|
|
Green Arrow No. 20 (DC) - $2.50
Brad Meltzer - Writer; Phil Hester - Pencils; Ande Parks - Inks
Reviewed by I. Martin
The 6-issue story by best-selling novelist Brad Meltzer rushes towards its conclusion, with just one more issue to go. Oliver Queen and Roy Harper have been on the road for several issues now, picking up various
artifacts that for one reason or another are important to Oliver Queen. Artifacts that he’d asked the Shade to destroy if he was ever killed. Unfortunately, the Shade wasn’t able to get to everything following
Ollie’s death in issue 101 of the previous Green Arrow series, so Ollie and Roy have been gathering those items the Shade wasn’t able to get to.
There’s really very little warning regarding what it is that Ollie is looking for at the moment, just that it’s the last item Ollie is seeking and the hint that it has something to do with Hal Jordan (Green Lantern).
That hint comes courtesy of a road sign, indicating the pair have one more mile to go to reach the out of service original Ferris Aircraft hanger. Ferris Aircraft, of course, was started by the father of Carol Ferris,
who was the longtime employer and often the love interest of Hal Jordan.
This issue is a fast read, as there are very few changes in scene. It’s just a long car ride with one stop partway through, and then the arrival at the hangar and the search for the artifact. Given the title of this
chapter, I was expecting the item to be some sort of kryptonite, something Ollie could use to do whatever he feels he needs to do and assure himself that Superman won’t get in his way. The next logical conclusion is
that Ollie’s after the Arrow-plane, although that idea is quickly abandoned once the pair of heroes arrive at the hangar -- every vehicle there looks like it would take months of repair before being even remotely capable
of operating under its own power. When Ollie finds the truck he and Hal drove across the country in, when they were known as the Hard Travellin’ Heroes, it seems likely that’s what he has come back for. It’s hard to
describe the surprise when it’s revealed that it was something hidden in the truck -- put there by Hal in case Ollie ever needed it -- that was the object of the trip.
The art by Phil Hester and Ande Parks on this title continues to be excellent. In under two years the pair have practically reinvented the look and style of Green Arrow. While the much of the excitement and most of
the fuss around the book has focussed on the writers who have helmed it -- first Kevin Smith, then Meltzer and, starting with #22, Judd Winnick -- it’s been the artwork of Hester and Parks that has brought the book to
life. Their style has just the right blend of realism and cartoonishness to make it appealing. The big action scenes have the drama and tension they need, and the quieter scenes -- like the road trip in this issue -- have
the quiet atmosphere of everyday life that makes them believable. It’s in such scenes that Hester’s and Parks’ roots in the small press and independent comics arena serves them so well. Many more traditional superhero
artists would be unable to convincingly portray such a simple scene without making it look static. Which is why Hester and Parks are such an excellent choice for this title.
The hype machine is right: This is a comic book that has appeal to fans of almost any genre of comics you can imagine. And it’s one you should check out, because the big conclusion next issue and the arrival of Winnick
with issue 22 mean there’s even more excitement ahead.
 
|
| |
Spider-Man’s Tangled Web No. 22 (Marvel) - $2.99
Brain Patrick Walsh - Writer; Alberto Dose - Artist
Reviewed by I. Martin
This final issue of this experimental series is also among one of the better issues of its short run. The reason is simple: Writer Brian Walsh stuck to the founding premise of the book, which was to tell
stories about how Spider-Man impacted the lives of other people and characters within the Marvel Universe, without having him be the main character of each story.
This issue addresses some of the "what if?" type of questions that frequently come up when comic fans sit back and theorize about how our everyday world would be affected if comic book superheroes were real.
One of the toughest, is how would the actions of a vigilante superhero affect the work of the Police Department and the District Attorney’s office. After all, superheroes are not officers of the court and are
not legally authorized members of the law enforcement community. So when Spider-Man uses his webbing to snare a crook, is he guilty of false imprisonment? Even worse, when a pair of crooks are webbed up
together for even a short while -- say, 15 minutes -- what happens if they use that time to come up with a uniform story, one that gives each of them an alibi and makes it look like Spidey got the wrong guys?
This issue explores exactly that question, in a very believable manner. The main characters are a pair of NYPD detectives, officers Harrison and Donovan. They have to try to crack the alibi of two thugs who
used a baseball bat to beat a 60-year-old shopkeeper into a coma. The men claim Spider-Man was chasing two other guys, who ran past them and disappeared, and that Spidey then snared them.
Dose’s art throughout the issue was pretty good. It had the rough, unpolished edge of a gritty crime book, that added to the “Law & Order” atmosphere of the story. The artist seldom skimped on the background
details, instead using just the right combination of small details and strategic shadows to create a very realistic looking scene on every page.
The dues ex machina ending also had a slight Law & Order twist. Just as the police have given up, and are about to release the two thugs, the captain sees a copy of the morning edition of the Daily Bugle. On
the front page is a very clear photograph of the thugs, one carrying the bat from the crime scene, charging toward Spidey. This provides the crucial piece of evidence that blows a hole through the alibis of the
two thugs. The nice part of it is that Walsh’s writing leaves this detail, and others throughout the issue, for readers glean for themselves from the artwork. The result is that this book gets to wrap up its
short run with a fine issue that serves as a great example of the excellent level this book was capable of reaching, even if it didn’t do so consistently.
This title was an interesting experiment for Marvel. Even though the series has come to an end, the experiment itself was a success.
|
| |
Marvel Double Shot No. 3 (Marvel) - $2.99
Jai Nitz/Sean McKeever/ - Writers; Gurihiru/Darwyn Cooke/Mike Manley - Pencils and Inks
Reviewed by I. Martin
This is not a superhero comic, despite what the wonderful Joe Jusko cover image featuring the Fantastic Four may imply. No, this is better than a superhero comic. This comics features two stories about some very human
characters and their children. The fact the parents happen to be Reed Richards (Mr Fantastic, leader of the Fantastic Four) and Scott Lang (Ant-Man, formerly of the Avengers) is merely incidental. Superhero comics
dominate the market these days, although less now than a few years ago. One of the best ways to get fans of superhero comics to read other types of comic book stories is to tell those other stories, and just cast
known superhero characters in the roles that need to be filled. That’s what Nitz and McKeever have done in their two tales in this book, and both have done it well.
Nitz’s story, featuring Reed Richards and his son Franklin, leads off the issue. His tale takes what may be a very common moment in this day and age -- a child watching cartoons which are interrupted by a news anchor
talking about a new act of violence or terrorism in a foreign country -- and uses that as a springboard for his story. Bored by the news story, Franklin goes looking for his dad, who is, as usual, engaged in research
using some high-tech device of his own invention. Their simple conversation quickly leads to a fairly simple question from Franklin -- "Daddy, do you believe in God?"
While the question may be simple, the answer to that question is among the most complex in the universe, and has been the driving factor behind acts of war and violence across the globe for centuries. Nitz uses Reed
Richards, and his unique role at pivotal points in the history of the Marvel Universe, to explain why Reed not only believes in God, but also in the one thing -- the only thing -- that has a chance to alter or even stop
the centuries-long history of humans committing acts of violence against each other: Love. The story may be short, but sometimes that’s all it takes to make the point.
The art by Gurihiru is smooth and dynamic, while definitely showing his manga past and influences. Franklin especially looks like a young Speed racer, but with blond hair. The only thing missing was the "1/2" symbol
from his FF "4" logo T-shirt.
The second story was a bit different, with a much less serious tone, involving the angst of a parent when their child -- in this case Ant-Man’s teenage daughter, Cassie -- goes on their first date. McKeever includes the
stereotypical parental reactions spoofed so often on TV sit-coms -- the parental intimidation of the boy and the "You’re not wearing THAT!" reaction to the clothes his daughter wants to wear. In the end he does the one
thing only sit-com and comic book parents ever do, but in his unique superhero method: He shrinks down and tags along on the date. He gets to hear the unvarnished truth from Cassie’s mouth as she explains to her date
that her dad is a little strange, especially since the divorce from her mother. It’s clear that Cassie loves her dad, she just wants what every child wants -- for their parents to let them grow up.
The art by Cooke and Manley smoothly complements the manga style of the first story, while moving a bit closer to the more common superhero comic style. It works well, and serves to give the two stories a bit of artistic
similarity that blends with the similar stories -- both being parent/child stories about the steps a child takes as they grow up -- that gives the issue a bit of a theme feeling.
This 4-issue mini-series hasn’t attracted a lot of attention, and might be easy to overlook, but these are the kinds of stories that could get a non-comics reader, or a comic reader who doesn’t read superhero comics, to
broaden their reading repertoire a bit. It might be easy to overlook on the shelf, buried among the tons of superhero comics, but it’s worth the effort to find it.
|
| |
Spider-Girl No. 54 (Marvel) - $2.25
Tom DeFalco - Writer; Pat Olliffe - Pencils; Al Williamson - Inks
Reviewed by I. Martin
This issue kicks off the longest single story arc to run in this title to date. It’s a good sign for the title, though, as it indicates Marvel has made a commitment to continue publishing it. When it concludes in issue 59
it will represent a full 10% of the run of this title. This first chapter serves as a good beginning, as at least two continuing subplots advance in a way that indicates they may become major parts of the plot of this story
arc. A new plot is also introduced, in the form of a group called Soldiers of the Serpent, who are planning to commit some acts of domestic terrorism.
