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Quick Critiques for 4/16
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.
THE FLASH #197
by Geoff Johns, Scott Kolins & Doug Hazlewood
(DC Comics)
 Johns breathes new life and credibility into a classic Flash foe, but of course, that's come as no surprise. After all, he's done the same with every other "Rogue Profile" he's given us before. Johns applies real-world police profiling and criminal psychology to the world of super-villains here, and it makes for engaging reading. Once again, Johns combines traditional super-hero storytelling with a deeper, more modern and grounded flair for characterization. Kolins does an incredible job with the art. He and Hazlewood really bring out the tension frustration in the main character. James Sinclair's colors add to the angry and almost surreal atmosphere that looms over the entire issue. I loved the yellows and browns in which he bathes the flashback sequences. 8/10
NEW X-MEN #139
by Grant Morrison, Phil Jimenez & Andy Lanning (Marvel Comics)
 A new story arc -- "Murder at the Mansion" -- gets under way here, and the premise referred to in that title is a strong one, guaranteed to keep readers engaged. But the real strength to be found here is the focus on Emma Frost, her past and how it influences the cocky, sensual and manipulative person she is today. Morrison manages to paint her in sympathetic and pathetic lights here. Unfortunately, the catalyst for this characterization and the plot is Emma's psychic tryst with Cyclops, and Morrison spotlights just how long he's been stringing us along with this subplot. It hinges on events in Hong Kong, in the New X-Men Annual released... ages ago, it seems. I felt removed from the story as a result. Jimenez's detailed and expressive linework tells the story clearly, and I found I enjoyed the strong George Perez influence in his style yet again. 7/10
STAR WARS: REPUBLIC #51
by Haden Blackman, Tomas Giorello & Curtis Arnold
(Dark Horse Comics)
 Blackman brings an edgier tone to the universe of Star Wars, and it goes a long way to dispel my general disinterest in the more recent additions to the Star Wars movie legends. Sure, seeing Phantom Menace and Attack of the Clones are required in order to follow the story, but chances are those with a distate for all things Lucas will steer clear of this book. Some strong new non-movie characters turn up here, and I'm intrigued. Giorello's sketchy art adds a gritty quality to these normally clean characters, and it reinforces that edgy tone I was surprised to find in the plot. 7/10
Note: This comic book was not among this week's new releases.
SUPERMAN: METROPOLIS #3
by Chuck Austen & Daniel Zezelj (DC Comics)
 Austen continues to impress with a nice balance of humor, humanity and downright creepiness in this limited series. Speaking of creepiness, I was surprised to see the Creeper turn up in this issue, especially since it was released in the same week as an altogether different take on the property in a new title from DC's Vertigo line. It could make for some confusion for newer readers. Zezelj's take on the classic Ditko madman/hero is chilling and impressive, though, as is his continued depiction of the tendrils of the Tech and the weird amalgamated antagonist in this issue. 7/10
WOLVERINE #189
by Daniel Way, Staz Johnston & Danny Miki
(Marvel Comics)
 The "Good Cop, Bad Cop" story arc comes to a close, as does this Wolverine, making way for a newly relaunched title by Greg Rucka and Darick Robertson. Way and Johnson take Logan out on a solid note here. Way's story reminds me of Frank Tieri's recent mob story arc in this title. Both are about smart men who feel trapped and powerless thanks to their circumstances, and Logan enters their lives in order to empower them once again. Of course, there's less in the way of shades of grey here. The ending is a little tidy, but this is just a two-part fill-in arc, so neatness is to be expected. Johnson's artwork here reminds me of the styles of Tom (The Power Company) and Karl (Fantastic Four) Kesel, but with a grittier look. 7/10
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