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Quick Critiques for 1/8
Randy and I are starting the new year with a new review feature: capsules. There's no way for us to 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.
AKA #2
by Dara Naraghi & Steve Black (Ferret Press)
 Daphne and Velma are all grown up, and they're investigating spouses who cheat on each other and breaking into businesses and rooting through dumpsters. OK, they're not called Daphne and Velma for copyright purposes, but this mini-comic offers a fun but grown-up look at a couple of women private-eyes. The plot itself isn't all that riveting, but the characters shine. Their failings and humor make for charming protagonists. Black's artwork is a little inconsistent here, and the backgrounds are a bit lacking. But there's a raw, dark quality that's in keeping with characters and the baudy plot. 7/10
Note: This comic book was not among this week's new releases.
CAPTAIN AMERICA #7
by John Ney Rieber, Trevor Hairsine & Danny Miki (Marvel Comics/Marvel Knights)
 A new story arc begins, and with it, a new artist debuts -- not only on this title, but in mainstream comics. Trevor Hairsine's gritty pencils remind one of the work of Bryan Hitch, but only a bit. The stark tone of his work reinforces the mature atmosphere that Rieber is trying to elicit. Unfortunately, the script is marred by a lack of subtlety in the theme (shields) and a lack of focus in plotting. It's unclear if this story is about Cap's new neighborhood, his anxiety over being swarmed by the media or about the death of an old friend. Still, there are some good ideas to be found here, especially Cap's adjustment to the reality that there is no line between Steve Rogers and Captain America. 6/10
Note: This comic book was not among this week's new releases.
FIREBREATHER #1
by Phil Hester & Andy Kuhn (Image Comics)
 The super-hero coming-of-age archetype has been a staple of comics for decades, ever since Spider-Man struck such a chord back in the early 1960s. Hester and Kuhn carry on that tradition and mix with together with another: giant monsters, a la Godzilla and Fin Fang Foom. Hester's examination of the microcosm of high school makes it easy to relate to the title character, and Kuhn's angular artwork is exciting, whether we're looking at a monster running amok or a cafeteria full of teenagers filling their faces. The title character -- a teenager who's half human and half dragon -- is really his own worst enemy here, as his cynicism translates into an attitude that brings about self-fulfilling, defeatist social prophecies at school. 9/10
Note: This comic book was not among this week's new releases.
JSA #44
by Geoff Johns, David Goyer, Leonard Kirk & Keith Champagne (DC Comics)
 Goyer and Johns tell a story steeped in DC continuity yet manage to maintain an accessible tone. The name of the game here is action and lots of it, and Kirk is equal to the task. He conveys the immensity of the power at play as well as the majesty of ancient Egypt and its gods. But the most important aspect of the story is the exploration of the relationship between Black Adam and Captain Marvel. The writers take it beyond the usual hero/arch-villain dynamic and transform it into something emotional and resonant. 8/10
ULTIMATE DAREDEVIL AND ELEKTRA #4
by Greg Rucka, Salvador Larroca & Danny Miki (Marvel Comics)
 First question... why can't Larroca's art on X-Treme X-Men look this good? Miki's inks bring a welcome level of definition to Larroca's linework, instilling a more realistic tone to his work. Rucka's plot is wonderful as well. He really made the notion of an intelligent, young, beautiful woman with a promising future and blissful love being consumed by anger and fear a plausible and empathetic one. This was a delightfully grounded and touching take on the Daredevil and Elektra origins. 8/10
ULTIMATE X-MEN #27
by Mark Millar, David Finch & Art Thibert (Marvel Comics)
 Millar gets this title back on track, bringing the same mature edge and dark realism to the world of Marvel's mutants. This issue is about the Brotherhood of Mutants gearing up for a war, and the dialogue boasts some strong political and entertaining everyday elements to it. David Finch's offers up a thoroughly impressive debut on this book; his work is richly detailed and sharp in tone, reinforcing the intensity of the characters and the plot. My one qualm with this issue is how quickly Millar is transforming the Ultimate X world in the regular X world. The introduction of so many Ultimate versions of familiar (and even slightly obscure) X characters seems a bit much. 9/10
X-TREME X-MEN #20
by Chris Claremont & Salvador Larroca (Marvel Comics)
 About halfway through this issue, Claremont surprised me. It seemed as though he had happened upon an idea -- a mutant murder mystery -- that could make for the first strong issue of this series. But that core concept is quickly abandoned for a trip back to the Xavier school and an encounter with some new young mutants (isn't this territory that Grant Morrison is covering already?). On top of that, some awkward dialogue is to be found in the opening scene, and the art that shows little of the story or characters' reactions, forcing the reader to rely solely on the dialogue to figure out what's going on. 3/10
Email Don MacPherson comments about this review, or discuss it on the Fourth Rail message board.
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