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Quick Critiques for 6/8/2005
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.
JLA #115
by Geoff Johns, Allan Heinberg, Chris Batista & Mark Farmer (DC Comics)
 I wanted to really dig this comic book, honestly. It boasts so many elements that I, as a DC fan since childhood, love. The 1970s incarnation of the Secret Society of Super-Villains is resurrected. The gathering of heroes reminds me of the Gerry Conway-written Justice League of America stories of my youth, and the tension among the heroes is logical and palpable. So why didn't I enjoy this story more? I think it's because I'm getting tired of all of the guilt, anger and hand-wringing over Identity Crisis revelations. Furthermore, this seems redundant in light of the events of Villains United; they don't seem to fit together at all. To the writers' credit, they manage to offer up an accessible script despite its foundations in stories from the past four decades. Batista's art is clear and dynamic, but I can't help but think I enjoyed it more when I saw it on The Legion. I think the reason is that his style is better suited to a brighter tone, and this story is all about a darker mood. 6/10
THE PULSE #9
by Brian Michael Bendis, Michael Lark & Stephano Gaudiano (Marvel Comics)
 Bendis concludes his crossover with Secret War, even beating that series to its conclusion (and giving away some spoilers in the process, so it would seem). In some ways, this story is a victim of other stories. There's no dramatic tension, for example, because we know Jessica is going to find Luke Cage -- he's a member of the New Avengers, after all. This issue seems to be a collection of interesting scenes Bendis wanted to explore, such as Wolverine's tortured soul being exposed to a complete stranger and Danny Rand's cold and cruel effort to protect his friend. But they don't really connect with the plot. Lark's art is a pleasure, of course, and it suits the grounded, gritty tone of this series perfectly. Mind you, I'm not exactly looking forward to the next issue either, because once again, this series is hindered by a crossover. It ties into House of M next month. It's a shame, because I rather enjoyed it when these characters had their own stories to explore as opposed to acting as a supporting cast in the adventures of Marvel's super-heroes. 6/10
THE RANN/THANAGAR WAR #2
by Dave Gibbons, Ivan Reis & Marc Campos
(DC Comics)
 As a longtime DC reader, Gibbons's use of a number of obscure DC characters is a real treat. From Prince Gavyn to Captain Comet, from Komand'r to Tigorr, there's a diverse and colorful array of characters here I remember fondly from my youth. Unfortunately, the number of the players entering into the drama in this issue is actually one of the book's liabilities. Gibbons moves away from the main conflict too soon and incorporates so many more participants in the war that it's next to impossible to follow. I like that he's establishing the huge scope of the war, but there's just too much happening too fast with too many characters. Furthermore, there's so much DC history in play that it makes for a rather inaccessible read (though Gibbons does sum up recent Thanagar-related events from JSA quite well). Reis's line art conveys the chaos fairly clearly, but it rarely grabs the reader's attention. The one exception is his depiction of Captain Comet. Both the art and the script conveys his stoic, distant personality, as well as the fact that he's something of a fractured individual. There's no hope or happiness left in him, and I hope the writer finds the time to explore his character a bit over the course of this series. 5/10
ULTIMATE SPIDER-MAN #78
by Brian Michael Bendis, Mark Bagley & Scott Hanna (Marvel Comics)
 There are no super-heroics to be found in this issue. No villains. It's all about characterization, and that's a formula that usually results in the strongest issues this series has to offer. But the formula doesn't add up to the same result this time, not for me, anyway. Bendis focuses on Mary Jane's efforts to deal with her breakup with Peter, and at first, it boasts a genuine tone. As the issu progresses, the plot loses credibility. The potential new suitor in MJ's life is just too slick, too sensitive and too damn nice. He's too good to be true, and Mary Jane's attraction to him just doesn't make sense in light of her behavior at the beginning and end of the issue. Furthermore, Bendis's tribute to Will Eisner, though merited, took me right out of the story. Bagley's art serves the story well. His most important contribution, as is often the case in such character-driven chapters, is his ability to convey the age of these adolscent characters. They don't look like adults, but they're not little kids either. 6/10
Email Don MacPherson with your comments about this review.
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