DeFalco continues to demonstrate his unique talent for interweaving numerous subplots, as the pregnancy of Mary Jane is addressed, and the school life and dating situation of our heroine also get some time in the spotlight.
In fact, May’s romantic situation looks like it may be the dominant subplot of the story arc. May is torn between Jack Jameson (son of Daily Bugle publisher J. Jonah Jameson) and Brad Miller (the boy she’s had a crush on for
years). The situation gets even more complicated, though, when May unexpectedly kisses a very surprised Normie Osborn. That new wrinkle should make the already complicated love life of the web-stunner even more interesting.
The artwork by the regular team of Olliffe and Williamson was -- as usual -- excellent. The pair seem to bring out the best in each other’s work. Whether it’s a scene in the headquarters of the Fantastic Five, a back alley
through which Spider-Girl follows some trenchcoat-wearing thugs who turn out to be part of the Soldiers of the serpent gang or the hallways of Midtown High, the art is always smooth. There’s never a question of which way the
sequence of a page should flow, as Olliffe and Williamson use the page and panel layouts to effortlessly guide reader’s eyes through each scene.
The humor of DeFalco’s scripts also comes through well in the artwork. One of the funniest sequences in the issue is on the opening few pages, in which we see Spider-Girl battling a gang of thieves who have all disguised themselves
as Santa Claus. At one point we see as many as seven Santas in the same panel, each trying to elude or attack Spider-Girl, who has intervened in their attempted robbery of a jewelry store.
Despite being the opening chapter of a long story arc, this issue felt a lot like any other issue of this series -- specifically it felt accessible to new or casual readers who might not be up on every tiny detail from previous issues.
Several subplots were advanced, and everything was illustrated in a wonderfully smooth and pleasant art style. In short, this was a typically excellent issue of this fantastic series.
|
| |
Leave It To Chance No. 13 (Image) - $4.95
James Robinson - Writer; Paul Smith - Artist
Reviewed by I. Martin
Sufferers of triskaidekaphobia (fear of the number 13) may be hesitant to pick up this issue. Comic fans who have been burned by the not uncommon late shipping of numerous Image Comics issues may also tend to
avoid this issue. Both groups, though, would be well advised to overcome their doubts about this particular issue and make the $4.95 investment into a particularly great comic book.
It’s been over three years since the last previous issue of this series arrived in comic shops in the early summer of 1999. The first three pages of this excellent issue do a fantastic job of providing a recap
on the history of the character and the series, without feeling like repetition. Following the recap, there is a fabulous color sketch of Chance Falconer, the title character of the series, done by the legendary
Barry Windsor-Smith, before the issue kicks into high gear.
The story itself is as entertaining as any of the previous issues of this critically acclaimed and fan-friendly series. It serves to reintroduce the characters, expand upon the history of the teenage Chance
Falconer and her family, and tell an entertaining mystery story. The creators wisely chose to tell a tale that is largely complete by the end of the issue, although there is still a mystery element left unresolved
by the end of the last page.
The art by Paul Smith, who first gained widespread fame in comics for his work on Marvel’s Uncanny X-Men in the 1980s, is as good as ever, if not even better. He perfectly illustrates the story of Chance Falconer,
the youngest member of a family with a centuries-long legacy as the magical protectors of the city of Devil’s Echo. The city itself is an artist’s dream (or nightmare, perhaps), being a combination of the realistic
and the fantastic. Castles, demons and werewolves exist side-by-side with automobiles and flying vehicles straight out of science fiction.
This long-awaited return of one of the best comics to come from Image in the late-1990s is welcome news to fans of entertaining comics that combine great characters, great stories and great art. And if that was all
this issue contained, it would be a great comic. But there is more here. Following the conclusion of the story, readers are treated to a series of “Rogues Gallery” pin-ups, featuring more great Smith art, and some
informative text about the characters. Then there are three pages devoted to reprinting (albeit, somewhat reduced in size) the original rough layouts for the 23-page original version of this tale. A close look reveals
that while much of the art in the finished issue was similar to the original layouts, much of it was totally original as well. There’s also a great full-page mini-poster of Chance and some of her foes by Mike Weiringo,
whose own Tellos comic recently returned to publication, also from Image. The two books share a similar heritage, and a similar all-ages approach to telling great stories, so Weiringo’s pin-up is a perfect fit for this
book.
The returns of Tellos and Leave It To Chance are good news for the industry. A return of Kurt Busiek’s Astro City (tentatively set for early 2004) would complete the trifecta of great comics that never failed to
disappoint. Finally, your reviewer has to confess one tiny possible conflict of interest here: I had a fan letter published in Leave It To Chance #5. Like this issue, and all of the previous issues of this series,
that one is well worth seeking out in the back issue bins. And hopefully it won’t be as long between this and the next issue as it was since the last one.
|
| |
Superman: Day of Doom No. 3 (DC) - $2.95
Dan Jurgens - Writer; Dasn Jurgens - Pencils; Bill Sienkiewicz - Inks
Reviewed by I. Martin
The second issue of this mini-series seemed to lose speed for a moment, spending several pages recapping what was shown just one week earlier, in the first issue. This issue, though, moved forward with the story from the very first page.
The writing of this issue is particularly strong, and contributes greatly to the further development of Daily Planet reporter Ty Duffy’s character. The revelation that his father, who was psychotic, committed suicide was
dramatic. The fact that Superman’s battle with Doomsday was a significant contributing factor -- by making it impossible for him to get the medication he needed at the time he most desperately needed it -- was devastating
to the Man of Steel.
Like the events of September 11th, 2001, the battle between Doomsday and Superman affected thousands -- perhaps millions -- of people, and took the lives of countless civilians who were simply in the wrong place at the wrong
time. It was that similarity that gives this series a truly original approach to the modern classic “Death of Superman” story. The fact that Superman was able to return to life at the end of the story simply adds an entirely
new story element. Imagine the consequences for religious leaders (especially in the Catholic and Protestant faiths) of having an alien superhero duplicate the feat of Jesus Christ -- namely, dying, then returning to life.
And as Duffy informs Superman, it really isn’t fair that while thousands of people died during the battle, only Superman was able to live again. It also isn’t Superman’s fault, although Duffy, and presumably others, haven’t
yet reached the forgiveness stage of their grief.
The art by Jurgens and Sienkiewicz is different enough from the artwork in the original issues that it has a different flavor. It allows the creative team, and the readers, to explore the darker side of the death and return
of Superman. Including the fact that on the anniversary of Superman’s death, someone is duplicating some of the scenes of destruction that were a part of the Superman/Doomsday battle, and doing so on a path that almost exactly
parallels the course of the original battle across the American heartland toward Metropolis.
The concluding chapter of this mini-series will likely deal with the “Reign of the Supermen” story that gave birth to four Superman stand-ins, and resulted in ongoing series for both Steel and Superboy. Hopefully it will also
deal with the reaction of Superman’s peers in the superhero community to his return.
|
| |
Spider-Man’s Tangled Web No. 20 (Marvel) - $2.25
Zeb Wells - Writer; Dean Haspiel - Artist
Reviewed by I. Martin
A superhero comic is only as good as the characters who make up the supporting cast. One of the things that has made Spider-Man such a successful character over the past four decades is the incredible range of characters
who make up his supporting cast. Doubt that? Try naming 10 supporting characters from the cast of any other superhero. Let’s say the Hulk, for instance. (Bruce Banner, Thunderbolt Ross, Doc Samson, Betty Ross, and, um,
er ... well, you get the idea.) Now name 10 from Spider-Man. (Aunt May, Mary Jane, Flash Thompson, Robbie Robertson, J. Jonah Jameson, Liz Allen, Harry Osborn, Gwen Stacy, Capt. George Stacy, Norman Osborn, John
Jameson, Randy Robertson, Betty Brant, Anna Watson, and, oh, oops, that’s more than 10, isn’t it?)
This particular issue of Tangled Web focuses on one of the more interesting of those supporting characters, the feisty publisher of the Daily Bugle and near-constant thorn in Spider-Man’s side, J. Jonah Jameson. JJJ is a
character who seldom gets the respect he deserves, partly because he’s the character readers are supposed to hate, because he hates the hero of the book, Spider-Man. The incredible performance of J. K. Simmons as JJJ in
the record-smashing Spider-Man movie may have helped boost interest in this perennial Spidey supporting character (first appearance: Amazing Spider-man (vol. 1) #1). The character has been explored before, most extensively
within the pages of Spectacular Spider-Man in the late 1980s. The story in this particular issue is one of the best explorations of JJJ’s background and motivation regarding Spider-Man since those issues of Spectacular
Spider-Man.
Wells’ story perfectly captures the personality of the fiery newspaper publisher, and expands upon it by providing some reasons for his behaviors. The best thing about this retcon of JJJ’s character is that it adds to
prior characterization, adds a new layer to the complicated onion of JJJ’s personality, and does it without contradicting prior characterization by other writers.
