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Quick Critiques for 6/9
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.
ACTION COMICS #816
by Chuck Austen, Ivan Reis & Marc Campos
(DC Comics)
 I still have some qualms about this storyline. Austen has yet to fill the reader and the characters in on what Gog is all about, and the way in which he messes with Superman is a little too convenient, reminding me of the Silver Age when Kryptonite was about as common as table salt. But there's no denying that Austen, Reis and Campos deliver a wonderfully exciting and entertaining action sequence in this issue. This is all about the Big Fight Scene, folks. If you don't care for super-hero action, avoid. But if you dig it, this issue will be a blast for you. Reis's linework reminds me of the styles of Neal Adams and Barry Kitson. The penciller's use of big panels (and close-ups in the smaller ones) really drives home the god-like powers of all the characters. They also give the impression that something monumental is happening here; the art fosters the sense that this isn't a typical Superman versus the Bad Guy situation (even though it actually is). 7/10
DEMO #7
by Brian Wood & Becky Cloonan (AiT/Planet Lar)
 This stands out as one of the most emotionally powerful issues of this landmark series to date. Not only does Wood take the reader into a situation that's unimaginable for most of us, but he brings a cruel and harsh relationship to life in the middle of desolation and despair. The telephone conversation between a reluctant soldier and his angry young wife is heart-wrenching. The interesting thing about it is that as much as the reader wants to hate her for failing to support her lover, it's actually easy to understand where her anger comes from: a place full of fear about the future and disappointments over lost opportunities. This probably would have been my pick for Best of the Week, for an ambiguous ending didn't work for me. Wood seems to end the story before a resolution is apparent, and the final page makes for a confusing moment. Cloonan brings the arid and inhospitable landscape of Iraq to life incredibly well with a less-is-more approach, and her use of shadow here as a means to immerse the main character in a dark place really drives home the emotion behind the piece. 8/10
GLOBAL FREQUENCY #12
by Warren Ellis & Gene Ha
(DC Comics/Wildstorm Productions)
 To my surprise, ELlis ends this limited series not with a huge conclusing chapter that puts all of the previous installments to shame. Instead, he tells just another Global Frequency story. Mind you, by its nature, that means there's over-the-top action and imagination to be found, with a cynical edge. Ellis explores interesting themes here, given the political climate in the United States at the moment. He puts forth the idea that an ignorant public is a necessary thing in some situations while denouncing the establishment that exists now for its unseen actions. The plot also reminds me of one of Ellis's recent Planetary scripts, "The Gun Club." Ha offers up some of the best work of this series to date, and given the impressive list of names who have contributed to this series, that's saying something. There's a realistic yet airy look to the art, and Ha captures the sense of wonder and menace that are at the heart of the story. 9/10
IRON MAN #84
by John Jackson Miller & Jorge Lucas (Marvel Comics)
 The idea of Tony Stark serving as the U.S. secretary of defense is a brilliant idea; I don't think the cabinet position has ever been more visible before in the real world, and that means Miller brings credibility to the character and fantastic circumstances as a result. My problem, though, with this script is that Stark is ordered around like a lapdog, and it's not in keeping with the power of his new political power. Miller also offers up a thoroughly accessible script here; one needn't be familiar with what's been going on in this title over the past few months or so in order to get up to speed. Miller's take on the Black Panther is a little too generic for my taste; Priest set the bar quite high when it comes to future portrayals of the King of Wakanda. Lucas seems to be channelling the style of Carlos (Just a Pilgrim) Ezquerra here. I like the intensity he brings to the Iron Man design, but his characters are stiff. Some of the backgrounds are rich in detail, but those that aren't are completely devoid of it, making it seems the characters are in some sort of limbo. 6/10
SPECTACULAR SPIDER-MAN #15
by Paul Jenkins & Michael Ryan (Marvel Comics)
 I'm beginning to wonder what the point is to all of these "Avengers Disassemble" logos on so many Marvel comics. They're not linked storylines, by any means. Anyhoo, Jenkins follows up last month's issue -- the best in the series thus far -- with a rather generic team-up story featuring Spidey, Captain America and a female villain whose motives, powers and personality are completely unclear. Why Cap doesn't share what he knows with Spidey is perplexing. Perhaps there will be a big reveal in the second half of this two-parter that will fill in all the blanks and make everything make sense... but for now, I'm left scratching my head. Ryan's art is meticulously detailed and dynamic, but it just doesn't suit the title character. A more playful or flowing style is needed here to convey Spidey's agility. Ryan's figures here are unfortunately stiff. I do have to applaud cover artist Steve Epting, though, for a lovely vision of the John Romita, Sr. take on Spider-Man. 4/10
Email Don MacPherson with your comments about this review.
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