification of Sunfire, Mystique and Rogue as "terrorists" and the uneasy blend of real world agencies like Homeland Security and the Marvel Universe. Come on. Really? Terrorists? Mystique, Sunfire and Rogue were super-villains. Say it with me. Super-villains.
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Manhunter is the book to buy. How many times do I have to say this? Drop that bad Batman title. It doesn't matter which it is. It's bad. Enjoy the true meaning of super-heroics instead. Manhunter
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Adding to the look and feel of the book, Delaney and Pepoy with the indomitable colors of Art Villanueva alter the look of the book just slightly to better match the style of the parody source. This of course adds to the funny. A triumph with substance and style.
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Apart from this utterly inane exercise in drivel, other episodes in the book touch on the subplots. There's the predictable one with Athena calling upon her champion to contend against Zeus' champion in order for she to seize the throne of Olympus. Hint, the solution is in the bag. Go watch Clash of the Titans. Then we have the unwittingly hilarious notion of the petrified boy becoming his own gravestone. The pigeons I'm sure will love him.
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King Joe sent the Princesss half-completed Thunderbolts script to Major Tom with a memo: Keep the shower scene.
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I wish I could be more enthusiastic about Hero Squared, but this is simply not Giffin's and DeMatteis' best work. It could become their best, but at the moment it's too early to tell. However, I fell in love with Ambush Bug the moment he gave a no-hard-feelings present of a Red Kryptonite necklace to Superman. I can't say that there's any character in Hero Squared that truly grips me the way Ambush Bug did and still does.
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This is the chapter I would have probably edited the most. The Syndicate outstays its welcome, and maybe that was Busiek's intent, but more Justice League is needed.
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At least I get out of this book with my skin--sort of, kind of, I hope so--but one character you won't see again.
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"Are you sure you don't want to go with butt sex?"
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The second issue of Captain Gravity and the Power of the Vril buoys on historical accuracy in a fun serial adventure beautifully drawn that depicts a smart but still learning powerful hero who makes for a fitting enemy of Nazi madness.
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Helios is definitely a contender in the team book sub-genre of super-hero literature. Maybe it's not up to JLA, Doom Patrol or the T-Bolts standards. It is more straight forward and less of a migraine than JSA, and it blows also-rans like the Outsiders and the New Avengers out of the water.
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I'm not overly fond of a massively bestial Hulk. Kollins makes the Hulk look not just monstrous but also evil, and like it or not, Hulk still is supposed to be a hero. At least with Gorilla Grodd you had the excuse of his being a villain.
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The mini-puzzle by Fisch and Pope is no fun at all because, it makes no sense. The code is easy to solve, but somewhere along the line somebody hit the wrong button, and that hit causes a misunderstanding in the clue. Still after an unusually weak in comic books, a good issue of Scooby-Doo quenches one's thirst.
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Black Enchantress casts three good stories with two having better artwork than the third. The character is an interesting throwback to a more innocent time of Marvel grue and a little tease, but be warned, the final tale continues next issue. So don't be surprised to be enticed to pick up the second issue of The Black Enchantress.
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Breach may improve, but at the moment, mediocrity is the watch word. Breach's origin bears similarity to the onset of Penny Farthing's Para, which was far more intriguing and used science to produce something highly entertaining and readable. So, instead of Breach buy Para.
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Beechen places Beetle in a no-win situation. If this were a post-Crisis book, Beetle would suddenly sprout boobs and then be stuffed into a refrigerator in the DC scorched earth tradition. Justice League Unlimited is a book that rests outside of proper--snicker--continuity. Its continuity celebrates heroes as well as the reader's intellect. In the end, Beetle beats the loon by being clever. Glorious.
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With the little he has, Argo flavors the pages with as many Bugs Bunny schemes and examples of Yosemite Sam's ornery stupidity that he can. At one point, he employs a seldom used gag in which Sam immediately assumes he has previously unseen servers--that in fact turn out to have powderpuff tails. Aranda and Saichann spice up the scent of Sam's defeat with preludes of Bugs Bunny zaniness in which he defies physics only later to depend upon them for an explosive ending.
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Superman: Strength is a bombastic journey of daring-do where Superman does not fail. Innocent lives are saved, and the Man of Steel never gives up. "Thanks, Big Guy!"
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In Wild Girl there can only be one outcome of the climb. The outcome is tedious. The climb also prepress the reader for nothing more. The artwork is fine, but so what? The writer fails to impel drama and leaves the reader hoping for an episode of Bigfoot and Wildboy rather than another chapter of Wild Girl.
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You know I think I know why Byrne has garnered such a loathing from certain sects of fandom. Yeah, his opinions can be pretty out there. Sorry, my opinion is that Jessica Alba looks totally hot as Sue Storm. Sue Storm has never looked hot. Ms. Alba is an improvement. His opinions though seem harmless when compared to Orson Scott Card's flinging his right wing screed at the cages. No, I think people come down hard on Byrne because he gets his work done on time, doesn't slack off because he realizes that readers are paying for these comic books and they deserve the best he can muster. Worst of all he can really draw a story.
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Para is simply a well-thought out lesson in applying quantum physics to fiction. If you haven't had this series on your pull list, pick up the trade. You won't be sorry.
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"The Terrible Life of Tom Strong" is the most cheerful story Mr. Brubaker has ever written, and it's a complete antithesis to the nasty, so-called super-hero comic books polluting the racks. Nobody dies. Nobody gets raped. Nobody gets crippled. Nobody's seriously dead girlfriend has an affair with a seriously dead villain. Tom Strong still however entertains and captures the reader's interest. Go figure.
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Morgan's not yet done with the reader. The entire chapter of The Black Widow while easily being read as a stand alone fits into place as another piece in the puzzle presented throughout out the book. The plot thickens, and the dialogue, the characterization, the artwork is razor sharp.
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God looked down upon Gotham City, and said "Batman is not good, but I shall make him good again. I shall return to him the caring nature that underlies his crusade. I shall give to him back his wry humor. I shall return to him his intelligence and prowess in battle, and I will make him not crazed, loner vigilante but super-hero and member of the Justice League."
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Every time I read about Manhunter in the press releases I always bump into the phrase "dark." Frankly, I can't see it. When compared to about eighty percent of the dreck on the racks, Manhunter is delightful and refreshing. Kate Spencer is a likeable hero, and her goals are optimistic in that she wishes to make the world a safer place not just for ordinary folk but also for the super-hero community. Bonus points for Kate only about to smoke one cigarette for the entire issue.
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In the final story James Bates offers a loopy parody on The Defiant Ones. In this version Bart and Nelson are cuffed together and must escape museum security and find their way out of their predicament. Bates uses the props of the genre to create faux suspense. The guillotine gag is in particular an inspired twist, and the core to the gag makes realistic sense. Luis Escobar through his timing in the panels milks the fake tension. Owsley's inks give the work added dimension and colors by Hamill take on a more down to earth note but does not shuck aestheticism as the kids leave the candy-codified trappings of Springfield.
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Joss Whedon, John Cassaday with Laura Martin introduce a new storyline, make it obscenely easy for a new audience to be enticed and justify the faithful fans attention span all in one neat package that while not necessarily astonishing still entertains through meaty characterization, a fine battle and a surprise super-hero team-up.
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Thanks to Rucka and guest artist Sean Phillips as well as the Hories whose unique choices for Pegasus at once compliment Wonder Woman's colors and distinguish the steed from his ancestor make Wonder Woman an enthralling visual and literate treat.
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What can I say. Marvel Team-Up is just so much fun, and fun is a welcome change of climate.
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Typically in a less impressive book this riff on a classic monster flick would peter out, but Velez manages to stretch out the page count without resorting to artificial means. His twist is inventive and makes sense given the premise.
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Once again John Costanza, Phyllis Novin and Art Villanueva apply an appealing layout for the artwork. Matt Groening seriously populated Springfield, and it never ceases to surprise me how well these artists can fill the panels with that population but without making things look busy or garish. There's psychology at play in artwork. Costanza positions the players of each act to aesthetically use space. Novin's inks are graceful and proper when developing distance through the line weight. Color by Villanueva always compliments and never clashes.
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Ron Garney has a ball with the near over-the-top antics of the Crime Syndicate. Their design alone brings a smile to ones lips. Superwoman throughout looks like a depraved villainess. Theres absolutely no attempt to hide her sadism. He gives her arched eyebrows and a nasty smirk. Her smile is full of contempt, and the scene where shes wallowing in her ill-gotten booty portrays her as even more outrageous than already she is. The inks by Dan Green are perfectly aligned with Garney's style, and the colors by Baron bring out the striking atmosphere of each scene: from a powerful greenish opening splash page to an illicit sensual warmth.
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"How to Make a Monster" openly gives an over-view about how to make a latex monster mask, and the finale features a two pager interactive mystery by Solly Fisch that pits the gang after a pair of faux ghosts. Again, this mystery will perplex no one, but Fisch's background for the criminals amuses.
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The second spoiler involves a welcome guest appearance by Victor von Doom. Again, Slott treats Doom like his old self. However evil his ends may have been, I can't help but think that Doom's intentions were honorable. The way Slott parallels Doom's history with that of Titania intrigues and makes his involvement plausible.
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Helping Ms. Moore and Mr. Reppion with their story, Shawn McManus and Andrew Pepoy provide artwork that doesn't require a challenge to the reader's visual senses. Everything creates aesthetic comic book realism rather than experimentalism which would be extremely out of place. McManus and Pepoy also carry out easily Ms. Moore and Mr. Reppion's in jokes such as the Lady and the Tramp like visit to the Italian restaurant and the curious guest appearance by Larry Storch as his F-Troop character.
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If I have one complaint about this issue of Justice League Unlimited it's that Alanna simply doesn't have a lot of exciting things to do in the story. It's still though pleasing to see she being part of Adam's life, and I'm happy that she's not raped, killed or having sex with Kanjar Ro. Likewise for Adam's charming daughter Aleea.
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Both creators eschew symbolism to ground the story in reality. Sure, Street Angel's turf is dark and genuinely gritty, but Gotham City which is supposed to have a hero stopping crime is a much nastier town. Realism simply is, and the unchanging atmosphere and artwork hammers the point home. You can be homeless on the most beautiful day in whatever city that you live.
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The past is preserved in The Black Widow, and the characterization by Richard Morgan proves that there is still a future for Marvel's most dangerous female super-hero spy. Bonus points for the reference to the only good part of Moonraker.
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Boneyard isn't what you expect. The surprise both beautifully drawn and reminiscent of Chuck Jones makes this digging of zombie lore refreshing.
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Byrne conceives of great scenes where Rita uses her power. He forges some good continuity in flashback that shows how long Rita has been with the Chief--her relative youth explains why Verdalian did not recognize her as the Baroness--and the artwork throughout is what you expect from John Byrne, but this flaw in the story drops its value.
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Top it all off with more SHIELD redemption and an appearance by Dum-Dum Dugan, and you've got a comic book that practically everybody who grew up on seventies Marvel and DC can enjoy.
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While I didn't need a reminder of Waid's dismal Dr. Doom storyarc, I could not fault Nicieza's use of Reed Richards and Namor in appropriate cameo at the U.N. They also make good background use for the second group of loser villains that decide to attack. Abe's courting of Namor may also be exhibiting some long term financial planning given the historically untrustworthy nature of Baron von Strucker. In short, there's a lot going on in The New Thunderbolts and every bit of it is fun.
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There's also a comic book theme in the book that's underlined, and the quest of Bart and Lisa to find the answers are genuinely interesting as well as culturally significant in the explanation. You also get an obscenely detailed double page spread of a comic book convention Springfield styled by the legendary Sergio Argones. Really, how can you ask for anything more?
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Overall, this issue of Tom Strong's Terrific Tales fails to live up to its title. It's not worth the price on the cover, and the only way I can recommend it is if the book lands in the quarter box and you happen to be a huge fan of Chris Weston or Alan Weiss.
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Captain America is supposed to represent the hope and optimism of the USA. He's supposed to make us believe that the USA can be the good guy even when evidence to the contrary keeps presenting itself. This fifth or sixth relaunch is simply not Captain America.
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A double pleasure of female heroics that merits your attention, Flare is an entertaining super-hero book that wants to be a super-hero book. Nobody has any reason to be embarrassed here.
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The Crime Syndicate is fun to watch, and the consequences of the JLA/Avengers as promised seem to be affecting at least one title. Busiek plays on several unsavory themes in the story, but he wisely keeps a balance to stop the villains from acting too realistically nasty.
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Manhunter is a witty, thankfully angst-free portrayal of a female super-hero, and in the world of Manhunter, being a super-hero isn't a curse, but something to which one aspires. Easy to do so when you have artists like Jesus Saiz, Jimmy Palmiotti and Steve Buccellato. Easy also when Marc Andreyko respects his characters and the reader's intelligence.
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Para continues to surprise and delight, and though we appear to be nearing the end of the tale. It does not seem to be running out of steam any time soon.
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It's a close call between three and four bullets, but "The Tardy Boys" is the real sinker for me, and while amusing "Big Wheelz Keep on Turnin'" is just a little too short. "Beast of a Feast" is perfect, and I already read the reprints too recently.
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The second reprint "Mystery Machine Mystery" is one of Rozum's cleverest examples of playing with Scooby continuity, and for some reason, I kept thinking that there were more pages added to this tale than previously seen. I don't remember the little throwaway gag of Scooby getting "ruck" in a tiny car as being part of the tale. Beautifully staged by Joe Staton, you cannot help but enjoy this fun romp even if it is a retread.
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The artwork by Drew Johnson, Ray Snyder and the Hories is pretty. The battle is well staged, but what makes this issue of Wonder Woman outstanding is the illusion of reality. That there are people out there that Wonder Woman protects and who in turn support her endeavors no matter how necessarily deadly they may become.
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Astonishing X-Men certainly lives up to its name. At first you were just happy to find a readable X-Men book, but now Whedon is making the title his own.
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Helios is a well-written foray into a new super-hero environs that's mixed with a good dose of realism. The art gives the book an unbusy distinctive look that's tempered by anatomic accuracy and a vivid depiction of settings ranging from torn apart cities to unusually organic military headquarters.
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Marvel Team-Up will make a nice, gag-filled replacement for those looking to rid themselves of Amazing Spider-Man reek. Oh, and don't skip over the text piece at the end.
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The newest incarnation of the Thunderbolts is worth the time of anybody who appreciated the old series and really anybody who likes super-heroes. Don't be alarmed by The Avengers Disassembled link. This only comes in the form of a mention that the team was dissolved.
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Spectacular Spider-Man is a feel-good story that's especially suited for comic book fans that grew up in an era where the heroes liked each other, respected each other and worked together for a greater good.
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Wild Girl promises to be a very engrossing series. The first issue keeps you interested throughout. The artwork is very easy on the eyes and enhances the storycraft of Lea Moore and John Reppion.
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So how do I judge a book like X-Men: The End. It didn't hurt my head. The art did not impel me to claw out my eyes. Given that I didn't quite have an inkling as to what was going on apart from the reduced level of bad guys attack good guys, I still felt entertained and that I hadn't wasted my money or time. I knew a lot of the characters. They sounded like themselves or at least a reasonable growth of the characters that I remember them being. There were several fun bits. For what more can one ask from a comic book?
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Oh, and if anybody's interested to know who else made up the Club of Heroes: Batman & Robin, Superman, The Gaucho, The Legionary and the Musketeer (Encyclopedia of Comic Book Heroes Volume One: Batman by Michael Fleisher)
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In the second story, Steve Vance and John Delaney return Power Girl's lost glory. Really. The story is pulpy good fun and insightfully points out that the pleasure of Power Girl was that she was always just damn tough and damn strong but in a fashion that was more down to earth than her earth-one counterpart Supergirl. Kara was fantastically strong. The joy in the artwork is to see Power Girl withstand not brush off a massive sonic attack, and to see the bullets bounce off her not ricochet.
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This is a pretty impressive bag of jokes in a thick format that doesn't even carry a lot of advertising. Looney Tunes is definitely worth the extra quarters.
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Spider-Girl always had a terrific list of artists who understood concepts like anatomy, scale and graphic storycrafting. This issue is no different. Pat Oliffe, Ron Frenz and Al Williams make Spider-Girl a visually literate, aesthetically appealing comic book, and with the removal of Udon, the more natural colors merely add to the effect. Now that the misery of Udon and Livesay is a thing of the past, I just may return Spider-Girl to my subscription list. We'll see if this change is long-lasting.
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In short, "Sins of the Past" in Amazing Spider-Man is one of the finest arguments for abortion I have ever read. I'm betting a bipartisan committee would agree. Shame on Straczynski. Shame on Marvel.
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The artwork is consistently impressive. Given the short's subject, Bates uses some interesting angles and expression to depict the cast. Rote's inks add even more precision to the art than those in the previous story, and Hammill's color sense actually matches Villanueva's, which given his experience with the Bongo books is quite a feat.
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Fast-paced, witty dialogue and smart characterization mark Black Widow. Black Widow is to action as She-Hulk is to comedy. Bonus points for the direct reference to Ian Fleming's Bond books.
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Apart from these assets, Byrne takes the opportunity to work the characterization of the Doom Patrol. We see a little more humanity in the Chief through the flashback of Cliff's origin. Rita as the disguised Baroness quite joyfully takes on the role of feminine distraction and this counters Nudge's utter disgust at being found out and properly preened for the part of the Baroness' servant. Byrne also displays another nuance to Nudge during a tearful farewell for Faith as she returns to the JLA. This is my one real complaint. Faith only worked in Byrne's run of JLA and in these few issues of The Doom Patrol. Otherwise, she was a complete blank. Add Byrne's well known affinity with drawing robotics that goes back to where he and Roger Stern did Rog 2000, and a three bullet comic book easily gets bumped up to four bullets.
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JLA is a good taste of what is to come from Busiek, Garney, Green and Baron. When I first heard that Busiek was coming aboard to fix the JLA, I nearly did a jig. This issue lives up to my hopes.
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Solo's debut is a good showcase for Tim Sale' artwork. Diana Schutz's Supergirl story is outstanding. Cooke's tale is fun, and Sale's own vignettes are worth reading. Azarello's story which is not to my taste gives Sale a superb opening for period artwork, and Loeb's story entertains up to the point where he blows it all. The first issue of Solo impresses.
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The creative team of Wonder Woman are not just creating comic books but extending mythology, and because of this the title deserves to be on bookshelves not just only comic book racks.
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This leaves the story. Rucka provides adequate dialogue, but there's no happiness in the tale nor a sense of wonder. Everything seems ultra-serious and unexciting. If you want to experience a truer version of Superman, watch Smallville.
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While the interpretation of the cough may just be my own cynicism about comic books creeping in, it doesn't affect the level of enjoyment which is unfortunately low. The artwork however matches Jimmy Gownley's set high standard.
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Another rare book where things actually happen, Manhunter benefits from co-creator Marc Andreyko's appreciation for energetic dialogue and a smart hero that thanks to Jesus Saiz, Jimmy Palmiotti and Steve Buccellato looks great in red.
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The final story tries to work Him's magic by showing all humans to be basically animals. Not something I really want to read about, thanks. The only thing to recommend in this issue of Powerpuff Girls is the dead-on Craig McCracken styled artwork by Fuentes, DeCarlo and the colorists at Heroic Age.
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Dixon and Blackburn watch their work. You'll find not one garnishing of character out of place. Costanza, Novin and Villanueva add to their creative casserole of characterization through an assured savory look to the artwork. A smug appearance on the Comic Book Guy for instance is at once endearing and annoying. The Martha Stewart Stand-in's helper looks significantly harried and seems to be concerned over her employer's or friend's sanity. Apropos body language enlivens Smithers' anguished cry of "No! No!" as we reach the status quo. Desert is a splendid little spoof on Steven Segal. So, bon appetit.
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The only good scene occurs when Superman saves a very frightened girl, but he really let Silver Banshee's death toll go way too far. Was he on a sandwich break or what?
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After reading Kirkman on his continuity-conscious stint on Captain America I'm definitely more enthusiastic about his upcoming series Marvel Team-up. Thanks to Kirkman Captain America has become the kind of fun comic book that made me a comic book fan in the first place, and this is ultimately, the kind of super-hero comic book I want to read.
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Para continues to delight with intellectual confection, and just to give you an idea about how much I have enjoyed this series so far; Penny-Farthing has been very kind enough to give me the first three issues without charge. Now, they may have sent the fourth, but I never received it. However, I really wanted to see how the story would play out, and I knew that missing an issue would be detrimental. So when the comic book hit the racks and a copy didn't arrive in the mail, I picked it up before my luck waned.
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Rounding off the two main Scooby-Doo stories, Sholly Fisch, Paul Pope and Dave Hunt concoct two puzzles which strike me as too easy even for kids but still offer some fun in a Picardian villain and a backwards homage to The Legend of Boggy Creek.
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I didn't think I would be curious about Brubaker's Captain America since he, a writer more comfortable writing detective fiction, seemed to be an ill-choice to detail the further adventures of a World War II Invader turned Avenger. Tom Strong shows Brubaker's surprising comfort with a more fantastic archetype.
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* Shatner gets a lot of flack for this scene in Wrath of Khan, but his indulgent performance makes perfect sense when you realize that Kirk's laying it on thick so Khan will think that he and his Away Team were abandoned by Enterprise.
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Despite the potential for crowdedness, the artist give a lot of room to allow the characters to wow their reading audience. The entire creative team tie everything into a very light-hearted Justice League poker game, which features a spectacular punchline. What's more, they give me reason to like a Huntress who is not Helena Wayne. That alone is worth four bullets.
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Issues of Moonstone's continuing Phantom series just trickle to the racks, but when you read them, it feels like a deluge of entertainment.
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Amazing Screw-On-Head is laugh out loud funny, and I'm sorry I missed it the first time. The method of travel while based upon cinematic history is brain-damaged, and the entirety of the adventure is utterly without purpose and turnip-shaped.
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Prepare second arrest warrant should the accelerated aging be responsible for the Green Goblin/Gwen Stacy Tots' death or should one Tot kill the other Tot.
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Wouldn't it have been nice if DC had started this way after the Crisis? Rather than just throw darts sporting each hero's picture at a timeline; rather than regurgitate and remove entire characters from a hero's history; rather than picking a name out of a hat and giving that person a venerable costumed identity; rather than promoting all of these ham-fisted, lack-witted attempts at writing, DC could have started with The New Frontier and thoroughly recreated a more meaningful yet ever more comprehensible universe that would have generated as much passion from the fans as did the multiverse.
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Say what you will about the man's on occasion distasteful opinions, as an artist and a director of imagination he still has the stuff. Though an artist first and a writer next, Byrne's dialogue and his application of teamwork make the story a riveting adventure in which the reader cannot wait to delve.
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The superior issue of Simpsons Comics starts out weird, stays weird and finishes weird. For what more can you ask?
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A balance of politics and super-hero action, myth and modern make Wonder Woman a fine choice for entertaining reading. The art by Drew Johnson helps rivet one's attention to even quieter scenes involving such dry subjects as diplomacy.
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In truth, The Avengers should be Marvel's flagship title, and for a good Kurt Busiek while it was. However, thanks to Joss Whedon, John Cassady and the depth of Laura Martin's color palette, a JLA/Astonishing X-Men team up now makes an inherent amount of sense. Bonus points for the reference to Xander's strategy: "Man's got eye-balls..."
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It's a comment on our history that Natasha's KGB history still remains pertinent, and the spy genre will never die because soon after civilization began, the spies began watching. Natasha has always been a different sort of spy. She stands amid the spies who are also bona fide heroes, and Richard K. Morgan's story captures that Bondish dignity. Bonus points for the Kirsty MacColl reference: "In these shoes? Are you kidding?"
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Manhunter continues to offer thrills and intrigue through a smart--apart from the smoking--strong female hero. Bonus points for killing the most annoying character introduced in the book.
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In this issue of Tom Strong the silver age does not attach well to introspection, but this is mostly because the introspection itself is faulty. Bonus points still for depicting the villain as the spitting image of a Patrick Nagel work.
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This issue represents a neat role reversal. Usually, it's Superman who does all the heavy lifting, but Babs fills his traditional niche. The Man of Steel confronts the villain and deduces the menace behind the madhouse. The switch shows Batgirl and Superman to be a dynamic duo and makes DC Comics Presents enthralling and original.
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There seems to be a flaw in the story until a very plausible explanation is given. Why would the peaceful Cat People design a De-Evolving Ray? The answer satisfies. The De-Evolving Ray was not meant to be a weapon but a gift for Greer. The Cat People designed it to give Geer back her humanity. This allows for an example of the writer's superb, subtle characterization for our hero. Tigra states "...Who ever said I wanted to be turned human again?" Greer is happy being Tigra. So are we all.
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Carol Danvers has come a long way. Originally, she was Lois Lane to Captain Marvel's Superman, and this issue would have made a nice ending for her adventures. Fortunately for readers, there is more to come.
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The artwork including that to be found in the puzzle and activity, both by Sholly Fisch, uniformly keeps everything action-packed, and the stand-out scene in the first story where Bubbles comes to the resolution of her personal conflict parodies stirring direction in classic Japanese cinema.
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Apart from Austen's abysmal characterization for Lana, he undermines the title further with an incestuous version of the Wonder Twins as the threat d'jour. Avoid at all costs.
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Joe Staton's artwork throughout saves this issue of Scooby-Doo from the trashcan, but an all ages book is supposed to be smarter than the continuity books.
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Christopher Golden triumphs yet again. JLA: Exterminators is a moving tribute to the heroes with whom you grew up. This is the Justice League, full of sound and fury and signifying "The Earth's Mightiest Heroes."
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Despite these minor quibbles, Justice League Unlimited continues the tradition of good, solid super-hero stories done in the animated style of Bruce Timm.
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Only the artwork can be recommended in this issue of Looney Tunes. The artists definitely capture the flavor of the Chuck Jones designed skits, and the illustration of the alien life forms in the last story is in particular memorable.
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Though not part of the story, I also loved the illustration on the inside front cover of the chess game between Street Angel and her nemesis the squid. It's not only odd but alludes to a famous cover depicting the Shadow playing chess against the Crimemaster-the spitting image of William Gibson, the Shadow's creator.
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I can't really recommend Sylvia Faust. The talent is there, but the story's far too loquacious for anybody who's interested in a little magical mayhem, and those who look down on super-hero books and would rather be buying soap-opera styled titles will not appreciate the marginal monsters on the threshold.
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X-Men used to be an incomprehensible mess in terms of writing and artwork. Joss Whedon and John Cassaday with Laura Martin effortlessly translate what appeared to be an alien language.
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This is a massive let down by industry pros. Only the artwork of Joe Giella soars above the refuse and saves the issue from a short trip to the trashcan.
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Equally I'm impressed by the artwork. I expected Byrne to illustrate with his usual attentiveness to anatomy, scale and what not, but he does more in Doom Patrol. He illustrates with an attention to character. For instance, I have a better bead on Faith because of the way Byrne describes her body language. She casually hangs her legs over the arm of a chair in which she sits. The costuming reflects character. The difference in facial and body construction adds distinction. These are subtleties that even I didn't expect and help Doom Patrol exceed.
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Flare is a nice, professionally crafted super-hero comic book with a lot of personality. The writer and publisher also do not assume that the reader possesses encyclopedic knowledge regarding the estoerica of Flare's history. They provide a short summary between stories. Such is the skill of all involved, I didn't feel that I needed too many blanks filled, and most of the information is unnecessary for the enjoyment of the stories. It does deepen some of the interaction between the characters, and the lesson in Flare history is a welcome change from an arrogant belief that everybody should know, for example, that a magic lasso traditionally presented as being a tool of submission or a telekinetic prop is in some cases a supernatural lightning thrower.
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Drew Johnson matches the strength of the story. He shows his appreciation for anatomy by making Wonder Woman a tall, graceful goddess. Her sleek, powerful musculature resembles the physique of Kerri Walsh who due to her height edges out a comparison to Misty May.
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A bad premise leads to a bad story that's badly executed. The real question that has to be asked is whether or not Mr. Straczynski was hit before the story's conception by a two-by-four or a four-by-four.
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Joey Niles, Mike Rote and Nathan Hamill provide a buffet of wild takes. Mike Kapleh, Jason Ho and Hamill display an array of art within art. Mark Erwin, Mike DeCarlo and Hamill tame a colorful bestiary. John Costanza, Phyllis Novin and Art Villanueva engineer a new outre cast member, find a way to impregnate with texture and fluidity a prank and imagine an awesome thirtieth century styled intensive care unit. Gnarly.
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Moore subtly shows Nessie to be more than the Marilyn Monroe like figure that she pretends to be. He furthermore lays that vapid portrayal to rest through a heart-breaking flashback that shows some humans to be more abominable than the monsters.
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Pushing all these compliments aside, will somebody please stop the scatological humor? I don't care who happens to be responsible, but this technique is a smelly signature that the Moth does not need.
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The Dark Knight can and will still be found in Justice League Unlimited, but this is the end of something special. The last thing I'll say about this series of comic books is thank you.
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Two good solid stories with good solid artwork used to be for what DC was known. I have no complaints.
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I'm very surprised by Manhunter. Despite the drawbacks mentioned in this review, I still found myself intrigued. Usually I'll feel nothing for the star, or worse, I'll loathe the main character, but I actually like Kate Spencer AKA Manhunter and wish her a long and fruitful hunt.
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Creating a book-length story of sheer cleverness, Boothby also demonstrates versatility through the fact that none of his usual Simpsons styled zaniness flakes off to these pages. Phil Moy, Mike DeCarlo and the staff of Heroic Age excel on an emotionally potent story, and Moy's design for the disguised villain reflects Craig McCracken's style while issuing subtle creepiness.
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At least the poor concept does not lower the quality of the artwork. For the opening joke, Phil Oritz brilliantly mixes and matches the denizens of Springfield. He generates a broad range of emotion from the cast and contributes a successful parody of a famous Wolvertoon, which also inspired a famous hot rod toy advertisement. Mike DeCarlo provides a noticeably precise line, and Art Villanueva gets a real workout during the paintball scenes.
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Despite the caveats, Action Comics represents a new era for Superman. A kickass era where Superman isn't a namby-pamby who flies over wreckage and lets tidal waves hit.
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Busiek, Nicieza, Grummett and Erskine with the vivid palette of Reiber and Sotomeyer create an elegant conclusion to the Avengers/Thunderbolts mini. They seem to close a number of chapters on the characters, and that's their right. The somewhat tragic tale nevertheless does not feel like the end.
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Unfortunately, Kirkman does not give over the lion's share of the book to Batroc. He does however slither in some old Marvel favorites that promise to balance out the nastiness of the Red Skull and the seeming betrayals of Diamondback. Kirkman drops several clues in this issue that all about Diamondback is not what it seems, and I look forward to finding out what's what.
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The final issue of JSA I hope to buy is a horrible disappointment. I bought this issue and the last solely for Jerry Ordway's artwork, and something mars the very purpose of purchase. Perhaps it's McKenna. Perhaps, it's Prentis Rolins. Maybe the art editor's to blame, but somebody took Jerry Ordway's undoubtedly beautiful pencils and turned them into trash.
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While these stories do not tread the exact footfalls of previous paw-prints in the series, they still are without a doubt Scooby-Dooby-Dooby-Doo and interesting variations on a theme.
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Keith Giffin's and Al Milgrom's artwork brings out the optimism in the story. Giffin is known for his humor, but his artwork can often be very dark and often swathed in shadow. This tale bears an artistic levity where you can see all and enjoy the ebullient smile on Superman's face. Instead of feeling as though a post-Crisis crushing weight has been placed upon one's back, having super-powers appears to be fun. Superman seems to be having a kick using them to save lives, and that's how it should be.
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The book is as good as the show, and certainly better than season two when we factor in Kim "Where Platinum Blondes Go Trouble Follows" Bauer's escapades. I'm not sure how a comic book series might work, but based upon the one-shot, I'd have to say my doubts on that would also be unfounded.
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Equally impressive is the artwork by Sal Velluto and Bob Almond. Originally Keith Martin and Rober Quijano did a superb job illustrating the good Captain's origin adventure, but Velluto and Almond aren't slouches. The Velluto and Almond artwork gave Justice League Taskforce, the more intelligent, better-written version of Justice League Elite, a reason to exist. They helped make Black Panther proud, and though the make rare appearances in the comic book world, those appearances are always welcome. The team's artwork bestows to the pages a very unique look to Captain Gravity. All the characters appear lanky and well-nourished. Muscle spreads through the genders and independent of skin color. Velluto and Almond indeed often seem to be following Don Newton's footsteps. This school attendance creates a beautiful comic book experience.
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Once again, the Adventureverse proves to be more competent than the so-called continuity books. Would an artist or writer catch the problem with the bullet? Doubtful. Would a writer or artist render or speak for the heroes in such a way that they resemble the pure essence of the original characters? Not in a trillion years.
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In short, "Scratch" is a spectacular issue of Kolchak that doesn't actually seem that way. It sneaks up on you.
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The colors for the book are a little murky, but the artwork is very photorealistic. You can easily pick out Darren McGavin as well as Simon Oakland who makes a humorous appearance in the book.
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No matter if sketching a bored television commentator, the wild antics of Bugs and Daffy or the painful contortions of Ralph the Wolf, Aranda and Saichann with the various hues of Dave Tanguay bring to life the hilarity of WB's cartoon characters. They also like the cartoons themselves subvert the conventions of the point of view. Miss Prissy for instance grips onto the panel borders when she makes her prophetic announcement. They even manage to make Lola Bunny cute, and such a feat is the equivalent of making me care about Hal Jordan.
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In summary, "bleah, bleah, bleah!" "Bwa-ha-ha-ha-ha-ha-ha-ha!"
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Cassaday's artwork especially in these scenes is--well, astonishing. He imbues so much realism to Hank McCoy's condition and Wolverine's comparatively normal physique that the scenes still appear to be photographed then traced. It doesn't matter if the Beast is blue and furry. He still looks real.
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In summary, a fitting tribute with earth-one feathered friends.
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In summary, New Frontier tricky and pretty.
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In summary, gorgeous artwork, brilliant writing and super-heroes.
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In summary, Doom Patrol good. Identity Crisis bad.
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In summary, rib-splitting and pleasing to the eye.
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In summary, humorous hi-jinks of the occult kind and not necessarily only for fans of Law & Order.
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Mr. Tan's painting simply makes this adventure stand out. He creates an evocative setting filled with period detail, and fans of female super-heroes will be ecstatic that Billy Tan's Lara does not appear to be a hyper-tanned escapee from a silicone factory. Tan's more delicate medium gives Lara natural flesh tones and a lighter look. Needless to say, her proportion gives her a natural look, and while on occasion painted stories appear static, Tan's work instills Lara with fluid motion.
