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THE ORDER #4
Neutral (4/10)
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Marvel Comics
"Norrin's Rib"
Writers: Jo Duffy & Kurt Busiek
Pencils: Dan Jurgens
Inks: Bob Layton
Colors: Gregory Wright & Color Arts
Letters: Randy Gentile
Editor: Tom Brevoort
"The Call of Duty"
Writer: Chuck Austen
Pencils: David Finch
Inks: Art Thibert
Colors: Matt Milla
Letters: Chris Eliopoulos
Editor: Ralph Macchio
Price: $2.25 US/$3.75 CAN |
When this story began, I felt the writers had found a way to ignite my interest in the Defenders. As it's progressed, though, my interest has waned, as has the quality of the story. The plot here -- bringing in female counterparts to the Order -- is awkward, and Jurgens's artwork, which I usually enjoy, strikes me as being just fairly standard this time around.
Papa Hagg has told the Defenders that they need to recruit female counterparts of their former teammates in order to put an end to their tyrannical global campaign. They get She-Hulk, Namorita and Clea on board, but there's no female version of the Silver Surfer in the vicinity. Meanwhile, the Order decides that the Joe Fixit personality of the Hulk isn't working out, and they set out to bring out a new one.
I hate to say it, but the notion of the Defenders recruiting help in the form of female counterparts strikes me as being rather hokey, in a Silver Age kind of way. Or worse still, it reminds me of something one would see in an RPG session or fanfic story. Spotlighting the weakness of the concept is that the writers just make up one for the Silver Surfer, pushing the suspension of disbelief to the breaking point.
I find it odd that The Order seems to be without a regular art team altogether. And this month, I'm not wild about Jurgens's art on this book. He and Layton just don't seem to mesh well as an art team; their backgrounds are sorely lacking. Wright's colors are bright and fun, though.
To Busiek and Duffy's credit, though, I remain interested in exactly what's prompted the title characters to shift priorities and personalities so suddenly, and I'm pleased that they'll finally be getting into what Papa Hagg's real deal is all about.
Call of Duty: Austen's examination of the practice of firefighting continues to intrigue me. The plot -- revolving around a mysterious, ghostly little girl -- hasn't hooked me yet, but it hasn't put me off yet either. The backup feature's greatest asset is easily Austen's narration, in which he brings the challenges and protocols of a dangerous profession to life through the genuine voice of a man who lives them.
Finch's art remains a surprise. In the past, his work didn't really do much for me. I saw him as being another one in a line of "Kewl" comics artists. But here, backed up with solid inking and colors, he conveys the confusion, calm and heat of a crisis situation and the people who are paid to contend with it. The oranges and reds communicate the heat to the reader, and Finch's fine lines captures a realistic view of real heroes, not spandex-clad muscle men.
Note: Since the backup story appears in several of this week's Marvel Comics releases, it does no factor into the rating for this review.
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