The artwork by Haspiel, while good in many respects, wasn’t on the same level as the writing. Haspiel’s art looks a lot like it may have been influenced by the work of Jim Mahfood, which isn’t a bad thing. Such a style
seldom works well on characters like JJJ, though. Characters who are as outrageous as JJJ is to begin with must generally be drawn in a more realistic manner in order to be believable. Doing otherwise makes it difficult
for readers to suspend their disbelief and buy into the character and their story.
Even so, this is a great issue in this series, and is further proof that there is a good purpose to titles like this one: To highlight characters who can’t carry a book themselves, but who otherwise wouldn’t get the
attention they deserve if they never got the spotlight. Issues like this are perfect examples of why Marvel should keep publishing this title. The series may be uneven in execution, with some truly awful tales along the
way, but it’s the gems like this one that make the series one worth sticking with.
|
| |
Fantastic Four No. 63 (vol. 3) (Marvel) - $2.25
Mark Waid - Writer; Mike Weiringo - Pencils; Karl Kesel - Inks
Reviewed by I. Martin
The long-running claim of “World’s Greatest Comic Magazine” is absent from the cover of issues of Fantastic Four these days, but this issue is as deserving -- if not more -- of that claim as many of the previous issues. The
creative team that took over this title beginning with the special 9¢ issue (#60) a few months ago has really been doing a great job of telling fascinating stories about the first family of superhero comics. It’s no less than
the characters deserve, since they are the ones who launched the Marvel Age of Comics with their first appearance in 1961.
The entire world of comics has changed dramatically several times over since the birth of the FF, and the membership of the team itself has shifted from time to time, but the first true family of superheroes is at the core of
these new stories. This issue is the middle part of the creative teams’ first multi-issue story arc, and it’s one of the most interesting FF stories I’ve read in years. Modulus, the sentient mathematical expression that
thinks it loves Reed Richards, is possibly one of the most unique new villains this team has faced in ages.
Waid’s story plays off the dynamics of the interactions between the family members who are the FF, making the fact they are a family an important fact to know in order to understand the interactions of the characters.
The artwork by Weiringo and Kesel is wonderfully suited to the characters. Modulus is not only a fascinating character, he (or it) is visually distinctive. Given the digital nature of modern life -- not to mention the high-tech
and extremely scientifically advanced devices used by the FF -- Modulus is uniquely suited to turn the tools the team uses as weapons against them.
The cover may no longer proclaim that readers are about to read the Worlds Greatest Comic Magazine,” but this creative team seems destined to prove once again the truth of that Silver Age claim.
|
| |
Marvel Encyclopedia (ISBN 0-7851-0984-6) - $29.99
Reviewed by I. Martin
This hardcover book was billed as being the professional treatment version of the mid-1980s Handbook of the Marvel Universe series, containing the latest information and history of all of Marvel’s greatest characters. It is
a very slickly produced book, with a beautiful Alex Ross cover protected by a heavy dust jacket. The contents of the book, though, fail to live up to the hype and fail to do justice to the characters chronicled within its
pages.
There are two major reasons that this volume is not worth the cover price, and is not a valuable addition to the library of any comic enthusiast. Since my expertise is in the realm of Spider-man, I’ll cover that area first.
The book is organized into color-coded, themed sections. The Avengers section (green) leads off the book. That’s followed by the Fantastic Four section (blue), Marvel Knights/MAX (orange), Spider-Man (red), X-Men (dark blue),
Ultimate Marvel (red, again), and Call of Duty (black). The Call of Duty section can’t really be called a section, since it consists of just two pages, and the one piece of artwork used takes all of one page and bleeds onto the
facing page.
My biggest objections to the Spider-Man section concern the text section, where Marvel tries to describe the relationship between Peter Parker and Mary Jane Watson who are, in case anyone has forgotten, married. (And have been
married since 1987, although Marvel would probably prefer that everyone forget that.)
In the Spider-Man entry, the text says that "The two [Peter & MJ] dated seriously for many years and ultimately committed to a long-term romance." A few sentences later it adds, "Unable to resolve their differences, the
couple has separated." Seven pages later, when MJ gets her obligatory single-page entry, the text concludes with these remarks: "Eventually, the stress of Peter’s double life and Mary Jane’s developing career as an actress
pulled the two apart, both physically and emotionally. After he broke a promise that he would give up being Spider-Man, Mary Jane left Peter. They remain close friends, but lead their own lives." Anyone reading these sections,
and with no additional knowledge of the characters, would imagine that Peter & MJ were probably living together and possibly even engaged, but there is no way for these comments to lead anyone to the correct conclusion, that Peter
& MJ are married, and have been for over 15 years. Nothing else anywhere in the book even hints at a more serious relationship between these two characters. That alone, though, does not make this volume a poor choice for
inclusion in the library or collection of a Marvel Comics fan. The clincher that makes this book inadequate to its stated purpose is the artwork. Or rather, the lack thereof.
There is tons of artwork throughout the book, and much of it is very good, starting with the wraparound cover and frontispiece, both by Alex Ross. The majority of the art included in the book is from the past five years. The
founding artists of the Marvel Age -- Jack Kirby, Steve Ditko and John Romita Sr. -- are represented only by reproductions of covers to one or two of the hundreds of comics they worked on. None of those cover reproductions
carry an art credit. Other artists whose work was influential in the success of Marvel are also notably absent, or only barely represented. Artists like Jim Steranko, Gene Colan, Dick Ayers, John Buscema, John Severin, Marie Severin,
Ramona Fradon, Sal Buscema, Carmine Infantino, John Byrne, Dave Cockrum, Wally Wood, Bill Everett and literally hundreds of others are totally left out of the book, or are represented by just a single image or cover reproduction.
On the plus side, there is an index in the back of the book, but the 2-page index is only of the characters. No creators are mentioned anywhere within the text of the book, other than in art credits beside their artwork. Even Stan
Lee is mentioned nowhere other than a single reference to him, Kirby and Ditko in the introduction by current Marvel Editor-in-Chief Joe Quesada.
Because of it’s incredibly character-oriented focus, to the exclusion of any mention of the impact of creative teams or individuals, and because of its nearly total exclusion of any artwork from before 1995, this book is little more
than an expensive waste of paper.
Grading: Text Information = 2 1/2, Art = 2 1/2, Format/Presentation = 2 1/2, Value = 1, Overall = 2
|
| |
Ultimate War No. 1 (Marvel) - $2.25
Mark Millar - Writer; Chris Bachalo - Pencils; Tim Townsend - Inks
Reviewed by S. Hutchison
In typical mighty Marvel fashion, heroes meet and engage in battle for no purpose other than ridiculous misunderstanding. Yet again we have the same concept at work here in Ultimate War. Wanna bet the outcome will be no different
than it has the other multiple of dozens of times this has occurred in past tales?
The story opens with the destruction of the Brooklyn Bridge at the hands of the Brotherhood of Evil Mutants. This is a preliminary strike designed to get the attention of humankind as Magneto follows with a broadcast announcement that
evolution is taking place and mutantkind is merely taking its rightful position at the top of nature's food chain. He gives a deadline of six months for humankind to surrender its world to Homo Sapien Superior.
But is this really Magneto? We see only a damaged helmet and cape in the broadcast image. Who is it really beneath that mask? Could it be someone else entirely? Why would Magneto wear a damaged helmt in the first place? Wouldn't
he used his powers to restore it back to a much healthier state?
The United States government seems convinced it is Magneto, though there is confusion as to why Magneto is alive when he was believed to have died six months earlier. The Ultimates are assigned the task of taking down the Brotherhood
of Evil mutants. Thor and Iron Man are dispatched to help with rescue efforts at the Brooklyn Bridge. Captain America, the Black Widow, and Hawkeye, along with a contigent of SHIELD agents, manage to locate the Brotherhood and subdue
them. Later, Quicksilver and the Scarlet Witch, who have apparently been running covert missions for the United States government as part of the SHIELD black-ops unit, join the Ultimates in a briefing to plan for an offensive against Magneto.
Fury's inability to contact Charles Xavier regarding the Magneto situation prompts him to send Iron Man to investigate. He finds the school uninhabitated and cleaned-out, causing him to jump to the completely illogical conclusion
that Xavier and Magneto have mended fences and have joined forces.
The art by Bachalo and Townsend is very uneven. Throughout the story the action is often indiscernable because the images are muddy. The inking and colors in those portions were poor at best. Bachalo's characters look somewhat cartoony at times.
Little thought is given towards the appearance of some characters as relates to their age. It is noted that Rogue is a fourteen year-old girl, yet she clearly looks older. The Black Widow appears she could physically pass for a
fourteen year-old girl, and yet by her mannerisms and speech she is obviously much older. And then you have the elements of the ridiculous. The operation by a small component of the Ultimates and a group of SHIELD agents to capture members of
the Brotherhood occurs during a snowfall. While the SHIELD agents are all outfitted with jackets and gloves, Hawkeye is wearing his usual outfit, which just happens to be sleeveless. Now unless the Ultimate version of Hawkeye has different
abilities than his regular Marvel Universe counterpart (such as an ability to withstand excessive heat and cold), this makes absolutely no sense whatsoever (even if one were to assume this mission came together with such suddenness that Hawkeye didn't
have a spare moment to grab a jacket, it isn't unimaginable that SHIELD would have a few jackets to spare on whatever transport was used to deliver the team to their target). Lastly we have the cover image where we are persented an image of Wolverine
(who I might note doesn't appear in this issue) with claws that are as long as the entire length of his arm (his entire arm, not just his forearm). Now, unless we're to believe that his claws have iced over and what we're really seeing are
large icicles in their place, then we have another case of an artist grossly exaggerating proportions to a ridiculous extreme.
