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Quick Critiques for 1/5/2005
There's no way that Randy and I can cover all of the material we have for review in full reviews, so these capsule reviews will offer some brief comments on other recent releases.
THE FLASH #217
by Geoff Johns, Howard Porter & Livesay (DC Comics)
 This issue boasts some strong characterization, as Johns explores two key plotlines: Wally's reunion with his wife, and the fallout among the Rogues over Capt. Boomerang's death and the introduction to his heir apparent. The dialogue rings true, and I enjoyed how Johns drives home the sense of fellowship among the Rogues. But the problem is that these two plotlines go nowhere. The point of the whole Wally/Linda separation thing is elusive, and the Capt. Boomerang funeral and tribute is a bit anti-climactic, serving only as a way to buildup to the upcoming Rogues War (or Rogues Hunt... whatever it is). Furthermore, Johns casts aside the whole murder accusation subplot for Wally. The after-the-fact resolution is too neat and not all that credible. It's as though Johns either got bored with it or got stumped as to where to go with it next. Porter's art tells the story clearly enough, but he glosses over a lot of detail. It's next to impossible to make out all of the figures at the funeral, and it would have been fun to take in such a diverse array of characters. 6/10
INCREDIBLE HULK #77
by Peter David, Lee Weeks & Tom Palmer
(Marvel Comics)
 Peter David's return to the ongoing Hulk title makes it clear why he was the guru of all things involving the green goliath a few years ago. His portrayal of the Hulk as a creature of puge rage and power is engrossing, and the psychological component is smart and down to earth. David leaves behind his trademark sense of humor for this opening chapter of "Tempest Fugit" so as to establish a dark atmosphere that draws the reader further into the story. He sets up an air of mystery as well to further entice his audience. Some of Lee Weeks's work on this issue definitely puts me in mind of John Romita Jr.'s stint on the title. Weeks's pug-nosed interpretation of the Hulk conveys the anger and power it should, but the most powerful aspect of the art stems from Studio F's colors. The dark, eerie greens in which he bathes the book really adds to the tense mood. The Jack Kirby tribute found in the monsters at the end of the book was delightful, but at the same time, the monsters seem fearsome, not campy. Weeks uses a double-page splash page early on to great effect, establishing the large scope of the story that's unfolding. 8/10
SPECTACULAR SPIDER-MAN #23
by Samm Barnes, Scot Eaton & Cam Smith
(Marvel Comics)
 Samm Barnes picks up the ball J. Michael Straczynski put in the air in the "Sins Past" story arc in Amazing Spider-Man, but I'm just not all that interested in the game that's being played. Sarah's quick return to peter Parker's life kills part of the drama of her disappearance in a story published just last month, and the plotline that begins here stretches my ability to suspend disbelief just too far. First of all, Barnes doesn't overcome the reader's knowledge that Sarah, though boasting the appearance of a woman in her 20s, is actually just a few years old. It's a creepy character trait that plagues the story. Furthermore, the globe-trotting nature of the plot just doesn't work in the greater context of the character. We're supposed to believe he has a job, money problems and a life with Mary Jane in New York. He turns his back on all of that far too easily here. The reason it doesn't work is that Barnes (and Straczynski, for that matter) hasn't firmly established a real connection between the two characters. Furthermore, the point of the story is elusive; Peter's reason for rushing off to Paris turns out to be a lure, nothing more. Eaton's art reminds me of Paul (She-Hulk) Pelletier's style a great deal, but that makes sense, since they were studio-mates at CrossGen Comics. The art's capable, but it never really grabbed my eye either. 4/10
ULTIMATE X-MEN #54
by Brian K. Vaughan, Stuart Immonen, Wade von Grawbadger & Scott Koblish (Marvel Comics)
 Vaughan brings a credible quality to the fantasti world of super-heroes, but the core premise is so over-the-top that even the characters are forced to point it out with comparisons to other gratuitous bits of pop culture. I'm pleased Vaughan has cast aside the whole other-dimensional riff for Longshot and associated characters, but he carried over a few too many elements from that surreal setting. The conflict between some members of the team and Professor X works quite well, though, and I hope more rebellion directed toward the telepathic mentor is in store. Stuart Immonen is no stranger to Marvel's Ultimate line, as he did some strong work on Ultimate Fantastic Four recently. That strength is not to be found in this effort, though. Immonen clearly makes an effort to keep in line with the usual look of this title, and his own soft style is lost in the process. Most of the characters don't look as young as they need (notably Cyclops and Marvel Girl), and the artist's attempt to make Mojo look more human while maintaining some of Arthur Adams's original design falls flat. 6/10
Email Don MacPherson with your comments about this review.
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