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In summary, disappointing and pointless.
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One thing not in this book's favor are the two grievous color errors. You may not think a change in Batgirl's boot and gauntlet colors affects the story, but they do. They create a sudden distraction that takes you out of the story and hurts the artwork. In her proper colors, under Burchett's direction, Batgirl cuts a visually striking figure. With the altered colors, you can't help but notice that something is very wrong with the character. This is still a minor quibble and certainly not the fault of the main talent regarding the best comic book on the rack.
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Three strong stories and nothing but pretty pictures issuing differing senses of depth and/or entertainment. Powerpuff Girls continues to be a bright, shiny pick-me up that counters all the dismally dreary comic books currently being spewed onto the racks.
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The bottom line is that while Cameron Stewart fantastically draws Seaguy, this is probably Grant Morrison's nastiest and pessimistic work. This doesn't mean that the comic book is bad. Quite the contrary. Morrison speaks out against a Big Brother mentality that has reared its ugly, festering head in Bush's anti-America. Morrison's message is that all the heroes in the world cannot save the day if the world is completely overtaken by corruption. So, let's hope that every vote is counted this time around.
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Despite my misgivings over Chuck Dixon's writing ability, he usually can concoct a clever and funny issue of Simpsons Comics. This issue is no different, and it certainly helps when having artists such as John Costanza, Phyllis Novin and Art Villanueva who detail in the Matt Groening style a mad, mad world that grows a little nuttier thanks to the antics of Bart and Lisa Simpson.
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The anthology comes up with another winner. Even the usual stinker Young Tom Strong merely elevates the quality of the book.
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After a bit of a slump, Rucka and the art team remind readers why Wonder Woman has lasted so long in the hearts and minds of people everywhere. They entwine this reminder to an intriguing story with an interwoven plot.
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The story could have been tighter, but there are some real moments where Austen's ability shines through. The continuity issue of the shared DCU offers a problem that cannot easily be explained away, and in fact, it occurs to me that if the majority of the super-hero community simply stood in front of the doors to STAR Labs that they could very well stare down the opposition without a single punch thrown or a single drop of blood being spilled. "Criminals are a cowardly, superstitious lot."
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While pastels are not the usual medium one expects to find illustrating Batman, and Campbell's mystery is more cerebral in nature than the average Batman story, his artwork still lends excitement and action to the panels. The colors still bring out the eerie nature of the bat and still give him a heroic look while among the Order of the Beasts.
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Kirkman's plot is not just Cap and our returning female super-hero vs. Hydra. He adds twists to the story that reflect the false patriotism meant by the title as well a bonus jaw dropper that occurs at the end of the book. Now, many may cry foul, but I would not yet write off the character as a reversion to the darkside. The true villain of the piece has before brainwashed heroes. Hopefully, that wasn't enough of a hint to be a spoiler, but even you did guess the identities of our mystery guests, you should still buy this book. The beginning of this new era of Captain America is simply a blast.
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The storycrafting technique by Ordway is flawless, and the reader can follow what's happening even without referring to the words. This brings me to the one depiction that clearly does not belong in the story. I blame Johns, the mastermind behind "I was never much of a computer whiz," for the demeaning moment where Cave Carson's boring car hits some turbulence that throws Wildcat out of his seat and aims him directly at Power Girl's boobs. This demeaning scene which relies upon the lowest form of Benny Hill styled humor exemplifies Johns' treatment of Power Girl, and it undermines an otherwise visually dramatic comic book.
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I can't help myself. I love Scooby-Doo. This issue of the comic book is as good as the best of the original Scooby-Doo, Where Are You? series. It's reassuring to know that somewhere out there a group of "meddling kids and their dumb dog" are foiling the schemes of crooks everywhere.
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This issue of The Victorian isn't of course all stagnant. The scene in which Eudora discovers that the Hat is really Trace shows the reader why the series has earned my esteem. Charming, characteristic and well staged, the revelation twists conventions. The Hat underplays the importance of his guise and emphasizes the rationale behind his cover. In turn, Eudora does not suddenly lose her intellect and run off to be captured. She listens and displays the growth she has experienced throughout the entirety of the story. Not the best issue of The Victorian but this second part offers still some interest to hold your attention.
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Mignola somehow manages to work the conspiracy against Lincoln and his subsequent assassination into the plot. Some critics might argue that it's a throw away piece of grandstanding, and yet the impact fits with the resonance of the characters the story explores.
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DC Comics Presents Batman is a double-edged sword. Johns dulls his side of the blade while Len Wein sharpens the steel. He hasn't lost any love for Batman or knowledge of the what makes the character tick. Carmine Infantino stumbles when it comes to new design changes, but his classic version of Batman is better than the newer model. Andy Kuhn however deals quite well with all aspects of the Dark Knight.
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Justice League Adventures is not to be missed, and while I do look forward to Justice League Unlimited there's something magical in the magnificent seven that I doubt will have the same impact in an exploration of the broader DC Universe. This issue does however show the potential for fun in guest-starring heroes.
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All in all, Tom Strong provides an imaginative strong, stand-alone story with excellent characters and an unusual setting. The artwork by Shawn McManus switches from lovely to ludicrous.
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While the Hellphyr's identity was hardly any mystery, a new mystery regarding Stephen Strange seems to be deepening. Indeed, perhaps the reasoning behind his gathering together Satana, Topaz and Jennifer Kale has a stronger rationale than that originally given.
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A superb diversion that never outstays its welcome, Batman: Harley & Ivy is a fitting coda for the animated adventures imagined by Timm and Dini. In fact, rather than cancel the Adventureverse books, can't we cancel the DCU instead?
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Avengers/Thunderbolts is so good that it's painless. The creative teams give the Avengers one last hurrah, pave the way for Songbird's inclusion on the team and explore what it is that makes a super-hero a super-hero through panels that flow into one perfect movement.
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Keith Champagne brings complex ideas to the table through the service of old school villainy. However deep the thought the story unfolds simply and surely. Steve Lightle illustrates Shadow Lass one last time, and The Legion breathes a last good gulp of air before entering dormancy.
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Midnight Mass. simply helps Vertigo smash its own clichs. The action, suspense and sense of whimsy in Rozum's series that is ably executed by Paul Lee who excels in the finale is a welcome breath for anybody who is tired of the dull and misogynous comic books that proliferate the racks.
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The way in which the Moth dupes his enemies does exhibit a degree of cleverness, and his aide in the particular trick does seem likeable. Unfortunately, the problems I had with previous issues have not been relieved. There are too many characters in the book and not enough focus on any of them. Furthermore, the near fanatical belief that feces is inherently hilarious continues.
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I'm still not certain I'd want to spend a lot of time in the Goon's universe, but for this adventure I did not mind the stay.
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John Cassaday provides the actors for Mr. Whedon and with Laura Martin the cinematography necessary for Joss Whedon's direction. Without Cassaday and the subdued colors, the realism in Mr. Whedon's writing would not be so perfectly conveyed.
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Bart Simpson Comics is not for your eyes only. Anybody of any age can read the book or have it read to them. The universality of the audience however does not dumb down the story which pays homage and pokes a little fun at the spy game.
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Other problems occur within the story. Batgirl while looking cute does absolutely nothing. Yes, I too find the character of Batgirl to be sexy. However, her appeal is based more on the fact that she is an intelligent, dangerous crimefighter not because she wiggles and makes googly eyes. If the police investigated, why didn't they find the letters forged by D'anjou? Why did they not find the robot in his workshop since he cleverly hid it under a sheet on a table in plain view? Why doesn't Nora recognize the letter is forged? The letters do not even appear to have the same handwriting. Why is D'anjou being given blood through an IV when he hasn't even been wounded? The only way out of a Freeze ice-cube is the method first used by Batman in "Heart of Ice." No transfusions needed. If Batman "jammed Victor's robotic body" how can Victor move the body even if by remote control to save Nora? Why would Victor tell Nora to "run" when he knows that the safety of the snow and ice canno
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Two back up stories fill the remaining pages. A glimpse of Meirs' Para-Troop with art by Amilton Santos and Rob Lean isn't enough for me to get a bead on the story. There's already some blooms of characterization there, but the premise is still ambiguous. The big bonus comes from a warm twist on the Men in Black of urban legend. The art by John Jett and Gia Luc convey the feelings of the characters and the emotion in the story.
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The Powerpuff Girls in both stories solve their problems through brainpower not mere kickass abilities. They adapt to Fuzzy Lumpkins' attack in a smart, funny way, and where Mojo's concerned, they carefully examine his ploy for holes. Finding one, they exploit it to its painful fullest. Perhaps, this is one of the secrets of the Powerpuff Girls' success. Craig McCracken's creations are not making fun of super heroes but honoring them in a fun, intelligent manner.
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I've been noticing other online critics accusing Witches of being a spoiler title for DC's Witching as well as simply a magical version of Charlie's Angels. Quite frankly, I couldn't care less. If this is a spoiler title, at least it has meat to it. If this is a magical version of Charlie's Angels at least it leaves a big grin on the face as the dialogue tickles the ear and the artwork pleases the eyes.
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Drew Johnson makes Wonder Woman broad-shouldered and damn imposing. You just want to get out of her way when she's on the hunt in Veronica Cale's building. The inclusion of a bullets and bracelets near splash page just edges the book up to perfect super-hero reading material. For a minute there I almost thought the star of the book still possessed an intact history.
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John Romita Jr.'s art has been a massive asset to Amazing Spider-Man. He doesn't leave on his best work. Again, his Morlun battles were far more impressive not to mention action-packed. These pages just feel dry and tired. Pity.
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While Ex Machina does feature some originality, it acts more as a gloss to cover the anti-hero campaign in comic books. The fictional Mayor of New York doesn't really come off as alive. He mirrors the author's knowledge of political and historical esoterica when not brooding about what he feels are shortcomings. All in all, I'd rather watch repeats of Spin-City.
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What you see is what you get. Justice League: Another Nail is a superbly drawn trip down memory lane, and don't be surprised if you catch yourself becoming misty when Batman actually deduces a way to stop his nemesis, or when Zatanna starts speaking her backwards spells. This is special.
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The best issue of She-Hulk displays Slott's knowledge of the Marvel universe, a sly wit for legality and Bobilla's singular but warm and welcoming artistic style. This is the issue that will serve as the ruler for the measure of all others.
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The story comes full circle with a return of one of the characters seen on the first few pages. This little flourish exhibits a skilled writer who understands the needs of storycrafting. It's this skill combined with the confectionery colors of Art Villanueva sugaring the superb sharp pencils and inks of Phil Oritz that make Simpsons Comics not just a good funny comic book. It's a good comic book.
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Bone's successful beginning, middle and end relays something that most readers already know. There's no excuse for lazy writing, lazy dialogue, lazy plotting and just plain laziness. You can rationalize that you didn't have the time. You can rationalize that the length of the story demanded padding, but I have one thing to say to writers who mutter such excuses Bone.
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Raab's characterization for the Phantom as usual impresses. He shows Kit Walker dedicated to his calling and portrays Diana as his partner. In a lesser writer's hands, Diana having been unwittingly rebuffed would have probably shouted "Well!" and darted off in a huff. Instead, she stays to provide her husband the moral support needed. She knew who she was marrying, and to have her behave any differently would have been an assault to the this remarkable woman's character. Diana, as did all the wives of the past Phantoms, accepts and admires her husband's reason for being. It is in fact because of these remarkable women the Phantom legend continues. For without a loving, understanding partner, the Phantom will truly die.
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The biggest plus of the story is that the battle is about something. Superman throughout the story reminds the reader why he fights Gog. He fights to save the innocents of Smallville. Why, it's almost as if he's a...super-hero. Shhhhhhhhhhhhhh! Don't tell anybody!
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Terrence Griep keeps the reader guessing throughout the tale, and he rings out a number of suspects for potential monster. He gives even Shaggy a modicum of sense, and Daphne and Freddie enjoy a cute, comic scene for as a refreshing change of pace. As usual, I'm pleased to recommend Scooby-Doo for all ages.
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Behind the ghastly cover--is this going to be a tradition--Jim Rugg and Brian Maruca relate another fun, strong story. While this story is highly improbable with regard to occurrence, it still functions on a line of internal logic and deeper than expected characterization.
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The book fails to get a perfect score due to the inclusion of small pox as a plot element. A minimal amount of research should have clued DeFalco to the worldwide eradication of small pox. Perhaps, this was a nod to terrorist times, but the only countries who possess samples of the bacteria are the U.S. and Russia. No modern day terrorists have ever used small pox. Therefore, we can deduce that they do not possess the bioweapon. The story would have been more plausible had DeFalco employed the Bubonic Plague as a reasoning for the U.N. mission. Bubonic Plague is treatable and continues popping up in spots worldwide.
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If you haven't figured it out. I'm impressed. Witches should be a series, and Marvel would be foolish to let this new writer go.
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In terms of the mechanics of writing, everybody sounds in character, and Baron Zemo becomes shockingly heroic as well as human while Songbird hints at her Avengers Forever fate. The narration by Hawkeye gives the tale a distinctive voice and allows the reader to feel for both teams.
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I haven't really ever read a Mignola project that has disappointed me. BPRD: Plague of Frogs is no exception.
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Spoiler's death/crippling will of course make Batman uniformly psychotic again. He'll alienate his friends--assuming he has anybody left from the last time he alienated his friends. He'll brutalize his enemies as if he were the commandante of Abu Graib, and he'll descend into a spiral of self-loathing. This new edict will result in waves of hardcore Batman fans leaving the book and a short-term monetary influx from fickle flash-in-the-pan curiosity seekers who will try anything hyped. This is not the way to run a business. These seekers won't be sticking around for the long term, and the change will have already driven away more of the hardcore comic book readers. They're not coming back DC, and in the long run, you'll be losing more money. Comic books aren't for kids anymore, and DC intends to kill another one to prove it.
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Dean Haspiel contributed the memorable artwork for a stand-alone issue of Batman Adventures, and he will not disappoint any fans here. He provides on-model versions of the Flash and the Martian Manhunter which also bear his whimsical, artistic style. His detailed backdrops help enliven an otherwise dull affair that's anything but when the punchline hits you full force.
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Congratulations to Batton Lash and the tenth anniversary of his characters. He certainly deserves to be in a business for another ten years.
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From the opening with Flash to hopefully not the final word on J'onn J'onzz, New Frontier's clear message is that the most dangerous villains wear suits and ties not outrageous tights and buckets on their heads.
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When we discover the true answer to the phenomena, the explanation makes perfect sense and was even foreshadowed by Boothby in early scenes. The absurdist science fiction elements provide a convincing cliffhanger to a rare part one, and the whole book looks like an M & Ms factory exploded on the pages of Matt Groening's artwork. So kudos again to the artistic chameleon John Delaney and his able inker Phyllis Novin.
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JLA "The Tenth Circle" should be noted as not just one of the best post-Crisis Justice League stories but simply as one of the best post-Crisis stories. It's professionally written with an attention to story structure and character interaction. It's professionally drawn with an eye for proportion, emotion and dynamic action-packed panels. It entertains through intelligent scripting not flash in the pan gimmicks or prurient interest. What else do you need?
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Para darted out of the stream and still spiritedly remains afloat. This issue adds possibilities to the plotline, but the reader is still not quite sure about the motives of the characters or the central mystery of the series, but where would the fun in that be? By the numbers, Para is not, and the originality of the series, the depth of the characterization and the suspense of the sci-fi easily hooks the reader.
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I have no real affinity for the X-Men. I'd be sorry to see them die in the cultural consciousness or in the comic books, but I don't really care about them as much as I care about the Justice League, the DC multiverse, Buffy and the Scoobies, Angel and his firm or Mal and the crew of Serenity. Joss Whedon and John Cassaday make me care about the X-Men just a little bit more. I'm impressed by the way these literally two-dimensional characters come alive on the pages.
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Nothing escapes Dini and Timm. Every scene serves a purpose in the craft of story. The bond between Harley and Ivy, the humor of the characters which often mitigates they're criminal acts, Batman's memorable end cameo and even the illustrated weather makes Harley & Ivy a perfect tale.
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John Rozum's Midnight Mass. continues to surprise, amuse and entice the reader with the adventures of Adam and Julia Kadmon. This mini-series adds more to the Kadmon line as it weaves a fascinating plot.
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Gary Martin surprises in this issue. When he disclosed a complex origin for the title character, he included several almost unrelated elements. One of those aspects resurfaces this issue for a genuinely unexpected ending.
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John Romita Jr. will soon be leaving Amazing Spider-Man, and this issue could not be a better farewell. The scenes of arachnid attack he makes creepy. The scenes involving M.J.'s attempt to hit the stage he makes subtle and natural, and he instills unbelievable drama to flashbacks and summary to Spidey's life.
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Batman returns from the Slott adventure to the Cave and into Ty Templeton's vignette. Instead of brooding about his encounter with the villain and wallowing in angst, the bona fide Dark Knight removes his cowl and sits back to watch an episode of The Gray Ghost. This stirs his memories and makes him think of a more innocent time when he was a child and his parents were alive. His mother is portrayed with such sweetness, that you cannot help feel for Batman.
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Mr. Moore animates Abbie, the vampire, from her deep funk over Nessie, Gill-Woman and man-eater though not in a cannibalistic way, taking credit for dissolving Michael's financial problems about the cemetery. He throws Abbie into a dynamic fight against a horde of shambling, decaying as they walk zombies. Yes! Boneyard is a traditionalist horror fan's delight!
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This will be my last issue of Fantastic Four. While I thoroughly enjoyed the Spidey/Torch rivalry, it should be blatantly obvious that I am not enjoying Mark Waid's direction for the team.
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We have seen this plot before, but Carolan and Moore shine the mirror universe with a fresh polish that reminds the reader how impressive the Powerpuffs actually are and how goodness does not equate with dullness.
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Alan Davis' fans will not be disappointed with Another Nail. Fans of great artwork will be thrilled. Fans of super-hero stories will be thoroughly engorged with the poetry of the words, and the pre-Crisis generation especially will love this book.
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Seaguy is another triumph by Grant Morrison. Cameron Stewart's artwork perfectly trumpets Mr. Morrison's multitude of ideas, and while brainstorming, the creative team still bestow strong characterization to the heroes and villains that anchor the ideas to a solid base.
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Neither was a crazy about the Yellow Jacket, a pulp parody with the panache of a really old, flatulent pig. As for the other two stories--one a Prometheus remake and two a video game themed tale--meh.
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With this issue, Bongo switches to a glossy type of paper stock, and Luis Escobar for the most part adapts. Some of the detail of his Matt Groening mimicry becomes a little lost as Patrick Owsley's inking suddenly becomes thicker due to the change.
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More so than most graphic novels, The Victorian with its vivid pages and its deep, deep story with fully etched characters really deserves the sobriquet. In order to fully appreciate the power of the story in the Victorian, all of it must be read. This may be the series' only drawback. It is not for the casual reader. Fortunately each act is available in trade paperback format, and if you ask me every issue can hook you into the complex world of The Victorian.
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I loathed Rucka's characterization of Batman eighty-percent of the time when the author was positioned in Gotham, but here, Rucka adds a nuance, a tinge of humanity. Andersen Gabrych's Batman is far, far better, but Rucka surprised me. His command over Wonder Woman, or perhaps her command over him is very entertaining, but ultimately, the story is nothing special until the end.
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I would have to say that this issue of Bart Simpson Comics isn't as laugh out loud funny as previous issues in this series or the other Simpsons books. It is however throughout amusing, smart and inventively sends up the super-hero genre without denigrating the subject.
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I cannot recommend this run of JLA highly enough. Not only did Byrne and Claremont offer characterization of the Justice League and the Doom Patrol that seems as genuine as the originals in the pre-Crisis, they also actually conceived of a story that did not insult the intelligence of the reader. The length of the story fits its needs, and you can hardly believe that this run is actually one issue away from being over.
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The second story by Frank Strom I'm sad to say fails on several levels. It's been established that Mystery Inc. is independently wealthy, and even Shaggy and Scooby could not possibly go through all their money on food. Thus the idea of them working in a fast food restaurant horribly reminiscent of an inferior episode of Buffy the Vampire Slayer that is still better than the short does not make sense. This is a pity because Karen Matchette does a very nice job rendering the goofy duo.
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This is a decent issue of She-Hulk, but the first two issues were simply better.
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This issue Ivan Reiss is the best thing about Action Comics, but for once the meaning usually behind that phrase does not pertain to the rest of tale. It's funny but the Gog part of the story I felt would be the most annoying part. Thanks to Superman's constant mockery of his foe, this part turned out to be the most fun. The Titans' presence while plausible remind readers needlessly of events that should stay forgotten, and Jack Ryder's nastiness confuses.
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While Kate Corrigan's part in the story adds some humor, the threat she faces is more of a shoulder shrug compared to the grotesque frog men and the borderline nauseating fungus-thing. She does not drag the story down, but when you've seen wyrms, Jenny Greenteeth and space fungi gods, the rising dead almost seem by comparison pedestrian.
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Andersen Gabrych writes inventive, engrossing stories that are better than any post-Crisis story has a right to be. Pete Woods accurately depicts Batman as more than a mere bar fighter, and the added spice of the Tarantula promises the super-hero reader a fun experience from Detective Comics.
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The snapback of the story lies squarely on the shoulders of Josh Siegal. He should have ended this powerful tale with the moment Danny hugs Superman. That is the perfect ending. Instead, he continues, and with each scene added, he undermines the story's tightness and poignancy. The cornball tear from the Flash will flood the quiet, somber emotions the reader may be feeling. The end-note discussion only deprives the tale of its impact, and the given finale makes the reader wince. Siegal should have ended the story on the hug. Despite the ending that telegraphs how the reader should feel and stretches the story needlessly as if to fill a time slot, "Tomorrow" is a memorable Justice League Adventure.
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Despite the Sky Lords' fantastic presence, the story is not fantasy but of an advanced science fiction similar to that found in H.P. Lovecraft tales. Mr. Schultz however keeps everything light and does not descend to the mad horrors of Lovecraft.
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Even the epilogue of "Lion of Avalon" is worth reading. The dialogue between Britain and Wanda show a depth of personality and kindness. I like also how they speak about Jan while she's not present. Friends talk about other absent friends all the time. It's habitual, and added here; this quirk of humanity gives the section of story a natural, warm feel. Sweetness can be found in the illustration of the two Jennys: one fast asleep and cradled in titanic arms that can rip a tank into two. Very few readers cannot help be moved by the final splash page.
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Mr. Smith once again escapes your expectations during a dramatic and philosophical conclusion. The Crown is something that requires for the heroes an agonizing journey that's merely inches in length. The suspense tantalizes.
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With this issue, Tom Grummett takes over, but you'll hear no complaints from me. Shucking the weird angular look he gave to his recent DC titles, Mr. Grummett provides a traditional look to the heroes based upon proportion, scale and human anatomy. The technique compliments the tale. The idea is original. The players are from the old school, and any jarring bad art claiming to be style would ruin not just the aesthetic but also the intelligence, the wit and the depth.
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During the escape, Ivy comes into possession of a gun, and here's what separates the wheat from the chaff. See a crime writer would have Ivy doing her impression of Scarface--the Al Pachino role--on whoever got in her way. Not Dini and Timm. They conceive of a way that fits her character and leaves the reader rollicking in his seat.
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Catwoman is masturbatory material for misogynists and should be avoided at all costs. This will be the last issue for me. I was sold down a river of high expectation and fun only to have these feelings dashed upon the rocks of pessimism.
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Less successful are the scenes with Nudge, Faith and the other new characters. I could not care less about them, and they need more depth to become alive. However, they are not really the stars, and I haven't had this much fun reading the continuity Justice League since Grant Morrison left the series.
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Brian Lee out does himself in Midnight Mass. The fluid pacing of the art combined with figures that look like real people create a borderless fusion of words and pictures. When the monsters show themselves, he creates a Gahan Wilson styled jamboree of imagination and weirdness.
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Ultimately the biggest tear in the Moth's wing is that it's difficult to care about anybody in the book. The Venus Williams light super-hero American Liberty is too much of an unknown. The Weasel is scum. Delgado is a low-life, and the Moth doesn't do anything particularly noble, nor does he exhibit that much acumen.
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This technique of staying on model benefited not just the action as in the scene where Batman confronts the Penguin but also the visual characterization such as where Batman rubs his chin as he ponders the mystery. If you were to name the Batman artists of the twenty-first century Rick Burchett and Terry Beatty should be the names on the tips of your tongues. Never once need you question their skill. They have without accolades been illustrating the adventures of the bona fide Batman, Batgirl, Robin and Nightwing for longer than the hyped artist of the day. There will never be another book like Batman Adventures. Mourn the loss.
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Mike Wieringo returns for a spectacular depiction of comedy. His Spidey and the rest of his characters offers anatomy lessons for any budding artist. Of particular note is his rendering of children and the fluid illustration of water, water everywhere.
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Jerome Opena makes a fine return to Lone. His rangy take on the characters mimics the look of Cinemascope, the medium in which most of the Sergio Leone pictures were filmed, and while this is a tale of pistol-wielding slayers, Opena never forgets the humanity of the cast.
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Christopher Cook in the second story creates a very alarming change in the Girls attitude, and he shows how much skill it takes to follow the McCracken model when keeping the afflicted out of character but specifically for the duo. Both stories in terms of artwork and writing offer the reader rib-tickling fun.
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This is a good opening to Rucka's Superman. Mr. Rucka though an author more at home with grim and gritty seems to know that the presence of a Superman upsets the noir genre. Matthew Clark's art conveys the energy of Superman against a Metropolis that looks like a real city rather than a Mattel toy. If you haven't paid your respects on the Man of Steel lately, now just may be the best time to do so.
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Phil Oritz, Mike DeCarlo do their usual superb job in rendering the entire populace of Springfield, twice in but one panel each as well as scattered about the story, but for this issue they with draftsman's eyes also design the rides and the tricks of the amusement park. The candy-coated colors fit quite well within the environment, but as one may expect they bleed over to the astonishing palette of the nuclear town.
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The other two stories haven't a scintilla of the Jonni Future effort. The Alan Moore/Peter Kruper story is "bleah" to borrow a phrase from Charles Schultz, and as much as I hate Young Tom Strong, I hate him even more as Young Tom Hormone. Would it have killed anybody to weave bad-haircut-boy's coming of age into an adventure story?
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While not a perfect issue of Wonder Woman, Rucka and Johnson come very close to approaching the perfection of their premiere issues.
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Rozum's mystery while a little obvious is still a perfect Scooby-Doo caper with classic characterization and nuances of character growth. Frank Strom provides admirable backup that probably could have been just a little more fairplay.
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I was more involved in the characterization of She-Hulk and the setup of the series than I was interested in the plight of the main plot-character. Of special note is the characterization of the Bobillo-rendered vulpine Scarlet Witch and the fairy-like Wasp. These cameos just make me wish Slott and Bobillo had a crack at The Avengers.
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Chuck Austen returns to Superman an abandoned sense of fun, and Ivan Reis returns to Action Comics dynamics and anatomy. What's more, this comic book can be read by anybody at any age. It's smart enough for kids and adults.
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The sections that drag involve the new characters. Faith is still a blank; possibly a dead one. The origin of Nudge and her simian friend is less interesting than the scenes focusing on the stars. Their involvement with the Doom Patrol makes some amount of sense, but there is one thing that puzzles me. I'm willing to concede that the answers may be forthcoming, but Byrne and Claremont do not give any good reasons as to why the vampires become entangled in the lives of Nudge and her ape. It's a little too convenient at the moment that Nudge's departure from the Doom Patrol led to being found by Crucifer. Still, this chapter of JLA while flawed still offers much in terms of artwork and storycraft.
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The first story leads to the second story in which Kolchak meets Bigfoot. Chris Burnham prefers deep dark shadows and less linework than Mr. Frenz, but he overall still provides a valid representation of Darren McGavin, and his choreography evokes an appropriate expression for Dave Ulanski's wry but more serious second story.
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Para is a confection of artwork, storycrafting and impeccable scientific research. This is a series not to be missed.
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Mignola's story is far from mediocre. While he has done better work in the past, Plague of Frogs is stil a Mike Mignola story. Once the team leaves the somewhat crowded BPRD HQ, Mr. Mignola throws a pair of dice to issue some unexpected consequences. From this point in the story, we do not know who will survive, and that's the sign of good horror. We do not know what will happen next, but we're eager to find out. That's the sign of a good story.
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Andersen Gabrych and Pete Woods have resurrected Batman from his long, long sleep. "Surrogate" is good enough to be included in the animated series.
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If you're a huge Kamandi fan, you'll not want to miss this issue, but Justice League fans may pass if financial matters become pressing.
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Three equally ludicrous stories combined with fun filler shorts makes a spectacular issue of Looney Tunes. Meep! Meep!
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Even exposition sounds good in this issue of Amazing Spider-Man. Just about the only problem I can find in the story is the presence of an Native American in the opening. He, and the role he plays, is a little cliche and unfortunately reminds one of Vandhino from The Mystery Science Theater Experiment Puma Man.
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Amelia Rules! celebrates the good side of humanity. It addresses a realistic conflict, and it finds a unique solution to save a little girl's life.
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While Kitson only does the breakdowns this issue, Gary Erskine does not jar with a series of sharp contrasting finales. Erskine was an excellent choice on Marvel's part to accompany Mr. Kitson since nothing visual distracts the reader from Busiek's and Nicieza's surprise.
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Other than these major foolish deletions and amendments, Arrowsmith's finale shows that a soldier's reward is guilt over crimes that would not have been committed had everyone stayed home instead of fighting for a "glorious cause." War devours innocence as assuredly as flames devour skin, and the cause is often lost in the personal battle to stay alive and human. I'd like to see this book given away on Free Comic Book Day to contrast Chuck Dixon's ridiculous testament to Cheney's wet dreams. Arrowsmith was an impressive series that had something to say.
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Ann Nocenti and John Van Fleet work beautifully together to create a unique adventure with a strong hybridized Poison Ivy and a Batman more appreciative of light than darkness.
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You cannot knock JLA/Avengers. Its historical significance, the attained vista of the book, the absolute nostalgic merriment all make the production one that is not to be missed by even the most jaded of comic book fans.
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I am very disappointed in this issue of Midnight Mass. It should not be considered representative of the series or the previous series, which received my highest recommendations.
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This issue is just more of the same, and the reader is lucky for it. The depiction of snowy terrain, a yeti-like creature, noble trolls, Arwyn, Gareth and Cassidy look natural and realistic. The panels bear an aesthetic worthy of the masters of pin-up and paint. The story that crystalizes the artwork continues to be engrossing, and I will miss this book when it finally goes. I'll miss it even more so than I will miss Crossgen.
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These storytelling inadequacies fail to mask an even greater deficit. All these preparations and anxiety are caused by Zeiss, a lame, seriously lame, villain that is so typical of post-Crisis shallowness.
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The Justice League are more than a marketing tool or trademark name, and DC is finally beginning to realize this. They belong together on a much more fundamental level. The artwork and the story combined reinforce this feeling.
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I keep hearing bad things about Mr. Austen's writing ability, but what I see in The Avengers is fun, verve and women whose power equals if not betters their male teammates. That's exactly what I'm looking for in a comic book.
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The story in Hawkman is flawed. Mr. Siegal misses some easy outs and does not explain why they wouldn't work or were not taken. Alleged continuity annoys and subverts some of the power in these characters. The Byrne artwork illustrates a proportionate design to both Hawks. The characters' visual depth is further enhanced by Larry Stucker's crosshatch touches. The entirety of the artwork and direction generates excitement, which almost overwhelms the typical failings of post-Crisis DC books.
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Jerome Opena for this story takes a siesta, and Ponticelli's artwork jars the reader. I would not call it bad artwork, but it's more crowded, cartoony and less expressive with respect to the Sergio Leone cinemascope of Opena's lank figures and use of space. To be fair, this could be a rush job, and if so, it's fairly decent.
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Though Sedusa is one of the Powerpuff Girls B-List villains, Ms. Busch makes good use of her. Frank Strom turns in one of the best Mojo Jojo stories in the run, and Mr. Cook imbues fun, action and a guest appearance by Crow T. Robot in the panels.
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Finally, Jules Verne will be turning in his grave for Disney's remake of Around the World in 80 Days. Jackie Chan portrays Passepartout. I'm not making that up, but he's the least of Disney's problems. I don't recall Phileas Ffogg ever being a ponce. The biggest surprise and "kids movie" that could be pretty darn good is the animated feature Home on the Range. The clips that were shown were comedic. The animation looks polished, and the plot doesn't look to be stitched together from leftovers.
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While MJ takes in the lovely colors of a sunset at Fisherman's Wharf, the sun rises in Manhattan, and an unexpected development changes the serene atmosphere and laughingly petty theft into a tense drama that once more expresses the creative team's comprehension of their medium. In reality this situation could have easily become a tragedy. Spidey's presence changes that outcome in fiction.
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While the mystery in the main plot is somewhat lacking, the characterization of the Dynamic Duo more than make up for the loss. The second story is another perfect vignette reinforcing the relationship between Batman and Robin--er Nightwing.
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The third issue of DC:The New Frontier is the most padded and dull issue. While there are costumed moments that elevate the story, Cooke here mostly deals with Rick Flagg, a sociopath who deserves to be sidelined, rather than the center of attention. While all of the book is a stunning example of Cooke's artistic sensibilities, given the expense of the story, this issue can be left on the shelf with little impact on further reading.
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My biggest concern is that once again, Marvel left the table without paying the bill. The reader is stuck again with the check. All of this stupidity should have been free on the internet, but it is over. So let the real adventures begin.
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This is a spectacular issue of Route 666. Smartly plotted with a strength in characterization, the issue also serves as an unexpected good point for new readers to join Cassie's adventures.
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As Penny-Farthing Press in an interview with a former member of the Super Collider project shows, what occurs in Para did not occur in reality, but the science behind the story, the science fiction behind the story, the enriched characters and the mouth-watering artwork develop an illusion that this event did occur during the Super Collider's history. That's what makes this serious drama so much fun.
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Two solid puzzles for the Gang to solve, an inventive villain and a classic motive entertain with another good issue of Scooby-Doo.
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Artwork by John Costanza and Howard Schum with the colors of Art Villanueva forces me to ask a simple question. Why are Bongo books seldom late? Costanza, Schum and Villanueva must illustrate over fifty characters in a variety of poses within the Matt Groening style in a fully dimensional setting, yet their work on this book never seems rushed and always seems to come in on time. This shouldn't be an accomplishment. This should be the norm.
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If Steve Rude was not handling the artwork on The Moth I would consider this a mediocre kitchen-sink story while the second tale would simply be a remake. Mr. Rude's artwork with its simple lines and breezy action keeps The Moth aloft.