The elements are clearly here for an interesting story and certainly it is a project fans of the Ultimate line want to see, unfortunately this first installment does not hit on all cylinders and can only be determined a disappointment.
|
| |
Gloom Cookie No. 14 (Slave Labor Graphics) - $2.95
Serena Valentino - Writer; Breehn John Burns - Artist
Reviewed by S. Hutchison
Breaking the Curse Part III
Chrys is still having bad dreams, the monster under the bed has returned to Sebastian, and Damion is still avoiding Lex to save her from Isabella's curse. And Artemus has left the carnival to find Damion.
The quality of this title really dropped off after Ted Naifeh left. John Gebbia's art was just far too murky and didn't capture the characters well enough. However, now that Breehn John Burns has come aboard
with issue 13, things are much, much better. Serena's writing continues to improve (the stories can still be a little bit confusing at times, but not nearly as much as they were earlier in the series). Breehn is
actually perfect for this title. I'm a big fan of Ted Naifeh and was sorry to see him go (not so sorry now that he is churning out Courtney Crumrin over at Oni Press), but I think Breehn is a better fit. His
ink lines are well defined and he really captures the emotions of the characters in their expressions. I highly, highly recommend this title. What else are you spending your money on? Avengers? JSA? Do you
really need to read the same stuff in five different team books? Step back for a month and give this one a shot. You won't be disappointed.
|
| |
The Legion No. 13 (DC) - $2.50
Dan Abnett & Andy Lanning - Writers; Ken Walker - Artist
Reviewed by S. Hutchison
The Legion continues their battle against Robotica (who has completely infiltrated Earth). Braniac 5 has been captured by the leader of Robotica, who is none other than Computo (an early creation of Braniac 5).
Brin Londo (Timber Wolf) is offered a Legion ring by RJ Brande. And the leaders of Colu continue their plot to stop Robotica at the cost of Earth.
Dan Abnett and Andy Lanning continue to weave an interesting tale of battle and intrigue. Kev Walker provides the art this issue. Not quite as impressive as Olivier Coipel, but still quite a satisfactory job.
Unfortunately, I stepped out of the Legion universe for a while so I missed a lot of what occurred prior to the beginning of this new series. I remember Brin Londo (Timber Wolf) was a respected member of the
group in its last incarnation. Apparently here he is unknown to the rest of the group (which leaves me a little confused to be honest because I don't know where the stories featuring his previous incarnation fit).
|
| |
Super Manga Blast No. 25 (Dark Horse) - $5.99
Various
Reviewed by S. Hutchison
This issue features the initial installment of Masume Shirow's first new Appleseed story in years. Deunan and Briareos are back and involved in an undercover Op. Lots of classic Shirow action and explosions.
The art wasn't quite as crisp as some of his earlier works however. In addition to the Appleseed installment, there are installments of Mohiro Kitoh's Shadow Star, Makoto Kobayashi's What's Michael?, Makoto's
Kobayashi's Club 9, and Hiroyuki Utatane & Toshiya Takeda's Seraphic Feather. Shadow Star was somewhat confusing but held my interest, though the art was a little uneven at times (Kitoh really needs to get a
better grasp on the proportions of the human body). Seraphic Feather was quite interesting and (next to Shirow's Appleseed) featured the best art of the bunch. This is a title I would possible follow if it
was published individually. Club 9 and What's Michael are actually well drawn as well, but the style of the artist just doesn't suit my particular tastes, nor did I really care for the characters involved in
the stories. At $5.99, this would appear to be an expensive title, but when you consider you get 126 pages of material, it really isn't all that costly.
|
| |
Batman No. 608 (DC) - $2.25
Jeff Loeb - Writer; Jim Lee - Pencils; Scott Williams - Inks
Reviewed by S. Hutchison
This is the first installment of the the 12 issue run from Jeph Loeb, Jim Lee, and Scott Williams. The story begins with Batman skulking around Gotham City Shipyard to rescue a kidnapped boy. He quickly dispatches
the four men holding the boy in the span of two pages, then runs afoul of Killer Croc (a mutated version). The Bat makes short work of him, but a certain cat-thief sneaks in and makes off with the money during the
battle. Batman gives chase but his pursuit is unexpectedly cut-off, leaving Catwoman free to deliver the money to Poison Ivy (who was behind the entire operation).
Not a bad debut from the threesome, though I think they went just a bit overboard with the villains in this issue (was it really necessary to have Killer Croc, Catwoman, and Poison Ivy)? Ivy is certainly an interesting
character (and it doesn't hurt to have Jim Lee drawing her) and I'm curious to see what Loeb has planned. I don't know that anyone will look back on this particular arc in five years time and say it was a defining moment
in the Batman mythos however.
|
| |
Dogwitch No. 1 (Sirius) - $2.95
Daniel Schaffer - Writer/Artist
Reviewed by S. Hutchison
Where to start. I know. I'll start with Daniel Schaffer's introduction (Schaffer being the mind behind this madness) from inside the cover.
I want to tell you something … Something about Dogwitch … I want to tell you that it's different, that it's everything you really shouldn't know about dabbling with the unknown. That it's as sweet and funny as it is
sick and violent, and as romantic as it is kinky. I want to tell you about Violet Grimm and her explosive blend of sex and magick. I want to tell you about provocative home videos, psychic dolls, enchanged make-up,
demon hormones, weird treacle … I want to tell you about twenty-first century witchcraft.
Ok, enough of that intro (you get the picture). I wanted to like this one. Really. Schaffer's art is definitely top-notch stuff. But yea gods. The two stories are really just awful. There just isn't much to like
about Violet (I mean, she reanimates the dead for kinky sex, and frankly even they're just not interested in what she has in mind). This is identified as for 'mature readers'. And that is pretty much correct.
You're not really going to 'see' anything that you wouldn't want your kids to see. It is just the concepts that would keep you from leaving this in a place where anyone under the age of 15 might get at it (they'll see
much worse on cable tv in their time, mind you).
|
| |
Superman: Day of Doom No. 1 (DC)
Dan Jurgens - Writer/Pencils; Bill Sienkiewicz - Inks
Reviewed by I. Martin
Was it inevitable that there would be a comic mini-series or special of some kind to commemorate the 10th anniversary of the modern classic Death of Superman story? According to interviews with Dan Jurgens, one
of the creators responsible for the original story and who illustrated the classic Superman #75 issue in which Superman actually breathed his last, the answer is no. Despite the tendency of modern American society
to seize upon almost any reason to commemorate an anniversary, Jurgens has said that it was the unique and tragic events of September 11th, 2001, that offered a fresh perspective on that classic story, and thus made
this 4-issue weekly mini-series a project he was interested in doing.
In 1992 the mysterious Doomsday tore a path of death and destruction across the country, and through the very heart of America. The virtually unstoppable monster somehow broke free from a cage buried far under
the Ohio ground, and made a devastating beeline from there to Metropolis. Along the way he tore through some of the most formidable heroes in the DC Universe and anything and anyone else that stood in his path,
straight into the history books. On the cool November day when Superman #75 and Justice League America #70 (featuring the immediate aftermath of Superman’s death) were released, comic shops across the country
were deluged by reporters from news organizations from around town and around the world. All of them wanted to tell the world about the day a genuine American icon finally met his match. In the years since his
creation, Superman had literally become an internationally recognized icon whose colors and logo had become virtually synonymous with the United States of America and the ideals of truth and justice.
In the first issue of this mini-series, new Daily Planet reporter Ty Duffy gets an unpleasant assignment from editor Perry White. Given the incredible promise of a front page story with no length limit, Duffy
still finds himself not wanting to tackle the story. It has, after all, been done before by other reporters who were actually there when it happened, including Lois Lane and Clark Kent. Duffy didn’t live in
Metropolis at the time, and wasn’t even out of high school when it happened. Plus, there’s the nagging fact that while he may have died, Superman got better and has been living a healthy life for a number of years.
Duffy’s objections seem similar to what many fans may initially feel when they see this series, but this is more than just another rehash anniversary story. It’s a fresh look at a moment in history. Just as people
remember where they were when they heard about the bombing of Pearl Harbor, the death of JFK, the explosion of the Challenger space shuttle and the terrorist attacks of September 11th, the citizens of the DC Universe
almost certainly have similar memories surrounding the day Superman died. This mini-series promises to explore those memories, and thus tell the familiar story in an entirely new and potentially riveting manner.
