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Quick Critiques for 1/26/2005
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.
BATMAN #636
by Judd WInick, Doug Mahnke & Dustin Nguyen
(DC Comics)
 As I thumbed through these pages, I felt the dialogue was pretty good and the suspense was growing nicely, but the story didn't really grab me either. It seemed like typical Batman fare, complete with a guest-appearance by another member of the Batman Family (which I thought was a thing of the past given the property's new direction as outlined in Detective Comics #800)> And then I hit the last page, and Winick won me over by bringing the wonder and power of the rest of the DC Universe into the edgier atmosphere of Gotham City. I love the notion of a radically different kind of arms trade, and I look forward to how the conflict between two such unevenly matched opponents will proceed. Mahnke's style works well with the grim intensity of the title character and the darkness that characterizes the setting as well. The big reveal on the final page is nicely detailed as well, and the art reminds me a bit of Frank (We3) Quitely's meticulous linework. I'm still not all that impressed with the new Black Mask yet, but there's no denying that Winick is weaving an entertaining Batman yarn here. 7/10
FANTASTIC FOUR #522
by Mark Waid, Mike Wieringo & Karl Kesel
(Marvel Comics)
 "Rising Storm" may just be my favorite story arc from the Waid/Wieringo/Kesel run on this title. It seems Mark Waid has had more to say about Johnny Storm's character than any other in the series. This stint on FF has really been about Johnny maturing, coming into his own and earning some respect. He shows he's been paing attention over the years. He proves himself to be more than a capable leader, and while Reed sees the complexities of a situation easily, he can perceive the simpler things, such as the notion that deep down, Galactus is a human being. The action here is exciting, but while there's definitely an atmosphere of crisis and urgency, it never seems as though the creators are taking things too seriously. Waid's interpretation of the invisibility powers on a cosmic level remains novel and intriguing, and it adds a lot to the plot... and surprisingly, to characterization in this issue. Wieringo's art captures the huge scale of the action and the energy being thrown about, but it also maintains a lighter, wondrous tone. 9/10
SPECTACULAR SPIDER-MAN #24
by Samm Barnes, Scot Eaton & Cam Smith
(Marvel Comics)
 The "Sins Remembers: Sarah's Story" story arc continues, and the followup to J. Michael Straczynski's "Sins Past" storyline from Amazing Spider-Man fails to live up to even its predecessor's meager quality. What's motivating the title character to get involved in what's going on isn't clearly or convincing at all. Peter comes off as ridiculously oblivious, far too easily manipulated for someone who's been manipulated so often in the past. Ultimately, I just don't feel the emotional connection between the two main characters, and as such, their obsession with one another doesn't ring true. The whole marriage/jealousy plot comes off as a bit tired as well. Furthermore, setting the story is Paris flies in the face of the notion that the Parkers are having a bit of financial trouble in recent months. Eaton's art tells the story somewhat clearly, but there's too much of a divide between the scenes that clearly show when he's been working from Parisian photo reference and those in which he adlibs the setting. 2/10
Y: THE LAST MAN #30
by Brian K. Vaughan, Pia Guerra & Jose Marzan Jr.
(DC Comics/Vertigo imprint)
 I'll never get over how well Vaughan handles the small details that sell the impossibilities of the circumstances of this title and make the characters seem so real, so down to earth. Dr. Mann's science speak at the beginning of the issue is incredibly convincing... so much so that, like Yorick, I had no idea what she was talking about most of the time. It also sets up a great gag, once what really saved Yorick is revealed in layman's terms. Yorick's speech about the sister he once knew is also incredibly convincing, albeit it in a completely different way. Yorick's reminiscing not only drives home the notion that he and Hero are characters are real people who have already lived real lives, but it also demonstrates that Yorick is mourning his sister. For all intents and purposes, he sees her as lost, replaced by a monster who just happens to look like his sister. Guerra's simple style is always impressive in how it conveys a strong sense of realism, and it brings a softness to the characters' faces that makes them seem more human and vulnerable. 9/10
Email Don MacPherson with your comments about this review.
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