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Quick Critiques for 4/13/2005
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: LEGENDS OF THE DARK KNIGHT #190
by J. Torres, David Lopez & Fernando Blanco
(DC Comics)
 I don't usually follow this series, but when I heard writer J. Torres was being joined by the Fallen Angel art team for a short two-parter, I decided to check it out. I'm a big fan of Torres's work, but this isn't one of his better efforts. The story is told out of sequence, but there's not a strong flow. There was times I couldn't tell if it was a storytelling technique or some kind of mixup in the page order at the printer. Torres does a good job of establishing a melancholy mood, but the fact that the characters don't pick up on what's going on with Mr. Freeze makes them seem rather oblivious, especially the title character. Torres's take on the villain really makes this issue seem as though it's set in the Paul Dini/Bruce Timm cartoon continuity (though it's not), and that feeling is reinforced by the art. Lopez is clearly influenced by Bruce Timm here, though it doesn't overwhelm his style. Given the darkness of their work on Fallen Angel, I'm surprised Lopez and Franco's combined efforts aren't darker here, especially given the sullen mood for which the story strives. 4/10
FABLES #36
by Bill Willingham, Mark Buckingham & Steve Leialoha (DC Comics/Vertigo imprint)
 Willingham finally takes his audience through the looking glass, into the magical, medieval realm of the Fables' Homelands, and there's a surprising effect. This immersion in sword-and-sorcery storytelling, an older, traditional kind of setting, brings a renewed freshness to the title. Of course, Willingham still maintains his usual sense of humor, and he maintains a down-to-earth tone, making it easier for the reader to relate to this exotic, alien place. Willingham also casts Boy Blue in a different light. Instead of a reliable Man Friday, he's a swashbuckling warrior-hero, and a terribly cool one at that. Buckingham's contrasting designs for the two goblin soldiers from the fourth horde are effective. They're comical, they're monstrous when they need to be. When they go into attack mode, the characters look as though they could have been rendered by Mike (Hellboy) Mignola or Eric (The Goon) Powell. This issue is wonderfully playful yet quite dark at the same time, the first chapter in which I expect will be yet another entertaining Fables story arc. 8/10
GOTHAM CENTRAL #30
by Greg Rucka, Stephano Gaudiano & Kano
(DC Comics)
 This may be the first issue of this series that let me down somewhat. I'm still interested in the Keystone City/Flash villain storyline, but Rucka's script doesn't paint the cop characters in the most flattering of lights and offers a cheap knockoff of Silence of the Lambs in the process. Perhaps Rucka's take on Dr. Alchemy here is meant to be a tribute to Anthony Hopkins's Hanibal Lecter, but it comes off as rather derivative, right down to "quid pro quo" being incorporated into the dialogue. The detectives are far too trusting of the bad guy and overconfident when dealing with someone with superhuman powers. The art remains strong. It's appropriately dark, and the costumed hero's appearance at the end of the issue has the proper visual impact. The character-driven elements -- especially those reolving around Montoya's private life -- are strong as ever, and I can't wait to see the followup to that scene next month. 6/10
IRON MAN #3
by Warren Ellis & Adi Granov (Marvel Comics)
 Ellis steps up the action quotient for this story arc with the third chapter, and the shift in tone is a welcome one. The description of how the Extremis bio-technology works is creepy yet impressive at the same time. Ellis uses a crime against humanity, a distortion and manipulation of the human body as a way to celebrate the miracle and potential of our physiology at the same time, in a way. The confrontation between the title character and an embittered villain really drives home just how much power is in play, and that in turn makes it clear just how much is at stake. This isn't a bad guy pulling a bank heist. This is a domestic terrorist with seemingly unlimited resources and power. Granov's art is absolutely stunning, and it's difficult to begrudge the delay between issues when the results are this eye-catching. This issue's a bit on the low end of providing plot, dialogue and characterization -- it's there, but not in as much depth as one usually expects from Ellis -- but the action is mesmerizing. 8/10
ULTIMATES 2 #5
by Mark Millar, Bryan Hitch & Paul Neary
(Marvel Comics)
 Not surprisingly, Millar and his artists offers up yet another clever, exciting and intense issue. On the surface, this issue is all about the action, not about the dialogue and characters, but all is not as it seems. The story derives its greatest strength from the mystery of Thor. Millar has the reader questioning whether or not what he's saying is true -- he's an Asgardian hero and reality is being manipulated by his evil brother, Loki -- or if he's the looney tune that all the other characters perceive him to be. Either possibility leads to the same tragic mood. Thor is the victim of a conspiracy he can't possibly prove, or he's a madman who can't accept reality. I love that Millar provides no definitive answers either way. Millar also provides a strong scene toward the end of the issue that spotlights the unusual and disconcerting nature of the relationship between Quicksilver and the Scarlet Witch. The art is, of course, shocking realistic and meticulously detailed. For me, the most striking visual is a beaten and scarred Thor, a noble spirit brought low. I also find how the dynamic that Bruce Banner had brought to the series has been restored with a different character. 10/10
ULTIMATE X-MEN #58
by Brian K. Vaughan & Steve Dillon (Marvel Comics)
 This issue definitely stands out as the best one in Brian K. Vaughan's run on the title so far, and it's one of the better issues of the series overall. It also stands out as one of the best Professor X stories crafted since the character was introduced 40 years ago. Xavier is shown to be clever, resourceful, heroic but also a bit cold. He is ruthlessly efficient. He's not a benefactor, he's a taskmaster. That darker, emotionally distant take on the character is far more interesting than the warm, fuzzy father figure we've come to know in other X-Men stories. Steve Dillon was the perfect artist to bring out that cold, calculating side. The determination shows through in his eyes, and we have Dillon to thank for that. I also liked the new mutant who's introduced here. He's bizarre and violent, but he's no super-hero or villain. He (or is it they?) is a thug with an edge. The plotting here is fascinating. Vaughan's exploration of what Xavier's mind is capable of is inventive and entertaining. 9/10
Email Don MacPherson with your comments about this review.
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