The art is as strong as a story of this caliber deserves. Sienkiewicz has a darker, rougher style than what many Superman fans may be used to, but combined with the artistic lead provided by Jurgens, the art paints
a wonderful picture, full of dramatic mood and brooding tension. Once Duffy hooks up with a pair of interview subjects that witnessed the start of Doomsday’s rampage firsthand -- Blue Beetle and Booster Gold, both
Justice League members at the time -- the emotion and drama felt a decade ago as the story unfolded is fully revived.
The original story unfolded on a weekly basis across the four Superman titles. That this mini-series will also unfold on a weekly basis is a good sign, because it should help keep the dramatic tension of the original
story, and which the first issue captured. The comics landscape is littered with mini-series and ongoing series that have started strong and then fizzled. This one, though, should be different, because this one is more
than just a 10th anniversary rehash. This one is a fresh and unique approach to what is easily one of the most traumatic events to take place within the DC Universe.
|
| |
Fables No. 5 (DC) - $2.50
Bill Willingham - Writer; Lan Medina - Pencils; Steve Leialoha - Inks
Reviewed by I. Martin
This issue provides the dramatic conclusion to the first story arc in Fables, the new DC/Vertigo comic that has become something of a sensation, with the first several issues selling out. DC even posted the entire first
issue on its website in order to help fans catch up on the story of fairy tale characters living in normal human society. The series kicked off with a murder-mystery, with Bigby (the Big Bad Wolf) searching for the killer
of Rose Red, Snow White’s sister. Using a combination of flashbacks and suppositions, Bigby reveals how Rose and her boyfriend, Jack (of beanstalk fame) staged her apparent murder in order to get out of having to pay back
a debt to Bluebeard. It seems he had loaned a considerable sum of money to Jack and Rose, for use in a dot-com startup company that ultimately failed, with the promise that in a year’s time Rose would marry him. With no
money to repay Bluebeard, Rose was facing the prospect of being forced to fulfill her promise to marry Bluebeard, which she had only promised to do in order to get the money for the ill-fated dot-com startup. To avoid that
fate, she staged her own death, with Jack’s help.
The writing of this issue provides a few of the classic clever twists of fate that result in most of the characters getting what they deserve, although none of them live happily ever after. Bluebeard gets his money back,
but doesn’t get his bride. Prince Charming reluctantly helps Rose and Jack by buying back his title and lands, which Jack had won in the annual Remembrance Day lottery. Rose and Jack are free, but no better off than they
were a year earlier, since the money they got from Prince Charming went to the Fabletown government in fines. The art was excellent, especially in the flashback sequences, where it was used to fill in the gaps around some
of the clues from earlier issues. Each flashback matched what had been seen in previous issues, but with enough extra details provided by Bigby to put them into a new context.
The next story arc for this book is another 5-issue story, with pencil art by Mark Buckingham (of Sandman and Peter Parker Spider-Man), and promises to reveal more about the fairy tale characters who are living amongst normal
humans and how that predicament came to be. Titled “Animal Farm,” it seems likely to take place largely on the premises of the Fabletown farm, where the less-human looking fairy tale characters -- like the three pigs or the
three blind mice -- have been forced to live. Hopefully it will also shed some more light on the mysterious Adversary, who was responsible for driving the mythic characters from their homelands into the realm of the mundanes
(humans). This first story arc seems likely to be a candidate for quick packaging into a trade paperback, which should serve the series well, and help make it accessible to even more new readers as word of mouth spreads the
well-deserved reputation for this book.
|
| |
Amelia Rules! No. 7
Written and Illustrated by Jimmy Gownley
Reviewed by I. Martin
G.A.S.P. (Gathering of Awesome Super Pals) returns in this hilarious feature-length story. Like all super-hero teams, G.A.S.P. finds itself in a recruiting drive in order to meet the challenge of an opposing team of villains,
in this case the Park View Terrace Ninjas. The members of G.A.S.P., especially Reggie (aka Captain Amazing) are looking for a new park in which to play their superhero games, in order to get away from the school bullies, Bug
and Iggy. Unfortunately the new park is home to the Ninjas, who don’t take kindly to the G.A.S.P. kids moving in on their turf. A short fight ensues, with the Ninjas victorious. Swearing eternal enmity, Reggie vows to come
back and beat the Ninjas with a new, bigger group of G.A.S.P. heroes. The first new member of the team is the quiet Mary Violet, who becomes the hilariously named Ultra Violet. Then Earthdog/Bear Hugger joins, followed by
Little Dynamo (Rhonda’s little sister, Reenie), Owen (who never gets a hero name), and the cute girl trio of Britney, Christina and Jessica (the Heartbreakers). Finally, in the ultimate irony, Reggie himself recruits both Bug
and Iggy, to help assure victory over the Ninjas.
As with large group, the biggest obstacle is sometimes getting the members of the group to get along with each other. The night before the big fight, Amelia stays up all night, trying to soothe her conflicted emotions with
comfortable TV shows. She finally falls asleep watching the Softee Chicken program that her father works on, and ends up sleeping through the fight itself, which most of the new members had thought that Reggie was joking about.
The Heartbreakers leave, and a pair of parental interventions prevent the Ninjas and the G.A.S.P. kids from actually fighting. Owen, the G.A.S.P. lookout, breaks a leg when he falls out of a tree, and Iggy and Bug turn on the
other G.A.S.P. members and beat them up, for wasting their Saturday.
The story and art are a perfect blend of childish fantasy mixed with the sometimes unpleasant reality of life. Amelia, who is still the new girl in school, realizes part of the reason she isn’t excited by the growth of G.A.S.P.
or the G.A.S.P. vs Ninjas fight is that she doesn’t really have any other friends. She goes along with Reggie because she’s afraid that if she had her own club, she’d be in it alone. Gownley’s art has a simple, charming style
that works perfectly with these characters. Amelia herself takes a bit of a back-seat to her friends in this issue, although her feelings and experiences are a big part of the story. Mary “Ultra” Violet manages to steal a few
scenes, almost becoming Scary Violet, at one point. Clearly she is a character who has a background that Gownley just hasn’t had a chance to explore yet. And Reggie, well, as obsessed as superheroes as he has been, he takes his
obsession to a new level in this story. If he isn’t careful, this is a kid that could one day grow up to be a professional comic book geek.
|
| |
Powers No. 23 (Image) - $2.95
Brian Michael Bendis - Writer; Mike Avon Oeming - Illustrator
Reviewed by I. Martin
This is one of the most acclaimed comics of any genre currently being published, and this issue is proof that the acclaim is well-earned. Deena Pilgrim and her new partner, detective Argento, pay a visit to her previous partner,
Christian Walker (previously known as the superhero, Diamond), as part of an investigation into the public murders of several other superheroes.
Part of the reason for the acclaim given to this series, co-created by writer Brian Michael Bendis and artists Mike Avon Oeming, is its smooth combination of multiple genres. There are the obvious superhero elements, but there are
also strong police/detective elements to the story, and more than a touch of the horror/mystery genre. And while no one will ever claim it has a finger in the comedy genre, there are moments of ironic and dry comedy, generally created
by the interaction of the characters.
Bendis has proven to be an able writer of this mixed-genre title. The lead character for the last several issues has been Detective Pilgrim, who was the rookie character introduced to the police force in the first issue. That her
character has grown so much that she can carry the book in the absence of the apparent lead character, Walker, is a testament to how well Bendis develops his characters. There are no sidekicks or second-string characters. Each character
has a reason for being in the story, and each is developed in a number of subtle ways. The scene in which Walker returns to the precinct office for the first time in months, to a standing ovation from the officers and detectives, is
perfectly handled. The interrogation of Harvey Goodman, the woman accused of leading the group responsible for the murders, is also handled well, as Walker and Pilgrim slip seamlessly back into the groove they developed as partners.
Equally important to the story of Powers is the art, and Oeming delivers in spades. His art style works well with Bendis’ writing, moving the story along with clarity, whether the page has lots of dialogue or none at all. Even pages that
are totally devoid of text, not even a sound effect, serve to move the story forward, setting the scene and the mood.
In addition to the quality of the stories in each an every issue, the letters pages in Powers are unlike those you will find in any other comic available today. This particular issue has an unusual letters page, but one that is perfectly at
home with the mood Bendis has established for those pages, which is starkly irreverent and sometimes brutally honest, intermixed with what can only be called playful bemusement. The pages have to be read to be believed.
This series as a whole has earned numerous awards and honors, and this single issue is a shining example of why. The creators obviously respect their readers and their characters, and are enjoying what they are doing, and it shows. Any given
issue of this series is like reading a really good episode of NBC’s Law & Order: Criminal Intent program.
|
| |
Amazing Spider-Man (Vol 2) No. 45 (Marvel) - $2.25
J. Michael Straczynski - Writer; John Romita, Jr. - Pencils; Scott Hanna - Inks
Reviewed by I. Martin
If you’re really curious about how the story of Peter Parker’s and Aunt May’s visit to California goes, go ahead and read this issue. The most dramatic point of the story comes on a double-page spread on pages 9 and 10, but you may be better
off skipping those pages. Neither the art nor the dialogue on those pages help determine whether the spread should be read as first a left page and then a right page, or if you should read all the way across the top row of panels and then all
the way across the bottom row of panels. (After closely examining the sequence for a few minutes, it appears to flow the best when the six panels across the top of the two-page spread are read first, followed by the six panels that run across
the bottom half of the two pages.)