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A much stranger question involves Steve Sadowski's artwork. Mr. Sadowski illustrated impressive early issues of JSA. His artwork was very delicate and precise. It was more detailed which gave the story a realistic quality. In Wonder Woman he appears to be imitating the more expressive artwork of Drew Johnson. This may be flattering, but people who appreciate Mr. Sadowski's work may feel rightfully disappointed in the change.
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Less a reintroduction and more of a continuation, the opening chapter to The Avengers/Thunderbolts is a finely crafted story with rich characterization dependent on Marvel history. It promises future issues to comprise a smooth, fun and thoughtful ride.
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"The Tenth Circle" in JLA indeed deserves to be lauded. While the usual lack of DC continuity causes mild headaches and Superman is caught too easily, the story's quality, the artwork's beauty and the handling of the characters offer the best read since Grant Morrison left the book.
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Perhaps, the most amazing thing about this issue of the Phantom is that he loses--big time. I'll not say how he loses, but such is the power of the writing and the artwork that you really believe that the Ghost Who Walks has once again succeeded where others have failed. It's only in hindsight that you realize that this issue represents one of the biggest losses in his career of winning.
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She-Hulk is mostly played for laughs. However, unlike John Byrne's take, She-Hulk is blissfully unaware of the humor she unwittingly provides for the reader. Still, wouldn't a cryo-beam burn up when it hits the atmosphere and thus render itself useless? Minor quibbles in an otherwise refreshing change in the harsher comic book winds.
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While in truth I would have preferred Mike Mignola had done the story and art on B.P.R.D., Guy Davis makes a suitable if unexpected substitute. The attitude of the B.P.R.D., and the moodiness fairly kept by Mr. Davis almost sends a chill up one's spine.
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Detective Comics merges strong, engrossing writing with supple and dynamic artwork. In short, the Bat is back, and I'm getting very close to adding this book back to my subscription list.
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Justice League Adventures is usually a superior comic book, but this issue is lackluster. The story gains a little more respect thanks to the artwork, but the payoff is a huge letdown.
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The Tomb-Raider comic book really makes my hobby worthwhile. If I can steer just one person away from this contemptuous filth, then I'm rendering a public service. I would also like to suggest that the editors who should have pulled the plug on this story before it saw print actually read the scripts once in awhile and perhaps glance at the finished art. Whomever was in charge of the licensing department at Eidos, the makers of the Tomb-Raider game, should have his brain put back into his skull so that he can maybe think things through: perhaps associating their video game character whose role is assumed by millions of teens--girls and boys--with a book that is violently and sexually derogatory toward women isn't the smartest idea. It is my sincerest hope that everybody involved in the making of this story is sacked.
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If you have a hankering for something different, Lone just might be what you're looking for. The story makes use of various literary and cinematic traditions but threads them in a crazy-quilt.
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Nothing bad can be said about Midnight Mass. The story revolves around interesting characters. The dialogue expresses a maturity lacking in most books, and the situations switch from outright action and suspense to thoughtful fantasy without so much as a bump.
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The plot while predictable takes some clever turns on the journey, but when all is said and done, I simply do not like Mystique. It's more than her previous status of villain. It's for that reason I cannot stomach Ghidrah as the hero in the newest slate of Godzilla films. That aspect does not bother me. It's that Mr. Vaughn does not make her remotely sympathetic. There's nothing here really to like. She goads Forge but not playfully. Her jokes fall flat, and her heart isn't really in any of her assignments--this one a freebie. For me this is a shallow character. Not quite as shallow as the fruitcake Zeiss in Catwoman, but she issues no more than a shade more depth.
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Even were I to ignore everything associated with the plot, Johns pollutes Millennium City with corrugated versions of Tom Strong, his friends and his family. Tom Strong has never been disingenuous, but ah, character assault is Geoff Johns' forte, and Tom's two-faced treatment of Willoughby is deplorable.
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The creative team of Amazing Spider-Man do not even seem to be trying very hard, yet they achieve more fun and intelligence in this story than whatever hyped up nonsense happens to be on the comic book news radar.
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With a little editing most of the important instances in this issue of The Avengers could have been probably incorporated into the finale that has yet to come. As it stands, the third chapter is sadly wanting in depth and relevance.
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Although the finale borrows from Mark Twain, Bryan Uhlenbrock's "Zone Wars" shows Bart at his best. A practical joker extraordinaire, the idiot savant Bart goes on an impressive spree. Nigles, Novin and Villanueva delight in the interpretation of Bart as evil, urban genius.
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If you haven't tried an issue of Boneyard you're missing out on something special. Funny, sweet and with denizens who elicit sympathy, Boneyard is something special.
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The artwork in all respects and the characterization in Catwoman is strong enough to make this flawed issue still a largely enjoyable read. It's not fantastic, but you would not put this book in the quarter bin.
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The horror related reviews of books and comic books are short but informative. The music reviews however are more valuable because the selection of some works are unlikely to be covered anywhere else save for maybe Psychotronic. Meaty interviews and some eye-candy from a Vampirella wannabe complete a magazine that actually gives you more for your money.
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In short, "Alicia Storm is a Skrull!" come back. All is forgiven. The Fantastic Four still suffers from the aftermath of Marvel politics. Avoid.
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Chris Marrinan renders a passable likeness to the stars of the show. Overall he does a good job of keeping things moving and staging an imaginative episode that's well creepy. With the softening inks of Keith Williams, Mr. Marrinan's artistic competence increases especially when illustrating the fresh faces. Subdued colors by Ken Wolak and Dawn Groszewski complete the picture; though I could have sworn Carl was a redhead.
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The goofy exercise gets a jolt from Phil Oritz's sense of slapstick timing and his comprehension of the Matt Groening style. Mike DeCarlo provides inking that makes the characters stand out, and candied colors by Art Villanueva make each panel vivid.
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Despite the shaky premise, Sojourn's artwork, dialogue and attention to characterization make it more than a pleasant time waster.
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Ultimately, The Riddler's high regard for Batman is what saves him from a return visit to Arkham. Hopefully he'll stay away from the asylum because the Riddler actually makes for a better protagonist than villain.
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New Frontier still remains what will likely be the series of the year. Darwyn Cooke's stylish Harvey Kurtzman inspired artwork brings fluid life to DC's icons. His ever-readable story with thoughtfulness as to how DC may have worked in a Cold War setting is unique.
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I was pleasantly surprised by Gypsy Rose. Yes, the artwork has a downside, but there are assets to the pencils. The inking and the writing furthermore pick up any slack.
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The Powerpuff Girls packs the enjoyment of the show in a pair of brand new adventures. So this is one visit to Townsville fans will not want to miss.
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This issue, Mr. Lash includes a bonus second story done in the style and paying homage to Jimmy Corrigan. "The Scariest Kid on Earth" is a thoughtful vignette which shows that sometimes monsters really do need lawyers.
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Drew Johnson apparently drowned in the morass of continuity. Shane Davis substitutes, and his elongated figures and his ability to visualize a story really give this issue of Wonder Woman its sole reason to exist.
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Together with Austen, the creative team makes even little scenes mesh within a layered story, and a few continuity gaffes in the artwork cannot distract from a superhero story that has the under-hyped appeal of an average tale but swells into something more special. This story celebrates rather than deconstructs.
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Devin Grayson--she who had Bruce Wayne buy a gun "just to see what it feels like"--next drags Legends of the Dark Knight into whatever the hell DC calls continuity. Such a move means that the sobriquet Legends no longer applies. I suggest hardcore Batman fans run away as far and fast as they can.
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Route 666 could have been thoroughly enjoyable had Mr. Bedard chosen which direction he wanted the story to follow. If humorous, then there should be no scenes of ghoulish torture. If dramatic, then there should be no grade-Z villains parading about looking for angora and a more realistic presentation of evil.
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Even putting aside the stupid premise, Busch's story is about as effective as alternative medicine. The motive is ridiculous. The happy ending is ludicrous and does not gibe with what is seen: namely, a fake monster threatening somebody with a needle.
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Never in a trillion years would I think to say this again about the character wearing the bat-suit in a Batman continuity title. This is Batman!
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With a plethora of throwaway gags such as those emanating from a carousel as well as a focused funny plot, this issue of Futurama is the class clown of the racks.
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Brian Swenlin and Sholly Fisch were on the same wavelength for this issue of Looney Tunes. Mr. Swenlin also shows Sylvester using technology to aid him in his pursuit of a Tweety casserole. Readers should figure out on the first page the punchline to the particular joke, but the unfolding of the joke is fun, and David Alvarez with Mike DeCarlo send out laugh out loud slapstick by rendering Sylvester's pain and cartoon body trauma.
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In terms of art, the sublime, streamlined animated anatomy facilitates the ability to imbue depth of body. Case in point, Mr. Ku places the crease of Hawkgirl's costume between her hip and waist--exactly where it should be. Colorist McCraw deepens the colors under her arm to illustrate the illusion of fullness. Inker Ty Templeton, whose style is very recognizable, stays invisible. Using strong inks he pulls the characters out of the panels to imbue the story with scale. Justice League Adventures is not merely a kid's book. It is for anybody who loves super-heroes and especially for those who love these heroes.
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Weldon, Michael (1983) Psychotronic Encyclopedia of Film. Ballentine Books: New York.
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To Bill Willingham's credit you need no previous experiences with the characters to understand the current mini-series that starts off at a fast pace and conjures some clever twists. The characters however fail to interest, and the swearing as well as the scene where Thessaly seems to have an instant orgasm really just tries too hard to meet the criteria of a mature labeled book. If you ask me, Thessaly: Witch for Hire would have with some editing and character depth worked and been more fitting as an all-ages book.
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Three stories, and all are worth your time. These are not spectacular additions to the annals of Tom Strong, but they really should not be missed by anybody interested in this particular universe.
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I would have appreciated Amazing Spider-Man more had the authors not cheated and gone back to the Dormammu plot which I thought was rendered void through magical time travel. Still, magic seldom if ever obeys the laws of physics, and this is an okay tale that's far superior to most Spidey stories just not reaching the level of quality expected from the creative team.
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This issue of Catwoman is really just puffed up nonsense that shows how tough the character happens to be, but even new readers I think could have taken that as a given. She is after all wearing leather the veritable badge of toughness when pertaining to women. The problem is that she does not act intelligently, and intellect is the vital component for any non-powered individual trying to make the world, or her corner of it, a better place.
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To say the inks lack subtlety is a kindness. What I wonder did the inkers use as their medium for this work? Runny, fat black markers made in Philippine sweatshops and purchased at the local dollar store? Storywise, I cannot speak more highly of this Kolchak graphic novel. Artistically Moonstone was shafted.
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This newest chapter in the Midnight Mass. collection easily matches the care in the stortycrafting of previous issues--all of which averaged out to a total grade of five silver bullets. One thing however has changed, and it will take time to get used to this new element. Jesus Saiz provided the distinctive, yet anatomic artwork on the previous series, but this issue introduces the new artist Paul Lee from Devil's Footprints, Angel and amusingly Buffy the Vampire Slayer. I admire both artists' work, but neither of their styles conform to any point of similarity. The switch is admittedly jarring, and I'll especially miss the owlish quality Saiz gave to Jenny, the Kadmons' assistant, but it's hard to complain when people look like people, monsters look like monsters and a full range of dramatic potential issues from each panel. It is a distinct pleasure to return to Midnight Mass.
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A slightly higher attention to detail, a better care toward the intelligence of the characters combined with stunning artwork that demands admiration makes what could have been an average issue of Sojourn another worthy addition to your brown bag.
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Three-ninety-five for four empty stories is too high a price to pay. This issue of Wonder Woman has the celebratory feel of a kick to the wrinklies. The current writer does not do his best, and the guest writers deride with a snide better-than-thou attitude the various eras of the character.
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Batman Adventures gives readers two stand-alone stories that are each worth the price of the book. Written with intelligence and a care for characterization as well as consistency that can no longer be found in DC's continuity titles, Batman Adventures simply put is the only Batman book on the racks and one of the very few books overall worth reading.
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DC: The New Frontier both in art and writing revels in the complexity of the Bronze Age toward the comic books of the Silver Age. The work however is not merely a retread and creates interesting skins for the reader to peel away and discover new ideas as well as intriguing twists on old notions.
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The FF is a super-hero book, and action is one of the ingredients of a super-hero book. Mr. Waid displays scenes of talk, talk, talk and more talk. While the dialogue is technically well crafted and certainly characteristic it does not give the reader any meat. It's basically denoting what we already knew would happen. Still, this beginning chapter in a new storyarc is better written than the wholes of the previous stories.
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Powerpuff Girls pleases the eye as well as the mind. Adults will find these stories cleverer than assumed, and comic book readers will see a kind of Gardner Fox type of science in which reality becomes malleable. Situations we can all recognize meanwhile grow to catastrophic proportions, and kids will simply thrill to the adventures of the three most power-packed girls in the universe.
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The artwork as you can expect emulates the series look and style, and the artists do even more with heroic depictions of George Washington, a panel of doctors, an homage to another Doctor which shows Krusty regenerating into various Springfield support characters and scenes of mass destruction courtesy of Kang and Kodos. Kudos.
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The curtain falls on another act in the Victorian, but the story still has much to offer even for those just beginning their perusal. Masterful artwork combined with a multi-layered structure to a fascinating story makes the Victorian a special treat.
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Any book that contains two knowledgeable allusions from The Prisoner and another humorously from the original--or if you prefer semi-original--Avengers John Steed and Emma Peel cannot be all bad. In fact Chuck Austen's debut writing for The Avengers isn't bad at all.
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Lee started out as a very powerful, clever super-heroine whose mysterious ways created an almost Shadow-like effect. I did not know who she was. I did not care. I liked how she operated. I enjoyed her wit. Between then and now, something happened. Something bad happened.
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If you think the artwork is going to save this one, think again. Chris Jones makes Hawkgirl less than the majestic figure she is by clipping her wings--again, I mean that literally. Those things shouldn't be able to hold a small hamster aloft. The depiction of blood also does not get the creators off the hook since the Psion version of nerds should not have posed any trouble for a bona fide hero like Hawkgirl. The absolute worst Justice League Adventures I ever read. Avoid.
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Scooby-Doo is more than just a lark. The stories are tightly written and depict recognizable characters that are intelligent and experienced in their art. The stories have no slap-dash qualities. These stories depict their roots both visually and in prose, and it is these qualities that make them more entertaining more often than not than the books for so-called mature readers.
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Less interesting to the story is a Gotham City Detective's pursuit of Lonnie, the repentant member of the gang of Hillbillies who are metaphorically blasting shoguns in Gotham's streets. Wagner bestows to his detective an above average intelligence, but these scenes while offering the well drawn cleavage of Lonnie's friend and while well choreographed just seem formulaic and unenergetic when compared to the evocative moments of Batman ripping through Gotham's seedy side to find a lead on Rough Justice.
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Looney Tunes is not just a kid's books. Adults who found the cartoons funny will also enjoy these new episodes something at which they can laugh out loud.
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Crossgen also includes in Route 666 a glimpse of Kiss, Kiss, Bang, Bang. I had my reservations upon seeing the book in Previews, and the taste I received in Route 666 merely confirms them. Great artwork typically to be found in a Crossgen book, but the protagonist is a louse. Furthermore, poor research cripples the plausibility in this attempt to lure the James Bond crowd. You cannot kill two people by shooting them through their chests using a single bullet from what is clearly a .45 semi-automatic. It cannot be done with standard ammunition. If the bullet happens to be magic or a sci-fi rocket propelled bullet--such as the one Bond used hidden in his cigarette during You Only Live Twice, some mention of it should have been made. It only took me ten minutes to reach this conclusion after confirming with Michael Newton's Armed and Dangerous: A Writer's Guide to Weapons. The strain on credibility could have been so easily avoided. Simply have him shoot both of the targets indivi
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"Snow Queen" isn't a big story. It's not part of a huge storyarc. It does not involve one of Tom Strong's more super or better-known villains, but the story is as perfect as a snowflake.
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Once again J. Michael Straczynski, John Romita Jr., Scott Hanna and Matt Milla make Amazing Spider-Man the best Spidey book on the racks and indeed one of the best titles in the comic book store.
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Colorist Rick Reese and inker Patrick Owsley evoke the eerie mood of sci-fi horror of which "Invasion of the Baby Snatchers" is a partial tribute. Artist Luis Escobar concocts all sorts of interesting designs for the alien babies and again drops them through the lens of Matt Groening then pops in on Metaluna for his inspiration for the title antagonists.
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Mr. Gulacy has a fairly large body of sweaty, sexy, lusty work. Working with Mr. Brubaker allows for him to explore a largely unknown range. A scene where Holly and Karon hug and kiss Mr. Gulacy depicts as sweet rather than salacious, and this isn't the only pleasant surprise one can find in Catwoman.
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Moonstone has spared no expense in putting together an attractive, quality product. Beneath the striking, sturdy cover by John Cassaday, an excellent choice of paperstock brings out the best of the moody inks and the natural appearing myriad palette of colors by Ken Wolak and Dawn Groszewski. No advertisements interrupt the rhythm of the story, and what a story Ben Raab and Pat Quinn have crafted for the debut.
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In a sense the heroes of S.M.A.S.H. are actually more of a success than DC's post-Crisis cadre. Imagine. This is a work where the reader isn't trying to figure out what counts and what does not count. Did John Smith kill Tom Strange's parents? Doesn't matter. Is Archie an alcoholic or isn't he an alcoholic? That doesn't matter either. It does matter whether or not Superman came from Bryne-Krypton or Waid-Krypton. It does matter whether or not if Joe Chill killed Batman's parents. The heroes of S.M.A.S.H. were meant to be malleable. The icons were not. Where as the retcons, stupid continuity inclusions and lazy writing responsible for shattering everything that is known about DC's heroes affects their story. Nothing you do to the heroes of S.M.A.S.H. affects the story in Terra Obscura. That makes for an easy read with eye-catching artwork.
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Wonder Woman is a thoughtful exercise into the world of Diana. The story is not bereft of action, but it is more about the intrigue of deific interference into mortal affairs and the unleashing of the paranormal by human evil against one of the top three heroes in American culture.
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The rest of the book fills with daring do and heroism from the members of the League as well as Sardath, but what really puts the book over the merely good to the in fact great is the fact that Mr. Rothstein does not take the expected way out of the murder subplot which was also revealed in the final missing pages.
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Of course, what Mojo fails to realize is that he's never going to win so long as the Powerpuffs streak through the sky. Bubbles particularly shines both in writing and artwork as she shows the spine revealed in such television episodes as "Bubblicious." Though she does not conquer her fears, she still has the courage to face down those more afraid than she, and when she realizes the trick Mojo has pulled, she joins her siblings to give the monkey bad luck for life.
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John Costanza is no stranger to Simpsons Comics, and in this issue he shows off his talents for effortlessly nailing each character to the onscreen model. Another element he adds to the story is depth. I've always found King of the Hill to be flat looking. While the Simpsons live in a weird, yellow, four-fingered world that world still mimics our three-dimensional reality.
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Buffy the Vampire Slayer's Cliff Richards fills in for the missing in action Greg Land, and though the artwork is obviously more rushed than his work for Dark Horse, he does an admirable job of hitting all the right points in Mr. Edginton's script. The scenes with the dragons--in human and reptilian form--particularly impress, and I doubt I'd give this issue a higher grade even if Mr. Land were on hand.
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Dean Haspiel provides the artwork on both stories, and his style differs strongly from the cleaner look of the fluid animated Batman. It's raw with a nod to the underground and something that you might be able to find in a Bizarro Comics collection, but it's still a valid interpretation of the Dark Knight. A key moment to note is how the darkness shades Bruce's face as he lets his cape show during a psychiatrist's interview.
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The weapons provide the contrived shock ending aiming for poignancy but instead floundering for straws to grasp. Buffy, Xena, Spock. Those deaths I felt in my bones. The death of one of the Fantastic Four, and I'll not say which rocky individual who is not Reed, Sue or Johnny, buys it big time until he "gets better" to paraphrase Monty Python's Flying Circus, lacks impact because it draws upon the airy potency of the weapons provided by--oh, the dreaded world power Liechtenstein I guess. Fantastic Four is essentially Mark Waid giving the two-twenty-five finger to the title's fans.
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The second half of this Generations issue slightly disappoints. Until this last chapter, Mr. Byrne has been writing time travel in a way that made sense out of the speculation. The climax to this final chapter creates a massive paradox, but again, the execution, the drama of the exercise and the brilliant epilogue make this tiny shortcoming easily forgivable.
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There's a subversive element to this story. John Wagner and Chris Brunner set out to show what makes Batman different from all the other anti-heroes from the nineties and all those that followed. They also inadvertently show how their Batman more truer to the original concept differs sharply from the lunk in the so-called continuity books.
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David Lopez gets to do more super-hero instead of sock action this issue, and although his artwork relates a visually competent story, the plot itself is completely worthless. You cannot dope out the plot. The implications are ridiculous, and quite frankly the motivations of the creature and why this imploding assault occurs now escapes me.
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Lone Wolf surprises by not being Catwoman, not resorting to cliche and presenting a female anti-hero whose actions you can support even if they are somewhat criminal.
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With Stephen DeStefano inking, Karen Matchette's pencils never looked better. She also seems to have expanded the size of her drawings, and that helps to convey her artistic ability. In short, this is her best work. It's cute when it should be, stylish always and classic with regard to Mystery Inc.
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Spirit & Image is a professionally made comic book, its price comparable to that of the books offered by the big two. Kids will absorb the most from these pages, but adults will find a few well-executed amusements.
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Look into the eyes of Jesse Sanchez the Street Angel and you'll find a strong heroine fighting the humorous forces of evil and the satires of modern day machinations from arrogant fools who hold too much power. The jokes educe laughter. The action is dynamic. The book is genuinely fun and throughout entertaining.
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Formerly Known as the Justice League reminded readers of a time when light outsold the dark. It pulled laughter from the most frozen and cynical readers and did so with artwork that never failed to awe the eyes. I cannot wait to see what this creative team cooks up next.
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Kolchak is not a perfect issue. Mr. Ulanski misses what I feel is a small but crucial part of the mythology. The narration while sounding like something Mr. McGavin may have delivered and Jeff Rice may have written misses the reporter's old school sense of time. Always Kolchak would imprint to his narration a date and time to establish his story. He would say something like "It was a cool day on September fifteenth. The leaves had already turned red, and at ten fifteen on Tuesday morning so did the alley behind Johnson's Luxury Furs and Other Hides." The flourish was a vital part in creating the illusion that Kolchak was reporting--no matter how outlandish--the news. This small caveat aside, the creative team create an extremely enjoyable Kolchak story that follows the example of the show.
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Ruse was not just a book where the reader could depend to find a mystery or detective story. Butch Guice and Mike Perkins showed through their panels that sumptuous, lavish artwork need not preclude motile storycrafting. In this final issue, Guice and Perkins give Simon and Emma a grand sendoff which displays their strength and nary a weakness. The period detail to the clothing, the depiction of an odd, remote setting and the naturalistic movements and expressions of the cast in addition to a varied, vivid color palette this time courtesy of Nicholas Bell were the hallmarks of one of the most beautiful experiments in comic book art ever conducted.
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A majestic Themyscira opens across and island situated in a vast blue-green ocean. Superman and Batman fly in a clear blue sky. Batman stealths through an art noveau forest dappled with pastel shades. Batman and Superman soar beneath cottony clouds. Under the ocean depths, ghostly jellyfish drift an dolphins play. Doves fly away from a marble floor holding the cast in the pale shadows of massive columns. Bats flutter in a massive cave below Wayne Manor. The breathtaking settings create the illusion of a real thriving world under a threat that only can be stopped by the combined might of Superman, Batman and Wonder Woman.
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Kurt Busiek and George Perez with Tom Smith--for this adventure would look bland without the variety of color and shades--make JLA/Avengers a testament to all that was good in comic books. The story fascinates through alien science, philosophical arguments and ethical behavior. The story is more than merely an excuse to get the gang together for one big brouhaha. The story defines what makes a super hero.
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The art team makes good use of the stark setting. The openness of the environment helps generate the cool, western night atmosphere. They employ very few backgrounds. Instead, a palette of color evokes the night, the warmth of the fire or the red of death. This lack of business better allows for the creation of tense drama without distraction.
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The book ends on a darkly humorous note, and the payoff seems even funnier given that once the demonic Tanner walks onto the stage, the story becomes one of the most serious presented in Route 666.
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Pulp literature retold through modern storytelling techniques, the Victorian continues to intrigue with a cast that keeps your attention rapt and beautiful artwork that eerily sets the mood while setting the book apart from other titles.
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This issue of Amazing Spider-Man covers all facets of the Wall-Crawler. It makes for new readers a good starting point while still entertaining those already caught in Spidey's web.
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Mr. Templeton's Malone gains more weight of character as an informant, but the author does not stop there. Through his partnership with Mr. Burchett and Beatty, he adds one more element to the myth that gives a deeper explanation for why Batman continues to resurrect this low-life hood.
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"Stake to the Heart" nicely encapsulates what Buffy was about: strength not only in body but also of mind, and it more than adequately provides a test of fire for the Slayer that we have grown to love.
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The strong plot features an enjoyable cameo from a classic Batman foe. Mr. Brubaker gives him more depth through his dialogue and distinguishes him from the callous modern day thug who does not think and kills wantonly. I still do not care for this Selina's adventures taking place in a Gotham that should be much shinier thanks to Batman's presence, but there's no denying the enjoyment of seeing an efficient urban crimefighter such as Catwoman operating as smartly as Batman should in clever capers.
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Let me explain why this is wrong. SUE SLEEPS AND HAS SEX WITH REED. Don't you get it? EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEWWWWWWWWWWW! Doom is riding in Sue Richards' body. Doom is in a body that has been gleefully pounded by elongated body parts. I ask you now would Doom allow such a sully to his person? Never! Not in a million years. Doom hates Reed Richards. Why would he choose the body that has been the most intimate with his most hated enemy when two other bodies who did not have rubbery contact with Reed were available--not that it would make any sense since nobody can actually see Doom in the Doctor Who conundrum. Again, I say EEEEEEEEEEEEEEEEEEEEEEEWWWWWWWWWW!
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Thorn, Bone and Bartleby encounter an old enemy in some tense moments, but really this is the quality level you expect from Smith. That's when he pulls the what the hell moment and leaves you staring dumb-founded at the pages. This issue of Bone sneaks up on you.
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While Elyssa and Raynis exhibit heroism. They do so without abandoning the culture that makes them who they are. The fusion we have been told is a painless process for the animals, and you can see in the starring cast's actions that they see nothing inherently wrong in the sport itself. Indeed when Elyssa makes her final, powerful stand, there are tears in her eyes. She loves these strange creatures. In that sense, Gene-Fusion successfully creates an alien culture that does not preclude heroes or villains.
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For the ultimate Xmas gift for yourself or for a friend you may wish to buy Liberty & Justice as well as Mythology which also earns my highest recommendation. I know the package may seem expensive, but if you stopped buying fifteen lousy comics that you purchase only out of habit, these worthy additions to any comic book library would be yours. Mythology incidentally contains the best Batman & Superman story outside the animated continuity I've read in something like ten years.
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The smear campaign against the Talking Dog goes a little too smoothly. Why would the city of Townsville show a preference for a fat evil looking talking cat over the more benevolent looking Talking Dog? Although I'm not particularly crazy about the Dog, I'd still choose him over an ugly nasty cat.
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The "prize" of this weird contest sends the Simpsons and Willie-who attaches himself to their family in a series-worthy bizarre circumstance-to Scotland. In Scotland, Ms. Simone employs some clever topical, throwaway jabs as well as an inside joke for comic book readers. The language barrier presents more opportunity for comedy, and an inventive direction for Mr. Costanza makes for a knee-slapping running gag. This issue of Simpsons Comics quite easily matches Ms. Simone's previous Lost in Space and Wild, Wild West spoofs.
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This issue of Sojourn is a fun little romp that also acts as a pretty decent stand-alone adventure and an excellent jumping on point for new readers.
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Artemis given her history and design appears and acts way out of character, but quite frankly, I like the new Artemis, and you can easily rationalize her happier station because of a fondness she has developed for her new position as Archon. Mr. Rucka does not flatly deny any continuity. He simply does not emphasize it, and that makes Wonder Woman a far smoother read.
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The basic way in which these lives become endangered has been seen on the television series Alias and read in one of Rucka's few good issues of Detective Comics. Mr. Wagner makes his means distinct but just as gripping. Chris Brunner through a little research makes Batman's impact stronger. The tiny attention to detail on how specific windows shatter adds realism and makes Batman's actions all that more fantastic. We wish Batman existed in the real world. I wish this Batman existed in Detective and his name title.
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Every book has a clunker. Hopefully this will be Fallen Angel's last.
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Another sucky issue. Just ride it out. The real fun, cosmic adventures are coming real soon.
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Ruse reads like a big budget Ed Wood film. Paul Ryan's art guests, and once again he proves to be a wise choice for rendering the panels. Ryan's artwork follows the tradition of comic book anatomy established by such men as Hal Foster, Burne Hogarth and Alex Raymond. He walks the footfalls of great artists such as Dick Dillin and Jim Aparo who really do not get the recognition they deserve thanks to the flavors of the month. As a result, his artwork helps create the dead pan delivery needed for such a contrasting stupid, stupid, stupid, stupid, stupid plot filled with cheesy characters. Had say a Harvey Kurtzman type of artist illustrated the proceedings, the story would have been more slapstick-oriented rather than an earnest disaster. This stand-alone issue of Ruse earns my highest recommendation, and just what is with that funky lettering?
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The second story in the book is merely mediocre. Only two suspects present themselves for scrutiny as the potential ghoulie. One's too obvious. So it must be the other one. I might have dismissed this less than enthusiastic mystery if not for the frickin' elephant feet!
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Generations isn't just a nostalgic trip. It can surprise as well as make the heart beat faster through reminiscence. Many readers may object to the kiss. Many readers of my reviews will also consider me a hypocrite after my suggestion regarding the Billy Batson/Star-Spangled Kid relationship; Captain Marvel should be thrown in jail for child molestation. The kiss in Generations works because it describes the fulfillment of an unrequited love that has lasted for sixty years. The scene is sweet and innocent. Given the story, the scene is appropriate. It instills a sense of wonder and shows that anything can happen in Generations. Anything however will make sense.
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Arrowsmith is not to be missed. It's a serious study in the mistakes we seem to keep repeating, and although given fairy tale dressing, the story pertains to what occurs to this very day.
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Formerly Known as the Justice League, not just funny. Bwa-ha-ha-ha-ha-ha! funny.
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Page eighteen recapitulates Batman's team up with Adam Strange in Brave and Bold in six expertly choreographed panels. On page twenty-one, "to be continued." Toe Rags! With that, I realized that even with the bad science and the two dimensional villain, I enjoyed this issue of Justice League more than I thought I did.
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You may not be expecting much from Route 666 now that Cassie has accepted her powers and no longer walks the path of Richard Kimble, but the creative team continue to twist and turn the journey.
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The rather sweet story in this issue of Tom Strong is a stand-alone, refers to the founding father of science fiction as well as one of his immediate descendents. Writer Hogan never loses sight of the characters, and Chris Sprouse demonstrates his best. Perfect.
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Amelia Rules! shatters the myth of carefree childhood but lacks a heavy hand. The prime goal is to share in the laughter of this wonderful cast that deserves to be the next Peanuts.
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Radioactive Man is a semi-serious homage to Superman. On the other hand, maybe I just don't get the book's jokes. Bongo Super-Heroes is a laugh out loud treat for anybody who has an affinity for super-hero comic books.
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Catwoman's terrific artwork balances out, in reference to the whole, the scattershot characterization. The well-written dialogue balances out DC's overall Swiss cheese continuity. One story element however tips the scales in Catwoman's favor. While most of DC's books have a mood that's as dark as an oil stain, this issue of Catwoman fosters a mercilessly upbeat attitude. The optimism and ebulient tone does not quit, and Mr. Brubaker demonstrates that you can tweak a book to a appeal to a sophisticated audience without losing the sense of wonder that iconic of heroes are supposed to instill.
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Ruse in general is an outstanding marriage between story and artwork. This issue creates one of the most powerful exercises for the characterization of the book's impressive cast.
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The artwork, the plotting and the characterization minus two in Terra Obscura exhibit the kind of strength every DC comic book used to have. Although these characters haven't the familiar, cultural history of the DC icons, they still will intrigue and interest and in spite of yourself make you grinning.
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Finally, Mr. Kress shows the Simpsons' immunity to "Family Reading Night," and while the behavior amuses, it's the ending that's laugh out loud funny since it comes from nowhere and strikes without reason.
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Artist Brian Horton this issue illustrates more than bookend pieces for the title. His painted artwork very cleverly breaks into the Richards/Conrad/Madsen rhythm. The interruption acts as a believable lure and helps setup the layer upon layer of reality that Mr. Nicieza's story tricks the reader into believing.
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At best "Authoritative Action" is harmless filler that was meant to reach Jemastown R.F.D. This issue is only for completists.
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Even the comicraft lettering exhibits consideration. The fonts for Batman's mystery guest and Thor speak of their characters. All the talent behind Avengers/JLA make the book triumphant fun.
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While this issue is just shy of delivering the enjoyment of the premiere, Lone's aim is still true.
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The return of Karl Moline cannot be emphasized enough. The subtlety in his artwork can be found in a young girl's wanting kiss to an innocent, joyous dance that ends on a meaningful look. Mr. Moline of course is more known for his dynamic animation through the panels, and his fans won't be disappointed with his handling of comedy blended to horror. He knows exactly what to show. On the surface eldritch energy blasting our young heroine through a cornfield could be utterly dramatic, but the distance she flies and the way Cassie's body reacts mitigates the horror with a grin to give the scene a different mood. Add Drew Geraci's textured inks and his complete synchronization with Mr. Moline's pencils, and you have a thoughtful, entertaining read but also something beautiful to look at even when terror stalks the heartland.
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When you read Wonder Woman you read a textured piece of comic book literature starring one of the oldest heroes in history. Mr. Rucka and Mr. Johnson show that she has lost none of her appeal.
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Such a stupid issue. Johns rolls the dice. Craps. We lose.
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I expect greatness from Batman Adventures. This issues exceeds my expectations.
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Greg Land's artwork has with the depiction of a tropical paradise hiding flesh eating monsters never been more lush. His obviously beautiful Arwyn this issue exhibits striking contrast. We see how broken she is when comparing her angry, tearful expressions to her joyous face in flashback. The difference will astonish and shows how Mordath's brutality has shaped this woman into a weapon of vengeance.
