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Quick Critiques for 1/21
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.
BIRDS OF PREY #63
by Gail Simone, Ed benes, Cliff Richards & Alex Lei
(DC Comics)
 Another strong issue from Gail Simone and company, but that comes as little surprise to those of us who have been following her run on this title from the start. I love the new circle of hackers that Simone introduces here. It reinforces the mystique Oracle is meant to instill in others by seeing similar digital presences in "action." I'm thoroughly intrigued by the mystery of who's targetting Oracle's systems as well. Simone is also to be applauded for her thoroughly accessible presentation of Cheshire. Visually, the wet T-shirt contest tone to the action was a little bit gratuitous, but I loved Benes's continued movie-poster motif for the cover. Cliff Richards's avoid the sex-appeal pitfall, fortunately, and the action at the end of the book featuring Barbara Gordon was exciting. 8/10
EXILES #41
by Jim Calafiore & Eric Cannon (Marvel Comics)
 This issue is noteworthy because it's penned by sometimes regular penciller Jim Calafiore. I've often enjoyed Calafiore's art in the past, not just on this title but on DC's Aquaman as well, but I can't say the same thing about his writing. He offers up a typically angst-ridden, alternate-reality X-Men story that offers little suspense since the reader always knows what will become of the main character, Nocturne. Calafiore spends an awful lot of time building up a short-lived setting rather than delving into characterization. I'm surprised that the issue isn't stronger visually as well. The alternate character designs here are not pleasing to the eye at all. The action may prove to be entertaining to younger comics readers, but it's fairly generic overall. 3/10
HUMAN TARGET #6
by Peter Milligan & Cliff Chiang
(DC Comics/Vertigo imprint)
 Milligan tackles an interesting ethical purgatory, blurring the lines between victims and villains in a tidy little standalone issue, which serves as an excellent jumping-on point for new readers. Mind you, this story is a little too tidy, including an exploration of the priesthood that comes off like a liche penned for a primetime TV drama. Even though Milligan takes a predictable approach here, the story's pretty solid. The greatest strength of this issue is Cliff Chiang's art. This is the artist's first effort on the book -- he's scheduled to alternate as the regular artist with Javier Pulido, who handled the first five issues. Chiang boasts a simple style that's in keeping with the book's overall look, but there's a little more depth here as compared with Pulido's style. Lee Loughridge's muted colors reinforce the downtrodden and mature atmosphere nicely. 7/10
JSA #57
by Geoff Johns, Don Kramer & Keith Champagne
(DC Comics)
 The "Black Reign" story arc/crossover continues here, and though Geoff Johns touches upon some interesting ethical issues that have some not-so subtle links to real-world conflict in the Middle East, the overall tone of the story is more of a conventional, action-oriented, super-hero plot. Still, Johns touches upon some interesting dynamics that stem from the heroes and villains' shared past, though some of that information is bound to go over the heads of those readers who weren't privy to such titles as Infinity, Inc., to name one. There's also no denying the intensity and power on display here, and I love the colorful array of characters that have been gathered. Kramer's art is a bit on the inconsistent side, even coming off as a little rough for a couple of pages. I hope Johns returns to a more politically oriented focus for the remainder of this story, as the U.S.-Black Reign comparison is a compelling one. 6/10
NEW X-MEN #152
by Grant Morrison, Marc Silvestri, Joe Weems & Billy Tan (Marvel Comics)
 Grant Morrison's final story arc on this title is far from his strongest, as there's a key accessibility problem at play. Those not intimately familiar with his entire run on the book will be at a definite loss here, and even for those of us who are up on Morrison's X-stories, the opening scene isn't easy to follow at all given that there is no overt clue that it's a flashback sequence. Silvestri's art is all about looking Kewl, though his gritty approach is well suited to bringing this dark vision of the X-Men's future to life. I'm pleased to find there's a much stronger sense of depth and delineation in the artist's work here as compared to his original run as penciller on Uncanny X-Men 15 or so years ago. "Here Comes Tomorrow" may not be as challenging as Morrison's other storylines, but it's got an exciting feel. It strikes me as something of a Michael Bay or Jerry Bruckerheimer flick -- big on action and light on logic. 6/10
ROBIN #122
by Bill Willingham, Rick Mays & Aaron Sowd
(DC Comics)
 Willingham's second issue on the title is a stronger effort, mainly because his depiction of Robin's skills is strong and convincing and because the writer offers a shocking but grounded twist that levels the playing field a bit. I also appreciated the fact that Willingham doesn't immerse the title character in the typical Batman family angst. I a got a sense that Tim Drake accepts that he lives in a world of violence. The developing friendship subplot is an entertaining one, but I'm not quite as taken with the supernatural turn that the antagonist's life takes here. Mays's art suits the youthful and energetic nature of the title character. He really captures the martial-arts action quite well, and I like the personality he brings to Alfred. The Batman doesn't really come off as the imposing figure he needs to be in Mays's work, though. 7/10
THANOS #5
by Jim Starlin & Al Milgrom (Marvel Comics)
 This chapter of Jim Starlin's cosmic adventure is, in a word, pointless. Starlin's script in the previous issue told the reader of the inevitable result that Thanos and Galactus face at the end of this issue. All the reader is left with is some typical super-hero action that has nowhere to go, that holds no suspense at all. The arc feels padded out. I get the feeling this is a four-issue story that's been stretched out to six. Mind you, the art is still lovely. Starlin's presentation of gods at war with one another is a treat, and Christie Scheele's rich, vibrant colors add life and power to it all while helping to maintain a darker atmosphere. Still, this is an entirely miss-able issue, and those who opt to skip from #4 to #6 shouldn't have any problem following the story anyway. 3/10
UNCANNY X-MEN #438
by Chuck Austen, Salvador Larroca & Danny Miki (Marvel Comics)
 I was impressed with the first chapter of "She Lies With Angels," but this second episode in the story arc left a bit to be desired. Austen's writing here is far from subtle. It's predictable and ham-fisted, reading more like an episode of Touched by an Angel than an attempt at a thought-provoking attempt at depicting the effect of racism in a small community. None of the characters really acts in a logical manner, and the sheriff's subplot comes from out of nowhere and fails to convince the reader of any real emotional connection. Larroca's art is pretty at times, but it's not as strong when it comes to actual storytelling. His depiction of Husk's is not clear at all, and the action doesn't always unfold clearly. Furthermore, the two Romeo and Juliet characters soon to be at the center of the plot don't come off as nearly young enough. 5/10
WOLVERINE #10
by Greg Rucka & Leandro Fernandez (Marvel Comics)
 "Coyote Crossing" continues, and this issue boasts a couple of interesting elements. The nature of the antagonist was novel and fascinating, and one can't help but be struck by both her callous and cold nature as well as her strength and intellect. I also appreciated that the bedroom encounter between Cassie and the title character didn't follow a predictable path. Fernandez's artwork continues to impress. There's a sleekness to his work here that's alluring, but there's also a raw quality that's in keeping with Wolverine's nature and the setting here. On the other hand, I'm not wild about Rucka's continued focus on Logan's self-loathing and obsession about his animal side. We've seen this inner conflict before, time and time again, and I'd like to see Rucka saw something fresh about the character. 7/10
Email Don MacPherson with your comments about this review.
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