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Quick Critiques for 4/7
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/THUNDERBOLTS #2
by Kurt Busiek, Fabian Nicieza, Barry Kitson & Gary Erskine (Marvel Comics)
 The twist ending doesn't come as a shock, but as a relief, as it explains some unusual behavior exhibited by some of the characters in this story. I love the colorful nature of both casts of characters, but somehow, I don't feel all that invested in the plot. The action unfolds somewhat predictably, but what's really holding this story back is its inaccessibility. One really must be quite familiar with the Thunderbolts to get much out of this tale. And speaking as someone who is well versed in those characters, I guess even that's not enough, since the plot strikes me as rather ho-hum. The art is clear, but it's not as strong as what we got in the first issue. Barry Kitson's style doesn't come through well at all; it's clear that he only laid out these panels and the figures, that he didn't do a full pencilling job here. Overall, this comic book represents rather standard super-hero storytelling and little more. 5/10
HARD TIME #3
by Steve Gerber & Brian Hurtt (DC Comics/DC Focus)
 DC's take on a prison drama -- Oz with super-powers -- continues to impress, and what really makes the book strong is the unconventional but compelling nature of the main character. One owuld expect the teenage Ethan Harrow to be terrified and overwhelmed by his surroundings and the harsh nature of those with whom he must co-exist. But he's not. He's resourceful, proactive and hell, even a little cocky. His ignorance of the power within him makes his attitude all the more incredible. Is Ethan being brave in the face of adversity or is he simply in denial? Gerber's strong characterization and dialogue, combined with a convincing portrayal of prison life, makes for great reading. Brian Hurtt is no creative slouch either. He captures the main character's physical vulnerability quite well, but he also shows us the intellect at work behind his eyes. The unusual color scheme that's been a part the DC Focus line as a whole so far works well here, mainly because I love how the dominant cool-blue mode is a bit unsettling, and it serves as a sharp contrast to the hotter colors that envelop critical moments. 9/10
LONE #5
by Stuart Moore & Alberto Ponticelli
(Dark Horse Comics/Rocket Comics)
 Stuart Moore offers up a standalone issue that's everything it should be: accessible, entertaining and inventive. I love that the title character is the protagonist of the book yet somehow, he's also kind of a peripheral figure in the story. Moore focuses more on telling other characters' stories, such as the train conductor's tale in this issue. The writer comes up with some delightfully weird post-Apocalyptic figures for this issue as well; the Skeleton Riders are a blast, as is the laser-monocle-wearing gorilla. And artist Alberto Ponticelli does a great job of bringing them to life. He conveys the frantic but efficient movement of the Riders and the slow but powerful pace of the gorilla. Michelle Madsen's colors reinforce the surreal nature of the setting and the weird energy that the bad guys exude. One isn't going to find deeper meaning in Lone, but it's a solid action title with a great sense of humor. 7/10
Note: This comic book was not among this week's new releases.
PLASTIC MAN #5
by Kyle Baker (DC Comics)
 Baker sets aside much of the joketelling in this issue and focuses on the plot. The spotlight here is on the FBI investigation into Plastic Man's potential involvement in the murder, and Baker shifts gears when it comes to the characters. He specifically transforms the Chief into something other than the butt of the title character's jokes. The Chief is portrayed as something other than comic relief and actually comes off as a keen observer and a dedicated lawman. I loved this added depth to the zany world of Plastic Man. The art, on the other hand, remains as quirky and cartoony as ever, and it maintains a lightness and sense of fun throughout the book. It's easy to see animation influences -- from Looney Tunes to Rocky and Bullwinkle -- at play in Baker's work, but I also noticed that some moments in the issue reminded me of the style of Sergio (Groo) Aragones. My one qualm with the art is that the visuals in Plas's apartment don't match the descriptions the other characters are providing. Overall, Plastic Man has proven itself to be a surprising title and a truly unique super-hero series as well. 7/10
UNCANNY X-MEN #442
by Chuck Austen, Salvador Larroca & Danny Miki (Marvel Comics)
 At the heart of this story is a strong premise: two X-Men arguing over how Magneto is to be remembered. Wolverine's view of the man as a monster is valid, but it's easy to relate to Professor X's softer remembrances of the man. What gets in the way of the conflict is the artificial way through which it comes to a boil. It makes no sense for Wolverine to wait until he and Charles arrive in Genosha to debate the issue, and the Genoshans just get in the way of the main conflict. It makes sense, though, to include Quicksilver and the Scarlet Witch in a story about grieving for Magneto, but unfortunately, the scenes in which they play a part seem to belong to Polaris and her over-the-top bitch personality. Larroca's art on this book is much stronger than what he offers on this week's New X-Men #155, but the visuals are also a little too bright, given the subject matter. 5/10
WOLVERINE #13
by Greg Rucka & Darick Robertson (Marvel Comics)
 Oh great... there's yet another feral mutant lurking about the wilderness, serving as yet another excuse to bring together the title character and his arch-enemy, Sabretooth. Rucka's "Return of the Native" story arc kicks off on a rather derivative note, but I have to admit that he captures the intensity and rough edges of the two main characters quite well. The same can be said of Darick Robertson's art. Inking his own pencils has brought an appropriately harsher quality to the characters and circumstances, and I love how the blurring effect conveys the ferocity and speed of the Native. Rucka puts the Cassie Lapthrop subplot on hold here, and it's too bad. I really want to know how the relationship between Logan and Cassie is developing. Too much goes unsaid about it, both in this issue and the one that came before. 6/10
Email Don MacPherson with your comments about this review.
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