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His characterization for Young Tom Strong has him for once rising above that of the average thickie, and although the youth looks mighty odd, Alan Weiss makes the young, wiry Dhalua an utter cutie.
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The title character has thankfully not changed. The Vampirella comic book has changed. However, Harris cannily will not lose any of their fans and through a quality product likely gain more of an audience.
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Boneyard and Hogsbreath the comic strip that occupies the inside back cover also by Richard Moore from page one to the end provides hours of amusement within a fifteen minute read.
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John Lloyd does a jolly good sketching for the many invaders who to plant their flag come to Springfield's toxic shores. If a fan of any of the celebrity guests, you'll have a double good laugh as these often jovial representatives of European culture go ballistic.
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Though we've seen this exercise run before, it's still nice to read a comic book where Batman is not insane and not truly a vigilante in the classic sense of the word. Because John Wagner's writing the book, the dialogue and choice of scenes seems fresh, and Chris Brunner's artwork is easy on the eyes.
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David surprises the reader by tying in what seemed plotting meant to set-up a future story. Instead, the situation explodes as well as helps to deepen the character of Dr. Juris. The event also gives David, Lopez, Blanco and Eyring the opportunity to evoke a great Fallen Angel moment that also takes a nice twist on another classic super-hero staple.
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The cast John Delaney with a precision inking job by Phyllis Novin and candy-coated by colorist Joey Mason captures the style and substance of the Groening models. The panels are vibrant and packed. They never feel cluttered, and the colors create a soothing tableau.
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Steve Neeley and Paul Becton relish the change in setting as well as the change in dress for the gang. Daphne fans will definitely want this issue.
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Byrne crafts a story rather than bludgeon one out. However what should be dramatic moments in the tale end up being mitigated by haphazard creations. The fate of Superman's and Beautiful Dreamer's children should generate response in the reader, but these characters lack so much depth and look so poorly designed that the reader does not care what happens to the girl with the purple skirt and the blonde idiot. This an unfortunately a crippling deficit in an otherwise excellent issue of Generations.
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Jerry Ordway's artwork almost makes Tom Strong worthwhile, but there's nothing more disappointing than reading chapter after brilliant chapter only to be let down by the finale. Better to have the whole project be bloody awful.
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"Red Zone" is a mix of missed opportunities, promised drama that fizzles and in the end a love note to Ann Coulter. The She-Hulk subplot thankfully missing from this issue padded out the story from four issues to six and will likely be removed from the trade paperback so as not to confuse first class book buyers as opposed to we prolls who buy comic books in theory on a monthly basis.
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The subgenre of Jack the Ripper horror was just dying to be spoofed, and Gary Millidge proves just to be the right bloke to do the job right. Ear-to-ear grins will fill readers' faces as this slice of kidne-pie fills the gut of the story with all the conventions of the lore. Conspiracy, Abberline, Freemasonry, nothing is sacred when profaning what Ripperologists hold dear.
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Bone creates a permeable story that lingers in the mind well after reading. The book could be years late, and the reader still can pick up where she left off.
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The artwork again expresses what Mr. Giffin and De Matteis intend. Kevin Maguire produces more faces in this book than to be found in a Bill Plympton cartoon. He also creates distinctive body language and gesticulation that varies from character to character while evoking the same meaning. Joe Rubinstein layers the panels with weight and depth, and Lee Louridge's use of modern coloring techniques make Fire's namesake exotic and evocative.
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This issue of Justice League Adventures displays a classic case of great artwork being showcased for a story that evinces little effort. Fabien Nicieza can do way better, and you should not settle for less than this writer's best.
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Discounting the spectacular shot of Emma's bare legs and lovely nude back, the best scene in the entire book and where the reader awakens occurs when Simon sets up Emma for a humorous encounter with a cutpurse. This issue of the usually entertaining Ruse was not worth the extra wait.
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While I watched my socks fly off my feet upon ibibing John Romita's artwork last issue. This issue while still a treat does not quite have the same effect, but I really doubt anything could.
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This three part Batman: Legends of the Dark Knight perhaps is not the best of the series, nor is it the worst. It also lacks the mediocrity of safety and instead delivers outstanding characterization of the Dark Knight--as well as Alfred--through the actions of one repugnant character.
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The story shows Buffy's striking ability to adapt to any situation and better allows the reader to see how she became one of the more feared Slayers. Mr. Nicieza further uses the Slayer death-wish in an interesting way for the finale, and distinguishes Buffy as the Slayer who most wanted to live.
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Fortunately, unlike the Daredevil movie, Mr. Brubaker confines this unconvincing melee to the tail end of the book, and the main plot of two friends sharing an effervescent lark take up the lion's share.
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One thing did puzzle me in the story. SHIELD I could have sworn was a United States agency. In The Fantastic Four SHIELD like UNIT operates under the authority of the United Nations. This curiosity is a minor quibble however especially when one compares it to such conundrums as oh say how Supergirl could have existed when the post-Crisis pocket universe created by John Byrne to explain Superboy and the Legion of Super-Heroes never did.
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While primarily the book functions in black, Jason Wright's colors become dazzling and help convey a meaning behind the fashion. The cloaks Tasmia's people wear for instance are at once alien as well as practical and as always Tasmia's blue skin tone bestows to her exotic beauty.
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While this story would probably be more resonant with heroes that actually meant something to the reader and a stronger female contingent, as it is, Terra Obscura does a decent job raising the male cast above the status of generic ciphers. It's a well-sketched, well-plotted time waster and nothing much more, but that's not criminal.
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Witchblade could be a comic book that stands the test of time. Sara Pezzini is smart, likeable and heroic. She possesses a fascinating weapon that's more like a familiar. She could be in comic book history something special, but the character still suffers from being weighted down by a continuity that's constructed from unnecessary characters. The artwork has vastly improved but there's still a reliance on an overly cartoony look that I believe is enforced by the inking.
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Romance, action and magic without a seam showing blend to create a fun comic book with dramatic moments. Fletcher Arrowsmith, an inspired take on Horatio Hornblower, serves as a more thoughtful hero for readers to follow.
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Batman Adventures is the only Batman title where you can find a Batman in whom you can trust and a history that you can comprehend. This is the only Batman title where you can find Batgirl. This is the only Batman title where drama unfolds with action and humor, and this is the only Batman title that appreciates audience intelligence. Batman Adventures is the best Batman title on the racks.
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Both shorts feature sharp, characteristic dialogue and pull no punches when portraying the Powerpuff personality oevre. The first story though short displays odd vision, and the second yarn comforts the reader with a well-knit plot.
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The story does not affect Cassie or Cisco. The short does not involve the inky black phantoms or the abduction of souls. What the tale boils down to is a Faustian bargain that could have appeared in any anthology.
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Funny, even dramatic, this issue of Simpsons Comics which features quick sight-gags galore and longer paced jokes based upon characterization is a winner.
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Things change when Mr. Eginton brings out the characters' intelligence, experience and edge to invigorate the pace and leave the chapter on a gripping cliffhanger that to be fully appreciated must be seen.
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JSA appears to exhibit as much thought as it takes for one to jot down a grocery list or to stick a fork in a toaster. Every aspect of Wonder Woman gracefully conveys the writer's control and the artists' mastery. Reading Wonder Woman actually gives me hope that somehow DC will pull themselves out of the rusted tin age and actually leap into a new golden age.
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If you're looking for something different but cleverly written and full of conventions viewed from a different angle, Stuart Moore's and Jerome Opena's Lone may be the tall drink of water for which you seek.
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David Lopez, Fernando Blano and Nathan Eyring bestow a sense of cinematography that without wasting film conveys Mr. David's plotting. They direct in such a way that invisible does not become synonymous with zero budget. By the end of reading Fallen Angel I felt as if I had experienced a pulse-pounding action/horror movie thesped by a troupe of talented actors. I cannot wait for the next act.
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"The differences between right and wrong are far harder to determine...."
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If you buy one super-team book make it this one. Put that mind-numbing issue of JSA down. Sublime artwork that makes use of an action-packed script and the strong bonds between heroes who pit themselves against the embodiment of delusions of grandeur in a scaled suit make Justice League Adventures far ssssssssssssssssuperior to anything in the DCU.
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Kevin O'Neil illustrates League of Extraordinary Gentlemen in a way that can only be classified as European. The style of Mr. O'Neil which is a cross between Ed Gorey, he who provides Mystery! its animated opening and Burne Jones woodcuts. The sense of ghoulish delight and black comedy from Hyde comes out particularly well in in Mr. O'Neil's singular style, and while one may expect that such an odd technique may hamper expression or lead to an overall stiffness, it instead conveys brilliantly the characters feelings and behavior as well as the mood.
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The "beast" is again an imaginative creation, and while a summary of exactly how the culprit carried out the crime would have been welcome. After some thought, you can see that it's not absolutely necessary.
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This issue, Mr. Byrne once again experiments with judicious computer artwork like he did in Action Comics where Superman teamed with Green Lantern. The shift involving an outer hull explosion is noticeable and creates an interesting effect when contrasted with the more general artistic treatment of the mayhem within the ship. The only complaint I have is that Byrne does not really make an effort to create bona fide background super-heroes for Superman and Batman's fighting legion, but this is a minor caveat that does not hamper enjoyment or comprehension of the story.
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With a fun approach to sword and sorcery and an enjoyable Superman short story linked to the main mead of ancient Krypton, Superman: Blood of My Ancestors is yet another under hyped treat that DC seemed to have pushed under the rug.
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All the pieces of the The Victorian's puzzle has yet to fall into place, but the reader never doubts that those pieces will fit together to make a satisfying conclusion. With characteristic dialogue and characteristic behavior in a complex plot that jolts the gray cells, with artwork that feels like a warm compress upon the eyes, The Victorian should not be missed by any who appreciate talent and craft.
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The intelligent humor of Gail Simone even when the characters act far from intelligent makes this issue of Bart Simpson Comics resonate with the power of a jungle call. The addition of an interesting off-kilter anecdotal tale and a hilarious short more than give the reader her money's worth.
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This issue of Catwoman is way better than the Keystone Robbery issue or the Wildcat team-up, but it still doesn't match the power of the power and confidence of the reintroduction story. The dialogue is wonderful. There are some outstanding character moments between Holly and Selina which show promise for the future. These assets however are mired in two unworthy plots.
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Just because this issue of Formerly Known as the Justice League is more dramatic than previous issues does not mean the humor has been abducted. Indeed, I would say the issue is approximately eighty-percent humor-driven with the other twenty-percent being teased by the main drama. The humor in addition is still of the laugh out loud variety. I smiled as soon as I read the first page and burst out in a guffaw upon reaching the third.
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If you think five bullets is a little gushing, consider this. While Geoff Johns and past writers such as Roger Stern and Roy Thomas have done superb work characterizing the Avengers, the only time the JLA sound like themselves after the Crisis is in the scant issues of Adventures of the DCU,Justice League Adventures and in Grant Morrison's JLA. Kurt Busiek characterizes them well. He hinted that he was capable of such characterization during their cameos in Power Company, and here is the promise fulfilled. Thanks to George Perez, the League and the Avengers, but that's not exactly a surprise, appear as themselves, and you never become confused by that appearance.
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David Wohl and Francis Manapul set out to make Witchblade more than just a female hero whose power includes instantaneous shredding of wardrobe, and to a certain extent, they have succeeded. Manapul brings a sense of anatomy and proportion to the book that it never before had, but the inking refuses to shed the house-style that on a purely personal level nauseates and in a more objective frame of reference hampers the horrific or dark fantasy tone.
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Terra Obscura shapes up to be an unexpected treat. While still bearing the shortcomings of the XY can't Sally think syndrome, it's still worth the reader's time and mostly enjoyable to read.
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Mr. Jolley sends Vampirella on strong hunt, and he characterizes her as if he's been doing it his entire life. Stefano Caselli is a true artist who studies the human form and drains what he sees to the pages. As usual, I urge mature readers of both sexes to investigate this professionally crafted comic book starring the gutsy and capable Vampirella.
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John Romita Jr. does his usual reliable job for the opener. He begins to stir the reader during the aforementioned scenes depicting the sexy then tastefully nude M.J. and the build up with the red lightning. Again, artistically the book at this point earns about three bullets. John Romita Jr. can do this type of work on NyQuil. Immediately after Spidey freezes in the flash of red lightning and has readers wondering what's sent his webs in such a tizzy, Mr. Romita blows your mind and drops your jaw with a two page spread that will go down in comic book history as one of the most memorable scenes ever depicted. The visual delight does not end here but continues to the very end of the chapter where Mr. Straczynski has one more surprise up his sleeve. Keep 'em coming, gents.
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Buffy the Vampire Slayer is gone from the airwaves, but the comic book still keeps readers from feeling lonely. The first chapter in a new story is a masterful display of talent from the writer and the artists.
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Fantastic Four may be heading down a dark road, but Mr. Waid is still paving the road if not with gold certainly then bronze. Howard Porter's contribution is welcome and fits the darker tone. While he cannot give the FF the grandeur he bestowed to the JLA, he makes you never doubt who these characters are unless that doubt is Mr. Waid's intent.
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Reign of the Zodiac is a strange experience. The loquacious Keith Giffin's narration often makes you burst out laughing, and Colleen Doran's artwork makes you stop to say "Oooo, that's pretty." It's one of the more goofy collaborative efforts I've seen, and yet it works beautifully.
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Good thing Crossgen's substitute artists are skilled enough to follow the footfalls of the regular team. They imbue the book with fiery colors, evocative inks and a good sense of pencil cinematography. So kudos to Dean White, Maze Agency's Rick Magyar and Lewis LaRosa.
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Superman: Red Son offers the reader an interesting discourse in politics through the voices of Lex Luthor and Superman. It also succeeds as a strong elseworlds series that creates interesting parallels and alternates of the heroes that we know and love.
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What could have been a carbon of The Young Indiana Jones Chronicles instead carves its own story by cleverly avoiding cliche and depending upon beautiful artwork to convey a fantasy setting with period detail. Arrowsmith is recommended for anybody who likes a ripping yarn.
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Batman Adventures like its predecessor titles usually presents a perfect issue month after moth. While this story bears a few shortcomings, it still features a Batman who acts consistently in character, engrosses with a coherent plot and captivates with beautiful artwork that facilitates frenetic action.
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Less interesting still is Frank, the diluted Cornelius Stirk. Mr. Peyer does try to show the freakish character's conscience, but it's difficult for me to care about him when he continues his brutal behavior. Still, we see less of him and more of Batman in a well drawn legend.
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If you haven't picked up the pamphlet version of Batman: Nevermore you'll want the trade paperback. Len Wein's and Guy Davis' comic book tale that witnesses madness is a must for any Batman or Poe fan.
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While I recommend the title, this issue isn't the best place to begin the adventures of Powerpuff Girls. The first story's joke recalls an overlong Saturday Night Live skit, but the second one is a keeper.
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The second story has a few moments, but it's just not very memorable, and I did not laugh out loud.
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Jerry Ordway renders the entirety of the book with his usual skill and traditional understanding of super-hero action. His anatomy of course is impeccable and his characters exhibit believable emotions. The colorist however cannoot decide whether or not Tom Stone is black like Mr. Moore wanted or some Elvis like white.
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I've been a fan of Wonder Woman ever since the Bronze Age issue in which she and her Amazon friends have been shrunken to the size of the Atom. I know this character, and to find the same chill I get every time I watch her in Justice League within Mr. Rucka's and Mr. Johnson's Wonder Woman is a delight. Wonder Woman may be the beginning of a new golden age of super-hero comics. I am impressed.
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John Romita Jr. has fun playing with the high drama and high comedy of the scenes. His panels beautifully teeter amid both moods so that the reader does not know quite what to expect. Do those headlights foreshadow foreboding doom, or are they merely headlights?
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The previous issues handled Black Panther's resentment toward Iron Man in an understated manner and as a result, this element enhanced the storytelling. By emphasizing Black Panther's practical bitterness toward Tony Stark in this issue, Mr. Johns undermines the story. He forces the reader to question from whence these feelings come. Iron Man and the Panther never really hung out while serving in the Avengers. Often they were not in the same incarnation of the team. They had no memorable team-ups that I can recall in either of their books. So what is the source of the resentment? Such animosity arises from accrual. Without that interlaced history, the scenes become forced. It's as though Johns wanted friction between heroes and decided these two would fulfill the role.
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What is concrete is the joyously traditional punchout between Lee and the antagonist, unless of course he is a protagonist. For some time now, I've been bemoaning the pointless slug-fest, and instead, Mr. David gives a reason behind the battle and has Lopez, Blanco and Eyring choreograph something that doesn't seem outlandish but exciting and engrossing. Lee's shows of strength become out of the ordinary, and her toughness becomes surprising because of the way the fight is executed. Fallen Angel is fun, sexy, thought provoking, beautifully written and beautifully drawn. Why aren't you reading?
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His redefining the FF as adventurers rather than super-heroes is part of the problem. This type of story does not work within the new context. The FF should have only been marginally affected by Doom's torment. They should not wallow in self-pity. They should not be psychologically damaged. They should bounce back, and that may be unrealistic, but realism isn't what I'm looking for in the FF.
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Mr. McClaine honed Highway 13 into an entertaining blend of screwball whimsy and horrific dark fantasy. This issue exemplifies the best of what Highway 13 had to offer. I'm really going to miss this series. If not already a faithful fan, pick up the trade paperback when issue twelve completes the journey. You'll not be disappointed.
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The unsung and unwanted hero of JSA is without a doubt Leonard Kirk. True, he is depicting Johns' drivel, but Kirk has throughout given this story the best chance to engage interest. He visually made Hector Hall look as if he should resonate; though, he doesn't since he's still Hector Hall. Power Girl's pulchritudinous pumpkins are about the only thing DC considers canon, but Kirk still respected the character enough by beefing up her muscles to balance out her mastodonian melons. Still the best thing about this issue of JSA is the Angelina Jolie as Lara Croft milk advertisement on the back. I would once again like to thank the American Dairy Council for their humanity.
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While drawn with ever lush care and original in its conveyance of humor, while plotted thoroughly and with expert timing and characterized attentively, this issue of Ruse ends on an unappealing note that keeps the story from being a perfect gem. The tragedy befalling one of the characters does not provide impact, nor does it make the story better. Rather, the scene is out of place and nothing else.
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Ms. Busch does not forget Fred. It's amusing that she positions him as "the man behind the curtain." Fred always has been the leader of Mystery Inc. Part of leadership is delegating responsibility, and it's very impressive that he trusts his team to do their best. There is no sexism in his delegations, and there never has been. One of the messages in Scooby-Doo and why so many spin-off incarnations have been lacking due to a shift from that message is that man or woman, no matter the age, you can also root out the truth. The comic book as well carries that message and makes it one of the most mature on the rack.
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Mr. Land a far as I know has never turned in a bad issue of Sojourn, and this one is no exception. He in fact outshines his best work with a sepia-toned history lesson seen from Bohr's point of view. The illustrations are more like the type you would find from the old books of children from generations ago. The sequences fade into each other to accent Bohr's narrative, yet even without these stand out scenes, the story and the depiction of Arwyn and Bohr becoming momentary allies would be enough for recommendation.
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The reason why Superman ends up in the past ties in with Darkseid's ploy--the gist of which he reveals here. Of all the time travel stories I've seen in newer comic books, this is the only one that makes the slightest bit of sense. Darkseid's machinations certainly blow the stupid, stupid premise of the Armageddon mini-series out of the water and as a result seem positively insidious and threatening to our heroes. The way Mr. Byrne draws Darkseid just emanates evil not madness as well as an alien intellect that the reader can only hope to understand. The rock solid foundation of Generations is something that a dark godling would conceive, and this makes the battle between the World's Finest and Darkseid's forces something to behold.
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Supernatural Law is a lovely surprise even for those who despise Law & Order. The comedy is intelligent, and the situations are inspired.
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Bad Girls' best element, apart from the superb Lara Croft milk advertisement on the back, which really is the very best part of the book, comes in the form of Simone. Given the premise's similarities to Buffy the Vampire Slayer, you expect the soon to be best friend of Lauren to be similar to Willow. Simone however stands out as a three-dimensional character whose qualities of competence and unique charm are welcome.
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After some well-plotted chaos ensues, the reader discovers that every jape, every scene and every line of dialogue leads up to the grand laugh out loud guffaw type joke on pages twenty and twenty-one. I read this thrice, and I laughed just as loud.
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If you are a budding writer or artist, buy Fray to see how it's done. If you are a girl or boy, buy Fray to be inspired. If you are a Buffy fan, buy Fray because Melaka deserves to be known as the Slayer. If you like to read entertaining, intelligent work, buy Fray. If you like to watch entertaining intelligent movies, buy Fray since it's like a film strip being unspooled. What I'm trying to say is buy Fray.
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John Delaney is of course familiar with these characters from his days on Adventures in the DCU, and while his treatment of the League varies from each member, the artwork is uniformly action-packed as well as emotion-filled. The sly smiles shared between Superman and Wonder Woman when they contact Batman who has a memorable moment when pitted against the Penguin exhibit atypical aspects of the characters. The standout scene when J'onn telepathically alerts Shayera displays Mr. Delaney's talent for depicting various camera angles within the animated style, and his body language for Shay who is the Leaguer that shares the spotlight with John Stewart--the cover is a little misleading--fits her perfectly.
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Last but not least we have a classic paring between Bugs and Elmer. Scott Cunningham uses the Pismo Beach excuse well, and his setting invigorates the Bugs/Elmer duel.
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Mr. Wagner falters on occasion when dialoguing the Dark Knight. Batman, in full possession of his faculties, has never said "Why I oughtta..." as if he were a Bowery Boy. He also hasn't used the slang "scene" since the sixties and early seventies. Wonder Woman's use of the common tongue makes perfect sense when considering that she has observed "Patriarch's World" and given her more cosmopolitan attitude, which incidentally contradicts the characterization seen in her post-Crisis debut series. Trinity in short is not perfect, but it's damn near close.
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So let's summarize. Catwoman and Holly are present and in character; it's the twist that gives the book its third bullet. The artwork is decent, but the story does not make sense and carries little excitement. Captain Cold does not have to be in the story, and the false continuity seems forced.
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Fantastic Four is not without some assets. Casey Jones' artwork is clean and seethes with emotion that while often crosses the border to risibility still looks good. The characters behave like themselves, and the humor on the Ferris wheel and over Davy Crockett brings a smile to one's face. I'm also pleased that Mr. Waid treats the one instance of masked profanity as out of character, uncommon to any of the members' repartee and a symptom of deeper issues.
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Why does Pez meet Vampirella? The bad weather forces her to take another route home--giving the story a nice Twilight Zone riff. How does Pez meet Vampirella? Vamp is in hot pursuit of a destructive supernatural creature. Why does Pez become involved? She believes that Vampirella stole her piece. Why does she have a gun if she has the Witchblade? Simple. She's a detective. Why does she pursue Vampirella? She still thinks Vampirella has her gun, which makes her responsible for any crime that the perp commits. Why does the slugfest happen? It doesn't. Vampirella can if she wanted tear out Pez's innards. She does not. Why? Vampirella is a hero. How do the heroes reach a truce? The creature of Vampirella's pursuit has no such compunction about using a gun on the heroes. Well, that's all well and good, but why in this story are Pez and Vampirella needed? Because both are supernatural heroes of limited power who have considerable experience in dealing with such situations, and onl
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While I'll not say a word about the central battle of heroic monster vs. evil monster, I will instead point out how the artwork captures the cauldron of emotions emanating from two creatures who despise each other. I will also note how the denizens of the cemetery stick together when one of their numbers is hurt, and without hesitation, I will recommend Boneyard to any comic book reader.
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One thing cannot be doubted. Cliff Richards is the Buffy artist. He effortlessly brings to the pages Sara Michelle Gellar's style and expression she imbued to the part of Buffy. His nightmarish creations, this demon especially, often equivocate the eerie and gruesome monsters from the show, and although the artist is usually responsible for the pacing of the adventure, Mr. Richards is blameless.
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The artwork is both colorful and exact when following the onscreen model. All the characters exhibit the body language from their source, and the addition of the hog-fish, don't ask, fits the Groening look.
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Trevor von Eden returns with a much surer grasp of the world of Kolchak. He coveys a sense of terror as well as Mr. Petrucha's journalist procedural style integral to the television series. His characters while not dead on likenesses still bring the actors' traits and methods to the smaller screen of the comic book, and when Mr. Petrucha unveils the monster of the story, Mr. von Eden cuts loose to display grotesque Lovecraftian-styled horror imagery.
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Karl Moline excels in both the down to earth scenes and the scenes inside Cassie's plane of existence. The way in which the inky phantom approaches Cassie brings to mind a cartoon-like environment which is jarringly shattered by violence. The exotic look given to the New Orleans setting suits the city and contrasts the stark murder scene. The various shades to Cassie's personality brilliantly evoke her astonishing evolution and potency as a force for change but never lose sight of her characteristic look. You expect greatness from the artist of Fray, and this is what you get.
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Yanick Paquette makes this heroine a beauty, and she is but one of the many exceedingly build but proportionate women that grace the pages. However, two such women bring this issue to a dead-stop. Miss Masque and her doltish friend may have the curves to make one melt where they stand, but every moment they waste in the panels with vapid dialogue and grand stupidity grates on the reader's patience and intellect. Beautiful women are often a tonic to any production. These two act like a pair of depressants.
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John Romita Jr. who has outdone himself for scenes spotlighting Spidey cutting loose against Morlun or Shathra accomplishes equally well the quieter scenes where a little girl gets a helping hand by her friendly neighborhood teacher and in the panels depicting the closeness between M.J. and Peter. He shows in body language how the single mom is attracted to Peter and has lots of fun as Spidey plays with the seriously stupid and outgunned group of local hoods. This issue of Amazing Spider-Man isn't laden with special effects or fight choreography, nevertheless, it is an outstanding issue.
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The artwork also by Jim Gownley is some of the best honest to goodness comic strip style we've seen since Bill Watterson gaced the newspapers with Calvin and Hobbes. There's an innocence and aesthetic about it that far surpasses a lot of the so called serious artwork and that which is critically acclaimed.
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Carlos Pacheco cannot help drawing things that look aesthetically pleasing, and indeed, his presence on the book eschews the type of gothic, dark fantasy setting one expects to see. In each scene however the innocence of the fairy tale, as it once did, bears an undercurrent of the sinister. When first we see the OAC they should be a bright spot and spectacular, but the reader has already experienced vicariously the battlefield, and she can see the meaning behind the trappings. Pacheco depicts Bonnie--he with the Robin Hood mustache and beard--as too eager to inveigle Arrowsmith. In contrast, he imbues nobility to the Rock Troll who will not fight even if his own family have been killed in the attacks. Such evocative artwork matches perfectly Mr. Busiek's thoughtful, involving story.
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This attention to detail in every element of the story whether it be how Batman should react when an event occurs, the display of esoteric knowledge that makes him more than a common street fighter, the insightful characterization of his archenemy or his various love-interests, the right amount of art that should be shown in a pitch black fight scene or the understanding that the Batman is not always dark and his image can even be graceful when surrounded by a sunset setting on an exotic island, all of these things makes Batman Adventures superior to every Batman book purporting to star Batman on the racks.
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The artwork is less potent here than in previous issues. Dick Giordano's usual precision is hampered by sloppy inking. The characters' expressions often look distorted and bear little of Giordano's traditional slick style. Never the less, even with sub-par artwork, this is an exciting issue of Deathmask.
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When we come to the gist of the plot, memories of the Puma Man resurface as the Stephen Hawking Type Assumes his Android form and takes a formerly horribly dressed security operative for float over a fence. Even the scenes of battle lack energy. The cleverest thing about this issue is its title.
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It's amazing how many comic books tend to live up to the quality of the television series that is their source. Simpsons Comics must also be as funny as the television series, and this issue just may exceed some of the series' even merely better than average episodes.
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Claude St. Aubin's artwork beautifully times the brief fights in the opening. The way in which the Hat's staff strikes a nasty adds to the humor of the scene witnessed through the Victorian's point of view, and in general, his art noveau style with the bright almost spring like colors of Blond reflects the change in tone of the entire story--from the dark mystery to the more fantastic type of yarn commonly featuring Doc Savage or Phileas Ffogg.
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Ron Lim continues to provide some of his best artwork for Metallix. Everybody looks proportionate, and there's a uniformity in their appearance throughout the panels which flows quite in conjunction with the narrative. Not known for his more subdued scenes, Lim handles these panels as equally as well as those that provide humor and his action sequences.
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The final story looks at the larger than life super-hero/spy from the perspective of the one-that-got-away. The juxtaposition of her normal life to the exciting blaze of the hero makes for interesting reading. The artwork here doesn't look as finished as that of the previous tales, and it reminds me of Guido Crepax's often sketchy work. That's not exactly a bad thing.
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Phil Moy imitates the Craig McCracken Colorform style of the series and beautifully evokes the various emotions of the characters within the limitations of that style. Standout moments include Bubbles' anxiety over boarding the rocket, Blossom's determination to learn how to fly the darn thing and the California Dreamin' version of a well known character.
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The plot of the story is neither original nor is it overly familiar. Ultimately the reader comes away with the feeling that while this was not the worst Batman story he has ever read neither is it the greatest. More excitement would have been welcome, and as it stands, the story just seems lethargic. Threatening the antagonist does not really generate suspense because he does not possess a single enviable quality. So the reader does not care what happens to him.
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The art by Stefano Raffaele done in a style that's immediately recognizable as European beautifully creates an ominous mood when it appears Kaine will be reaping his bloody vengeance. The characters all have a realistic look to them complete with wrinkles and creases, which makes the fantasy elements such as the apparition of the Talinda/Kaine creation stand out. His appreciation for the female form can be seen in the proportion he bestows to every female character. Though given the shape and clothing of the stewardess seen in Blackburne Covenant I'll have to remember which airline Kaine uses.
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Bette Noir is a dark city where the battleworn gravitate, and like a typical Vertigo book everything has a grimy feel to it. The colors are muted, and Lee's garments and the curls of her hair that fall out from her hood are noticeably more lively. There is beauty to be found in Bette Noir, and when Mr. Lopez, Mr. Blanco and Mr. Eyring reveal it, the scene rivets your attention. David, Lopez, Blanco and Eyring have created uniqueness in the self-replicating genre of the super-hero.
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DC is filled with weasels. They raised the price of the book one dollar, tricked you into believing it would be if not good at least the end, but no! This overpriced white elephant is "to be continued." I want somebody's head for this.
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While John Byrne is definitely to blame for the inept panels but should be commended for the panels that overall smoothly relate consistent flow, the paper quality of Generations does him even less favors. Even when Mr. Byrne is paying attention, the work tends to look blotchy, and that really is due to the shiny paper stock. I have a suspicion that on the non-reflective stock of the trade paperback his Generations artwork will look much better.
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Joe Staton also returns to Scooby-Doo. His pencils give the gang superb depth and dimension that often exceeds that in the cartoon. They look like real figures not flat cel designs superimposed on backgrounds. Mr. Staton has quite a bit of fun with Mr. Rozum's script. He enjoys embellishing a variety of attributes to the supporting cast such as a punky hair-do for the female officer and a caricature of Frank Drew for the face of the commanding officer. Inker Horacio Ottolini gives the book strong texture evident for instance on the carapace of a returning Scooby villain while outlining precisely yet still letting Staton's talent to issue from the pages. Paul Becton with a wide array of shades also uses color to better express different casts of light and heightens the mood as well as the realism. If not for some horrible inside jokes I'd say that this was a perfect issue of Scooby-Doo, yet even with those groaners it is far superior than practically any book not associated with
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John Romita Jr.'s work is as ever brilliant, but it's not really the big battle scenes that caught my attention. The battle just never really seemed to require a grand display of Spidey's powers. His understated reactions from the characters however help Mr. Straczynski reap the maximum impact from the jokes.
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With those facts in mind I paid particular attention to how the Batman deals with the beast. Len Wein and Guy Davis make the brief battle memorable. The fierce creature enraged for reasons yet to be disclosed does not hesitate in attacking the Dark Detective, and Wein and Davis give the hero no easy out. His counter-attacks against the brutal creature make sense, and the final choice Batman makes echoes his response to Hugo Strange's Monstermen in the Bob Kane/Bill Finger originals.
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The conclusion to Devil's Footprints is unnecessarily downbeat, and what Brandon does to cause such a mood seems uncharacteristic. It almost feels as if the author felt that a more grim ending would give his story more weight, but instead, the reader is left wondering from whence this ending derived. Still, I do recommend Devil's Footprints as a quiet, eerie horror tale that's well worth reading.
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Formerly Known as the Justice League is not as funny as the issue where J'onn J'onnz becomes amused by Black Canary's reaction when she discovers that she missed the moment when Batman knocks out Guy Gardner with the quotable "one punch" and thus creates a plot thread that carries through most of the creators' run. The new book is not as funny as when Bea, Beetle and Booster Gold need to be rescued out of Bialya by Batman disguised as Maxwell Lord, but it is funny and far better than any team book that DC has not cancelled.
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The artwork captures the potency of the story and the grandeur of the characters. Green Lantern kicks off the book in a startling display of heroics that makes the heart pulse. Attacks by certain Leaguers exhibit experience and surprise not only the guest characters but also the reader. The aforementioned scene between Hawkgirl and Batman while not action packed still displays a motion that's characteristic of the alien policewoman. The reactions of the guest character neatly display emotion open for interpretation. The battle between Leaguers makes use of all their abilities and through the setup and artwork stuns the reader.
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When watching Jeremy Brett's early Sherlock Holmes mysteries there's a certain point in which the violin music crescendos and the static display on the television becomes a staccato of scenes in which Holmes re-enacts or susses out the culprit. Butch Guice, who yes with Mike Perkins and Laura Martin still provides the gorgeous artwork of which we've grown accustomed, mimics this type of cinematic feeling with a widescreen display of unusually uniform panels that are not read in clockwise but from left to right across two pages. It's a technique that broadens the scope of the book's narrative and heightens the tension. The idea is that each panel is a sliver of time that's unfolding before your eyes, and time is running out for Simon Archard.
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The revelation of the villain ties in with the Falcon/Gyrich partnership which comes to an explosive end, but anybody who has seen a Universal Dracula film will guess the identity, and his presence exonerates the United States government thus blowing the whole point of the exercise.
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Any thought that actual thought went into this chapter of "Slayer Interrupted" vanishes when the writers and Cliff Richards pull an old trick employed by countless slapdash productions of cinema. When a solid script is not apparent, when lapses of logic bubble to the surface, when plotting becomes erratic, showing women undressing will make the entire exercise forgivable. The shadowed nudity however does not quite have the same impact of live women taking a shower.
