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Quick Critiques for 4/21
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.
CABLE/DEADPOOL #2
by Fabian Nicieza, Mark Brooks, Shane Law & Chris Stevens (Marvel Comics)
 First thing thing: I have to wonder why editor Tom Brevoort accepted this cover artwork from Rob Liefeld, as it's almost exactly the same as what we saw on the cover of the first issue. Fortunately, what lies within is much stronger than the exterior. Whereas the first issue came off as a Deadpool story with Cable tagging along, the reverse holds true this time around. The plot is a fairly typical one, and Nicieza provides plenty of exposition, making for an accessible read. The strongest element in this issue is the comedic timing of Cable's method of getting Deadpool out of his way. It results in a couple of morbidly funny moments. The art from Brooks and his Udon Studio colleagues is full of energy, and despite the gruesome nature of some plot developments, there's a lightness to the art as well. Brooks's linework is showing a strong Todd (Wildguard: Casting Call) Nauck influence. 6/10
ROBIN #125
by Bill Willingham, Francisco Rodriguez De La Fuente & Aaron Sowd (DC Comics)
 Writer Bill Willingham explores a natural development in the life of a teenage hero: the discover of his secret identity by his parents. Sure, such an event is completely unreal, but having a parent discover a teen's secret and the child's subsequent defence of it are notions to which anyone can relate. There's a plausible and convincing tone to the dialogue exchanges among the title character, his father, Bruce Wayne and Alfred here. It's a shame that the art doesn't match the strength to be found in the script. De La Fuente's sketchy art doesn't serve the story well at all. Jack Drake comes off looking like a madman rather than an angry father, and the artist brings an unsettlingly sininster quality to his depiction of Bruce Wayne. Another frustration aspect of this issue is the continued Johnny Warlock subplot. The character has failed to interest me since he was transformed from sadistic gangster to supernatural super-villain. 5/10
SUPERMAN/BATMAN #9
by Jeph Loeb & Michael Turner (DC Comics)
 Loeb and Turner continue their significantly retooled take on the classic Supergirl story, and the writer has really added a lot to the story by bringing in the Dark Knight's pessimism and paranoia into it. The split narrative approach continues to work well, allowing the reader to really understand where both title characters are coming from. In the past, the "World's Finest" team complemented one another because one represented power and the other represented perception. Now, it's the combination of their polar attitudes that makes for the strength in the pairing, but it also offers plenty of conflict. Loeb stretches the credibilty of the story by incorporating so many female characters here, but it's hard not to enjoy the continued celebration of the vast and diverse nature of DC's library of characters. Where this issue goes awry, as was the case with the previous issue, is the art. Turner goes out of his way to sexualize the new Supergirl at every opportunity, and it's unsettling, as the writer emphasizes her innocence. The detail and color in the Fortress of Solitude scenes are impressive, but they're not enough to distract from the gratuitous qualities in the art. 6/10
SUPERMAN: SECRET IDENTITY #4
by Kurt Busiek & Stuart Immonen (DC Comics)
 Of all four issues of this series, this one boasts the most super-hero genre elements, but all the same, this remains a story about regular life, not super-heroes. Clark Kent is explored as many things in this final issue -- as a father, a writer and even a retiree -- but the notion of him as hero really doesn't enter the equation. He's a man living his life as best as he can, and what makes it an extraordinary isn't flight or super-strength. It's about family, love and the passions we enjoy that make each one of us unique. Immonen does an incredible job with the art, which comes as no surprise. I love how realistically he portrays the aging process in Clark and Lois, but again, it's those splash pages and double-page spreads in which he captures the natural beauty that surrounds us that the artist makes his greatest impact. 9/10
ULTIMATE SPIDER-MAN #57
by Brian Michael Bendis, Mark Bagley & Art Thibert (Marvel Comics)
 Bendis offers up what may be one of the most unpredictable issues of the series to date. The reader just has no way of knowing what Doc Ock is up to here, but his motives are clear. It's surprisingly easy to understand this madman now, as Bendis reveals what he's really after, the thing that's been denied him for so long: a sense of normalcy. That longing is mirrored in Gwen Stacy. I love her subplot here, as it depicts her character to be perceptive, clever and a little brave. Bendis also brings a key element of realism to the book through the behavior of a minor character who gets swept up in Doc Ock's escape/plans. There's plenty of action early on in this issue, so of course, Bagley's art shines. He brings the tangled confusion of Doc Ock's arms to life, not to mention their power. 8/10
WOLVERINE #14
by Greg Rucka & Darick Robertson
(Marvel Comics/Marvel Knights)
 The Native turns out to be exactly the sort of character I expected it to be: a female counterpart to Wolverine and Sabretooth. It's not enough that we've got a number of Wolverine knockoff characters running around the Marvel Universe; there's go to be one more, one exactly like Logan, only with a different set of sexual organs. This SIlverAge approach in the storytelling doesn't sit well with the harsher tone that Greg Rucka and Darick Robertson's stint on this title boasts overall. The encounter, though, does fit in nicely with the overall theme of the series -- the title character's inner conflict between his human and animalistic sides -- in that he loses himself in instinct, in the feral and savage facet of his personality, one he's been trying to forget. Robertson's art captures the wildness in both Wolverine and the Native nicely, and the Studio F colors add an eerie and tense quality to the visuals as well. 6/10
Email Don MacPherson with your comments about this review.
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