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Quick Critiques for 3/17
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.
DAREDEVIL #58
by Brian Michael Bendis & Alex Maleev
(Marvel Comics/Marvel Knights)
 It's these issues -- the grounded ones, those without the super-hero action -- that always stand out as the finest Bendis contributes to any series he writes. Ben Urich takes the spotlight here as he uncovers some answers not only for himself, but for the reader. One of my favorite moments comes when Foggy's frustrations really come to the surface, when he realizes that he's not the person Matt trusts most in the world. He feels forgotten and taken for granted, and he's right to feel that way. In this story arc, "The King og Hell's Kitchen," the villain is a surprising one, because it's the character we expect to be the hero. Maleev's unconventional, dark textured art never fails to amaze me. There's an impressive degree of realism in his work, but the darkness and sketchiness in his style also bring a certain surrealism to the work as well. The dichotomy is mesmerizing. 10/10
NEW X-MEN #154
by Grant Morrison, Marc Silvestri & Joe Weems
(Marvel Comics)
 This issue -- which brings not only the "Here Comes Tomorrow" story arc to a close, but Grant Morrison's run on the book as well -- is full of striking visuals and over-the-top, dramatic deaths. It also explains a lot of unanswered questions that arose during this four-part tale. What irks me about it, though, is that opts for the "cosmic reset button" resolution, which robs the story of some of its impact, of its drama. Silvestri's gritty depiction of some of the X-Men's ultimate fates is appropriately grisly and effective. I love the sense of menace he brings to the Beast as well, and Rover's resurrection, though predictable, boasts a great deal of power, visually. Silvestri's work gets a bit sketchy in the end, though, and one could argue the same thing about how Morrison chose to wrap up his stint on the title. 6/10
ROBIN #124
by BIll Willingham, Francisco Rodriguez De La Fuente
& Aaron Sowd (DC Comics)
 I'm really torn here. Willingham has finally arrived at a development that really sets this story apart from previous Robin tales... and from just about any other super-hero sidekick story before it, really. Someone uncovers his secret identity, and it's not an enemy or another hero. It's someone from his private life, and it boasts a lot of potential for some genuine, resonant drama. The problem here is that the other plotlines just aren't that compelling. The title character comes off as whiny, and the script in general lacks a plausible tone. Tim and Stephanie's conversation is just too Dawson's Creek for my taste. Furthermore, the art leaves a lot to be desired. De La Fuente seems to have trouble rendering the teen characters as teens some of the time, and the backgrounds are often lacking. The linework is sketchy and inconsistent, and that's unfortunate, as the more grounded story elements call for a more realistic tone. 4/10
TEEN TITANS #9
by Geoff Johns, Mike McKone, Marlo Alquiza & Norm Rapmund (DC Comics)
 Johns opts to demonstrate that he hasn't forgotten the hero formerly known as Impulse boasted plenty of potential for comic relief, and he returns the characters, now going by the name Kid Flash, back to that role, even if it is briefly. It's a smart move, as the break from the rather dark tone of the seriesis welcome. Another wonderful moment here is the revelation of Cyborg if up to in his down time. It makes for a shocking and inventive visual. In the past, the character's humanity has always been the emphasis, and it was interesting to see his cold, mechanical side in the spotlight here. The art is effective in its mission to foster a growing sense of tension as the story crescendoes toward its incorporation of Raven back into the DC Universe as an active character. 8/10
WOLVERINE #12
by Greg Rucka, Darick Robertson & Tom Palmer (Marvel Comics)
 Rucka sums up the core theme of this series -- and of the character in general -- with this self-contained expedition through Logan's dream psyche. The premise -- Logan's dreams -- is a solid one, and it offers excellent opportunities for striking, surreal and shocking imagery. The problem is that it doesn't tell us anything we didn't already know about the character. Logan is a jumble of personae in conflict, but at its core, it's ultimately a battle between his civilized and animalistic sides. What I find frustrating about this issue, though, is that it doesn't advance the larger plotlines at all. Furthermore, if one isn't aware of the women in the title character's life, some of the appearances here will prove to be a little confusing. Robertson's art is quite strong, though. He captures the disparate sides of the character nicely in his dreamworld, and I'm struck by how well he depicts the tenderness that Cassie shows Wolverine in the waking world. 6/10
WONDER WOMAN #202
by Greg Rucka, Stephen Sadowski & Andrew Currie (DC Comics)
 Wonder Woman gets her very own version of Lex Luthor in this issue, as Rucka finally tells us who Veronica Cale is and why she's out to destroy the Amazon Princess. There are actually a number of similarities to Lex Luthor to be found in her character, but Rucka makes her seem much more ruthless by giving her anger a target other than the title character. Actually, what's most striking about Cale is that she's rather admirable. Her jealousy of Wonder Woman is quite understandable, really; it's the extremes to which she's willing to go to address those feelings that's irrational. Cale is a fascinating and well-rounded antagonist, and I'm pleased to discover she's not some Greek demi-goddess or something in human guise. Sadowski's softer style is right at home in a book about Wonder Woman. Mind you, the focus here is on the villain of the piece, and Sadowski's more realistic leanings suit her more grounded origins nicely. 9/10
Email Don MacPherson with your comments about this review.
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