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Sadly, these connections did not come from hindsight. They did not come from careful thought. They struck like a bolt of lightning. Catwoman like almost every other DC title by relying on distracting scraps of continuity remains simply falls apart. I could not enjoy it because I was reminded of everything I hate in DC's so-called original universe.
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Avoid Batman/Planetary at all costs. For those interested in seeing the best crossover between the Wildstorm and DC, I recommend Adam Hughs' and Lee Bermejo's Superman/Gen13.
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Terra Obscura isn't without total merit. Yanick Paquette, Karl Story and Jeromy Cox do a splendid job of rendering the panels. Miss Masque and Carol look powerful and confident. This contrasts the fact that neither of them has a clue and are apparently inept weaklings. The illustrations of Miss Masque's more pleasant emotions when the girls catch up in a diner are particularly evocative. However, excellent artwork like boobies will only take you so far.
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Mr. Wagner does some amazing work in Trinity. The settings are both symbolic and evocative. Metropolis stands around Superman like a golden city of tomorrow. The panels depicting Antarctica almost feel cold. The architecture and the environment give the book scope. This story is not taking place in the two dimensions confined by the borders of the comic book page. It occurs, as with the best movies, somewhere at some time. The heroes breathe. Their costumes and clothing wrinkles. Their feats of strength and majesty and sneakiness appear out of the ordinary because their world is a tactile, living thing that lends motion to the story rather than serve as a reminder for the static of the medium.
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The ramifications of the story present an interesting problem. Because of Ivy's situation, the Joker/Harley team must be reconsidered, and this may also lead to Batman having a new ally when the clown needs a cute punching bag. Surely, Ivy must also reconsider her ecoterrorism stance, and a cure for her condition may become her top priority.
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By no means is Heroes Anonymous a bad book. It does not rank amid the smelliest issues of Superman, and it is not scattershot in the narrative. The dialogue makes sense when it is supposed to make sense. If the characters had a plausible history, I cannot see a reason why I wouldn't follow their adventures. The biggest asset of the book is the artwork. The largest deficit is in the plot that I found forced and non-descriptive of its target.
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Power Company features superb no-frills artwork that matches the skill displayed on the cover. The story takes advantage of the medium to present a nonlinear narrative is still easily understood. A rich cast of characters and knowledge of DC's history completes one of the most professionally put together comic books on the racks. I know I often question DC's collective intelligence, but even a simpleton can see what a stupid move on their part it was to cancel Power Company.
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The Powerpuff Girls defeat of the sinister simian is satisfyingly decisive. While nobody learns a lesson in the story, the lesson is clear anyhow. Too much focus prevents you from seeing the world around you.
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Route 666 has swooped away from its slump to provide an entertaining blend of horror and comedy. Any previous similarities to Buffy the Vampire Slayer have vanished, and the action-packed story kinetically illustrated by Karl Moline drives the reader breathless through the pages.
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Add two different versions of "How the Simpson Sibs Spent Their Summer Vacations" by Jesse Leon McCann and a two page joke by Earl Kress, and you've got another perfect issue of The Simpsons.
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Despite the eponymous character being scantily-clad, Vampirella is not a T & A book. The title heroine lives up to the description. The intent is serious, and her personality overwhelms the amount of skin being shown.
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The artwork in the comic book is more precise than the first issue. Bob Layton lets more of Dick Giordano's talent shine through on the pages. Regardless of how heavy the inking, Giordano imbues the characters with emotion and distinctiveness. Our hero bears an aura of gallantry in the scene where he calmly walks into the trap to save all those lives threatened by DuLac. If he dies here, Deathmask would have died a hero, and that's really the best compliment you can give a comic book star.
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Dick Giordano is one of those unsung legends you know about but never see written about in the comic press. His artwork here is again perfect. Everything looks as it should. Everybody penciled is proportionate, and in the scenes where Deathmask cuts loose, Giordano excels. Bob Layton however is a little sloppy over Giordano's sketches. This is especially noticeable toward the end.
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When Mr. Fowler manifests Batman toward the end, he realizes the dark legend he is supposed to represent without losing the humanity behind the mask or the man in the costume.
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While it's perfectly acceptable for the Stephen Hawking Type Mind in an Android's Body to ask the victim on a date though kind of creepy, her sob story is of the movie of the week genre which ends in an Afterschool Special brand of death. The victim's sad, oh so very sad, death permits the Stephen Hawking Type Mind in an Android's Body to chew the scenery as if he had just been freed from a prison where he had to subsist on jaundiced rats. The creators compound their crime by teaching The Stephen Hawking Type Mind in an Android's Body a trite lesson. Despite all the Stephen Hawking Type Mind in an Android's Body's powers there are some things even he cannot do. The more I think about it, the more I see Superman mucking up the space/time continuum to save Lois Lane as a lot more surprising and daring than the Man of Steel simply accepting that he could do nothing to save her.
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I haven't felt such ambivalence toward a title in years. I can feel a passionate loathing for Hawkman and gush over the latest Batman Adventures. Freemind is the epitome of ennui.
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Byrne has in the past admitted that he wished he could better distinguish faces, yet in Generations he creates character through emotion. The sorrow, the guilt, the raw anger on Lois' countenance can be felt and also deepens the humanity in Batman as he shows his stoicism is but a mask that can be peeled away when his loved ones deal with the pain of a broken heart.
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I have stopped reading Doctor Who novels when the first ten pages did not involve me, and this zero issue of the comic book commits one of the BBC's cardinal and signature sins. The protagonist does not immediately appear. There is no indication that the actual villain of the piece is not going to be the hero or the book's center. Fortunately, things do change.
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This issue dramatically gives the reader an idea of the Metallix suit's limitations. The reason why Iron Man clicked with readers is that though Invincible he was not Invulnerable. Despite having more advanced technology, the Metallix suit does not grant invulnerability to the wearer, and this gives the reader the option of feeling concern for the team.
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Like the Challengers and the Sea Devils, the Metallix Team are distinctly characterized and fit specific functions. The team carry out detailed missions, and their less than mercenary attitude makes them more welcome in the arena of extraordinary adventurers.
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The problem with the story lies in the execution. I cannot see Daphne interested in women's wrestling, yet it is she who says "I want to see the women's wrestling! That looks like fun!" The story would have been better had the referee called in a favor that got the gang to investigate the women's wrestling at the carnival. Another sensible scheme would have been to have Shaggy--who watches wrestling on television with Scooby as the story mentions--pull the gang over to the matches. As it stands, the story just seems off and never loses that feeling.
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Before he departs, Ron Marz introduces another character in the book, the elements. A sandstorm naturally creates difficulty in Bohr's charge to bring Arwyn to Mordath. It provides cover as well as danger for the cast, and here the events take a different turn from the expected journey. Ian Edginton has significantly large shoes to fill.
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The United States in reality has allied itself with murderous cutthroats including the boogeyman himself, Osama Bin Laden, all in an effort to disrupt what Eisenhower called the Domino Theory. In so doing the past administrations have created many of the problems that we now face today. These thoughts crystallize when a recognizable evil, who does not even behave like a hero to his own people, becomes the United States' attack dog against Superman who despite maintaining a different philosophy with a few scary elements still manages to be a knight on the chessboard of the world.
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Poe in the opening attempts to claw his way free from the coffin and in the process bloodies his fingers. Mr. Davis does not splatter blood from his hands. Instead, he shows his hands cracking with tiny cuts. He reminds the reader of the pain through scenes of Poe as he talks to the Batman rubbing and dabbing his hands with a handkerchief. The scenes give the reader something tactile in which she can sympathize and conveys the trauma that Poe experienced to help create the artificial reality of the story. Len Wein and Guy Davis are a rare and unlikely match in the world of comic books.
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Stefano Raffaele's artwork continues to impress through an exciting presentation of Mr. Nicieza's choreography. His style of anatomy bears a traditional European professionalism, and the entire package makes for an attractive dark fantasy with horror overtones worth reading.
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For "Cats" Mr. Callen plays devil's advocate. He gives two sides to identical situations but offers far from parallel viewpoints. I have no love for domestic cats. So, there may be a bias on my part, but I laughed aloud.
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There's a good story in this issue, but it's stymied by a desire to rather than follow a straighter continuity merge all that has gone before. That way lies madness. Still, despite the errors and the flaws in Mr. Hall's story that makes one groan, Justice League Adventures still soundly beats anything from the so-called Original universe, and Mr. Burchett's sketching makes the book something you do not necessarily need to read in order to understand the gist of the plot.
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Artist Walter Carzon comes up with a very neat design for the antagonist that differs from the usual brutish antagonists on the receiving end of Bugs' righteous vengeance. His angular looks remind one of a shark which fits perfectly the persona.
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The artwork captures the look and feel of the animation, and the vibrant colors of Art Villanueva deserve special mention.
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A charming cast of characters whose snappy, clever dialogue recaptures the magic of black and white screwball comedies provide the mystery in Ruse with its vivid color.
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While "Red Zone" expands on an already big idea, the story still crackles because the Avengers are the stars. These are not mere ciphers discovering the Frankenstein Monster beneath the Pentagon's more public ideals. This is Captain America whose spirit remains unbroken and vows that the criminals hiding behind the flag will be found and punished. This is the Vision who despite being an android or perhaps because of it exhibits more humanity than his foes. This is Iron Man and the Black Panther, whose relationship has become similar to that of Superman and Batman, combine resources to find a cure. Everything about this book is perfect.
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"Slayer Interrupted" features only two fights knitted into the fabric of the pace. Normally, such a serious, less than action-filled story tends to make me consider chewing off my leg to escape, but every page of this book interested me and reached its dramatic goals.
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One thing with which I do credit Ed Brubaker is that he did not prolong this lousy storyarc then dovetail it into another lousy storyarc to depict an all-consuming angst that has no place in what really is an escapist title and welcome. Here's hoping "Road Trip" returns the characterization back to normal.
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There is certainly skill to be found in the well-crafted dialogue and superb artwork by former Wonder Woman artist Matthew Clark, but the culture of the Inhumans does not seem plausible, and nobody seems to be having any fun.
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Many fans, writers and artists portray female heroes in but one way: scantily clad and filled with busomy goodness. Vampirella while showing ample amounts of skin also sports a finely-honed musculature fitting her heroic role. While beautiful, she often looks dangerous. We can thank the current art team of Javier Pina and Jimmy Palmitotti for a respect for anatomy that instead of defying gravity lends gravity to the story.
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The brief but poignant tale offsets Penguin's criminal past with his polished present. Artist Templeton further muddies the question of Penguin's innocence and ultimate goals by portraying him as an arrogant, preening bird. He also stages a beautiful take on Batman in disguise.
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So far, Professor Utonium has been an ideal parent. He excels however when Tess Turbo proves to be a less than gracious star. To be fair, she had an excrutiatingly bad Fay Wray day. The Professor tries to reason with The Powerpuffs, and he reminds them of their duty. When the Girls use a move they learned from the Tess Turbo television series, Professor Utonium now takes the oppotunity to educate. The scene emanates warmth and compassion thanks to Phil Moy's artwork, and it's a good lesson to be learned for every Slayer real and imagined.
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What asks you does James Bond Jr. have to do with "Lisa Goes to Camp?" Simple, Ian Boothby's story while successful in elliciting laughs and spoofing Mr. Bond with little editing could have been a straight-forward episode of the wretched series. You cannot ask for greater camp value. Of course, Jimmie and his magic flute's cameo helps.
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These set-pieces could have been gently worked into any story. Unfortunately, Mr. Straczynski chose to knit them into this uninspired tale merging a lesser Hulk and gangster cliches. Worse, it continues next issue. The sorry concept barely has enough steam for two.
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Apart from the atmospheric plot, Allie's finely tuned sense of the characters enrich the dialogue and the events. Brandon's want to rid the Waite family and friends of their curse bestows to him an aspect of heroism that belies his failing body. With his bloody nose and body language, Brandon always looks as if he's literally falling apart. His brother finally accepts his destiny for the sake of his wife and child, and this deepens his character. Sarah is Brandon's heart. She seems nothing but sweet and loving. She gives Brandon strength and exemplfies what a cruel fate has been dealt to the Waites. This issue reveals the surprising nature behind that fate and is not be missed.
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Karl Moline relishes the chance to display his flair for comedy. He shows the desperation in the domestic doppelgangers' body language and expression as they try to appease Cassie, whom they believe is merely toying with them before delivering the coup de grace. He times a traditional serial killer horror scene for the juiciest punchline. He understates a look of hapless acceptance as the creatures wait for their inevitable doom. This is a very unusual but welcome issue of Route 666.
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Mr. Marz after introducing this fascinating addition unveils another surprise waiting in the wings. The surprise shows how Arwyn, Gareth and Kreeg though very successful in their quest still are the underdogs contending against insurmountable odds.
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Despite England seeing better days--and how clever of Byrne to draw upon an extrapolation of one of Britain's dark periods--the mood of the story is one of swashbuckling and good, old-fashioned serial fun. The surprise presence of a former sidekick from Batman history further lightens any potential for tension, and the staging is rollicking with the "wife" explaining the situation as Batman & Robin go into action peripherally on the panels. If anything Generations is a popcorn book. There's not enough popcorn books.
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"Well, we're outside our time slot. Thanks for watching Infinite Earth Sports and yet another damaging victory for the Multiverse Giants. Tune in next for WGBS News with my good buddies Lana Lang and Clark Kent followed by an in depth report on the death of Metallo by Lois Lane. For Betty, Brock and myself goodnight."
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The colorist is a bit confused with the next vignette's star character, but Mr. Busiek once again shows how this type of story should be done. He doesn't just provide a legacy and one that is unexpected. He explains why the legacy exists and why it's so important.
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Between the main plot, Mr. Lash strengthens the continuity of the series. Byrd's outrage at Alanna tuning out Iain for the lascivious and nauseating Chase Hawkins instantly snaps readers right back to the personal lives of the Counselors of the Macabre. Corey Wolff, Alanna's sister, is turning out to be a better assistant than Mavis ever could have hoped for, and new character Roberta Bronski a reporter of the macabre makes a memorable debut.
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Something's amiss when Young Tom Strong actually entertains. The story doesn't even try to place Tom in jeopardy. Thus, our usual criticisms do not apply. Rather, the villain is sufficiently vile and eerie enough, and the way in which Tom dopes out the rules of his magic impresses. It's a pity about Young Tom's stupid Moe haircut, but the artwork uniformly attends the school of anatomy.
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McDuffie does not suddenly lobotomize the Dark Knight. He does not make him standoffish where he refuses help. He instead finds a smart way to cut Batman down to a level more suitable for the match and makes the finale something you don't just read or observe but savor.
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Apart from Neil Vokes superb artwork, I didn't know what to expect with Gene-Fusion, but it's turning out to be a very pleasant surprise.
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The second puzzle's plot offers complexity that allows the delectable Daphne to show off her sleuthing ability. Mr. Lewis also has the audacity to construct a Freddie trap that actually works and perfectly times the use of Shaggy and Scooby. The scene not only provides some good-natured fun but also remarks on the friendship shared between the gang of those "meddling kids and their dog."
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Something this thick would seldom fail to earn at least four bullets, but this second issue of Comiculture is actually better than the first. Its presentation is smoother, and the overall genre content combined with the breaks filled with interesting articles makes for a more satisfying read.
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The internal narration hits the right notes, and the final sentence shows Batman to be more than a humorless sociopath. The artwork by Mr. Templeton smoothly brings the lank Cavalier to the animated Gotham City. I also appreciated how the origin is a precise recreation of Bob Kane's and Bill Finger's Bat-Man origin. No bats smashing through a window here. Frank Miller I think only intended that to be point of view symbolism--and not the ridiculous idea that Man-Bat's experiments sent the bat crashing through Bruce Wayne's window. "It's an omen!" Batman Adventures heralds a long-life for Batman fans young and old.
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Nevermore with Batman pro Len Wein and the attentive artwork of Guy Davis continues to be a not-to-miss elseworlds series. Fans of both Poe and Batman will be especially pleased.
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Stefano Raffael's artwork adds to the realism of the book and provides the contrast needed for an unbelievable, fantastic element to stand out. His scenes, with the sepia palette of Elena Sanjust, interest through a faux tactile illusion provided by designer David Nestelle. The panels appear to be illustrated on the old rough-grain paper that you would find in the pages of an old tome, and this certainly suits a dark fantasy involving an author who has ties to a medieval time.
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"What Makes a Hero?" as it should be is optimistic in tone. This is not a world where madmen would be allowed to slam a pair of planes into skyscrapers. This is a world protected by the Justice League, and because of their presence and inspiration, their world is a safer place.
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These jarring scenes frame Mr. Hyde's revenge on a particularly nasty member of the group--or perhaps former member would be more accurate. The scene is presented humorously even if the intent is not humorous, but Griffin has proven to be such vermin that Hyde although his act is truly reprehensible looks like the protagonist. I doubt you'll see this scene in the upcoming film.
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Catwoman however isn't like a television show. Each episode is issued monthly. Each issue needs a change in mood to make the doom and gloom count for something. If all the characters are circling the drain, it's difficult to be affected since the rhythm of the story is one-note.
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"Slayer Interrupted" is not the best of the Buffy the Vampire Slayer canon, nor is it the worst. It's to borrow a Douglas Adams designation "mostly harmless." The characters with the exception of Dawn behave and sound like the cast, and I have no doubt that the story's pace will pick up speed in the next chapters. Cliff Richards pencils, Will Conrad's inks and the colors of Dave McCaig make for an attractive presentation that spotlight Sara Michelle Gellar's look and body language as the Slayer. Her despondency and loneliness are captured in each panel.
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I hate the DC universe. Power Company, like Young Justice, seemed to be a bright spot. With its demise, so vanishes the hope for better-written comic books from a comic book company that has yet to comprehend what they have lost.
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The one absolute you can count on when reading Ruse is pleasure for the eye. Butch Guice, Mike Perkins and Laura Martin do not disappoint. Although Emma and Charity can deliver each other's lines, the art team makes them Betty and Veronica distinctive. Much visual fun can be had with Ophelia's lack of height, and my, doesn't Iain look like somebody Simon would gleefully trip at a gathering?
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Moments of the Man of Steel's humanity are not forgotten. We see Superman interact with the innocent he has vowed to protect, his childhood friends--who are clumsily renamed--and rivals he wishes he had not. Thoughtful, exhilarating and definitely Superman, Red Son is this year's most pleasant surprise.
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The world of Vampirella is one that often mirrors our own. The occult exists on the outskirts of general knowledge, and the innocents she protects are unaware of her presence. However, for women there is still a more substantial threat: sexual harassment. Many of my female friends have told me horror stories about men--alleged men--pawing them and cat-calling, making lewd suggestions and exhibiting as much class as the average Blind Date contestant. I think I'll show these friends how Vee deals with such embarrassments to gender. Mr. Smith perceptively brings the war between the sexes to the pages of Vampirella and balances out the justice she metes. These louts do not deserve to die, nor should they be ignored. Vee deals with them in a characteristic, take no prisoners way that will leave a grin on your face. How ironic that the most scantily clad super-hero in comic books also happens to be the most liberated.
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The rest of the book makes use of Springfield's odd and fickle desire for culture. The Mark Twain festival doesn't seem out of place at all and is symbolized in part by the play put on by Bart and Lisa. Lisa of course wants a strict adherence to the story, and the devilish Bart seeks to provide only the best entertainment. This basically goes to the idea that Springfieldians really just want to have fun. If culture comes with it, fine. If not, all the better. Thus, it's not absurd to see Homer in expertly tailored period clothing, nor should you expect that a speedboat chase in a Tom Sawyer tale would be unwelcome to the hedonistic denizens of the surreal town.
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This is another Karl Moline book, and he seems to really enjoy the circus addition to the plot. The circus gives him the opportunity to draw a variety of unusual cast members and play with the mood and atmosphere. The more enabled Cassie as well as her circus performer troops allow for more action and drama which he embellishes with a scary ease.
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Lisa gets her revenge in the final story which parodies Ray Bradbury's dark fantasies. Mr. Bradbury is of course the perfect author for a literate girl like Lisa to admire, and her revenge on Bart is far more complex which also suits her character. The artwork in this short not only nails the Groening style but also inventively conveys an array of smaller illustrations done in a different style. Art within the art one may say.
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Artwork by John Romita Jr., Scott Hanna and Dan Kemp amazes and delights. The fight scenes excite, and the scenes with Peter and M.J. evoke a tenderness that belies the more stylized comic book look that certainly supports the lighter, comical scenes. I'm constantly awed at how much emotion Mr. Romita can weave from Spidey's face even when covered by a full-face mask. Were you merely to leaf through the book and ignore the crackling dialogue, you can just by observing the artwork still understand the emotions at play.
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Olivier Copiel again impresses with a distinctive larger than life interpretation of the Avengers that rises above the simple standards of the comic book's past history. Many an artist has given the Avengers realism and made the book aesthetically appealing. Anatomy has been recognized. Visual plotting has entertained, but this is the only time I've seen the Avengers become something other than a bunch of costumes--however well drawn--on a page. With the Olivier Copiel and Johns at the helm, you have faith in the Avengers as heroes.
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It's interesting to compare and contrast Fray with and against Buffy the Vampire Slayer. Mr. Whedon could have simply ripped himself off. He could have simply cut and pasted Buffy into a post-apocalyptic world and repopulate for instance with a Xander-type and a Willow-type. Xander and Willow are not types. They suit a role, but their characters extend beyond their roles. To be true to his work, he had to create new characters, and he cannot emphasize the subtlety of difference. He gives Fray a sister but does not copy the sisterly relationship of Buffy and Dawn. He gives Fray not a watcher but a noble demon. She has a bond to a vampire, but it is unlike that of Buffy's relationship with Angel or Spike. This diversity makes sense because Mr. Whedon understands that characters cannot be fitted into a story without changing it. He also proves that you can create new characters to form an intriguing, entertaining story. The collective creative well has yet to run dry, and the c
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For once, Jerry Ordway's artwork isn't wasted on Tom Strong. His attention to detail, his study of the human form, his adherence to a naturalistic movement and expression all do much to not only make the story pleasing to the eye but also creates a feeling of the genuine. Through the artwork you accept that this time line could have happened. It is not grotesque or ugly, and such aestheticism deserves to survive. Will Tom Strong find a way to save both time lines, or will he need to sacrifice the other so one may live? It's a classic.
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If you haven't been hooked by the intrigue of the Victorian you haven't read an issue. Rectify this situation immediately.
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When the Creeper makes an appearance, you honestly do not care. Too much of the story has been wasted on the boring twins and the dull triangle shared with the detective-lover of the wild one. Let me save you around fifteen bucks, the detective will in a "surprise" revelation turn out to be the rapist.
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Goyer and Johns once again attempt to define Kobra as a Bin Laden type terrorist which is like equivocating a beagle with a Rotweiller, and his cohorts do not seem any better. The trio of main villains--our Princes of Darkness--seems rather shoddy with their ill-defined plans. They combine their awesome powers to move the moon before the sun. Oh, horrors. Now, surely this would grab the attention of the JLA since their headquarters sprawl across the lunar landscape. The continuity complaint would have been rendered moot in the good old days of multiple earths, but DC continues to try to assure us that we still live in an age of grandeur but with the added bonus of "simplicity." JSA is so simple it gave me a headache.
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Stephanie Gladden from Hopster's Tracks provides energetic artwork. It's magnanimous of her to hide her own style--Chuck Jones worship all the way--and sport the Craig McCracken Colorforms look of the show. It's also interesting to see how she transforms original characters into that animated world.
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Boneyard is funny, beautifully drawn in a crisp clean style that draws upon the tradition of anatomy as well as cartooning but also unpredictable and well worth your time and coin.
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The story is well paced and put together with care until the authors reveal the monster. The revelation forces a mythological aspect that does not gibe with the science fiction theme. Because the monster is a product of science fiction and not dark fantasy, it must also seem plausible, but the monster's origin does not make sense when one considers evolution.
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Cassidey introduced last issue mainly as comedy relief joins the cast of Sojourn in a much fuller sense. Marz shows her to be more than a foil. Her knowledge proves invaluable, and her want to gain Arwyn's trust is at times suspicious as well as winning. You really want to root for her and for her to stay on Arwyn's side even if you suspect an imminent double-cross.
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Another improvement in "The Pack" can be seen in the return of Vampirella's heroic attitude. She does seem to care what happens to an innocent woman, which is a far cry from a previous chapter where she seems to callously leave a group of innocent bikers for the slaughter.
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All in all, Devil's Footprints continues to be a pleasant, well-paced dark fantasy brimming with strong characters about which you care. Despite Mr. Allie's experience editing the Buffy titles and Mike Mignola's Hellboy stories, his own work while as nearly impressive distinguishes itself.
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Kudos must also be given to unsung hero Kurt Hathaway who is no mean letterer. His decision to add sound effects or remain silent creates an impact. We can for instance imagine how a breaking door may sound, but the chok of a batarang and choom of its explosion exhibits fine foley engineering.
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Her relationship with the young intern Ethan is cute without being cloying and engenders further sympathy toward this character. Elyssa is also somebody who is constantly being put down and doubted. What's fascinating is how Gene Fusion instills the exact opposite of what it derides. Being human, we cannot help feel sorry for Elyssa and root for her success.
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The strangest thing about this book is that the heroes fight more crime than Batman does in the inferior universe. They are given more facets than any DC hero from that same inferior universe, and they still have the ability to be as funny as non-combatant comedian characters. These two are so memorable that they could have arisen from the pre-Crisis.
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Karen Matchette's style varies widely from Joe Staton's work, but it's unfair to compare any artist with another. Ms. Matchette's style is still valid for rendering our favorite "meddling kids." Unfortunately she's stuck with a very crowded story. She must have been sent out to buy the Cheet-o's when the powers that be had the meeting about who was going to draw the story with the most characters. Simply increasing the page count of the short could have alleviated the crowded feel of the story. This would have given the story not only more panels but also better pacing.
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The trail of dominos leads me to my single caveat regarding this issue of Generations. Batman is written shallowly. His dialogue does not sound characteristic, and his attitude toward Wonder Woman's death is callous. The attitude may be exactly what Byrne wishes: to corrupt the now immortal Batman, but I cannot imagine any earth producing a hero who has been so shaped by death being cavalier about the loss of any life.
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Guy Davis drew Baker Street, Sandman Mystery Theater, the Nevermen and Danse Macabre. He has never once for the comic book reading public illustrated an anatomic, finely honed physique and to an extreme often prefers a citizenry of Mole People. This is not to say that Mr. Davis cannot do something that would make Burne Hogarth proud. Rather, he chooses to do something that is dynamically opposed to that type of traditional comic book artwork. Nevertheless, Davis' artwork fits the atmosphere of the story and fulfills the requirements of period detail that blends into the background. His Poe is somewhat whimsical and innocent which nicely contrasts the Batman who seems to come straight from a Heironymous Bosch hell dimension. Davis is also the most animated for Batman: Nevermore. Some of those issues of Sandman Mystery Theater tended to eschew action for ratiocination. Nevermore combines the two. I can't say that I fully appreciate Mr. Davis' artwork, but I really can't see anyb
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Comedy relief comes in the form of Smiley and Phoney, who is well out of his depth. Smiley's laid-back and smooth understanding of almost any situation contrasts the rather goofy, insane individual that was introduced back in the fun days of "Stupid, Stupid, Rat-Creature!" None of these elements seem out of character. Rather, Smiley is simply put to good use in a very different situation with a harsher mood. His philosophy of life and questionable actions no longer seem lunatic when the backdrop is presented as a time of insanity.
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"Sideshow Fry" has the feeling of a Futurama episode. It's packed with all forms of comedy. Visual sight gags abound. Slapstick is rife, and a peculiar homage to the underrated show The Greatest American Hero becomes particularly important. Comedy dependent on the characters and the continuity of the show can be found in these expertly rendered candy-colored pages, but what sets this story above the average issue is the focus on the friendships of the cast and their willingness to make sacrifices to keep each other happy. Apart from the laughter the book elicits, it will also persuade you smile and feel good.
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Where the book fails miserably is that the author doesn't consider or is unaware that Douglas Adams sent up, way up this type of plot in Hitchhiker's Guide to the Galaxy. Anyone who read that novel will find this story risible especially given its funeral gravity during the conclusion. Even those who have not read Adams' absurd classic will find the amphibian nature of the creatures a little damaging to the seriousness of the tone.
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His determination and super powers--he really wants that cereal--all come into play, and he even manages to run afoul of some supervillains including Sabertooth and a hilarious version of the Blob. Giarrusso furthermore sneaks in some of that racism toward mutants that has come once again into vogue. Granted, he does it in such a light manner you may not see it, but it's there. Rather than waste more trees with U-Decide contests, a booty-loving stereotype and gay, dead cowboys, Spidey & the Mini-Marvels is in what the publisher should invest.
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Gore and blood are alluded to on the very first page and clues the reader that this is not going to be a clean and censored story. Again, there is a difference between violence, and even ultraviolence, and splatter. Stefano Raffaele knows exactly how much to spill to cause an impact in the reader. Together, Nicieza and Raffaele, with the muted colors--a divergence from giallo--of Ms. Sanjust make The Blackburne Covenant a thoughtful exercise.
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I have got to tell you folks, I have had it! I know Johns can write but he continually fails to do so four issues in a row of Hawkman. I've enjoyed his work on The Avengers, definitely on Stars and S.T.R.I.P.E. as well as early issues of JSA and the premiere issues of Hawkman. The fruit has rotted on the vine, and I cannot tolerate the smell. This will be the last issue of Hawkman I will purchase until another writer takes a flail at the title. Excuse me while I reread Ben Raab's mini-series and my Gardner Fox collection of Hawkman books. Those make sense!
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On the other hand, Ant-Man's helmet looks ridiculous. Ms. Marvel wears padding. Why? She's Kree. She was hit by Iron Man and reacted as if she had been smacked in the face with a pillow. It's obvious Copiel likes drawing the She-Hulk; we can thank John Byrne for taking the savage out of her name. I must though protest her abbreviated costume. Such a garment has no place in a dramatic story. I did not wonder once if She-Hulk shaved down there, but after seeing her, all I could consider was whether or not she went for the Brazilian. I would also like to know why her nipples stand at attention throughout the adventure. It's not cold. She shouldn't be sexually excited over the carnage. So her nipples should not be erect. Q.E.D.
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Mike Wieringo returns for this issue. His art is very suitable for the lion's share of the story, but it's too shiny and innocent for the finale. The sense of the horrific is downplayed, and I wouldn't be surprised if the character in question wasn't artificially aged in comparison to Doom and Reed Richards his contemporary just so the creative team may better get away with presenting Doom's criminal acts.
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The high budget comes from Butch Guice's, Mike Perkins' and Laura Martin's superb settings as well as the typical jungle cliffhanger trappings. The "dance" between Emma and Miranda is a sultry one and when taken in consideration with the dialogue hilarious due to its straightforward presentation. Despite Miranda's apparent wish to tongue-lash Emma (pun-intended), she also wants to feed from her as a magical leech and kill her because she's too dangerous to have around. The artists convey every one of Miranda's emotions. It's doubtful that Miranda is attracted to Emma as anything but a shark to chum, yet they show this villain having some obscene fun. Emma's response is to keep a stiff upper lip. Maybe it's just me, but the whole tango struck me as simply ludicrous to the extreme.
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The second joke which involves detective Lamount would have worked better visually. I would have rather seen the heroes mentioned in his dialogue stop by, check the character's credentials and go on their business as he waits for Spidey.
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When Batman reaches the Joker, he learns an unsettling truth about himself. The words do not immediately impact. They gnaw at him later, and this time in the light, Batman makes a decision to finally accept the meaning behind his parents' grins.
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Dawn's characterization is quite winning in the story. The author/artist nicely seesaws back and forth to her status as an innocent little girl who likes to hold tea-parties with her stuffed animals and a Slayerette who enjoys kicking monster-butt on her videogame machine. Her dialogue perfectly captures her youth and innocence. I also like how the bear seems to respond to Dawn in a very honest way. His intentions are always good, and this garnishes reader sympathy toward his sad but funny end.
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A man would hit the bottle or get into self-destructive fights. Women have sex when they shouldn't. Why can't a woman get drunk or become self-destructive in a physical not intimate way?
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That said, there is a potential for these characters especially under Manuel Garcia's lush artwork and fine sense of anatomic prowess. Certainly, there are cheesecake shots, but no more so than in other comic books, and the heroes of both sexes are treated seriously.
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The most bizarre tale is the first which uncovers the origins of the bone in Sideshow Mel's hair. This story is original and clever. You cannot predict a single moment in the story but everything makes a quirky kind of sense.
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Tony Bedard gets bonus points for preserving Cassie's sense of humor. In fact, throughout the issue, he better manages the blend of horror and humor in the plot. These sources of humor are all clean rather than scatological or inhumane like last issue and also have a broader range.
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The artwork in Decoy always was professional and exhibited moments of brilliance, but there's a greater quality in the work and a tighter attention to the progression of panels in Storm of the Century. It may just be that the more dramatic story gave Ms. Huddleston greater inspiration, but everything simply looks better. Stand out scenes however have nothing to do with the characters; though the character designs are proportionate, less cartoony and well thought out. The "storm" itself impresses. The water in these static panels seems to torrent, cascade and even roar. If you're going to call your story Storm of the Century these are necessary and welcome attributes. Highly recommended especially for somebody looking for something a little different.
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Believe it or not, these aspects of the story are merely the surroundings, the trappings of the main plot which gives a smart clever motive for the faux hero's motives and leads to a thrilling final battle between the Bat, the Clock and the Nut.
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The conclusion of the story recalls the sixth season finale of Buffy the Vampire Slayer where Xander reaches the good Willow tormented at the core of her corruption. The problem regarding the Power Company lies in the execution. Buffy established the history through six seasons of character interaction. This gives Buffy's finale meaning and heart-wrenching depth. Mr. Busiek creates an instant history that makes the ending seem contrived.
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The artwork in both stories captures the Craig McKraken style, but the second story outshines the first with a comical distortion that wisely anticipates how the style may be applied to an original intention.
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This issue sets up the plot proper, and perhaps that's why you're not expecting the splendid surprise ending. The artwork by Val Semeiks is looser than that found in the first issue, but it's still professional enough to keep the story in fluid motion regardless of whether Batman battles government spooks or speaking with Hyland and Karen.
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While I usually like Sal Velluto's take on practically any hero, I have to say his designs for the JSA leave a lot to be desired, and his discomfort in rendering the team shows up on all the panels. Star for instance looks like an adult and sports hair similar to that of Dove. Power Girl gets a bowl cut. Dr. Mid-Nite doesn't have that artistic resonance that made the character such a fan favorite. The two exceptions on Mr. Velluto's sketchpad are Hawkman and Green Lantern. He knows exactly what he wishes to do with these characters and coveys their power without difficulty. I like also that he made Lantern look older and spookier than usually depicted.