In lieu of trying to figure out the best sequence for reading pages 9 and 10, I’d suggest that you go read the stories from Amazing Spider-Man (Vol. 1) No. 32 and 33. (For those on a realistic budget, you can find them reprinted in Marvel Tales No. 171
and 172 or in Essential Spider-Man Volume 2.) Those classic issues are often cited as being among the greatest Spider-Man issues ever, and this newest issue is an obvious and pale rip-off of those classic issues. Some might say its an homage, but a
true homage would have mirrored the integrity of Steve Ditko’s original art and not required intense examination in order to determine the proper reading sequence.
Despite that annoying problem in the middle of the issue, there were some neat moments in the later pages of the issue. Aunt May’s reaction when she recognizes Otto Octavius as the villainous Doctor Octopus was neat. Her question to Mary Jane at
the end of the issue, that stemmed from this earlier revelation, was funny. And the way Spider-Man dealt with Carlyle, the latest person to impersonate Doctor Octopus, was very cool.
The writing on this title has improved dramatically since Straczynski took over with issue No. 30. The main reason for that is that he seems to be able to get into the characters, and write them in a manner consistent with their prior characterization,
or in ways that unexpected changes make sense based upon that earlier characterization. The high point of this is with Aunt May, who has actually become a character I’m interested in seeing him do more with in the future. The low point is with MJ,
although to be fair he hasn’t written many stories with her, and the few he has written have been pretty good. I especially liked his characterization of MJ in his script for the silent ’Nuff Said issue, No. 39.
The art by Romita Jr. has consistently been very good. The problem discerning the proper panel sequence on pages 9 and 10 was due to his layout, not to the quality of his work within the panels. Having all 12 panels be the exact same size and shape
contributed to the confusion. It was visual clues from his art though, rather than the dialogue, that finally enabled me to determine the correct sequence of panels on those pages. It was also the artwork that conveyed the depth of Peter’s emotions
on the last few pages of the issue, beginning with the scene in which Spider-Man watches as MJ helps the actor playing Lobster-Man walk off the stage rather than rushing over to him.
This story arc has been a very emotional one, and involved my all-time favorite Spidey villain. Even so, due largely to the problem with pages 9 and 10, the best I can give it is a 2 1/2. Had those pages been better designed or better laid out, this
could easily have gotten a 3 1/2.
|
| |
Ultimate Spider-Man No. 27 (Marvel) - $2.25
Brian Michael Bendis - Writer; Mark Bagley - Pencils; Art Thibert - Inks
Reviewed by I. Martin
The stunning aftermath of the climatic Spider-Man/Green Goblin battle seems like a fitting point for this series to kick off it’s new twice-monthly schedule. The worst thing about this series has always been the seemingly interminable wait
between issues. With two issues per month for the foreseeable future, the sweet agony of the wait has been cut in half, but the dramatic suspense and tension of the story has actually been doubled, making even the shorter wait seem like a
long time.
The presence of Nick Fury and S.H.I.E.L.D. over the past two issues has helped to cement the books of the Ultimate Universe into a more cohesive unit. In this issue he surprises Peter with a matter-of-fact statement full of implications for
Peter’s future, and it’s clear that it’s something Peter hadn’t considered before. In light of Fury’s comment, I’m curious to see if some of the heroes and villains who showed up in the pages of Ultimate Marvel Team-Up or the Ultimate Spider-Man
Super Special will begin to show up in the pages of The Ultimates.
Bendis’ writing on this series continues to take unexpected and exciting twists and turns. The aftermath of the battle is largely over by the end of the issue, but it seems clear it will have an effect upon Peter’s relationship with MJ Watson.
It will also be interesting to see what kind of effect the events of recent issues will have upon Peter’s relationship with his Aunt May. Harry Osborn also seems likely to be out of the picture again for a while, although Bendis has set the stage
for his possible return later.
The art by Bagley and Thibert is the usual top-notch stuff. Some panels from the Spidey/Green Goblin battle scene, especially those with Spidey’s mask being shredded, seemed to be lifted almost directly from the blockbuster motion picture. As
expected, the artists deliver page after page of great art that illustrates the tension, the shock and the anguish of the various parts of the story. This creative team has been together for over two years now, and with the increased frequency
of the issues, it can only be hoped that they’ll be able to stick together without having to bring in a relief team, because this team is working in near-perfect Synchronicity. It would be a shame if the additional issues of the book forced a
change, even a temporary one, in the creative team.
|
| |
Captain Marvel (Vol 4) No. 1 (Marvel) - $2.25
Peter David - Writer; ChrisCross - Pencils; Chris Sotomayor - Colors
Reviewed by I. Martin
One of the perceived obstacles to the previous volume of this title was that the series was not new-reader friendly. That is was difficult for readers who weren’t familiar with the character and reading the book every month to follow what was
going on. Having read several issue of the previous volume, I have to say that was only partly true. Unfortunately, it was just true enough to contribute to discouraging new readers from picking up the title. There were other obstacles to the
series, as well, chief among them being that Captain Marvel has almost always been what’s known as a second-tier character. One of writer Peter David’s stated goals for this new series was to try to make this character more interesting, and to
make individual issues of the new series more accessible to new readers.
This first issue is, unfortunately, only partly successful in those regards. The issue is narrated by Rick Jones, the perennial super-hero sidekick of the Marvel Universe. Through Rick’s narration, David does get across much of the setup of the
series, and sends the character in a fascinating new direction. Unfortunately, readers who are unfamiliar with the previous volume of this title, which ran for three years and concluded just one month ago, are very likely to feel they are missing
out on things they need to know about the character and his situation.
The launch of the series is helped by a sharp new format -- cardstock covers, like the Ultimate lines has -- and a 25¢ cut in the price to $2.25. It is also supplemented by two alternate covers, one by Alex Ross and one by Joe Jusko. Ross and Jusko
are, arguably, the hottest painters in the comic field, and they both provided interesting visuals. The upcoming third issue is also shipping in two different versions, a standard edition and an expanded “directors cut” edition which will feature
sketches and artwork by Ross. In addition to those efforts, David made a personal effort to help build early fan interest. Through his column in Comics Buyer’s Guide, David offered to send an autographed copy of the script to issue #1 to any reader
who sent a self-addressed stamped envelope. The script sent to respondents was for just the first 12 pages of the issue, but that was enough to indicate that the writing on this new series would be of David’s typically high quality. In this first
issue David takes the classic question of how much responsibility does a hero have for the consequences of his choices -- not unlike what Stan Lee and Steve Ditko did with Spider-Man back in Amazing Fantasy #15 -- and takes off in a different direction,
showing how quickly the weight of that responsibility might drive a hero into indecision or even into madness.
The art on the new Captain Marvel title is also by the artist of the previous series, ChrisCross. The art is excellent, capturing both the power and strength of Captain Marvel (aka Genis from the Avengers Forever mini-series, and son of Captain Mar-Vell)
and the more common or average appearance of Rick Jones. The new title logo for the front cover is also a good improvement. The art captures the cosmic vastness of space, without making the characters look insignificant or tiny. It’s good, dramatic
science fiction art, and it both follows and ignores the standard layouts and arrangements of superhero comic art, depending upon what fits the needs of the story on a particular page.
The first issue of this new series for one of Marvel’s most venerable superheroes is off to an interesting start. The big question is whether it’s enough to attract enough new readers to keep the title afloat. The fact the initial story ends with “to
be continued...” does not bode well for the book being accessible to first-time readers. Perhaps the addition of an intro page, like those found in Ultimate Spider-Man, Alias or Daredevil would help in that regard. In any case, David has demonstrated
an ability to craft an interesting story and to stick with a character for the long haul -- over 6 years on DC’s Supergirl and more than 12 years on Marvel’s Incredible Hulk -- so I have faith that the story will progress and that little developments
will not be forgotten. They key, though, is to attract enough new readers -- quickly -- to keep the book profitable so that it continues to be printed long enough for the story to reach its long-term potential.
|
| |
Star Wars Tales No. 13 (Dark Horse) - $5.99
Various creators
Reviewed by I. Martin
Anthology titles like this excellent quarterly from Dark Horse Comics have fallen on hard times in recent years, but the popularity of the Star Wars characters and their universe has helped keep this book going for over three years now. Each issue ships
with two different covers -- a photo cover and an art cover -- with both versions featuring the same characters. The cover character(s) are also usually the subject of most, if not all, of the stories within the issue. This particular issue was devoted
to six stories about one of more popular Jedi Knights, Mace Windu, played by Samuel L. Jackson in Star Wars Episodes I & II. The art cover for the issue was done by Tim Bradstreet, and perfectly captured the likeness of the actor.
One of the reasons anthology comics have fallen on hard times is that the quality of the contents can be hit-and-miss. With a $5.99 price tag, this isn’t exactly the kind of book that attracts casual browsers. The big advantage this book has is the enormous
fan base for all things related to Star Wars. It doesn’t hurt that many Star Wars fans are also comic book fans. From its launch in 1977 on through the end of it’s 107-issue run in 1986, the Marvel Comics Star Wars series was one of the most consistently
available tie-in products. That helped make comics a place that even today Star Wars fans will turn to for new stories featuring their favorite characters.
