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Quick Critiques for 3/8/2006
There's no way I can cover all of the material I have for review in full reviews, so these capsule reviews will offer some brief comments on other recent releases.
FIRESTORM: THE NUCLEAR MAN #23
by Stuart Moore, Jamal Igle & Keith Champagne
(DC Comics)
 I wasn't going to pick this book up but curiosity got the better of me; and therein lies the strength of DC's "One Year Later" scheme. Of all the DC super-hero titles involved in this skip-ahead event, this is the one that's undergoing the least amount of change to its status quo, both in terms of the characters and the creators. Moore does a solid job of bringing his readership up to speed on the sudden changes, but the central plot of the issue -- a potential nuclear disaster at a weapons test -- is simply a generic framework on which the new premises are hung. Igle's art serves the story well, but overall, the visuals just strike me as capable. The one exception is the fact that Igle manages to convey that Jason Rusch has matured a bit. Just as we can see in the script that he's grown up a bit in the past year, so can we see it in his appearance. 6/10
G.I.JOE: AMERICA'S ELITE #9
by Joe Casey, Nelson Blake II & John Lowe
(Devil's Due Publishing)
 I'll give the creators on this book credit. I entered this storyline in midstream, but I had no problem picking up on the story. Furthermore, writer Joe Casey has crafted from straightforward but effective dialogue, driving home just how desvastating the loss of Snake Eyes is to the Joes. Actually, it seems to me these military men and women are behaving in a most non-military manner, but I like it. It humanizes the characters, and it's not often these characters -- best known as plastic toys designed to spark the action-oriented minds of little boys -- really seem all that grounded and vulnerable. The art is conventional but clear. At times, it even grabbed my attention, reminding me of the kind of detail and dynamics we see in Steve (New Avengers) McNiven's art. I wouldn't say I'm been transformed into a "Yo Joe!" gung-ho fan, but I can see the appeal of the comic-book line. 7/10
SENSATIONAL SPIDER-MAN #24
by Roberto Aguirre-Sacasa, Angel Medina & Scott Hanna (Marvel Comics)
 How clueless can Spider-Man be? If it's painfully obvious to the reader that some unseen force is releasing primal, violent instincts through New York -- and especially in superhumans with animal abilities -- why can't a wallcrawling hero with a lifetime of experience in all things weird? If Mary Jane knows to be afraid, why can't her heroic husband? If I can figure out that the younger, shorter reptilian monster is the son of the Lizard, why doesn't Spidey do so before it's too late? It's OK if the plot is obvious, but don't make it obvious and then portray the characters as being immersed in some kind of mystery. Angel Medina's McFarlane-esque artwork suits the vicious tone the writer strives to achieve, as the angular linework is in keeping with the savage tone of the characters. Of course, the artist clearly holds back when it comes to the depiction of the violence. We're told devastating wounds are inflicted, but more of a PG approach is employed to make the material more palatable to a wider audience. As a result, the story loses some of its impact. 3/10
X-MEN: THE 198 #3
by David Hine, Jim Muniz & Kevin Conrad
(Marvel Comics)
 This limited series reaches its midway point, and the plot is taking the smallest of baby steps forward. This feels like a return to the Bill Jemas era of decompressed storytelling at Marvel. And that's not all that didn't sit well with me. Despite the title of the series, Hine doesn't expand beyond a core cast of a few mutants. Furthermore, the foundation of this story is the shared experiences of the mutant corner of the Marvel Universe... M-Day, military supervision of the X-Compound, yet the plot developments here don't seem to factor into stories beyond the confines of this limited series. We don't see the X-Men being tagged by the government or requesting permission to leave their home. Muniz's art sets the right tone for the story, but it's uneven. Furthermore, his characters' faces often look a bit distorted, and the effect reminds me of Whilce (StormWatch: Team Achilles) Portacio's inconsistent work. It's a shame the book is plagued by these weaknesses, because David Hine has included some interesting ideas here, from socio-political hot buttons to a strange new mutant whose power is rather novel. 4/10
Email Don MacPherson with your comments about this review.
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