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While Joe Staton would have been ideal for detailing the second mystery, artist John Delaney and reliable inker Mike DeCarlo make able substitutes. They make the story visually funny. The standout scene is of course the aforementioned agile saves by Scoob. The first mystery rendered by Anthony Williams generates some interesting character design while promoting several sightless gags courtesy of Shaggy and Scooby.
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Batman aside, the Powerpuff Supertwins steal most of the book. Lara and Lois we discover are as eternal as Batman and frozen in their eleven year old bodies. This problem could pose all sorts of tomfoolery for a Marvel Max type book, but Mr. Byrne thankfully concentrates on the super-hero aspects and the pure love of life these characters exhibit to make Generations once again a worthwhile purchase for any, though not only, pre-Crisis fan.
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Gownley does something very unusual with the New York flashbacks. Rather than rely upon the tradition of sepia or black and white, Mr. Gownley creates a texture for the atmosphere. It almost looks as if he drew the scenes on crinkled up paper that has browned with age. Perhaps this was indeed what he did. Whatever his technique, it works adds to the total reading experience.
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Vokes, who I remember most from Johnny Demon has lost none of his talent. The characters exhibit a singular design and actions usually reserved for animation. The beasts and otherworldy creatures have a Muppet-like quality, and the beasts despite their toony nuances exhibit a dangerous, feral nature.
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While perhaps not as funny as that Doom Patrol issue where ze Brain burbles "Kiss me, Monsieur Mallah. Kiss me," Sojourn should not be missed by faithful and casual readers. If you've never tried an issue of Ron Marz's wonderful swashbuckling fantasy, the comedy, while not representative of the usual more dramatic fare, is a perfect point to jump on and enjoy the fun.
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Likewise, I suspected "Balloon Party" would go bust, but Sherri Smith shows a comprehensive understanding of how Bart ticks. The dialogue and his actions are just perfect as his satisfied smile.
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I'd also like to know how the D.E.O. got wind of what is a local crime. The killing of a police officer is not a federal crime and should have fallen under the jurisdiction of state and local authorities of the time. The FBI or another federal agency would not have kept the “hair” and “blood.” Due to the nature of the case, it is unlikely that the authorities in question would request federal assistance: a formal request, which would be necessary. Internal Affairs would most likely be called in to investigate if the force in that region was honest. Corrupt cops stand out in an Untouchables-type unit. I.A. investigators would oversee the death of corrupt cops. If the corruption were widespread, then the authorities would do their best to cover up the incident and conveniently "lose" the evidence to keep their rape squad happy. How this story occurs just does not make any sense.
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Why is Aresia handed over to a women's prison? She is an Amazon and should be remanded to the custody of Hippolyta. She at the very least should be held in a prison used to dealing with super-powered felons.
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In summary, the book costs two-twenty-five, draws out positive emotions and in reality is a thin anthology consisting of twenty-four or so stories. Even if you haven't bought an issue of Looney Tunes before, this issue is not to be missed.
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Woefully under hyped, Batman vs. Aliens likely soared right above the average comic book fan's radar. Seek out the back issues, or wait for the trade paperback, but do not miss this superb story detailing a problem that deserves Batman's involvement.
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Devil's Footprints is not perfect. The dialogue sometimes stumbles. On occasion the lack of context confuses. The discussions sometime just seem to happen rather than start. The dialogue however as it continues flows. This is a minor difficulty in an otherwise promising achievement.
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Although Fernando Blanco is missed for this adventure, Louis Manna provides some really nice work full of thrills and emotion. His anatomy, proportion and scale as well as detailed settings embarrass the dreck usually foisted on the unsuspecting reading public. My only complaint is that sometimes his inking becomes too heavy and distracting. The effect could be more apparent due to the glossy paper, but a lighter touch would be welcome.
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Vampirella is more than a pair of breasts and thigh high boots. She is a genuine super-hero and effective champion. She is the onset of a proud tradition that continues with Saint Germain, Sonja Blue, Nick Knight and Angel just to name a few. She deserves to be seen in something that invests nothing in plot, characterization or even setting. If Vampirella were a real person, she would be wondering why this story needed to be four parts when she could have eviscerated the Pack in one vignette.
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Trevor Barnes wastes every panel he is in and once again adds more evidence to my argument that nothing good comes from the post-Crisis. This whining, rude and also smug waste of skin--regardless of color-- doesn't need to exist in this or any comic book. Just the thought of him with Diana nauseates. Hopefully, somebody will have the fortitude to banish him to the dimension where his ghoulies had been hacked off or better yet set up an eight hundred number where readers may decide his grisly fate; I opt for him becoming Joel Schumacher's love-slave. I would rather see Diana have a fling with Black Manta than this useless churl.
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John Romita Jr. has been letting me down lately with his depiction of Mary Jane as an anorexic, but in this issue, he beefs her up and gives her real emotion expressed with subtle head movements. Spidey he portrays as wiry and given a frame that recalls his namesake. His version of the mystery guest is beefier but also graceful. This character stands out when showing a human side in comprehending Spidey's interaction with Mary Jane.
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The saddest part of the Avengers is that this era will soon be diminished with Geoff Johns departure for DC. For once, the Avengers really were "Earth's Mightiest Heroes" and not the Justice League's younger cousin still having much to learn.
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Something I did not appreciate before is Mr. Buckingham's techno talent. He may also be the first artist to avoid old phallic symbolism standard fare when detailing a scientific device. Reed's invention is not exactly a gun, and in structure it looks more like a mechanical nipple, or is that me simply projecting?
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The Bruce Wayne seen in this issue is a dullard. He forgets on purpose his employees names and is seen as a lay-about rarely at the office. Mr. Peterson should have known better, but what's worse is that Batman was unaware of the skimming at Waynecorp. Even were I to accept the Bruce Wayne performance as a bridge between the first and second animated series, I cannot and no Batman fan should accept that Batman would not know everything that occurs within his own company.
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"Viva Las Vegas" is a wonderful little storyarc that balances the humor and horror of the series, captures the voices of the characters and artistically keeps things jumping. If you missed the individual issues, I definitely recommend picking up the trade paperback when it inevitably becomes available.
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Cameron Stewart's artwork wonderfully captures the horror of Black Mask's tortures as well as the surprises in store for the villain and the reader. The confrontations pack energy, and the quieter scenes are well presented. The artwork in the epilogue looks a little squashed, but all in all, Stewart's artwork almost always startles with a rare dynamism and hooks readers into the story.
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All of these scenes infuse a sense of wonder and increase the humor, and you once again believe you can settle in and enjoy the vibe, but Mr. Beatty isn't done with you. At turns sexy and funny, Ruse suddenly rivets your attention with a dramatic intensity that comes in the disguise of yet another allusion to one of literature's fantastic figures. Without hesitation, this issue of Ruse is heartily recommended.
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Although Gil takes the part of the Grinch, "Jingle Bells, Bartman Smells" did nothing for me, and the gift of the Maggie misses the idea that Maggie and the Baby with One Eyebrow are archenemies. I suppose that could be a riff on the Christmas adventure of "Snoopy and the Red Baron."
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In "Night" Lovebunny and Mr. Hell play miniature golf. This is just surreal. The adventure completes the circle in "Night" as a joke introduced in "Morning" resurfaces and provides a punchline.
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Mr. Bedard is much better describing scenes of action than creating comedy. All the intended humor misfires. The deputies' lack of intelligence is more annoying than funny. Melchior's fate is downright mean and unjust. Predictably the only jokes available are those in the interaction between demons. Why is it that everybody thinks villains should be witty? Why can't the hero have a sense of humor?
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A surprise that releases the bowstring awaits the reader in the remaining pages, but the creative team enhance the suspense until the very end. Arwyn and Kreeg, her dog, enter an ominous looking town: veiled in sun but also swathed in shadow. You half-expect when the lad who waters and stables her horse warns her about Kreeg accompanying her into a tavern that somebody intends to eat Arwyn's only friend. A more pleasant surprise awaits. Capping off the book, Brandon Peterson delights with a captivating pin-up of Arwyn that appreciates her anatomy and comprehends aesthetics.
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Although the movement of the story is nearly incremental, the chapter is also integral to the overall plot. Since it reintroduces the major players, the chapter also represents a fair jumping on point for readers seeking to join the story. Either type of reader can still appreciate with the artwork which is art noveau adapted to comic book form.
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The finale is a big, wet raspberry toward the reader. After investing time and money in this lame-brained storyarc, the reader discovers it has all been for nothing. Rather than play by his own rules, Johns breaks them to create an eye-rolling cheat.
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Both Rex and Bruce do a lot of smiling, seem more human and exhibit more emotion than the typical clenched teeth range of the super-hero. The banter and interaction between the two heroes further lightens the mood and contrasts the terror instilled by a smart updating of a classic Superman villain. These heroes almost seem at play in this first chapter of what I predict will be an enjoyable series, and you get a sense that no matter how bad or gruesome things look, nothing can compare to the horrors of the Nazis.
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Power Company is a book that simply screams safe. The presence of Dr. Polaris further strengthens that secure, hardcore DC head feeling. A Hal Jordan Green Lantern foe, Dr. Polaris is one of the few characters in the DC universe whose history actually remains practically unchanged. He narrates the book with a particular brand of madness that does not fit his characterization, and you begin to wonder if Mr. Busiek is taking advantage of the post-Crisis rewrite. His earnest words while ringing somewhat true, another example of Mr. Busiek's skillful ear for dialogue combined with an understanding of his characters, just seem to be spoken by somebody else and not the larcenous Dr. Polaris we all remember. The revelation toward the end of the book is a masterstroke. It leaves you as dumbfounded as the characters within the book, and suddenly, the narrator's out of character voice falls into place.
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The Powerpuff Girls is not only a sketch comedy. The characters stay true to form. They are genuine super-heroes. When faced with a sticky choice between endangering innocent lives or using their abilities to escape a trap, the girls opt for the high road. Another amusement can be found in how Bubbles, Buttercup and Blossom become sometimes confused or surprised by the other's behavior. This creates individuals rather than stereotypes or hollow ciphers only meant to tell jokes and kick butt. In short, the end-result is a whimsical book with a surprising amount of depth in the characterization that anybody can read and enjoy.
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On page seventeen the curious cup-fillers pry out of their thanks for trying harness to investigate a promising patch of snow. On page eighteen, our heroes--by which I mean the breasts--fall into a crevice. Such is their power that they take the woman attached with them. This just may be very clever Freudian subtext. In short, better than Killraven and a night spent watching J.A.G., but then what isn't?
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Speaking in terms of artwork, the pages by Val Semeiks while decent do not really reach the standard he achieved last series. Batman's ears are too short for my tastes, and there's a definite Jim Lee influence to the look of the character which ill suits Mr. Semeiks' personal treatment. However, Semeik's attention to caricatured plug-ugly faces can be found here, and often Mr. Semeik's Batman slips through the veil of Jim Lee. Semeiks furthermore draws out more of the character's benevolence--especially in scenes shared with Karen and scenes depicting his devil may care driving--while still keeping him a figure of threat and fright for the opposite side.
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The lumberjack flaming skull haunter is a particularly inventive ghoul to pit against the gang, and Joe Staton has a lot of fun with the spook. Mr. Staton luckily for the reader portrays the gang vividly in both mysteries. His delectable Daphne is a wonder to watch, and Mystery Inc., he portrays with a usual attention to depth that goes beyond the limited animation of the original model. The irony is that Staton's characters are given a greater range of motion in static pencils than the original Scooby-Doo, Where Are You? cartoon. Dave Hunt's inks in the first mystery draw out Mr. Staton's soft, subtle pencils while Jeff Albrect gives a more stronger, pointed look to the characters. Nevertheless, fans of the series will appreciate all the artwork.
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Other hints of Byrne's talent for writing comic books surface. A guest-star makes a surprise appearance. The scenes involving New Genesis ring true. Izaya looks like Izaya in the only way Byrne can draw the character. There's just a volume of information within an interesting story to be dissected and a plethora of heroic characters to enjoy.
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Kobra'ssss esssscape raisssses sssseveral questionssss. When did Kobra "vissssit" the Jusssstice League Watchtower? How did ssssuch a losssser wackjob acquire Jusssstice League technology? When afterall has Kobra ssssucceeded in anything? When esssspecially hassss Kobra won a ssssingle victory againsssst the League?
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Repeat after me. A hallucination involving rejects from Stargate do not constitute a story. Again, we have some nice artwork, but why? Three dollars I could have used for an iced venti tea and a refill.
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The artwork by Cliff Richards, Will Conrad and Dave McCaig meets their usual standards for the issue. Outstanding are the Angel's appearance swathed in dark shadows and vampire colors and Buffy's gymnastics.
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The story's pacing though as quick as the antagonists seems to be physically exhausting to the character. When Batman finally beats the Aliens, there is no doubt in the reader's mind that he should look up Selina Kyle and take a very long, languid vacation.
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The artwork is sharp and colorful. Regarding Leela, the artwork takes in account proportion and aesthetic nudity. This contrasts the somewhat disgusting applications of the cold virus symptoms. There is less slapstick shtick then one expects. Most of the artwork is character driven, and the comedy derives from the departure in character.
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John Delaney, he who rendered practically all of the lamented Adventures in the DCU nicely brings his talents for cartooning again to the book. His sublime artwork can even make a traditional opening gambit of depending on meteorites exciting. He brilliantly draws out the emotional impact associated with being one of the world's greatest heroes. Tell me you did not hold your breath when the Flash is sucked out of a breach in the Watchtower, and he's not above a little innocent cheesecake which is more noticeable in the brief panels because of its lack of abundance throughout the story. Part of the credit certainly belongs to Mr. Snyder and Mr. Kalisz who add depth to the already impressive pencils.
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A lot of people do not realize how skilled one must be to render the Simpsons properly. Although the characters do not look anatomic, they still must be scaled properly and proportionate within their own model. The art team do this and wrings out as much emotion as they can from the Groening design. Backgrounds are full and rich. As the story goes from past to future, the period detail can match any serious representation.
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A story as compelling as this final chapter in the enjoyable three part crossover needs powerful artwork, and Alan Davis provides. Opening with a montage to the Captain's rebirth in a modern age, Mr. Davis evokes all the heroism and raw potency the story requires. He symbolizes the reclamation of Iron man's intellect and honor with a reflection of his classic look armor. He creates the subtle and class of Dr. Doom. Then there's that scene with the soldiers that makes one's heart beat faster. Words fail to describe it. The scene can be felt.
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Not convinced over why you should pick up Boneyard? Perhaps the artwork will sway you. Richard Moore has honed his skills to a fine black and white point that evokes beauty and whimsy.
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When Flash returns to Keystone, we discover "the horror, the horror," of yet another maimed character in a universe filled with magic and super science. This scene is meant to carry impact. Instead, I merely sighed and rolled my eyes. At least it wasn't another female character.
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The artwork by Butch Guice, Mike Perkins and Laura DePuy tries to salvage the wreck of the story. Everything looks good as expected, but no matter how prettily you sculpt limburger, it still stinks.
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Zendra mingles together plot and character to alloy a strong, engrossing story. If creators Martin Montiel and J.C. Buelna with writer Stuart Moore wanted, they could have made Zendra into a fantastic prose only novel. Instead, they chose the more daring option of forging a comic book. Penny-Farthing is technically an independent, but such a designation usually denotes quirky or bad artwork. Mr. Montiel and Buelna make the characters proportionate and emotive. They create a fantastic scifi setting completed by Mr. Garcia's vivid color schemes and as well storyboard to an internal continuity. Zendra is all around a professional production dependent on an enticing cast of characters and a strong plot in a carefully crafted universe.
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This issue of Amazing Spider-Man is ridiculous. It lacks a single original thought in the main theme, and it's only novelty can be found in the aforementioned throwaway gags. The story does however have good artwork, but no matter how good the artwork, it cannot possess meaning if the story means nothing.
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Mike Wieringo seems to be taking a breather for this issue of The Fantastic Four. Normally, that would signal impending doom with an impending guest artist usually of the Rob Liefield's caliber. Instead, Mark Buckingham compliments the light-hearted story with whimsical creations both anatomic and aesthetically pleasing.
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As an added bonus, Fever Pitch has a genuinely fascinating plot that banks on strong scientific speculation and allows the reader to figure out what may be happening. Mr. Kaminsky is a mystery writer, but I really didn't expect such engrossing entertainment. Even when knowing the nature of the culprit, Mr. Kaminsky still makes each word a moment of discovery.
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Nobody was thinking when they let this issue out on the stands, but the artwork by James Fry and Ty Templeton, soon to return to the throne of Batman Adventures meets the high standards of past issues. The story however is unfortunately worthless.
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Mr. Brubaker makes use of Selina's past experience of a master thief during the train scene, and then he brings to the fore her new persona as the vigilante Batman used to be to a violent confrontation. Mr. Stewart choreographs the scene perfectly, and when Selina drops in unannounced, she bursts into action that is breathtaking in its originality. The vicious fight is even better than the Bond/Red Grant duel in From Russia With Love.
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Clearly, Karl Moline was mighty bored since he seems to brainstorm demons from various mythologies just to keep himself awake while Tony Bedard starts to decide which direction the book will take. His work on Joss Whedon's Fray and the premiere issues of Route 666 is infused with much more energy and imagination, but you can do worse.
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Matthew Clark's artwork is a saving grace for this dull, dull story. His werewolves are threatening. His Vampirella is stunning and powerful. I like how he makes Vamp's breasts look like pecs rather than silicone balloons of fun, and you often ignore the rest of her body when studying the exquisite distinction swept through her face. There is however a nastier butt-shot than that on display last issue. It has no place in any fiction of a serious or semi-serious nature.
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The second story is another terrific Mojo Jojo caper, and Mr. Fredricks comes up with an inspired, original science-fantasy plot. The secret to life however is gum, and Monty Python's Flying Circus becomes the temporary bane to the girls pursuit of justice. Not only is the plot premise fascinating and fun, the girls beat Mojo through psychology not powerful physique. The artwork here is somewhat simpler than the first story but nonetheless eye-catching and enjoyable.
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The reactionary point of view of the United States best displayed by Presidolt George W. Bush just itchin' to go after, though not personally, the ornery galloot who attempted to kill his pa nicely gets a good shield between the eyes, and Alan Davis produces his finest work since The Nail. Mind you, he still needs to be forced into the leatherboy gear of Killraven and, with a cheesy rubber monster, beaten into unconsciousness for committing that particular crime against humanity.
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Tom Grummett details all with an attention toward proportion and anatomy. His composition of panels never once confuses and seamlessly knits together Mr. Busiek's story. Though this story jumps around from various points of view, you never receive a whiplash while reading.
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While I cannot talk about the story, I can talk about the extra gorgeous artwork by Greg Land, Jay Leisten and Justin Ponser. Sojourn is a book that looks gorgeous in general, but the gents in the art department really outdid themselves. First, Arwyn is a looker in every issue, but in this story, she is not only a knockout--a dangerous knockout--she is a happy knockout. Her elation and her warmth just emanate off the pages. By depicting her from an earlier period and displaying her emotions through the artwork alone--there is no dialogue--the team show exactly how dead inside she's become after Mordath murdered her family. They show that yes, she is still beautiful, but she's hollow. A piece of her has been ripped out. The portraits of the happy Arwyn affect the reader, and any book that does that is something special. That it happens in a clever werewolf story is even better.
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The reason for this excursion is to rescue Volcana who was last seen in Superman: The Animated Series. Yeah, yeah, yeah, I know. It's a Marvel book. Well, I'm pretty darn sure there wasn't a pyrotechnic in the original Killraven adventures, and this could possibly give DC or the WB the leverage to pursue a lawsuit, but really, who is reading this book? Just yours truly. We who have been suckered. Volcana is very nice. In fact, she's the character with whom you'd love to have a cup of tea and chat about your crop of green women in the backyard, but she's stuck in Killraven a book that has no reason to exist.
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If you're looking for another deadly serious, boring Batman exercise in pretentiousness, Batman Legends of the Dark Knight probably isn't for you, but if you're looking for something new in the Joker/Batman feud as well as something lighter and clever, then you need not look any farther.
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The artwork in this magnificent beast is not only accurate to the Groening slide-rule but also clever in its depiction of Simpson animation. The cartwheels for instance come straight out of the episode which introduces Harry Scorpio. The creators also leave the reader with one of their complicated double-page spreads of the entirety of the cast even Morbo and hard-luck case Gil.
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Unfortunately Hawkman, Hawkgirl and the surprise guest-star are still stuck in this stupid, stupid plot involving the reincarnation of Hath-Set controlling the Yeti. Credit must be given to Mr. Johns for seriously limiting the Yeti action, but Hath-Set and her flunky come off as rather sleazy versions of Boris Badenov and Natasha Fatale. The reader will not believe for one second the Hawks were in any danger from this screwloose duet, and when the reader happens upon the climactic plot twist, no force on earth will be able to stop her from breaking into a fit of giggles.
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JSA issue forty-four is easily Leonard Kirk's best issue. The war scenes he handles with care. He gives these panels energy without making them appear crowded. He bestows to the Land of the Dead an otherworldly beauty that relies upon Egyptian links, and he evokes strong emotions from the Adam of the past as well as through the interaction between Hawkgirl and her past incarnation. Best of all nobody's costume gets shredded in a convenient sandstorm, and while Power Girl does cameo toward the end, she looks in totality as powerful as her name implies. The splash page climax returning a much missed character to the DC universe accents the character's sinew and body language, and as soon as the spell breaks, the character appears distinguished from the vessel of disguise.
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Vincent DePorter keeping in tune with the mood gives the gang an update. He anticipates the advances in animation and thus makes the gang more fluid in motion. The stormy atmosphere of the at sea setting for instance blows hair and skirts. Velma has more curves than expected ala' Linda Cardelini. Daphne has a Dan DeCarlo look to the face that while definitely off-model from the Hanna-Barbera character fits her more sparkly personality ala' Sara Michelle Gellar.
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The weakest area of the book is actually in the artwork, but I don't believe you can lay the blame squarely on Mr. Byrne's shoulders. His artwork simply looks better when on the traditional comic book paper. This glossy, shiny paper makes the inking look too dark and draws away some of the depth. Still, you cannot mistake John Byrne's style, and he keeps everything moving. He even manages to vary the female characters' appearance: a common complaint of his artwork.
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What did not interest me were the ideas for the intended storyarcs. A group calling themselves the Futuresmiths act as the source of the fruitcake villain's augmentation. While the Futuresmiths themselves may become interesting, their scheme at the end simply made me groan: "Not again!" While I enjoyed Clark's reactions to Perry White's undercover work, I don't believe this germ of a subplot carries any potential or this fake schism in which the characters engage. While Mr. Seagle cleans up the characterization of the Superman cast, he's still forced to work with a continuity I cannot stand. Brainiac Technology infected Metropolis and nano-worked it into a giant computerized city. The whole place looks futureshock ugly, and it complicates Mr. McDaniel's superb slimmed down Superman and the downright beautiful atmosphere of Lois' and Clark's sunlit apartment. Mr. Seagle sets the majority of the duel in a Metropolis locale called Plaza of Two Truths, and the setting left me scratc
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John Romita Jr. once again matches the breathtaking level he attained for the Morlun saga, but he does not retread. Instead, he achieves this feeling by creating a world of webbing and a primal stark battlefield.
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Throughout the book Rob Leigh's inks add depth Mr. Amancio's pencils. Leaguer's stand out against the backgrounds, and the thicker line work on say the Martian Manhunter's jaw when superimposed on Hawkgirl ready for battle creates the illusion of dimension that goes off into the panels. Mr. Kalisz's colors work on the characters themselves. On page three for instance, he uses a very soft brown to heighten the sense of Hawkgirl's sinew. He creates the illusion of light being cast and sweeping over her muscle and those ever-important fleshtones. There's a omnipresent feeling in the animated-style books that contrasts sharply with the most of the post-Crisis books: subtlety. Everything in the animated books are evoked rather than forced, and this leads to peaceful, thoughtful, entertaining comic books that cost less than most titles and provide greater value.
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Bill Alger turns in simple but acceptable interpretations of the cast and nicely lays out Ms. Robbins' story. Unfortunately, the Mojo bashing he keeps to the reader's imagination of the reader. A little slapstick never hurt anybody.
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The Travelers Tony Digerlamo's second self-explanatory two-part story makes up somewhat for the lackluster feature. I found it simply funny that the two part story was contained within the same issue of the magazine. Homer's initial reaction to the apparently alien creature is hilarious and characteristic. His schemes to "trap" it are ludicrous and inspired clearly by his favorite television programs: cartoons. Even Bart's dialogue is worth your attention: "I don't know about this. Wouldn't Maggie be better for this trap? She's the size of a racoon." The artwork in both stories bears a Matt Groening stamp to the style but nothing save for Bob's writing space stands out in the first while a better visual sight gag awaits readers of the second story.
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With that said, the Anita's unwanted motherhood subplot wears thin, and Robin's persona--a satire of Vin Diesel's look mixed with Spike's personality--annoyed the hell out of me. Some may find it humorous. I like Wonder Girl just wished to slap him sillier. Todd Nauck's and Larry Stucker's artwork helped maintain this book's consistent different look from the other of DC's titles. That style helped the book maintain its internal continuity. This issue again features their best--Lobo's electrocution and Secret's mood swings--as well as several in jokes such as multiple Mystery Science Theater 3000 allusions and the cameo of a certain former cartoon star whose "brain has overloaded" and whose "hair has chocolate coating." Of course, Robin's persona is an eyesore.
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"And what's with Enchantress hanging around? No offense...but she and trouble are synonymous." Mr. Jurgens also implies disrespect by the Pentagon toward Iron Man now that his identity has been made public. They treat him like an errand boy, and I have to agree that this is indeed how they would have treated him. Never however had his identity remained secret. Iron Man can be very intimidating. Knowing his name gives the opposing party power. Perhaps, Mr. Jurgens should take a crack at writing Iron Man when Thor starts to bore him not that it looks like that will happen anytime soon.
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Catwoman's look is tranforming due to the tone of the story. Cameron Stewart draws the panels as if he were animating a Batman short for adults. There's less a reliance on the highly-styled sublime Dark Deco look of Bruce Timm. The characters look more realistic without losing the essence of their original design. Whereas at times Batman: The Animated Series tried to look pretty and wash a little of the violence, Catwoman presents a seedy setting that refuses to be scrubbed.
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Due to the absence of Batman, this is the least visually exciting issue of the run. However, the art team succeeds in making Robin resonate as an action hero. The anatomy and his acrobatic antics are in keeping with how he looks and acts on the series, and the book is not without its usual attention to aesthetics. Interesting enough the colors of Robin's uniform actually make much more sense given Gotham's perpetual red skies and seem less like a glaring bulls-eye.
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Grodd as the guerilla leader of rampaging apes does not seem very credible a threat when any of the triumvirate are about. He doesn't really seem very credible as threat against the Flash. The only reason why Barry Allen couldn't easily defeat Grodd is that Grodd laid out contingency plans borne from his genius not his muscle to deter him. Wally is the fastest man alive, yet his blows, he should be able to deliver a hundred in a second, does not seem to phase, the less than happy-go-lucky gorilla. Wally also has the power to vibrate his molecules, so he should be able ripple right through Gorilla Grodd's chest and give Magilla a little squeeze that would make him think twice about attacking with brute force. In short, there was a reason why Gardner Fox and Carmine Infantino made Grodd an intelligent, gadget-happy menace rather than a rampaging monkey who occasionally apes Jean Grey.
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I can't say much about the Witchfire and Striker Z component since their battle leads to a startling cliffhanger. Let's just say if one of the firm gets out of this predicament I know who should hire them next for medical services.
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Paul Ryan and Pablo Marcos whose work I don't recall seeing anywhere since Marvel produced magazines provides exquisite artwork proportionate and detailed with a period flavor. Val Staples' colors are subdued save for brilliant splashes and adds strong depth with gentle shading to the fleshtones.
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The ending to the text piece is hilarious and of particular interest to the readers of the normal adventures. It also reveals how Mr. Moore thinks of censors and the bureaucracy of the world.
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The art team could have gotten away with all sorts of sleaze since the story takes place in the tackiest place on earth. Instead, while they show Buffy suffering for her art in a bustier, hot pants and nylons, none of the artwork looks exploitive. She looks instead as seriously out of place in that outfit as she should.
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Mr. Wieringo has been accused of dipping too often in the manga well, but I see his style more a mixture of animation. Whatever it is, it works to bring out the emotions in the FF. The looks of determination and pain on Sue's face are particularly memorable, and Reed's uncharacteristic--but perfectly reasonable--anger sears the pages and make the story much more dramatic.
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Jennifer Graves has done a fine job with the series as has Paul Storrie, and it could not have been easy to a) find a means to bring all the women of Batman's animated world together as well as b) make the story coherent as well as more meaningful than one may expect. Much has been implied and inferred in Harley's and Ivy's relationship both in the series and the comic book spin-offs. Ivy's betrayal of Harley here while making perfect sense still is hurtful, but it's this type of character-driven moment that takes you by surprise and makes the book different than the empty dross in the so called original Universe. Batgirl also comes out of the series a little more haggard than usual. She's been beaten up, run ragged and forced to question, without angst thank Rao, why she puts on a mask to fight crime every night. She sees her similarities and differences to the much meaner Selina Kyle. These little nuggets of thought are simply unexpected but welcome. It's the kind of writing t
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Mr. Johns seems to know the history of the Avengers and has the other members vouch for Ant-Man's sincerity and bravery. The blindness in Jack of Hearts' viewpoint thus is purposeful, but it's a misguided rationale. Even Jack can't be this stupid. For a hell of a long time, he was Iron Man's protg. Talk about "coat tails." Mr. Johns asks the reader to feel sorry for the cretin simply because he has a problem involving his biochemistry, but he's such an unlikable dope that you find it hard to sympathize. Ant-Man's problems while unbelievable at least would merit a sad feeling if they were not so obviously orchestrated to mismatch the consequences of the Jack of Hearts' situation. On the other hand, maybe this hatred is actually a clever disguise for the forbidden love each hero feels for the other. Marvel may intend to stealthily kick a B-level and C-level superhero out of the closet to capitalize on their one hundred year old dead gay gunslinger publicity. Seriously though,
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Mr. Johnson erects a sense of place with detailed architecture that combines skyscrapers with the more classic gray stone of the late Anton Furst who created Gotham for Tim Burton's Batman. He evokes mood and atmosphere in the dark arena of the Aliens and a nineteenth century mad scientist's laboratory. The Batcave in comparison actually looks homey. Inker James Hodgkins refines Mr. Johnson's work with precision, unbusy inking. Gregory Wright finishes the presentation with eerie colors that accent an otherworldly design.
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I should be grateful that the writers while still making Kendra appear to be oblivious even to things she has seen--"What is the orb?"--use her productively as an airborne watchdog. They sadly however miss an opportunity by making Captain Marvel not Hawkgirl the military strategist. It's puzzling how Captain Marvel could have studied the methods of Alexander the Great, Theodoric, Napoleon and Aeneus Tacticus since he doesn't have a letter in his name that can grant him such knowledge. Mr. Terrific I can certainly see as a tactician, but Captain Marvel says: "Terrific's right. I've studied every last one of them..." The wisdom of Solomon does not explain how Captain Marvel may possess such intellect, and I cannot fathom how Billy Batson may have encountered such esoterica. It would have made more sense that a time-traveling reincarnation of the Hawkgirl legacy would have knowledge of various military tactics from various times. Naturally, because she's a woman--there is no doubt th
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Part of the feeling of quality comes from Jeff Smith's mouth-watering cinematic storytelling. The book just feels more like a filmstrip that's been laid out in comic book form, and there's such a mythic quality in the characters that despite being one of the penultimate issues, a new reader would feel the power within the cast.
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JSA and Supergirl depressed me. I wanted to curl up into a fetal ball and forget I ever was a comic book fan, but Powerpuff Girls acts like a comic book tonic.
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The artwork by Karl Moline is subpar when compared to his work on Joss Whedon's Fray and indeed his early work on the title itself. The lack of energy in the story seems to suck out any of the verve from his usually kinetic sketches. It's still anatomically correct, but we expect more from Mr. Moline.
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Perhaps part of the problem lies with Ed Benes. To put it bluntly, he should be removed immediately because he seems to be drawing a different comic book--a home-made comic book from say the Catholic Church. The big muscle-bound villain belongs in an Image title from the nineties not in a DC book. Why does this guy need muscles when super-strength is not the gist of his powers? The female characters of all ages have huge boobs and each of them appear to have gone to the local silicone injection plant. This while an aesthetic crime could have been excused somewhat had there not been something worse around the corner. A high school girls' shower scene. Let me rephrase that. A high school shower scene!!!! What the hell is that doing--anywhere!
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Vampirella is for mature audiences. So the skin and the horrific gore are perfectly acceptable, unless I suppose if you live in Texas, and actually more restrained and tasteful than say the Marvel Max books. However Mr. Clark does put in a few exploitive shots that mar an otherwise professional presentation. There's a juvenile butt-shot for instance when Vampirella thumbs a ride. It's really unnecessary to show her butt since the pov does not belong to the biker. Then there's the strange way her breasts seem to plump when shown from the side an effect which also seems to shift her nipples with respect to each breast. Nipples simply do not move like penny-brown spiders. On the whole though, Clark makes Vampirella quite proportionate especially when we first see her and opts for smaller, natural breasts that are definitely more appealing.
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The artwork still lovingly takes the Charles Schultz approach and pulls it into the twenty-first century by gently enhancing the color quality and including realistic shading as well as neat air-brush effects to accent expression and atmosphere. It's a fine mesh of the old and new and should be appreciated by any comic strip fan with an artistic sensibility.
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While the story simply wowed me, I did not believe I would appreciate the artwork, but Roger Langridge's style grew on me. While there's a certain underground look, it's not without an aesthetic sense. Furthermore, while Batman is designed in sharp edges, he still displays characteristic behavior something while artists more inclined to be anatomical have failed to show in the countless storyarcs of recent days.
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After battle, Jade invites Donna for that Holy Grail--coffee. Ending up at Radu's, its eponymous proprietor thoroughly enjoying the meeting and Kyle's discomfort upon seeing his ex and his current lover chatting, the heroes have an adult conversation that the reader--regardless of gender--can instantly recognize. No clichs. No discussions of hair or shoes. They discuss who they are and who they can be to each other. Kyle they do discuss, but only in a marginal way. The dialogue is all about two really nice people who wish to be friends despite the possible sticky connections they share. This whole issue is perfect and one I will be taking out from its plastic bag to read over and over again.
