|
Quick Critiques for 4/23
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.
AMAZING SPIDER-MAN #52
by J. Michael Straczynski, John Romita Jr. & Scott Hanna (Marvel Comics)
 When JMS is funny, he's really funny. This issue boasts a couple of moments that will make the reader laugh out loud. Straczynski is writing the witty, fun Spidey we've come to love over the years. Unfortunately, the humorous -- even silly -- elements of the script get in the way of the moments when the writer is trying to be poignant or trying to foster an atmosphere of foreboding. Furthermore, one just can't ignore the implausibility of Spidey working for a gangster and jetsetting around the country without risking his identity. Romita's artwork captures an impish look for the funny Spidey quite well, and it brings out the monstrous power of the antagonist. 6/10
AVENGERS #66
by Geoff Johns, Olivier Coipel & Andy Lanning
(Marvel Comics)
 This stands out as Johns's best issue on the title to date. The reaction of the Avengers and the authorities to a bio-terrorism threat is realistic, and it makes for some surprisingly powerful opportunities to explore these characters. The twist ending is surprising but logical, and it makes an important, cynical point about government. Coipel's sleek new character designs are stunning, and his clean linework shows just how far he's come in American comics since his debut on Legion Worlds a couple of years ago. His work is more than a little reminiscent of the style of Travis Charest, and it boasts a similar level of detail and atmosphere of maturity. 9/10
DAREDEVIL #46
by Brian Michael Bendis & Alex Maleev
(Marvel Comics/Marvel Knights)
 My fascination with this series continues, but I have to admit, the new plotline introduced here strikes me as much more conventional than one might expect from this unconventional super-hero title. Not one but two arch-nemeses come out of the woodwork and interfere in the protagonist's life. Still, the resurrected Typhoid Mary boasts a raw, sensual and riveting edge, moreso than ever before, and Milla's conversation with her best friend about the perils of a possible relationship with Matt Murdock rang true, despite the fantastic circumstances of his life. Maleev shifts the tone of his textured, shadowy style for the opening scene, and once the reader realizes the context, it's an effective trick. Obviously, though, the strongest visual element in this issue is the cover, which tells the reader just about everything s/he needs to know about Mary. 8/10
FANTASTIC FOUR #68
by Mark Waid, Mike Wieringo & Karl Kesel
(Marvel Comics)
 It comes as no surprise that Waid handles the inherently humorous elements of this title with seeming ease. The Torch/Thing rivalry here is a lot of fun, as is the playful banter between the husband-and-wife team of Reed and Sue. Also no surprise is how well Waid weaves chilling, creepy moments into what initially appears to be a playful, fun script. Unfortunately, while Wieringo handles the lighter moments and Kirby-esque other-dimensional imagination incredibly well, the darker scenes do not play nearly as well. His cartoony style dilutes the impact of Doom's machinations. 7/10
GLOBAL FREQUENCY #7
by Warren Ellis & Simon Bisley
(DC Comics/Wildstorm Productions)
 I've never been much of a fan of Simon Bisley's painted comics work, and that impression was reinforced with his extreme covers for Hulk/Wolverine: 6 Hours from Marvel Comics. But I was surprised with what I found here. His non-painted work still barries an exaggerated look, but there was little of the gratuitous, over-the-top detail that I expect from his painted efforts. His work here reminded me a lot of the style of Frank Miller, and it captures the intense, edgy quality of the two new characters who steal the spotlight. This plot is a lot like what we saw in #4, but Ellis adds a much colder tone to the protagonists, and though the conflicts are similar, there's a graver atmosphere looming over this one. 8/10
TOM STRONG #20
by Alan Moore, Jerry Ordway & Karl Story
(DC Comics/America's Best Comics)
 Moore tells the story of an alternate timeline that gave rise to Tom Stone, not Tom Strong, and it's a rich story that's just as adventurous but also explores social issues of race and class. There's only one problem with this first chapter of "How Tome Stone Got Started": accessibility. In order for the story to have the proper impact, one must be able to compare it to the Tom Strong story that unfolded in the first issue of this series. So this is a payoff for longtime readers, but could fall flat for those not familiar with title character's origins. Ordway's art is fantastic here, much cleaner and effective than what we've seen on Wonder Woman as of late. 7/10
Y: THE LAST MAN #10
by Brian K. Vaughan, Pia Guerra & Jose Marzan Jr.
(DC Comics/Vertigo imprint)
 Vaughan grabs the reader's attention immediately with a powerful and pognant turn of phrase that sums up a relationship that is forever changed. And then he closes the issue with a moment that is just as shocking, but the impact is of a different sort. I'm amazed at how quickly Vaughan is advancing the larger plotlines while still finding time for quiet little detours like the stop in Marrisville, Ohio. Guerra captures the sombre, tense atmopshere incredibly well. We can see the climactic nature of the opening scene on Yorick's and Hero's faces, and we can see the savvy and determination on the faces of the new characters introduced in this issue's epilogue. Colorist Pamela Rambo really makes her mark here as well, as she alone conveys the sunset that mirrors the ebbing of Yorick's anger. 9/10
Email Don MacPherson comments about this review, or discuss it on the Fourth Rail message board.
|