All of the stories in this issue were interesting, but some were better constructed that others. “The Secret of Tet-Ami” had some of the best art in the issue, by Timothy II, but the story, written by Fabien Nicieza, was a bit convoluted. Only upon a second
reading did it become clear that what happened in the middle of the story was that Mace Windu was transported back in time for a single battle. “Survivors,” written by Jim Krueger of Foot Soldiers and the Earth X - Universe X - Paradise X trilogy, was probably
the best written tale of the issue. It also had some of the better artwork, by Kagan McLeod.
“Stones,” the story of how Mace Windu found the stones that provided the unique purple color to his light saber, was a fun tale. Written by Haden Blackman and illustrated by Michael Zulli, it was probably the one story in the issue that shed the most light on
the personality of the popular Jedi Knight. One of the funniest parts of the issue, as usual, was the one-page illustrated introduction by series editor Dave Land, with art by Lucas Marangon.
As with all anthology books, some of the stories were better written than others, and some had better art than others. As an overall package, the issue was entertaining, and a good value for the price.
|
| |
Oh My Goddess! No. 90 (Dark Horse) - $3.50
Kosuke Fujishima
Reviewed by S. Hutchison
At the end of last issue, the mechanical doll who Banpei is in love with turned off his power just before she fell down a deep well. As this issue opens, she awakens to find herself at the bottom of the well
but otherwise unijured. She attempts to escape by firing her hands to the top of the well and pulling herself up, but unfortunately she irresponsibly used too much of her power trying to escape from Banpei.
She makes one last ditch effort to signal someone she is down in the well before she falls into hybernation mode. The attempt is unsuccessful, though she does manage to inadvertantly reactivate Banpei. Banpei
jumps down the well, injuring his one of his legs. After a brief analysis, Banpei realizes his love needs to be recharged. He is torn however, as her recharging ports happen to be her plug covers (breasts).
After a great deal of internal conflict, Banpei finally connects his power unit to her recharging port. With her power level restored, the doll reboots and finds Banpei standing over her. She is angry he didn't
go find Skuld to rescue her, but is also confused to discover she is relieved to see him. Banpei has a solution for getting her out of the well. He removes his hat and motiosn for her to stand in it. He then lifts
the hat (with the doll) above his head. He engages his self-destruct countdown. The doll is furious, thinking they will both be destroyed, but then she realizes the explosion will propel her out of the well. She
tries to stop him from self-destructing but is unsuccessful. The countdown reaches one, but then nothing happens. The doll jumps off the hat and discovers that Banpei's battery is low. She quickly disengages
his destruct fuse. The doll has a better idea for getting out. Utilizing both of their abilities (her hand cables and his motor-scooter), they escape from the well. The doll thanks Banpei and tells him she was kind
of impressed by his actions. Back at home, Skuld repairs Banpei as the doll explains that Banpei recharged her. At that moment she realizes that in order to recharge her, Banpei had to access her plug covers. Chaos
once again returns to the household.
Kosuke Fujishima's art is some of the best available in the manga market, not to mention throughout the entirety of the comics industry. His stories are crisp and always fun to read month in and month out. Oh My Goddess!
is easily one of the best manga available today and is a great title for both young and old alike.
|
| |
21 Down No. 1 (Wildstorm/DC) - $2.95
Jimmy Palmiotti & Justin Gray - Writer; Jesus Saiz - Pencils; Jimmy Palmiotti - Inks
Reviewed by S. Hutchison
Preston Kills is a young man with a problem. As he sees it, he is 'a genetic freak who missed out on the cool powers.' Instead, he's got a death sentence and the power to see other's final pain. He is in the final year
of his life, and he may not even live to see that. Preston works at Second Skin, the best tattoo shop in Coney Island. While working on a tattoo for a customer, he has has a vision in which he sees a young woman killed by
the man he is doing the tattoo for. It was the skin (of the victim) under the man's fingernails that he 'read'. Preston calls his brother, who is a police officer and has used Preston for his reading abilities in the past, and
gives him information about the man and the murder. Clyde, the shop owner, tries to cheer a depressed Preston up. He suggests Preston should look further into the super powers phenomenom, specifically the "You will be judged"
declaration. Preston heeds his advice and does a search on the internet where he finds a site with a survey about paranormal powers. Clyde convinces him to fill out the questionaire. Meanwhile, Preston's brother Rob has a unit
checking around the house of the man Preston tattooed earlier in the day. Unknown to the officers, the man is across the street in his car. As the officers discover evidence of a possible struggle and blood, the man realizes
Preston must have been the one to tip them off. The following morning, Preston returns to the tatto shop and finds Clyde tied to a chair and beaten up. Rob calls Preston on the phone at that moment and warns him that they haven't
been able to find the murder suspect. The man steps out of the shadows at that moment and proceeds to beat Preston to a pulp. Just as he is about to kill him, Preston has a vision of the man being shot and killed. A moment later,
his vision comes true as a mysterious woman standing in the doorway shoots and kills the man. She announces she is looking for Preston Kills.
Palmiotti and Gray weave a very strong story with numerous elements of intrigue. What happens to the paranormals in their 21st year? Who made the statement "You will be judged" and why? Who is the mysterious woman at the end of
the story and why is she looking for paranormals? The art by Saiz and Palmiotti creates a brooding atmosphere that perfectly matches the character of Preston Kills. This title has very much promise and leaves me eagerly awaiting the
answers to all the questions and mysteries presented in this introductory issue. I will definitely stick around for the rest of the ride.
|
| |
Wildcats Version 3.0 No. 1 (Wildstorm/DC) - $2.95
Joe Casey - Writer; Dustin Nguyen - Pencils; Richard Friend - Inks
Reviewed by S. Hutchison
Jack Marlowe has a mission. Halo Corporation's conquest of the free world. To this end, he has employed Cole Cash - a.k.a. Grifter - as a "fixer", and Mister Wax, a former field agent of the covert arm of the National Park Service with
hypnosis powers. In this first issue, Marlowe begins a media bombardment with the Halo brand. Cash is sent to Vietnam to deal with a sweatshop factory problem. Mister Wax is in charge of providing Marlowe with information while serving
in his new capacity as a desk jockey for the National Parks Service. Currently, this information involves the search for a missing CIA agent. But Marlowe isn't the only person interested in this rumored rogue agent. A bounty hunter by
the name of C.C. Rendozzo has acquired information about the agent.
The first two incarnations of Wildcats were quite different from each other, and Casey promises this version will be a departure as well. It picks up in tone from the conclusion of the previous version. The art by Nguyen and Friend is very sharpe
and perfectly fits the different moods established by Casey's script. It isn't yet evident what Casey really has planned for this title, but it does look to be a very interesting journey.
|
| |
Fantastic Four No. 60 (Marvel) - $0.09
Mark Waid - Writer; Mike Weiringo - Pencils; Karl Kesel - Inks
Reviewed by S. Hutchison
The new creative team debuts on Fantastic Four. This issue opens with a marketing firm analyzing the Fanastic Four's image. We quickly learn Reed has commissioned the firm's services to improve the FF's image. An unassuming young man by the name
of Shertzer is given the charge of redefining the world's first imaginauts. Shertzer quickly finds himself on unfamiliar ground as he spends a week with family. His first day he finds himself traveling in an interdimensional transport as the FF repels
an alien swarm from Reed's bio-engineered dimensional probe. Following that, Shertzer finds himself on the receiving end of Sue's invisibility power, which he finds quite disconcerting. After a few other adventures and observation, Shertzer arrives
at a conclusion about what the Fantastic Four really is. Yet even with this vision in mind, he still is very confused as to why Reed is concerned about celebrity at all. Reed reveals his reasons in a quiet moment with his infant daughter Val, and within
just those few panels Mark Waid goes a long way toward defining Reed's character and what it is the Fantastic Four has truly been all these years.
I'm personally a very big fan of Mark Waid's work, and he did not disappoint in this issue. While it is certainly not groundbreaking by any means, it did provide him the opportunity to familiarize himself and the readers with the characters. The art by
Mike Wieringo and Karl Kesel was very impressive and I especially appreciated the fact that most of the panels had plenty of background images. The only thing I didn't care for were the 'hair rings' which I can only guess were intended to define different
layers, but I felt were unneccesary and distracting. At the nine cent price, this is certainly the perfect jumping on point for new readers and former readers who may have left the fold. Buy extra copies and pass it around to friends.
|
| |
Usagi Yojimbo (Vol. 3) #60
Stan Sakai - Writer & Illustrator
Reviewed by I. Martin
This is the long-awaited issue in which Usagi’s friend and recent traveling companion, Koji, finally gets his duel with Usagi’s former teacher, Katsuichi. To determine which of the two is the more skilled samurai, they will engage in a duel.
Both have recently been traveling with Usagi, so each has had the opportunity to observe the other, to study their methods and techniques. The duel is to the death, and the mystery surrounding the issue is which of these interesting characters
would meet their final fate. It was even possible that both might be killed in the duel, as they are nearly evenly matched in skill, an outcome Usagi himself considers likely.
