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Quick Critiques for 2/11
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.
AVENGERS #78
by Chuck Austen, Olivier Coipel & Andy Lanning (Marvel Comics)
 I'm honestly torn here. Austen's plot about an average mom taking up a heroic stance really clicked for me, and Coipel's dark artwork is a joy for the eyes. But then there are moments in the script that are completely laughable, such as the heroic mom's decision to trade literary quotes with a super-villain in the middle of a fight. Austen shifts gears from serious to silly and then back again far too suddenly, and it makes for jarring moments, taking the reader out of the story. After two chapters of this five-part story arc, nothing resembling a point has emerged yet either. Austen has some interesting ideas here, but his execution leaves a lot to be desired. The writer shows a lot more promise here than he does on Uncanny X-Men, though, and the art is stronger here as well. 5/10
FABLES #22
by Bill Willingham, Tony Akins & Jimmy Palmiotti
(DC Comics/Vertigo imprint)
 This stands out as one of the best issues of the series to date, and that's because Willingham's dark take on classic characters from children's literature is so unpredictable. The writer introduces a couple of new players to the game here, and in the process, he hints at even more Fables history. The manipulative nature of Cinderella here is practically hypnotic; her intelligence and ambition shine through, even when veiled by her damsel-in-distress routine. The rough edge in her dialogue makes for an interesting contrast with the notion we have of the character as a symbol of innocence and purity. Never has the potential of the intricate plotting behind this unusual, mature series been so clear. Akins's art here reminds me of the work of Shawn (Thessaly: Witch for Hire) McManus, and his style is, overall, quite consistent with that of regular penciller Mark Buckingham. 9/10
FALLEN ANGEL #8
by Peter David, David Lopez & Fernando Blanco
(DC Comics)
 Damn, I screwed up.
You see, while the first couple of issues were intriguing, I lost interest in this title. I let it slip off of my radar, and that was a mistake. After reading this issue, I've come to realize that David is actually exploring far more intense and ugly territory than I expected. There's a harshness to this title that's fascinating, the sort of thing I don't think I've seen since Garth Ennis's Preacher. There's no hero here, and I feel as though I'm seeing an urban mythology unfold before my eyes. I have no idea what the "Down to Earth" story arc is all about, and I didn't feel as though I needed to as I read this second chapter. This issue holds up well on its own, and it's rekindled my interest in the book. Lopez enhances the tense and mysterious mood with his minimalist backgrounds. His linework captures the harsh plot developments nicely, but it doesn't go overboard in terms of gruesome detail either. 9/10
GOTHAM CENTRAL #16
by Ed Brubaker & Greg Scott (DC Comics)
 The visuals presented by fill-in artist Greg Scott are certainly consistent with the overall style that regular artist Michael lark brings to the book. Unfortunately, I found Scott's linework to be a little stiff here. The characterization and police-procedural plotting is as strong as ever, and I enjoyed the glimpse into police-department politics. The script for this seemingly self-contained issue, though, lack resolution. The change in mood that Sgt. Davies experiences by the end of the issue isn't really explained, and the case we follow through this issue seems to be barely underway before the episode comes to a close. Still, the genuine dialogue and realistic portrayal of the everyday lives of cops makes this a solid read. 7/10
SENTINEL #12
by Sean McKeever & Udon Studio
(Marvel Comics/Tsunami imprint)
 Like the issue before it, this series-concluding episode lulls the reader into a false sense of security, leading him to believe the plot is headed in one direction when it's really going in another. Ultimately, McKeever opts to focus on characterization here rather than conclusion, and I'm quite impressed. He picks up on a loose plot thread from earlier in the series, and he doesn't worry abot providing pat answers for those plotlines that eclipsed it. The cartoony nature of the Udon artwork here detracts from the more serious tones in key scenes, especially the opening action sequence. But when it comes to the quiet, emotional scenes at the end of the book, the artists hit the target perfectly. I'm going to miss this series, and I hope that a potential success as a digest-sized reprint will bring with it the chance for a revival or a reversal of the cancellation decision. 8/10
TEEN TITANS #8
by Geoff Johns, Tom Grummett & Kevin Conrad
(DC Comics)
 Johns provides a thoroughly accessible issue that also succeeds in drawing the reader in the team's next mission. He covers Raven's backstory quite clearly and demonstrates why the "senior" Titans are so intent on finding their former teammate. What really makes this issue stand out, though, is characterization. Johns delivers one of the most grounded and believable takes on Robin that I've seen... so much so that I wish he was writing the Teen Wonder's title. Johns also presents a strong new take on Beast Boy's abilities. I must admit that I like the slightly darker, grittier edge that Kevin Conrad's inks bring to Tom Grummett's usually softer style. At the same time, the visuals don't get too dark or grim, as there's some fun to be found in these young super-hero characters as well. 8/10
THOR #74 (hey, that rhymes!)
by Dan Jurgens, Roger Robinson & James Pascoe (Marvel Comics)
 Jurgens's tale of an alternate future in which Thor reigns as an iron-fisted (though well-meaning) dictator is going to make a great trade-paperback edition, should Marvel opt to collect the story. The problem with it is that the story is really dragging, and on top of that, it lacks any real sense of suspense. There's no sense of lasting change at play here. Robinson's artwork brings enough of a dark edge to reinforce the more mature qualities of the script, and the Loki as sorceror supreme visual is one that never gets old. Still, Robinson's style doesn't really bring much of a magical touch to these mythic characters. Don't get me wrong... the art is clear and capable, serving the story well. It just doesn't really stand out that much either. 6/10
ULTIMATE X-MEN #42
by Brian Michael Bendis, David Finch & Art Thibert (Marvel Comics)
 A larger plotline begins to emerge in the "New Mutants" story arc, and while strong, character-focused and self-contained stories from the first two chapters of the arc were engaging, this more politically minded plot is a bit more challenging and relevant. The subplots featuring Cyclops, Jean Grey and Storm seem a bit superfluous here, though, and they really don't add much to the story overall. Those moments feel like filler rather than windows into the characters' souls. Finch's edgy, detailed and realistic linework stands out as the strongest art we've had for this series as a whole. Still, of the X-Men, only Kitty Pride looks as youthful as she needs to be. Storm, Cyclops and Jean seem to left their teenage years behind them, if the artwork is any indication. 7/10
Email Don MacPherson with your comments about this review.
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