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Mr. Strom finds a neat little twist to Charles Dickens' A Christmas Carol in "Fright Before Christmas." A fun running joke is when the three ghosts actually persuade Shaggy and Scooby to turn over a new leaf even when they didn't do anything wrong. Joe Staton is on hand to give the story extra depth and portray the gang in vibrant brilliance.
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Riding with Mr. Faerber's fairplay mystery and hardboiled dialogue is the astonishing Eric Yonge. Moonstone is really attracting some accomplished talent. Mr. Yonge's black and white artwork bears an old-school attention to detail and anatomy. Each panel is a feast, and a sumptuous one at that, for the eyes.
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The Avengers gets more than a change of roster this issue. Gary Frank's innocent cheesecake as well as his overall study of anatomy and proportion would have been welcome to compliment Geoff Johns storytelling. Unfortunately, Mr. Frank's artwork is covered in Jon Sibal's spidery scrawl. It's not bad artwork per se but jarringly unlike Frank. What is bad is that Frank's obsession with the gum line is over emphasized. Grins become ghoulish as if the Joker paid the Avengers a visit, and we must ask where did Ms. Marvel's waist go.
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Rags Morales emphasizes the comedy by not accenting any humorous elements. He plays it straight as if this wasn't the comic book equivalent of When Monkeys Attack! When the characters stop during the hunt to explore their feelings, Mr. Morales uncannily expresses their emotions with undeniable subtle flair. The problem is that these soliloquies take place in an unsubtle story about yeti. I just can't get over this issue. How could anybody with half a brain green light this story?
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You may believe the artwork will be pretty enough that you can stomach the stupid, stupid, stupid, stupid, stupid, stupid plot and the balsa of characterization, but Alan Davis has done far, far better. Is Killraven the worst mini-series ever written? Yes. It is.
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The artwork by Greg Land, Jay Leisten and Justin Ponser as usual is beautiful even when detailing the ferocity of war. Part of me says that war should not be prettied in any art form, but the other part of me looks at the results and simply wishes to drink in the vivid depiction, the perfect proportions and the gorgeous designs.
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Mr. Vang and inker Andrew Blakeborough make Warrior Bugs a very attractive do-it-yourself title. The Transformers, Thundercats and Masters of the Universe may benefit from snazzy computer effects and Wildstorm colors, but there is something empty in these exercises. Warrior Bugs shows more honest talent one can see vividly. The visual elements tell the story without the words. The colors with different shading to produce the shine of carapace stand out on characters with scale, poise and distinctive body language. Recommended.
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Johns' Avengers women are intelligent, confident and powerful heroes. Wanda--thankfully free of all her gypsy garbage--steps out into the open, orates and then decisively hexes the hell out of one of the antagonists. Shulkie creams one of the bad guys after making clever commentary in an earlier scene. The Wasp acts like a leader: motivating the reluctant heroes of the group and stinging like her namesake. Even Ms. Marvel is blasting away and in the thick of battle. One of the best issues in Johns' run. One of the best issues in the series.
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The confrontation in Dr. Leland's office leads to the raison d'art, but don't expect to solve the mystery. Unlike the Riddler's typical clues, these rely on obscurities only the most expert reader will know. Naturally, Batman being the World's Greatest Detective knows, yet another important difference between the animated Batman and the lesser version in the DCU, this Batman is not merely an effective thinking machine. He's neither without humor nor without heart.
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Scenes of the Flash in action impress largely because of Scott Kollins. He seems born to draw the Fastest Man Alive and exhibits great comfort with the speed effects. Less impressive is the single domestic scene. The scene between Wally and Linda looks artificial and feels planted rather than evolved from the story. There's no build-up leading to the scene, and Mr. Kollins' anatomy seems to have lapsed somewhere. Incidentally where are Linda's nipples? We get a bird's-eye view of her naked breasts, but both are missing nipples. This confuses me. Breasts are all right in an "all ages book" but not nipples? Wally has nipples. Where did Linda's nipples go? If you're going to show uncovered breasts, it's a little ridiculous not to show the nipples.
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The missing pieces are surprisingly optimistic and visually eerie while being proper. This is a very difficult feeling to convey, Claude St. Aubin with his art noveau style so apt for The Victorian accomplishes that feeling with an uncanny ease.
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Mike Wieringo is known more for his fantasy, light-hearted work, and while Mr. Waid does give him plenty of opportunity to ply his typical trade during the subplot, Wieringo surprisingly gives his all for the scientific horror aspect of the beast, continues to have Sue pour out believable expressions of pain and fear. Ben gets a rare scene of caring instead of clobbering, and Reed has one of the most odd Sergio Leone moments I've seen.
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Perhaps, Johns and Goyer simply didn't wish for Batman to once again to provide the answers, but for whatever reason, the final battle against Despero and Johnny Sorrow seems extremely unnecessary, too derivative of The Golden Age and really less powerful than scenes where the heroes are being freed of their demons.
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The pin-up worthy page twelve emphasizes all the artists contributions to the panels. The penciled idea is brilliant. The inking not only traces but also enhances the sketching. Hawkgirl's tights for instance reflect the light and looks shiny like Batman's trunks and leathery gloves, cape and cowl. The colorist in the animated books becomes more involved with the final look of the art. In this case, John Kalisz uses darker grays and golds to evoke depth in Batman and Hawkgirl's form. Another perfect issue.
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Todd Nauck gets to relax a little after his big multiple heroes, multiple villains excursion last issue. Every character looks on model and expressive. So I have no complaints except that DC is going to cancel this book.
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When last we left the Scoobies, Pike was preparing to tell this story. New readers may not know this fact and be confused by certain aspects of the pacing. His omniscient viewpoint where he seems to know what when on after he left the scene can be explained by input from the Slayerettes and Buffy herself who has accepted despite her protests earlier that Pike's going to tell the story anyway. Pike also seemed to know Dawn. This knowledge can be explained by the corrupted memories of anybody in contact with Buffy. Dawn did not even theory take part in this adventure. Everybody simply thinks she did and fit her in according to where she would go if she existed. In any case, these viewpoint divergences especially with regards to a surprise guest-star make the story better and only seem out of place in hindsight.
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To Matt Groening, John Costanza, Phyllis Novin and Howard Shum "remain true." The artists do more than merely emulate Groening. In the vibrant and varied color palettes of Art Villanueva and Joey Mason, they evoke emotion within the confines of style--Edna's and Seymour's row. They provide impressive period backdrops for Mr. Burns' showcase. They pay attention to demands of antiquated fashion for Lisa and Nelson's romp. They dramatize the splatterpunk of Itchy and Scratchy. They evoke atmosphere for Homer's turn at royalty.
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Jesus Saiz strengthens this feeling with depiction of raw emotion. Julia's anger on page seven erupts because of Jenny's tears on page eight. Her look of incredulity mixed with guilt and acceptance on page nine forms because of Adam's request for her to trust him. Adam actually has the right to feel hurt by Julia's words: "Don't worry, Jenny. I'm here now." Instead, he sucks it up like a man and knows Julia's afraid she'll lose Jenny. The only way he can assuage those fears is to show her that he is a man whom she can trust. Even though she thinks she can trust him, there's no stopping that anger mixed with entreaty on the last panel on page nine. It's as if she's begging him--but not in an obvious fashion--to let him be right. Adam while not expressing his emotions as openly as Julia, and surely this is a generalization that rings true in discussing the differences between men and wome, is not a robot. I think it's actually more difficult to express what Adam is thinking, but
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That Zendra has a fascinating story as well as magnificent artwork is almost unbelievable. Stuart Moore this issue reveals the secret villain behind the assault. He also anticipates some of the faults I found with earlier characterization. Unfortunately, part of the format for comic books and critiquing forces one to make assumptions that may be later unproven. Mr. Moore explains the reticence of Tau--the Aeserian who shares Halle's consciousness and body. He also expresses Halle's rage as well as her intellect and heroism. None of these aspects stand alone. All these elements tie directly into the plot and subtly uncovered.
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Mr. Delaney accomplishes all of these requirements with ease, but several panels stand out. On page three, a weather being hilariously exemplifies Futurama's acceptance of the basic natural needs. A few panels below, Novin and Mason help evoke a surprising quiet scene through the use of shadows and colors. The strange pink alien is extremely bizarre, and the Hammerhead shark aliens are eye-catching. Action becomes quite animated as the (sw)curling begins. You know if there were actually threats like that on the ice, it might just be an interesting sport to watch.
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Artistically the story reminds me a lot of Disney's live-action series The Scarecrow of Romney Marsh. The normally civilized and proper character designs are eschewed in favor of the more rougher and the more broken faces of the sea scoundrels. Colors are subdued--as they should be--save for dramatic shadows and lights courtesy of candle-lit, clandestine meetings.
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The art of course would keep you from quickly reaching the accuracy of the comparison, and a great deal of the sight gags comes in the form of Millhouse's Muppet-like expressive, blue eyebrows. Add a few shorts by Chris Yambar and the aforementioned artist, and you've got a very funny comic book that earns its price tag.
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Most people still think of comic books as kid's stuff or the kid's stuff from which better more mature entertainment comes: Batman and Batman Returns for instance. Animation--largely due to Batman the Animated Series--has shaken off the shackles of being solely for kids. Laypeople realize that animation isn't necessarily for kids and can be enjoyed by adults. Comic books still have that miasma of immaturity. If more people bought or just saw Catwoman that could change. The story deals with real emotion as well as crime. The brief nudity seen is presented as matter of fact like a good cable drama. None of the characters fit a stereotype, and Holly is an interesting, gay woman without an emphasis on titillation. Catwoman seems more like a carefully crafted movie or television series rather than a humble kid's stuff comic book, and the nods to Hichcock--the presence of a catalyst blonde and the scene without word balloons where there is only Maggie and Holly hugging--merely emphas
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John Romita Jr. also makes this book more about emotion than simple super-hero/ super-villain action. His depiction of faces is meaningful. Shathra has a look of vicious amusement. Spider-Man's anger is palpable. The friendly neighborhood cameos perfectly express the disbelief and disgust they have toward Shathra's accusations. While Mary Jane really should know better, her reaction depicts a vulnerability and genuine sense of hurt.
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The artwork by Kirk Van Wormer for the most part comports the characterization of the characters and conveys the mood of the era. There are a few gaffes regarding scale and proportion but nothing overall distracting. The shadows are usually well-placed and well-drawn, but sometimes they seem a little over-the-top especially when blotching faces.
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Concluding with a good fight and a compelling chase, this issue of Gotham Girls fulfills the promise of the premiere. Furthermore, the heroes look to be in real danger when Harley tells her final joke.
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The story doesn't really need a gritty type of artwork. There's no reason why a crisper style such as that seen in Mr. Nightmare's Wonderful World would not have worked here. In fact, such a style may have enhanced the story which is light-hearted rather than grim.
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The story really just doesn't have a reason to exist. It doesn't entertain. It bores. It lacks Ben Raab's usual enthusiasm. See his work on the Phantom if you doubt my review. This issue of Vampirella despite being drawn with care by the always welcome work of Manuel Garcia and colored with a consummate skill merely puts the characters through an uninteresting routine.
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Wildstorm provides the colors for this issue, and yet again, here is an example where color by committee and/or computer does not result in the voting out of aesthetic quality. The skin tones are varied to fit a wide ethnicity provided by the artists. There's even variance in the white characters to suit their experience. Manhunter for instance has tan skin that suits his globe-trotting mercenary past. Witchfire's by comparison milky skin is also reflecting her flaming decorations and glowing eyes.
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The Powerpuffs look so natural using their abilities that you don't question their defiance of gravity or a strength rivaling that of the original Supergirl. This suspension of disbelief is important even to what appears to be just another funny book and so often lacking in serious super-hero treatments.
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Where Mr. Moline shines is in his depiction of action and the creation of monsters. Unfortunately these scenes are all too brief.
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The artwork by Ed Benes and Alex Lei apart from Superboy--who is basically a victim of continuity fashion--uniformly impresses. There's not a single exploitation shot this issue. All the characters exhibit depth. The two Supergirls are well distinguished in terms of facial structure and scale. Both however may not be real blondes given their black instead of blonde eyebrows: a slight error on the part of Digital Chameleon who I'm happy to say provides vibrant colors and sensible fleshtones. Benes and Lei give each character a distinctive body language, and yet the Supergirls both are portrayed as tough if not graceful. Even the slashmarks near the eyes are less frequent. So, you'll hear from me little complaint pertaining to the artwork.
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Joe Staton and Horacio Ottolini as usual do their professional best. This time they evoke an eerie mood from an often-overlooked gem of horror: the Chinese ghost story. Readers will enjoy the unusual setting and the weird atmosphere of a spectral sandstorm—or is it just in the mind that sets up the intricate menpo and uniform of glowing samurai. A big kudos goes to Paul Becton's coloring. The realist browns and sands stones combined with those all important flesh tones and the gang's more vibrant costumes contrast and therefore accent the otherworldly ruse.
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Apart from the cleverness in the satire and the usual attention to characterization, this issue marks a return to a welcome focus on the stars. While Chase Hawkins is talked about, he is not present. Dawn Divine while making a cameo does not steal away any of the spotlights. The story concentrates on Wolff, Byrd and Mavis—whose impact is best felt in this issue.
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I really hate the young Tom Strong stories. I admire Alan Weiss' artwork, but the young Tom Strong stories to me are quite juvenile to anybody with an IQ higher than that of George Bush. This one is particularly annoying in that it takes a simple idea and makes it too complex to be plausible.
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The remainder of the plot runs extremely tightly, and there's irony in that Jim Gordon is not the one who will face down Hatchett. Two foes that do not know each other, who do not share a history will duel each other to the death, and this makes for a refreshing change. The one tiny moment I believe was unnecessary slows the book down somewhat but balances out the overall effect by providing a light ending moment of banter between Jim Gordon and Batman.
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As with many a bad movies of its ilk, Killraven features one scene that surprises the reader though not because the reader is rapt in the proceedings or cares about the characters. It's more like a what-where-the-hell-did-that-come-from-scene. Killraven meets another seriously hot chick, covered in of all things, oil. This leads to her taking a shower--sadly with her clothes on, and yet still the man does not move! Is he gay or is he obscenely dense? We discover in the next chapter the seriously hot chick is a pyrokinetic named Volcana Ash. She sets the world on fire until Minty shoots her with a "Zok, Zok" gun. Okay. It's not officially named the "Zok, Zok" gun, but that's the sound it makes I swear! Perhaps this was the letterer's way of alluding more overtly to The Herculoids. Killraven does sort of look like Zander, yet there are important differences. Zander knew exactly what to do with a woman. His son is evidence of that. Zander was also smarter than Killraven, and The
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Marshall Rogers follows suit. His artwork is far better than most dreck that can be seen and is indeed lauded, but as with the second issue, his imagination here seems stymied. In the debut, Mr. Rogers seemed to be having lots of fun with GL's powers as he foiled a robbery at a masquerade. The second issue featured an interesting emerald construction, but this third issue's best scene from a solely artistic viewpoint occurs on the very last page. Too much of the story requires static moments. Even when GL must face down the evil Lantern in a donnybrook, Mr. Rogers' seems to be confining him to more standard fair which is unfortunate.
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On a continuity note, I'm puzzled why Uncle Sam refers to Hawkgirl as a stranger. I can see him not recognizing the new Mr. Terrific, but let's see now: a woman who wears wings and a hawk-like helmet. "Well 'tarnation, it must be that Hawkgirl I've heard about." Hawkgirl should be flying around in her Shiera Saunders incarnation. If she hasn't donned those wings yet, Sam should have at least come to the conclusion that she was connected with Hawkman who was definitely flying about at this time. There's another massive continuity blunder involving Mordu, but really, DC no matter how vociferous their protests to the contrary may be doesn't have a continuity any more so why should I bother? The real problem is too much time is spent in Gemworld with the new Dr. Fate. These scenes are dull, unnecessary and take the reader away from the focus of the time traveling tale. I'm certain the writers are planning something big with Gemworld and Dr. Fate, but the reasoning to get him there is
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As it becomes too clear that Gareth's entire trap while ostensibly working may have grave, personal consequences, he takes a leap that will undoubtedly cause complications should he survive his ordeal. Granted, we all probably saw this happening down the line, but the speed at which it happens will surprise. What's good about the moment is that it shows Mr. Marz is going with the natural flow of the story. He's not trying to stop it like some readers to prolong a situation that while important isn't the totality of the book.
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The extras in the book are hit and miss. The briefly illustrated text piece by Mr. Nicieza exemplifies how point of view should be used, how it changes the tone and the very words of a narrative. On the other hand, Andi Watson's super-deformed Buffy short really isn't worth anybody's time. Probably took ten seconds to draw too.
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"Ah, a dead yeti, Watson. He must be in the Himalayas!"
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If you think I've forgotten about talented writer Dan Slott. Yes, I have. You forget completely about the writer as you read. All you see and absorb comes from the viewpoint of All-Star. Dan Slott merges with his characters. Not a word sounds misspoken. Not a scene appears misplaced. This is perfection.
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I could go on since the colorist's sense of lighting, tint and taste just vomits all over the book, but I think I've made my point. You know I've dropped books because of poor characterization, poor plotting, poor penciling and poor inking. I never thought I would drop a book because of the piss-poorest coloring job that I have ever had the misfortune to be blinded by. A colorist should know the difference between a yellow Crayola and a flesh-toned Crayola. Good-bye Spider-Girl. I will truly miss you.
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The villain of the story is unique. JMS creates a villain who has a sort of happy-go-luck, lethal attitude that is the darker reflection of Spidey's Looney Tunes persona. This is a villain who likes to play but has no interest in reforming or bedding down the Wall-Crawler--although this tradition is given a subversive twist at the end as a gut-busting crescendo.
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The artwork of Highway 13 is also a strong asset. The crisp, clean black and white artwork has a flair for cartooning that still loses none of the dramatic impact. The scene for instance when Lucinda and Garth transform exhibits a horror auteur's sense of timing. Furthermore, the backgrounds while uncluttered do not look empty, and the stars do not operate in their own dimension to paraphrase the crew of the Satellite of Love. Extras mill about throughout the story giving it a big budget feel.
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The artwork by Todd Nauck, Larry Stucker and Jason Wright--thanks for the flesh tones, Jason, I never knew how much I appreciated them--meets their usual high standard for the book, but again, there's a feeling of deja vu. The scenes that impressed me more occur in the more narrowly focused scenes at the lab involving Secret, Anita, Agent Fite and Bonnie. The standout scene for me is when Fite attempts to pick up the fallen Secret only to find his hands passing through her.
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Batman Gotham Adventures also surpasses the other Batman books in another way. No matter how dark the hero or the mystery, the adventure is optimistic. The hero wins, and the point of the book, besides engaging the reader's ability to think, is to see just how the hero will surmount the often deadly odds.
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The blurb reminds me of DC's Secret Files books. The problem I have with them is identical to the problem I have with the expository blurb below the roll call. Readers should not need a guidebook to read a simple story. The story itself acts as the guidebook as well as entertainment. If the reader becomes confused by the behavior of the characters and confusion is not meant or part of the story, the writer has failed at his job to convey the emotions believably and failed to make the information pertinent to his tale.
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My advice? If you're looking for a serious Flash adventure, go elsewhere. If you want to kickback for a so bad it's good adventure, The Flash is what you seek.
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Batgirl isn't the only character who gains a series of lumps for this issue, and while I enjoy a good fight in various genres, the fight has to be about something. The vial becomes less and less important as the heroes and villains become essentially LooneyTunes characters who fall down, brush themselves off and get back up again. The violence is presented in a slapstick fashion that just doesn't fit and becomes tiresome.
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Why apart from Mike Mayhew wanting to draw some rather anemic dragons would you go through the pretense of disguising yourself as "poorly researched" as Vampirella observes Chinese dragons? None of this makes sense.
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The characters themselves are given the artistic care equal to the city maintenance. Deathblow while beefed up actually would fit in our world. While Batman is still the larger than life hero, the artists draw him in such a way where the costume would make sense in the real world. He is a leathery creation that almost appears to have stepped out from another age. In a way he is. The antagonists are drawn with a heavy emphasis on seediness, yet these features are not over the top or cartoony rather a physical manifestation of guilt that the human beings buried deep inside them feel.
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The winning combination of the art team can be felt right from page one. Laura Martin evokes a fall day with red and gold leaves as Emma takes a horse-drawn carriage across an understated bridge constructed by Butch Guice and Mike Perkins. While typically dark in atmosphere and natural light, the seaside residences still reveal detail, depth and color which enhance the experience. Later in the book, a fog falls and enshrouds the setting to emphasize the eerie mood, and in the darkness, secrets are revealed and comedy as well as drama dances across the stage.
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Chris Sprouse's artwork provides consistency and drama. His Svetlana looks like Lucy Lawless, and it's important that she looks that way all the time within this story. When the artwork fluctuates, the character can lose personality. Together she and Tom Strong fight in the heart of the Hive, and because of the artwork being the same for the characters, providing them with a normal model, we feel for greater concern for them. In other words, it would upset me more to see Svetlana's head lopped off by a giant ant if she were drawn by Chris Sprouse than if she were drawn by a substitute artist.
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The Dickensian street-urchin plot, Mr. Brubaker bolsters with an unsavory connection to a Catwoman nemesis who stays behind the scenes like a grand master of chess. I have to however believe in the queen. In addition, I'd have to agree that these particular crimes would not immediately interest Batman. Thus, the petty thefts occurring within a Gotham City district, under Batman's nose is plausible. These crimes are also unlikely to interest Catwoman, but Mr. Brubaker becomes involved in a believable way. Add a few decent cops and a rollicking scene with Holly and Slam, and you have a very good issue of Catwoman.
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Bubbles easily falls prey to Mojo's persuasion, but the setup makes her inability to see through Mojo's duplicity plausible. Fortunately, her sisters realize something is wrong and like a family and friends stick together to combine forces with the emotionally distraught Bubbles in order to kick monkey buttocks. Take special notice of the way in whichBubbles is willing to sacrifice herself for the sake of her sisters, and the underplayed emotions of the sibs upon witnessing Bubbles' bravery.
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Mr. Oritz in this story characterizes Homer as even more of an innocent while Mr. Boothby in keeping with the underlying theme of the issue--secret origins--reveals how Homer lost his hair. Yes, Homer is indeed the slow-witted brother in spirit to Lex Luthor.
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The Smallville 64 Page Special is the best any non-animated Superman book has looked or read since the post Byrne team left, and the quality of the storytelling is far more engrossing. Furthermore, I felt good after reading this book. I never thought I would feel good from another Superman book again.
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Bedard's story in my opinion neglects the star of the series and focuses too much on the guest-star. This spotlight makes it easy to predict what is likely to happen, and the failure to surprise just sucks out more energy from the overall presentation. The guest star behaves so weirdly and creepily that only the most obtuse reader will fail to see the "surprise" ending.
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Artwork aside, Mr. David characterizes the original--or she who purports to be the original--with respect. His Supergirl isn't diminished by the presence of the original. Likewise, the original is not hampered by the more "hipper" version. Although this story was leaked out some months ago, Mr. David still manages to make Linda's discovery of the original realistically surprising and jarring. Seeing a character who bears a striking resemblance to Kara use her heat vision as she gracefully defies gravity simply makes a hard-core pre-Crisis DC fan's toes curls, and she even sounds like her sweet self. Questions remain. Is Kara Zor-El The Kara, and, whether or not real, what are DC's plans for her? Let me put it this way. The sense of a sixteen ton weight poised above my head has not gone away.
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The scenes with Johnny Storm running the family business really just seem rather dull and fail to live up to the promised potential: neither comedic or surprising. His supporting personal assistant does have an inviting personality, and it's largely she who keeps the reader from losing interest in this section of the book.
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Regardless about how you feel toward continuity JSA sucks in the most devestating way. Each word coming from the characters' mouths rings hollowly. Not a single character possesses a single iota of depth. Any attempt at characterization is either ill-conceived--portraying the ladies as stupid--or overwhelmed by exposition of the plot to come. The Kid's sole purpose for being in the book besides being choir boy to Captain Marvel's priest is to say "You guys should go on Celebrity Death Match or something." She exists in this issue only as a role and not as a three-dimensional character. None of them are. This is I'm sorry to say a woeful issue.
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Adam realizes or Julia helps him realize that he's hurt Jenny, and he tries to make amends in a very quiet fashion, in a very subtle scene that's beautifully story boarded by Jesus Saiz. What interlocks each of the episodes in this issue of Midnight Mass is intimacy-not the kind of sexual intimacy if one can call it that is usually depicted-but the intimacy of friends growing closer. It's the first time a Vertigo book has ever supported optimism and left a good feeling after the reading.
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The funny and surprising events benefit from Tom Grummett's straightforward choreography of super-hero action. Because of Grummett's superb understanding of anatomy and his classic line techniques, you expect Power Company to be a traditional super-hero book, but this just offsets the unpredictable hilarity that is borne from the characterization and the plot twists.
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"With great power comes great responsibility." What Spider-Man should have said to the Black Cat was. "Look, I agree with you. The guy is slimier than Man-Thing, but we've got to build evidence so he stays locked up in a nice concrete cell so he can't hurt or kill anybody else. After we get the evidence, we can take turns beating him with his own fist and give what's leftover to the cops." This argument is damn obvious. It's so obvious that it's conspicuous in its absence. Kevin Smith is too good of a writer not to see this argument. Therefore, I'm left with the conclusion that he ignored the argument to direct Black Cat into the attempted rape scene. Because of these artificial means, the ends cannot be justified. The scene must be called into question, and the writer's hands must be slapped.
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Artistically speaking, nobody can draw Young Justice like Todd Nauck. He's been key to this book's success. His cartoony artwork does not only keep things light nor does it just knock your socks off with group panels but can actually weigh in with chilling scenes such as those involving a surprise from Secret and the stealthy stalking of the Baron. There's not a page in this book I didn't enjoy.
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A great treat for me is to find Phil Moy from The Legion of Super Heroes detailing the artwork. His pacing lets you follow the story even if you didn't' intend to read the words-though you would be missing out on some sweet dialogue trickery.
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Arwyn's falling into the trap leads to a thrilling battle against a classic monster. The artwork here simply makes your jaw drop, and the colors by Ponsor are really outstanding with the orange and reds of sandstone reflected by torches. Silvery cobwebs part. Golden-haired beauties fight, and it's great to see her smile again thanks to Kreeg.
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The two women down below are drawn with distinction and dignity. Their faces while being beautiful are expressive and captivating. The males do not suffer by comparison, and they too are allowed to be heroic even if Halle is the real star.
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Gene Colon's artwork is stunning and a revelation. His best work I felt could be found in Wonder Woman, but not being a fan, I acquired those issues more for the characters and the story than the art. The Slayer short takes him out of the seventies and into the thirties. So while he gives readers his trademark rumpled clothing for the Slayer. He also displays a period knowledge of cars, architecture as well as the dapper thirties fashion sense. The choreography for both battles in the brevity of pages instills so much excitement that you can almost hear the trumpets of Buffy's fighting music as you read.
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More than symbolism is at work in Batman: Legends of the Dark Knight. John Ostrander makes Batman the World's Greatest Detective. Batman recaps the previous chapter for the reader, but for him this is all new information that he uncovered during his investigation. He quickly learns the lay of the land, and if not for a few semi-humorous obstacles, Batman probably would have been able to secure Jim Gordon's release the night in which this case takes place. Never the less, these barriers do not seem artificial. Once again, this is Batman.
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The characterization for Carl Kolchak is sharp and often in the narration and his dialogue you can here Darren McGavin. The artwork also captures McGavin's shabby gumshoe portrayal as well as a decent likeness--though why isn't his hair red? The period seems to be identical to the Kolchak show circa early seventies. So he could not have aged much since the hiatus. Regardless, don't look for obvious bell bottoms or other bad fashion disasters. Very few of these could be seen in the show since most of the stories dealt with adults who still dressed as if they were from the fifties. Cars however are ugly, square beaters, and phones are rotary. Thus, the book captures the time of the series.
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While we're on the subject of Scooby-Doo, it would be remiss of me to ignore the new adventures in What's New Scooby-Doo? The stories open with a catchy rock song right up there with "Scooby-Doo, Where Are You" and follow the gang with identical but jazzed up incidental music. The mysteries haven't changed. They're still crooks in monster suits, but the better technology of the real world has given the writers a greater palette from which to work. Likewise, the animation is ten times better than the old Hanna Barbera limited look. The personalities and the look of the gang have only slightly changed to match the live-action Scooby-Doo movie--like that's a bad thing, and the voice artists do a bang up job bringing the ones we love back onto the small screen. My favorite mystery so far has been the alien at NASA. Darn clever, it had me guessing until the criminal was unmasked. Also recommended the new Jackie Chan Adventures which air after Scooby. These are even more like his out
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Apart from drama and comedy, the chapter reflects a clever technique Mr. Smith employed in the past. Throwaway scenes from previous issues become important to future chapters. For instance, while the "Stupid, Stupid Rat Creatures" scene instantly won Bone a place on my subscription list, that scene could not have possibly clued the reader to the evolving role the Rat Creatures would play in the overall scheme.
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In short, one bullet for the hot green chick I do remember from Killraven's adventures in Marvel's ludicrous adaptation of War of the Worlds. I still blame myself.
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Making up for the lack is Mike Collins who handles the artwork with a professional's eye toward anatomy. All the characters look human and bear human proportions. The backgrounds are detailed and properly scaled. I'd easily identify this as Mr. Collins' best work. He keeps the Phantom exciting. When compared to the other characters the Phantom looks as lank and tall as he is in the strips. I only had one small caveat regarding the artwork. The Phantom wears two different rings. One imprints the sign of the skull. The other imprints the good sign of crossed swords.
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The problem with most books on the rack is that they brutally attempt to show a reflection of the real world while having heroes soaring in this world. Thus, the writers have no problem with Babs Gordon being crippled for life in a place where Dr. Fate routinely teleports. Thus, the writers have no problem at all having Thor the God of Thunder cleaning up the World Trade Center wreckage when he could have stopped the planes cold with a simple whirl and twirl of his Uru hammer. The Force Seven multiverse like the pre-Crisis and Jack Kirby universe of yore successfully integrates super-heroes into the real world. It doesn't simply graft them to something that resembles our world. The writers consider the impact a super-hero would have on the planet.
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Throughout, Callen's artwork is such a treat to witness. The black and white shading expertly compliments strong pencils and inks loaded with depth an a roundness to the semi-realistic tableau. This kind of book would have to have some realism because it's so existential in the discussions. Katie would also get my vote in a comic book beauty contest. She's such a charming, sweet individual who looks healthy but doesn't flaunt it.
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I wish I could say more about this book, but the writers have placed me in a difficult position. To say anything in detail will ruin the surprises and rob from the book it's punch. In all good conscience I cannot do that. Let me just say, that Skinwalker stars characters for whom you care--you really hope they'll come out alive from this experience--in a finely paced story that benefits from excellent artwork.
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Typical Udon suggests that everybody wears eye shadow and smudges beneath their noses, yet fingers cast no shadow on page twelve. It's interesting to note that May's hair shades do not change even when walking out in the sun. It always remains brown the highlights of brown stubbornly staying in the same place. This isn't just pretentious high-styled coloring. It's bad, unfinished coloring. So, once again, I'd like to thank Udon Studios for ruining yet another issue of Spider-Girl. I'd also like to thank the art editor for allowing such a nightmare to reach the racks. He should be sacked.
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The book isn't without merit. The creative team continue to portray Carol as a woman far ahead of her time. Kyle is superbly heroic, and Hal Jordan gets a little bit more depth to his character and somewhat redeems himself for his behavior. To find these gems however, you have to wallow in a dour period drama.
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Equally enjoyable but truly flawless, is Hawkgirl's full-blooded battle with a new nutbar who possesses an interesting power. This is where Rags Morales' artwork becomes really powerful. While his staging of the Atom/Hawkman dinner is far from ugly, he draws these two a little too preciously. Carter I can see looking like Richard Wentworth, but Ray is just a little too primped and proper even without the benefit of a suit. What really takes your breath away is seeing Kendra lift up a guy twice her width. In the back of your mind, you say to yourself, ah, Kendra's using her gravity powers, but the initial reaction is that Kendra's attitude is doing the lifting.
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Unexpectedly and partially due to the plot twist, Mr. Ku works out oodles of enjoyable action sequences. Wonder Woman here look particularly powerful on page fourteen and makes up for her lack of involvement on a more intellectual or emotional level. Superman and Batman look outstanding on page twenty, and the way he handles the multitude of cast members without losing the energy or attention to detail stuns. I'd also like to point out that the book came out on time despite the amount of work involved.
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The issue is not without fun. Amid the death and destruction, Emma renews acquaintances with Pete, the humorous strongman from past issues. She also enjoys the role of hero in what may be the climax. On the other hand, perhaps the battle between Lightbourne and Simon continues next issue. Who knows?
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Hillary Barta next surpasses his peers and probably makes Gail Simone go "D'oh" with an moodily illustrated creature feature alphabet done in a limerick style. If more comic books gave this amount of entertainment for the coin, I'd have less to complain about.
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Gail Simone backs up Mr. Boothby's story with a smart satire on reality television and the side effects of modern medicine, exemplified by drug advertisements. The artwork by Joey Nilges, James Huang and colorist Villanueva in the short keeps Dr. Hibbert laughing and the reader in stitches especially when reality meets fiction.
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Flawed, WarriorBugs is still mildly entertaining and better than more than half the books from the big two. If you don't like the story, you can always enjoy the colorful artwork. This issue ironically sports the most refined look to the book.
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John Romita Jr. effectively pins Spidey's expression with determination, desperation and dishevelment. He looks ready to fall over at any moment. Romita's Mary Jane looks far better this issue than she did the last chapter. Not only does she appear sturdier. She also is more expressive with a clear concern for Spidey' welfare. Her worry over her husband makes the penultimate scene acceptable and gives the end-note its heart.
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Mike Wieringo continues to put his spin on the FF. They look a little cartoony as wont Mr. Wieringo's characters always look, but this style fits with the easygoing mood that is shattered in one horrific scene. Besides, I like cartoons, and Mr. Wieringo's cartoons obey anatomical laws which are flagrantly infringed upon in other books.
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The book possesses a typically gorgeous Crossgen artistic sensibility. It's sort of the anti-Image of the baby nineties. Unlike what you may think of a book that accents artwork that makes one's jaw drop, it also doesn't let you forget that it's a mature horror book best read by adults. In fact perhaps because the artwork is so pretty, the horror elements seem more of a travesty. It's for instance very disconcerting to see Cassie use her special power against the inky phantoms. Karl Moline, of the very, very late Fray, imbues a creepiness to her abilities that makes one's skin feel itchy. Not only is Route 666 a successful comic book; it is a successful horror story.