Just five days before this issue arrived in comic shops, I met creator Stan Sakai. I attempted to get him to tell me the outcome of the fight, which to his credit he would not do. As we conversed, though, I thought he dropped a couple of subtle
clues as to what would happen. Upon reading the issue, I found I was pleasantly surprised that not only had Sakai told a fabulous story and illustrated it in his usual manner, but the outcome that I thought his comments hinted at was not the
actual outcome seen in the issue.
The true tale of this issue, though, wasn’t the duel, which took only one page, with a couple more pages devoted to the immediate preparations for and conclusion to the duel. The real story was how the other characters -- Usagi and Katsuichi’s
two students, Jotaro and Kunji -- faced the preparations and aftermath of the duel. The questions Jotaro had about why the duel was necessary and why they would use real swords rather than wooden blades, revealed much about the different approach
to life taken by a true samurai. Prior to the duel, Koji himself reminds Usagi that “the way of the warrior is found in death.” Koji also reminds him that a samurai should always be prepared for death, whether their own or someone else's.
The story itself is classic Sakai work. While this issue is just as well-written and well-illustrated as any of the issues that have preceded it, this single issue is likely to be singled out as one of the best from among the dozens of great issues
Sakai has done of Usagi Yojimbo. I will show my respect for the quality of Sakai’s work on this issue by joining him in declining to reveal the outcome of the duel. This is a classic issue, and while it serves as a turning point between story arcs
and moves several of the characters in new directions, it is very accessible to first-time readers. Everything a new reader would need to know about the duel is contained within this issue. My recommendation is that those who are curious to know
the outcome, go buy the issue.
And don’t bother peaking at the last page, because that alone will not tell the result.
|
| |
Spider-Girl #51 (Marvel) $2.25
Sean McKeever - Writer; Casey Jones - Artist
Reviewed by I. Martin
From the very first page, the story in this issue felt like a fill-in. It’s a good story for the most part, but it has no connection to either the ongoing subplots of this book or to the story from the previous issue. Since Spider-Girl #50 ended
with May “Mayday” Parker deciding to quit being Spider-Girl, the lack of follow-up to that plot really made the fill-in nature of this issue stand out. The fact that none of the regular creative team was involved also contributed to the fill-in
feeling of the issue.
The story was interesting, although not terribly original. The story is narrated by a student at Midtown High, a boy whose name is never mentioned, who thinks he is in love with May, but whom she’s never met. The story is very formulaic, with
the kid’s narration being the text of a letter he’s writing to May that she doesn’t receive until the final page of the issue.
The art in the issue is very good. The biggest artistic danger with fill-in issues is that characters will not look enough like their normal portrayal to be recognized, but that never happens here. The school setting, which is where almost the
entire issue takes place, is also well illustrated. The short three-page action sequence near the end of the story, in which Spider-Girl makes her only in-costume appearance, is also illustrated well. The biggest problem with the sequence is
that it provides a coincidental rescue of May’s admirer by Spider-Girl. The battle with a new villain -- a young, female version of Electro -- is also wrapped up a bit too quickly, with the villain only appearing in seven panels through two pages.
For a first-time reader the story would be entertaining, but it wouldn’t really tell much of anything about the title character or any of the regular supporting cast. Regular readers will likely find themselves wondering when or where the story
in this issue was supposed to have run originally, since it lacks any definitive references that would place it at a specific point in Spider-Girl’s history. The only element that offers a clue is that during the tale May plays in a game of
basketball for the Midtown High girls team, which she hasn’t been a member of for quite a while.
Overall this was an OK story that suffers due to the lack of connection to the dramatic conclusion of the previous issue.
|
| |
Spider-Man/Black Cat: The Evil That Men Do No. 2 (Marvel) $2.99
Kevin Smith - Writer; Terry Dodson - Pencils; Rachel Dodson - Inks
Reviewed by I. Martin
Spidey and the Black Cat continue their search for the mysterious Mr. Brownstone, but spend most of the first half of the issue wondering how they really feel about each other. The two have a lengthy history of association, both in and out of
their costumes, going all the way back to the Black Cat’s first appearance in Amazing Spider-Man (Vol. 1) No. 194 in 1979. She was even a regular supporting character for a lengthy run of issues in Spectacular Spider-Man for a couple of years.
It’s fairly clear that Smith intends to explore their mutual attraction to each other, which could have ramifications within the main Spider-Man comics since Peter is still a married man these days, even if he and MJ are separated by editorial
edict and most of the US continent.
The story itself is typical of the formula for most Spider-Man mini-series. Spider-Man and another character, with whom he will either team up or do battle, get drawn into the same situation from different avenues. The two meet, then either
fight or team up - sometimes both - and then investigate the situation together. The typical resolution of such series is that once whatever brought the characters together has been dealt with, they go their separate ways, and the status quo
of Spider-Man’s world remains largely unchanged. It will be interesting to see whether or not Smith sticks to the formula or whether he will deviate from it and incorporate this mini-series into his announced upcoming run on Amazing Spider-Man.
The art in this issue, like the first, was generally pretty good. The subject of most comments upon the art so far has been aimed at the biggest - please pardon the pun - change in the Black Cat, that being the dramatic increase in the size of
her breasts. For decades most comic book females have been portrayed in Barbie-doll fashion, with proportions that were wildly exaggerated. While the Black Cat has always been a very lithe character, and drawn in a very sexy manner, her
depiction has been taken to a new extreme in this series. Each breast alone is almost the size of her head, and her costume has been drawn with such a low cut that it is a miracle it stayed on her shoulders. I kept wishing Spider-Man would
reach over and grab the zipper pull in the center and zip it up about twelve inches.
The other major female character in this issue, Scorpia, the female version of the Scorpion, was drawn in a much more believable manner. Her first appearance in the issue, in a full-page splash, reveals more average comic book proportions.
That single page looks amazingly like the work of Mark Bagley, especially in Scorpia’s face.
In the final analysis, this is an entertaining comic book with a plot that can be followed and which moves forward in this issue. There are some mysteries that have so far only be hinted about, But it’s still early in the story, with three
more issues to follow. The true test of whether or not this will be a forgettable formulaic mini-series or a dramatic moment of change and character development will hinge upon what, if any, changes to the status quo of either Spider-Man or
the Black Cat stem from this mini-series.
|
| |
Meridian #27 (CrossGen) $2.95
Barbara Kesel - Writer; June Brigman - Pencils; Drew Geraci - Inks
Reviewed by I. Martin
This was a turning-point issue for Sephie, minister of Meridian (and now, Cadador, too). It marked a dramatic change in the way the character has been presented to readers, by showing a new side to her character. We’ve known since the beginning
of this series that Sephie has spent all of her young life training and preparing to someday become the minister of Meridian. But up until this issue, we had only seen the barest snippets of how that preparation has shaped her character, as most
of the issues so far have sent her hurtling from one unexpected situation to another. Now, with her uncle Ilahn’s apparent demise, Sephie is forced to take control of his city-state, Cadador, and Sephie’s training in the art of statecraft begins
to come forward as a key element of her character for the first time.
Kesel has written every issue of the series so far, plus the Meridian story in CrossGen Chronicles #3 which provided a lot of background for the world of Demetria and some insight into Sephie’s parents, especially her mother. Kesel has done an
excellent job of making Sephie a character whom readers will care about. Some of the supporting characters have also been developed well so far, although many have had little screen time and remain enigmas. Hopefully, as the desperate rush from
place to place for Sephie appears to be slowing somewhat, some of those characters will be the subject of further development.
CrossGen books have always been very open to new readers, helped by the inside front cover introductions. This particular issue demonstrates how much it is possible to put into those opening paragraphs, and how much has to be left out, as none of
the supporting characters or their connections with Sephie are mentioned in them. Several new characters are introduced in this issue, as the councilors of Cadador are reintroduced to Sephie, who has changed significantly since the last time she
visited the island. The political machinations of the councilors, and the spreaders of gossip and rumor, quickly demonstrate that Sephie will have her work cut out for her if she is to change the way Cadador interacts with other city-states, as well
as the way Cadador itself operates.
Despite a few changes in the art team, the visual style of this issue blends smoothly with those that have come before. There are several dramatic double-page spreads, which serve the story well as Sephie demonstrates her power first to the Cadadorian
Council and then to its militia, two groups she must succeed in dominating if she is to maintain control of Cadador. The art in both cases helps demonstrate Sephie’s strength and her resolve. In other pages, the quieter moments of her day are revealed,
as she learns some things about her parents and about her uncle Ilhan, whom both Sephie and readers know is not truly dead. There are a few points at which there could have been more attention given to putting in some background details, especially
during the scene in which Sephie and the members of Cadador’s Council are sitting and talking. Overall, though, the art was very good.
This series is poised to take a change of tone and direction, as the more serious work of ruling Cadador and maintaining control there becomes a bigger part of Sephie’s daily life. From the very beginning of the CrossGen Universe, this book has been
one of the most adventure-filled and visually unique titles that CrossGen publishes. An increase in subterfuge and political intrigue, and how someone like Sephie handles it, appears to be on the increase for the near future. It could make this one
of the most interesting books in the CrossGen line.
|
| |
|
