|
Quick Critiques for 5/5
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.
ENGINEHEAD #2
by Joe Kelly & Ted McKeever (DC Comics)
 Enginehead isn't an easy comic book, and to be honest, the writer and artist would be well advised to make it more accessible to their potential readership. The script goes out of its way to obfuscate events and characters, aiming instead at an eerie and ugly atmosphere instead. To be fair, it succeeds in that goal; there's an unsettling quality to the surreal and mysterious air here. McKeever's distorted artwork reinforces that atmosphere, but it also aggravates the lack of clarity that already hnders this book. The title character desgin isn't that strong. His "helmet" doesn't look like a helmet at all, for example; it hides an impossibly larger head underneath, so it seems. Despite this book's problems, though, I still found it intriguing. The climactic scene in which the neophyte hero is a striking one. Cause and effect come into conflict with heroism, and the confusion that arises for the child-like protagonist comes off as thoroughly genuine. 6/10
HARD TIME #4
by Steve Gerber & Brian Hurtt (DC Comics/DC Focus)
 Gerber's prison drama continues and it just gets more and more fascinating. What started out as a biting satire of American culture has dveloped into a disturbing look at a world none of us wants to know. What makes the book such a strong read, though, are the characters. Ethan is fascinating. He's surprisingly strong, but there's a vulnerability to him as well. The Preacher proves to be a character that the other characters -- not to mention the reader -- should not have dismissed as a nut so easily. The two-toned color scheme continues to enhance the story nicely, but the unusual method would be useless if it weren't for the striking artwork of Brian Hurtt. The softness in his style reinforces that these characters, despite their dysfunctional backdrop, are human beings. Hurtt also captures the stark, depressing nature of the setting with seeming ease. 9/10
MARVEL AGE: FANTASTIC FOUR #2
by Stan Lee, Jack Kirby, Sean McKeever & Gurihuri (Marvel Comics)
 Sean McKeever and Gurihuri bring one of the best stories from the early days of the Fantastic Four to life, and the reason it's such a good story is that it's got a hilarious and inventive ending. The main plot is a farily simple one, but it's fun. It actually borders on the non-sensical, but therein lies some of its Silver Age charm. I'm finally beginning to see the value in the rescripting and redrawing of these classic stories for a new audience. The manga artwork matches the light and goofy tone of the plot, and it brings a lot of energy to the characters. The incredibly simple tone of the plot and script make it ideal for much younger readers. This is the sort of comic book a parent can read with a child who's just learning, or a new reader who's looking for something new. 7/10
SPIDER-MAN UNLIMITED #3
by Tom McLaughlin & Scott Kolins/Brandon Thomas, Ale Garza & Sean Parsons (Marvel Comics)
 Relatively new writers continue to team with established artists in this series, and the results are entertaining... if a little inconsequential. One of the inherent problems with this anthology series that there's a limit to the kinds of stories that can be told here. No major developments are going to unfold in this title, and as a result, the stories lack suspense. McLaughlin's tale of a young man's choices is effective but boasts an "after-school special" feel, and Thomas's Spidey/Vulture story is one we've seen countless times before. Kolins's style suits the stark, urban quality that's key to the first story, and Ale Garza's work on the Vulture tale is the best work I've seen from the artist. His linework shows a lot more polish and the backgrounds more depth and detail; perhaps working with inker Sean Parsons agrees with him. 6/10
ULTIMATE SPIDER-MAN #58
by Brian Michael Bendis, Mark Bagley & Art Thibert (Marvel Comics)
 This stands out as the strongest chapter in the "Hollywood" story arc thus far. Not coincidentally, it's also the first one to include no Hollywood elements in the storytelling. Bendis and Bagley serve up some entertaining action to start off, but what really makes this issue stand out is the humor in watching Spider-Man trying to make his way home in an outrageous but unusually plausible manner. Actually, it's not so much the humor that has the greatest impact, but the contrast between that humor and the sudden and powerful shift to an emotional and tense cliffhanger ending. Bagley does a great job of conveying the power and confusion of Doc Ock's many mechanical limbs in action, but what's more impressive is how he conveys how the title character is feeling... even though his entire face is covered by a mask. 9/10
Y: THE LAST MAN #22
by Brian K. Vaughan, Goran Parlov & Jose Marzan Jr. (DC Comics/Vertigo imprint)
 Editor Will Dennis did an incredibly good job of finding a fill-in penciller for this issue, as Goran Parlov's linework is remarkably similar to that of regular artist Pia Guerra. I suspect the use of the same inker helped matters as well. There's a Dick Giordano/Jose Lius Garcia-Lopez quality to Parlov's style that's both simple but realistic. This is a rather dichotmous issue. There's a great deal of action and tension in the scenes featuring Dr. Mann and Agent 355, but there's a nice, grounded quality to Yorick and P.J.'s drunken conversation. The frankness of their discussion about sex strikes me as genuine. P.J. is a great new character. There's a folksy, salt-of-the-earth tone to her, but she's perceptive and resourceful as well. She's strong and realistic, but there's also a joie de vivre to the character that's a welcome change of pace. 8/10
Email Don MacPherson with your comments about this review.
|