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League of Extraordinary Gentlemen is much more meaningful than a clash of nostalgia of the type found in fan fiction. It is art and literature that honors the source while making insightful observations.
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Apart from the characterization, surprises await Avengers readers. The actual culprit behind the cosmic whirlpools feels like a baseball bat struck squarely against the eyes. I never saw this coming. By the time the scene shifted to the duet of Yellowjacket and Wasp, I started making a list of suspects, but I was delighted to discover how incomplete my list was.
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When the antagonist stands revealed, the villain uses a very strange weapon that would normally call into question the entire plausibility of the story. When you think about it, the weapon is so unusual and so unnecessary that only this particular type of villain would choose it. The villain's end may seem like a shameless deus ex machina, but given the villain's nature, this is a fitting comeuppance, and Batman's grim joke at the end serves as fitting punctuation.
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The idea of Buffy being consumed by the force of the Slayer does not segue well. She seemed fine after the revelation of Pike's identity from last issue. Now, she has a commune with Slayers of the past who initiate the amble down memory lane to remind her why she fights. It doesn't quite fit together with what we saw previously. Kendra by the way is wasted.
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Mr. Grant knows this history, and so he does not complicate matters with a fresh new slant or a mind-boggling uncharacteristic turn. For this issue, Mr. Grant designs an impossible theft amid a life-saving rescue. What keeps Selina's character in check along with the idea of a core historical characterization that no amount of tampering can intrinsically alter is Brad Rader's splendid visual continuity. Selina looks and acts like the Brubaker Selina. We don't get the side steps into her “domestic” life or the subtleties of her expression like we do when Mr. Brubaker pads through the story, but no scene with Catwoman looks like a sore thumb produced by a writer unfamiliar with the current run of the book. Regardless of whether or not Mr. Grant reads Mr. Brubaker's intensely recommended unofficial animated tie-in, in the denouement, both writer and artist work together to create a scene of surrender that only would work in Catwoman and leaves that all-important smile on
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The artwork by Justiniano is adequate in some scenes while too overblown in others. Gritting the Piper doesn't work in my opinion. Neither does making him a hooded creature of the dark. Hisssssssssssssssssssss. It's so over the top I almost laughed, and I don't believe this is the reaction Geoff Johns intended.
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The remaining pages admirably cuts to the chase, and because the Kadmons are such experienced investigators, we know what the outcome will be--especially against a piker like Harmon. However, Mr. Rozum still makes this confrontation enjoyable to read through a small turnabout in which Julia actually attempts magic: using the more ancient protective swastika symbol from Indian lore. Adam of course performs magic that makes her attempts look like something she learned from a matchbook cover, and unfortunately, a .45 Automatic proves utterly useless against her favorites of the animal kingdom.
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Johns and Goyer take it upon themselves to unnecessarily relieve DC of yet another female personage. Right, like their doe population needs thinned. Be sure to check for Myra's name on the Women in Refrigerators site. Myra was the original Dr. Mid-Nite's nurse/companion. Her pertinence to the story escapes me. Are Johns and Goyer trying to make the patient on whom Dr. Mid-Nite and Mr. Terrific operate vile? They already did that when they said he was "a killer and Nazi collaborator." Since the new Dr. Mid-Nite shares no history with the original Dr. Mid-Nite, why would he even bring it up? The exchange makes no sense, says nothing about the characters and doesn't affect the plot. It's nasty padding.
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The scene that should really speak to faithful readers doesn't. Arwyn's emotions should come out far more natural than evinced by her wooden delivery in the book. The dialogue doesn't match the power in the artists' rendition, and I know Mr. Marz can do much more with scenes in a similar vein.
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The dialogue when not detailing the continuity actually does make the reader notice. The character for whom I empathized the most is a supporting cast member who gets the best lines: "Please tell me that's a lie. Please. Tell me no sister of mine is that empty." I don't know this character's history, yet David in one snatch of dialogue reveals her to me, and Kirk's, Rigg's and D'Angelo's expression for this character emphasizes her personality. She's the one who seemed the most real to me, and I would not mind seeing her again.
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Mr. Smith does nothing really new with any of the Bondish attributes. He just replaces said spy with Vampirella. It's not that she seems out of character. She really hasn't time to display her character during these battles, and her puns while flavored with a certain cannibalistic attitude which fits her vampiric nature make the reader wince.
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The artwork in this issue is more then just funny. It's very characteristic. The scene for instance in which the original members of G.A.S.P. share a lollipop while lying in the grass and staring in the stars mimics the cinematic sharing of a smoke. This scene also foreshadows Amelia's lack of obsessive interest in G.A.S.P. She takes the lollipop out of her mouth and looks disgusted that she would be swapping saliva with her friends. In other words, she puts the sucker in her mouth and then takes it out with a what did I do that for expression?
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To enhance the real world setting, David Lopez and Dan Davis eschew comic book conventions of cross-hatching and the by the numbers anatomy that so eases the sketching of mightier than mortals. Lopez meshes smoothly with Ostrander. He follows the direction of mystery, and generates suspense and smiles for the readers. After Batman removes a threat, Mr. Lopez treats readers to what for the onlookers must be a creepy moment. For readers, it's a grin-worthy example of Batman's sly sense of humor. Don't believe for one second Batman doesn't have one. He has to have one in order to stage such moments. One more thing in Lopez's favor, he gives Batman the sharper, longer ears. We've missed you both.
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Willow and Tara though underhyped may appeal to a variety of comic book readers. The super-hero fan may enjoy Willow filling that mold. The fantasy-oriented fan may enjoy the Celtic mythology. Practitioners of Wicca, and there are more than likely thought, may appreciate a positive spin on their religion. Fans of empowered women may certainly enjoy the confident portrayal of three powerful female figures. Buffy the Vampire Slayer fans will most likely enjoy the entire package.
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I'll say this about Crisis. Although a failure, it's one of the most interesting failures I've encountered and unlike most has a lot of wasted potential.
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The second story is penultimate chapter in the "Dragon's Eye" by JohnRozum. Since the gang are in Japan, JohnRozum cannot resist throwing in a few Godzilla jokes. The mystery is a little too easy to solve, but not only does Joe Staton's delectable Daphne sleepy panel attract the reader. Mr. Rozum considers the order in which the crimes are committed and has Velma deduce a sound reason for that order. I don't believe I have ever seen such an attention in the mystery genre. Dramatic, thoughtful with superb artwork, you still cannot go wrong with Scooby-Doo.
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Alan Weiss' artwork offers exotic sea dwellers and settings. The nature of the innocent is rendered with an unusual color scheme that's attractive and alien.
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The artwork in the text pieces is also superior. Cameron Stewart provides a growl worthy Catwoman who appears both sexy and dangerous. She's superimposed on a contrasting profile of Selina without costume--wearing clothes and shame on you for thinking otherwise. In the profile, Selina looks confident and happy, and that best describes her current characterization. For the Holly feature, Stewart surpasses himself by actually suggesting a story inside the artwork. Basically, Holly and Karon had a fun time somewhere near a photo-machine. Stewart spools out various portraits of Holly and Karon. This section includes a private photo with Holly wearing Catwoman's cowl and providing a cute send up of her friend.
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Graves really nails each of the characters. Catwoman's grace and smugness she portrays with each of her movements. She contrasts her against Batgirl who has a natural more healthy sense of humor and a gymnast stance. She cannot resist Harley's jester hat as a visual prop, and she's aware of the point of view. Ivy should appear to be a more or less classic femme fatale. She has to appear imposing and sexy since sex is one of her weapons. However, because Ivy's enemies and rivals are all women, Graves really takes a matter of fact approach that smothers most of her sex-appeal. After all, Batgirl and Catwoman are not going to look at Ivy any differently. Certainly, Ivy's costume covers not much, and she's got long, lean legs. Her buttocks hang out from her corset. Her very presence would normally drive men wild and trick them into making mistakes, but none of these attributes are emphasized because nobody in the book looking at Ivy is interested. It's really quite brilliant and unexpected
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These elseworld heroes reflect our heroes and as usual seem more interesting and accurate than what's currently being paraded around in their own books. These heroes are courageous and selfless. Bruce Wayne for instance cares not only for the innocent people that Planetary lords over but also his friends Diana and Clark Kent. When one character dies both the stars react with anger. When the characterization of the stars comes into question through the plot, Mr. Ellis takes a novel approach to solving the dilemma that does not break the rules he has set and also strengthens the bonds between the characters.
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In case you're wondering, Green Arrow does make an appearance in the story. He's full of dated philosophy that leads to wonderfully antiquated dialogue. He looks like an escapee from the Village People. In short, his cameo leaves a big grin on your face.
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The Agent's five-o-clock shadow is some of the neatest I've seen. Normally such design would seem out of place, and yet when you read of the Agent's mission, the visual characterization actually makes perfect sense. Before he was portrayed as rather scruffy, but that was at a time when we did not know his secrets. As a clearer picture in the story arrives, the artwork becomes more refined.
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If the interplay seems like a soap opera, do not fret. Action abounds as do heroics and a modicum of humor. The artwork is as usual breathtaking and absolutely surpassing the rather subpar cover. Halle and Shada are both proportionate. Robyn is well scaled by comparison. All the characters exhibit subtle facial expressions save for when Halle calls upon her mixed DNA to solve problems, but that's understandable given her reptilian appearance. The setting evokes temperature and the alien. The transport is a nice throwback to original science fiction where Zendra's heart lies.
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The rest of the days have their moments, and I'm not ready to give up on the title like I am on the New X-Men, but Mr. Waid really should have taken the time to read what he wrote and edit mercilessly.
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The western motif itself borrows heavily from other westerns. The madwoman comes from For a Few Dollars More, the black man being scheduled for a hanging may have arisen from Silverado. Perhaps this is what bugs me the most about the story. If this is the DC universe, why aren't bizarre things happening? Why reintroduce a cowboy who can be replaced by every other generic cowboy when you could have helped made this character special by adding an element of the weird to the west? Introduce problems only he can solve: a demonic bear or a ghostly assault by angry natives. The story seems far too simple. A below average episode of the Cisco Kid is a better representative of the genre.
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Although violent and lusty, Monkey Man surprisingly relies on very little slapstick humor. The way in which he takes down the bullies is more of the traditional smart, super-hero variety.
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Hottie in white changes into a costume of red and cold. The costume seems to have some kind of significance, but again since there's no continuity, we can simply agree that the hottie formerly in white now becomes the hottie in red and gold. Geordi decides to cheat on his wife mentally. The hottie if we can take the advice of the man in the cowboy hat to heart will be extremely disappointed. End of story.
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While not the best issue of Ruse you can certainly do worse. The story is mechanically without flaw, and the artwork still has that typical breathtaking Crossgen illustrative style.
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The artwork by Casey Jones works better than most substitues, but Spider-Girl is another book that really requires the regular art team. The best susbstitute has been Brett Breeding, but Pat Oliffe still just knows this character inside out and portrays her as she should be portrayed.
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Third Wish in many ways does what every Hellboy story succeeds in doing. It builds on Hellboy's utter contempt for the so-called preordained. The story makes the point to say if you're tough enough you can beat anything. It subtly relates these tenets in Mr. Mignola's artwork: dark and brooding yet with a spark of bright red optimism.
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Justice League Adventures is so perfect that even letterer Kurt Hathaway takes advantage of the looser and more fun feeling of the animated series by binding each of Atom's speech balloons with a little Atom symbol. There really aren't enough silver bullets to give to this story.
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With substance that belies his overt cartooniness, Nauck handales equally well the dry wit of pages one and two, the stunning Wonder Girl pose on page five, her acting as a leader on pages six through seven, as a friend on page eight--a little Chuck Jones eyelid expression--the powerful symbolic dream sequence on pages eleven through fourteen, the tension between Robin and Secret on pages fifteen and sixteen, Secret's surreal assault on page eighteen and nineteen the superb two page spread of heroes I know and don't--not one pose a swipe--on pages twenty and twenty-one.
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Although a woman, Buffy's poses escape the norm for comic books. The artists do not emphasize her gender, the talent instead pose her in such a way that would scare off the most cocksure vampire. Her poses thus mean something more primal in the battle.
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Drawn in a lively, action-packed style, meticulously plotted with a beginning, middle and end, possessing its own internal continuity and outside influences be damned, Catwoman prowls forth a hero for whom you can cheer and one whose identity still in a way remains secret. She is a throwback to an age abandoned.
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Fray's Karl Moline nicely keeps Cassie's escape in the background while Melchior egotistically hogs the spotlight as a classic version of Max Shreck's Count Orlock from Nostferatu. The only difference is that this vampire loves the sound of his own voice. Perhaps, that is why Cassie's final angry and gruesome act seems so wonderfully poetic.
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The ending comes as a complete surprise, but in hindsight, the character's actions make perfect sense. It would take somebody insane and arrogant enough to believe his power is enough to withstand superior alien scrutiny. His motives however are far from transparent.
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I always expect greatness from Batman: Gotham Adventures, and the title rarely disappoints.
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Likewise, Chaykin and Tischman enjoy corrupting Hal Jordan's character in a different way. They create a triangle between he, CarolFerris and Kyle Rayner. At first, Jordan seems on the up and up, and even compassionate, but there's a chink in his armor that widens as Kyle's presence and so obvious simpatico personality threatens his engagement to Carol.
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The final scene shows a plausible difference in the temperaments between Doc Ock and the usurper mollusk. While Doc has threatened at one time to kill three million Manhattanites and indeed would have killed those Manhattanites if not for Spidey's timely arrival, Doc Ock does not wantonly kill. The example from the past was a simple pay-up-or-die scheme. In the instance of the climax, Doc Ock hasn't a reason to harm any innocent bystanders. Thus, his actions make perfect sense.
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The Flash checking in on Cyborg is the least interesting since it seems old-hat, but his exchange with Morillo is fun, and Iris' new beau does come as a shock. I have to say the panel with the Flash in shadow puzzled me, but all in all, a good if not heart-pounding read.
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The one misstep occurs in an overtly staged argument between Jack of Hearts and Ant Man. These heroes have never really interacted as far as I know. They have no animosity toward each other, and the tempers flaring line doesn't really seem quite plausible. Ms. Marvel's reminder of continuity regarding Jack's power is throwaway dialogue, but the majority of the The Avengers makes the heart pound.
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"Prize Possession" is another clunker with some minor humor in Homer's attempt to start up a barbecue. "Cyrano De Barte" lacks any punch, and a superb surreal beginning to Robert L. Graff's and Jesse Leon McCann's "Hill of Beans" becomes swamped by a derivative flat story.
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I don't know who to credit for the inclusion of some of the more obscure fan favorite cast members. Disco Stu tries to look cool among the crowd. Jump the Shark spoof Roy deals with his eye trouble, and hapless Gil has been reduced to dumpster diving. Futurama/Simpsons is a fan's thoughts come to life.
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In Midnight Mass there's more than humor and horror. Mr. Rozum conveys positive feelings between the Kadmons. They truly love each other, and you can see this in the certain-death scene which captures their characterization in three speech balloons and three widescreen panels. Julia the pragmatist is ready to give in to her fate. Adam the optimist refuses to accept even when physically unable to deter death. Adam motivates Julia, and Julia reinforces Adam's hope.
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The artwork again nails the Groening style. I found the inking in some places to be a tad too thick and distracting, but Phil Ortitz, Phyllis Novin and Art Villanueva easily generate the humor to be found in even weirder looking denizens of Springfield.
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Though Caesar Rodriquez is missed, Justin Ponsor's colors astonish. Oranges from firelight and reflected sunlight which could be harsh in another's hand instead lightly change skin tones and natural stone.
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Given Felecia's choice in either gender partner, her joke about "girl-on-girl action" works on a number of levels. First, it's a purely laugh-out-loud worthy line. Second, it indicates that Felecia is quite comfortable with her bisexuality and hasn't a problem making a joke about her lifestyle choices. Mr. Smith for Spidey gives him the experience of a seasoned super-hero, and he takes the unusual tactic of making him recognized as a hero.
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To see Welles' story come to so vivid and scary life on occasion makes you forget where you sit. So engrossed are you in these pages, that turning them is a near unconscious process, and the chills you feel are very real.
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The climax of "Chaos Rains" is likely to drive away fans who are sick and tired of DC shenanigans. Since I am one of those fans, you should listen. All is not as it seems. Mr. David in the story foreshadows at least three outs to preserve the nobility and heroism of the past. Do not drop the title just yet. Wait until the finale plays out.
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Mr. Morrison may have been able to transform this obvious JLA story into a fascinating New X-Men story, but he didn't even make an effort. He alters some dialogue. He removes a few characteristic impediments, but the story sorely misses the icons with which he used to play. No matter who was involved, the story still needed polish.
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Steven Sadowski from JSA admirably fills in to charge Striker Z's battles and the relationship he seems to be forming. The only false renditions come in the form of the plug-uglies which lack a Jack Kirby feel that Mr. Busiek of course probably wished to imbue and the depiction of Skyrocket. Her expressions for seem uncharacteristic.
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The request made by the idiot behind the recent hero slayings leads to a contrived method of bringing back Christian Walker. Oh, well. At least, Michael Avon Oeming has fun with Deena's hair, and rather than spoofing a hero, both creators pay homage to a classic.
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Page nine and ten exemplify the artist's perfect timing and the depiction of the Dark Knight's strength and speed. The running joke of “My Hand…!” indicates his intellect and his skill in the fighting arts. His method is to first disarm then disable. This is Batman.
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The artwork is fantastic. It almost seems as if Mr. Irving is with pen and ink sculpting from a white page. The story though has no identity. The alien hunter outshines the eponymous star.
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Joe Staton seems to be having his best time in India. The people he gives a beautiful, noble mien. He details an exotic jungle setting, ornate architecture, friendly elephants and a pleasant humorous but daring Mystery Inc.
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He enhances the world of the book by first creating a sense of isolation where professionals discuss the details of the case and then expanding: to create a cast of extras in the background. The horror begins small but the threat for it to escalate becomes obvious.
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The way in which Mr. Beatty keeps emotion out of Simon's voice continues to detail his loss. Part of Emma's mission is to find a way to bring out Simon's emotions. Sometimes she too often becomes swept in the adventure, and for the most part, her mission becomes forgotten, but here the more cosmic aspect of Ruse resurfaces.
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The added narration seems redundant. It would have perhaps helped if the narration did not overtly detail relatively ordinary scenes. The added verbiage does not lend power to the target panels. Rather it belabors the point. It also doesn't help that the first story cameos Chase Hawkins. Why Batton Lash loves this character so much I'll never know.
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Mr. St. Aubin's artwork in response to the quality of writing is crisp and precise. Inker Mustaffa Moussa accents the art noveau detail. Colorist Chris Chuckry uses a limited palette but stretches those colors into as many vibrant shades he can. Incidentally, your eyes are not playing tricks. That is a Neal Adams cover.
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His rendering of Buffy startles the reader. We knew that the creative team would get around to bringing her out of hiding given that she's the star of the book, but we never expected to see her this way.
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This multiplies entities far too much. I don't accept this drivel as a story. I don't accept this dreck as a limerick. This offal is merely a nonsensical means to an end. The pathos of Ben Grimm is back but at what cost to the reader's brain?
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Even were I to find such visual vomit appealing, D.J. blur forgets that not everybody has spider-speed. Let's say that those with that type of power blur. Does this also mean AngelFace blurs? Does this mean Kaine blurs? Does this mean Normie Osbourn blurs? Does this mean a rifle blurs when it hits the ground? I imagine if we saw Mary Jane wheel herself into the hospital, the chair would blur.
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The best about the artwork is how painting from real life does not stiffen the characters in static photographs. Vampirella while being beautifully brushed still engages in violent action. Her subtle and not so subtle but realistic expressions strengthen the strong personality in Mr. Smith's words.
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Jennifer Graves provides more than animated design. She takes advantage of the style's more accommodating nature to depict dynamic action. Catwoman bounces and flips out of the path of expertly thrown batarangs--I do believe this is the first time she has been hit by one in any continuity--and the gymnastic Batgirl. Enough of this mini-series nonsense. Let's have Gotham Girls. upgraded to series status.
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Melded smoothly with the battle is Hawkman's absolute faith in his partner. That faith seems to be based on the love that they share for each other; though Kendra will be damned to admit to such feelings. This makes the emotional conclusion all the more devastating.
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The idea of removing Superman and Batman to create a new universe has potential, but the execution here is poor and forced.
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Other scenes rekindle the thrill you felt as a child. Hawkgirl maces a giant hornet. As it occurs, you can just hear Maria Canals' scream. Wonder Woman wielding a lamp post she tore from its foundation whacks Metallo. A shadow of the bat falls upon a stolen television just before Batman swoops down on the idiot looters; later he kick-boxes a skeleton. Wonder Woman follows suit by punting a giant spider. This is the stuff of legends, and the wide-eyed sometimes teary-eyed followers of those legends have not been forgotten.
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Steve Bucellato ends the book with “Reptile Rant.” This corker of a story twists Hawk and Dove into a hilarious comedy starring the aptly named Zen Girl and Gun Gal. While Mr. Bucellato also did the Claire Donner case, he uses a different color palette and ups the cartoony look to suit the lighter tone.
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“Leviathan” by Scott Davis hits all the right buttons, but Orion the Hunter is not a very likeable character. Dean Nichols, Edde Wagner and Billy Crooks with the Blond provide nice artwork though it's still a little too Imagey with its dependence on metal bands and big veins for my tastes.
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I honestly did not know what to expect when I ordered the book. I just knew how much I enjoyed the past Spidey/DD team-ups and expected more of the same. What I received was the most unpredictable and light-hearted adventure these two urban icons shared.
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Back to the story, Mr. Gross cleverly uses She-Bat's secret identity for some impromptu detective work, and she deduces from her nemesis' dialogue the nature of the crime. The added twist at the end distinguishes “Theft with a Vengeance” from the simple good-guy versus bad-guy motif—not that there is anything wrong with following that tradition.
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Mr. Paquette captures the boisterousness nature of a care-free Thor. His Iron Man does not resemble a refugee from an anime robot factory and looks more like his own armored self. The Captain looks remarkably stalwart. Another Avenger appears uberserious while still another reflects the changes made but enjoys a less serious demeanor.
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Robin is important to the story for a number of reasons. While the continuity Batman has managed to turn away every friend he believed he never had. Robin likes Batman and knows he will without hesitation support him. Robin can also do things Batman cannot do. He takes on a role straight from the Bob Kane originals. Batman Gotham Adventures is a back to basics approach friendly to new readers, respectful of older readers and faithful to the essence of the bat.
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Frank Miller's imitators only saw darkness in his seminal work, but they missed completely that The Dark Knight Returns is one of the most optimistic comic books in the history of the genre. Here was a crime-ridden and controlled world that demanded the return of the hero. Let's hope that this time the writers who claim inspiration from Mr. Miller finally see the Knight as well as the Dark.
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The turning point of the story brings in a superb Grant Morrison adjustment to post-Crisis Flash history and charmingly alludes to Superman II. The Flash's save of Central City and Keystone City brilliantly relies upon his more subtle powers as well as the speed. Mr. Johns also provides a logical limitation for those powers. This of course begs the question: where was Wally during No Man's Land. Oh, wait a minute. That's right. Big. Yellow. Birds.
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The Witchblade manifests during the adventure, and from what I can see, it protects Sara in full. Manapul however keeps her clothed! Perhaps, Mr. Wohl always saw Sara as a serious representation of the female heroic archetype. He just needed to get rid of the other guys to fully express this understanding. For whatever reason, thanks to Mr. Wohl and Francis Manapul, Witchblade no longer seems to be a dirty joke. The writing is intelligent. The artwork is solid and good.
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The introduction of a new character full of ambiguity shifts the story into high-octane thrills ending accelerating in a road chase. Here we discover exactly what Rick is carrying, and while interesting in itself like most mcguffins it is not important to the story. Unlike many other plot devices, this one may turn up again when you least expect it on Highway 13.
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The artwork by co-creator Montiel and J.C. Buelna with Garcia's colors has an old-school appreciation for anatomy and the way a cape should fall on heroic shoulders. The setting evokes comparisons to Russ Heath “Tarzan” and Al Williamon's “Flash Gordon.”
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Still, there's no denying that as usual, the artwork raises the overall quality of this most mediocre issue of Sojourn far more than it deserves. The idyllic setting rendered by Greg Land, guest-inker Jay Leisten and colorist Ceasar Rodriquez who has apparently decided to compete with Laura DePuy from Ruse evolve such a realistic, lush setting that you can hear the splash of water, the downpour of rain, birds singing and the rustling of woodland creatures.
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John Romita Jr. provides a traditional Doc Ock but I really couldn't care about the loon since he is a villain after all. He does however need to feed Mary Jane sometime. She's dangerously close to fading away.
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When Ralph starts spouting about male--not even werewolf--superiority, you know things will become ugly, and Mr. Moore choreographs supremely creative blows that I'd wager have never before been seen in comic books.
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The artwork as usual is stunning, and like the work in previous adventures, it serves as more than mere spectacle—though the scene where the wave sweeping Hellboy into the ocean is breathtaking despite it not being a splash page (pun not intended). Though this issue seems to have more dialogue than previous books, the most important words are seen in the artwork—such as when Hellboy and his final captor express each other's sorrow.
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The assault on alien steeds against the menace is weird and stunning. The antagonists ooze otherworldly malice. The strange helpers of Carter and his friend acquire a tainted angelic presence. Not to be missed.
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The art team once again keeps Catwoman in motion throughout the panels. Her fight scene though brief is memorable. They also enhance the mood. The feeling of violation even when from a criminal has a stronger impact because of the team "pulling back the camera" in the panel to show a wider space. It shrinks down the antagonist, and gives an alien feel to his apartment. The exchange toward the end of the book between Karon and Holly is quite smile-worthy, and it's the artwork--Karon's reaction, the brighter colors--that makes it so.
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The father's day scenes both between Hourmen and Jakeem are cloying. They seem to shout out: look we're deep, but failing to notice the utter shallowness of the exercise.
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What utterly failed in my opinion was Lillith's vignette. All this scene shows is how dependent the villains are as characters upon the hero. We don't mind spending time with heroes outside their battles, but villains really only have one purpose. Lillith's monologue in the presence of (yuck) Bizarro Supergirl is annoying.
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The whole outlaw aspect is a kind of return to the old days of the Defenders, but the concept isn't quite as accomplished at the end of the story. The Avengers after all know where the Defenders live. If they really wanted to stop them, all they have to do is go and get them. You can argue that in their hearts, they do not wish to do this, but I can't believe S.H.I.E.L.D. is going to let bygones be bygones.
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The one disappointment comes from the magical work out in the opening scenes shared between Julia and Adam. After seeing Mr. Saiz's effects for motion last issue, I expected something a little more spectacular. Also, not enough space in the panels is allowed to give the battle justice.
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Gail Simone follows Ian Boothby's magnificent revel in greed with the untold origin of Sideshow Mel. She brings in a nice array of Simpsonian history to amuse. The story is about making people laugh, and such a tale could have easily led to her pratfall, but she arrives with finesse at the end on a laugh.
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The next scenes dissolve any doubt that the flashback could possibly be anything but purposely campy. The representative of corporate America isn't just greedy you see. Nope. He's looney. To prove this to the reader, he chooses a fetching bucket to wear on his head. The nuttier the villain, the sillier is his head gear. If his hilarious hat didn't clue you in to his loose grip on reality, his actions certainly will. Upon discovering Green Arrow and Black Canary trespassing on the premises, does he do a sensible thing like call security? No. Instead, he uses a dubious power to turn innocent animals trapped in tubes of liquid that makes a "bloop, bloop" noise into Barnyard of the Damned. Believe it or not, this issue is even funnier than I describe. Go, and pick yourself up a copy.
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The look on Sprocket's face after Katie reveals the punchline to her story generates emotion. Difficult to do in the case of a clunky robot. Halo gains quite a bit of arrogance, Ms. Callen still keeps all the warmth. Never once do these characters seem anything other than friends.
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Perhaps the most preposterous suggestion by Mr. Morrison is that somehow the military, industrial complex who even in the Marvel universe is afflicted with a combined limited intellect is clever enough to discover such an advanced poppycock power. These caveats aside, the characters fail to convince me the story can work. How is it that Fantomex can even comprehend what the heated time people can do? He's a bleached movie Diabolik clone and one I find even less appealing or intelligent than the MST3K original. What exactly does Monet do? She has yet to use any ability. Why doesn't Darkstar's energy work? How can energy be degraded through evolution? These questions Mr. Morrison fails to answer, and the lack of anticipation results in a sloppy mess.
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Charlie Adlard's unique artwork which reminds one of Jack Kirby imagery as seen through a stretchy funhouse mirror combined with Edginton's knowledge of storytelling could have made this book phenomenal. Instead, due to the lack of time needed to properly develop the characters, the comic merely comes off as a pretty info dump.
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Tom Raney and Scott Hanna impress with very quiet but ornate artwork. It's a by the book super-hero look. You'll find no garish twists in anatomy nor a super distinctive style. The team fades gently into the pool occupied by such talent as Steve Epting, Jerry Ordway, Eduardo Barretta and Bob McLeod. These artists are reliable, anatomically conscious illustrators who gain critical claim but no hype. It's the team's natural, careful execution that makes Thor's more dynamic save of the world artistically outstanding.
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Everything Dan Green adds to the book can be exemplified in the splash page depicting Batman's rescue of the woman. Examine the musculature. Green deepens the various muscles with thick inks an subtle lines representing every fiber of sinew. The emphasis of grit on the woman's skin and hosiery mars her beauty and style. Sure, she's a knockout, but she hasn't had a very good day. It's gotten better. Thanks to Batman.
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start protecting the world. The best thing about the book is
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The only drawback to the book is the dark shading. I know the mood the shaders try to achieve, but they overdo it and leave an overall muddy cast that makes the artwork sometimes difficult to discern.
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moves with the confidence she gained through the magic.
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comes off as any old occult investigator.
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and Daphne rubs her eyes while looking damn cute.
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Daerick Gross Sr.'s inks increase the depth of well developed muscle and accent the contrast between black and white. He sinks in cheeks to express age, and he gives the book an overall polished, professional look.
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As usual, Butch Guice, Mike Perkins and Laura DePuy produce one of the prettiest books on the shelf. I don't know which is the more beautiful Sojourn or Ruse. I normally do not compare different art teams, but I see no harm or unfairness to do so here since both of them do a breathtaking job for each title. I think Ruse edges out Sojourn simply because of the breadth of artwork needed. Guice/Perkins and DePuy fashion different period clothing and still give Partington an otherworldly feel while transporting Victorian and other styles of English architecture as well as natural settings to the book that is as stunning as something you may hang on your wall, Elvis on black velvet excluded.
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Artistically, I have no objections to Mr. Lash, but this issue looks to have been the product of more effort. The gusts of wind and flying bar association look to have been carefully considered for the purpose of comedy. Mavis' little thought balloon is priceless, and even Alanna looks disheveled once Mr. Negativity kicks in.
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While Texiera is known for his pin-up type artwork, he should not be so easily dismissed. Take a look at the perfect expression of hate mixed with sorrow during the dnouement. Tears actually glisten in her narrowed eyes.
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In the next scenes we learn Duane Freeman died. Did anybody see him go? Iron Man is choked up about the whole affair, and I just wish I could feel something for the man. These should be really strong scenes. Iron Man who is the answer to the JLA's Batman being emotionally overcome should really make me feel something, but the whole affair seems artificial. Duane is a Busiek character. He had to die because the other writer may wish to replace him with his own character. It's ugly and cynical but the truth.
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Believe it or not, the Lola Bunny cartoon is funny this issue. Sean Carolan and Jennifer Moore spin Buffy the Vampire Slayer to give Lola a reason to exist. Leo Batic provides superb cartoon monsters and deities to pester our lively heroine.
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The artwork throughout this anthology is excellent, but unless you're a nihilist avoid this collection like you would avoid a jaundiced hooker.
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In this issue, Bendis and Oeming create a hero that looks to be his own character rather than idea. You actually feel sorry for this character when something nasty occurs, and you wish you could have spent more time with him.
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The colors last issue ruined it by robbing the detail from the art, but here Udon Studios preserve Oliffe's and Williamson's crosshatch to better maintain the artwork's character. Also the color doesn't destroy the well-worn feel of the clothing and indeed the people.
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The Strongmen of America kids are extremely annoying, and their panel time would have been better spent on the underused Weird Rider.
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Worst of all, the stupid plot from the last issue hasn't been revealed to be a derivative of too much alcohol. Well, Mr. Warren has been drinking, but The Thing apparently hasn't had a sip.
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No punches are pulled for the Nazi sleeper agents. They're vile and evil. They have no depth because they should have no depth. Although, I have to say Alan's wish to save them from Grundy strikes me as a little naive.
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As for the mystery, Mr. Johns comes up with a tidy solution that echoes in the halls of DC's acquisitions department, but honestly, the mystery is the least impressive element of the book. Hit him again! Hit him again!
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Where was I? Oh, yeah. JLA: Destiny is however not without ingenuity. The cliffhanger ending looks promising and takes advantage of the freer setting. Destiny nee Nightshade is a genuinely interesting character--mainly because Mr. Arcudi gives her a history. The artwork from Tom Mandrake is as always moody and evocative, and I like how Destiny almost fades into the shadows despite her being blonde and clad in a white robe. The dialogue and the plot rarely take a misstep. Granted, it's functioning on characters who have the depth of a mud puddle, but the mechanical technique shows talent.
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As for the Dodsons' take on the Black Cat. "Wowsers!" She has a femme fatale body and looks better than she ever did. Um. Oh, yeah, Spidey looks nice too
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The visitor isn't Michael Meyers or worse Joel Schumacher. Instead, Mr. David introduces Anita's father's superior at A.P.E.S. The bearer of bad news, he also gives Anita the clue she needs to find her dad and starts the plot. Mr. David builds the characterization for six pages before introducing the plot. Rather than hammer home the story in a blinding blow, he gently takes the reader's hand and shows her the characters. He leaves the reader to get to know the characters and decide whether or not she will like the character, and then and only then, does he embroil the cast in adventure that changes the mood of this usually light series.
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The DCU “proper” is comprised of dark, unhappy idiots in tights. You cannot take them seriously save as pre-Crisis rape victims. The only place to find the heroes whom we counted on as children are in the animated series and the books based upon the cartoons. Please, pay attention. We don't seek the bland. We don't wish for the stupid. We don't want artiface. We want the genuine articles: intelligent men and women gifted with powers and/or abilties who are dedicated to serve justice. We want our legends. We want them to speak and act like legends. In this issue of the normally spectacular Justice League Adventures we get something that's below childish and insulting.
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