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Quick Critiques for 7/2
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.
100 BULLETS #46
by Brian Azzarello & Eduardo Risso
(DC Comics/Vertigo imprint)
 Azzarello renews my interest in the underworld conspiracy elements of the series with the conclusion to "Chill in the Oven." This issue illustrates how the characters are forever entangled in a massive game of strategy. Sometimes, those touched by Agent Graves and his world are the players, moving pieces into position and bluffing opponents. At others, the same characters are just pawns or even the pot in a high-stakes game. That notion is explored in parallel plotlines. Loop is planning his checkmate move in the prison, but at the same time, we learn that he's a pawn in a larger game, one Lono plans to remove from the "board." Risso's dark artwork never fails to capture a dangerous and tense atmosphere, and it's always more intense in the quiet moments before the action explodes. 9/10
ACTION COMICS #805
by Joe Kelly, Jason Pearson, Pascual Ferry & Cam Smith (DC Comics)
 "The Harvest" comes to a surprisingly swift conclusion this month, and while there were some fascinating elements to be found here, ultimately, the story boils down to a super-hero and his evil counterpart beating up on one another. I enjoyed the notion of Superman and a throng of villains going to war, but that harshness is toned down visually. The use of two different artists is a bit jarring as well, though the art is less inconsistent than it could have been. Kelly's presentation of a communist Superman character is rather one-dimensional (communist equals evil, here). If one is looking for a more fleshed-out take on the concept, I recommended checking out the prestige-format, Elseworlds project, Superman: Red Son. 5/10
AGE OF BRONZE #17
by Eric Shanower (Image Comics)
 This may be the strongest issue of the series to date, and I have no ides how Shanower pulls it off. The story is about a king who's told by the gods that he must sacrifice his beloved daughter in order to ensure victory in battle and prosperity for his people. It's an impossible -- even unimaginable -- scenario, but Shanower's emotional script makes such a horrific choice seem so genuine. Despite the history, myth and detail of the plot, it's remarkably accessible. As usual, this is a dialogue-heavy story, yet Shanower still manages to bring detailed and stunning visuals to bear here. The figures are realistic, and the simple setting still brings out a sense of the legendary and historic. The cover is also one of the most striking -- if not the most striking -- of the series thus far. 9/10
AMAZING SPIDER-MAN #54
by J. Michael Straczynski, John Romita Jr. & Scott Hanna (Marvel Comics)
 The gamma-irradiated, back-from-the-dead, multiple mobster story arc comes to a close, and I hope it opens the door for a more character-driven focus in this title. It's clear that the writer wants to shine the spotlight on the Peter/Mary Jane relationship, but the Digger storyline has been getting in the way. Though the conflict made for some interesting sci-fi speculation from the title character about "science" behind the Hulk, Digger ultimately came off as a generic villain. Furthermore, the conclusion was rather predictable. Romita's gritty artwork is as impressive as usual, though, as is Straczynski's sense of humor. 6/10
THE AUTHORITY v.2 #3
by Robbie Morrison, Dwayne Turner & Sal Regla
(DC Comics/Wildstorm Productions)
 Morrison and Turner's vision of The Authority continues to fail to live up to the standard set by the previous series of the same name. Though the action remains larger than life and the characters as crude as ever, the story seems like little more than an excuse for action. The political and ideological side of the property has been lost, and that was always its greatest strength. Turner's dark, sketchy art is a bit hard to follow at times as well, and it lacks the intensity of detail that made Bryan Hitch's and Frank Quitely's runs on the previous series so shocking and effective. While the violence and in-your-face qualities of the original property are intact, the bluntness and relevance have been left behind. 6/10
CASE FILES: SAM AND TWITCH #1
by Marc Andreyko & Scott Morse
(Image Comics/Todd McFarlane Productions)
 I was disappointed when Brian Michael Bendis and Todd McFarlane Productions parted ways, as Bendis's run on the Sam and Twitch series was a fascinating police drama. Powers is a worthy replacement, but it's not the same kind of storytelling as we saw on Sam and Twitch. Well, Marc Andreyko has captured that magic again, and I couldn't be more pleased. What's really interesting about this new title, though, is the unconventional tone of the artwork. Morse is a consistently effective storyteller, and I'm pleased that his simpler but moody style is being showcased in this manner. Jay Fotos's split color scheme really drives home the different approach that both writer and artist present here as well. Case Files will no doubt be the finest comic book to arise this year from the Todd McFarlane corner of the Image Universe. 9/10
Note: This comic book was not among this week's new releases.
ELEKTRA #25
by Robert Rodi, Sean Chen & Sandu Florea
(Marvel Comics)
 Though Rodi still has my attention with his new direction for the title and the title character, his script for this issue strikes me as a little bit repetitive. Again, we meet a new target, and we see Elektra hunting. What's disappointing here is that her prey is a one-dimensional dictator who comes off as nothing more than a demanding bitch. There's no intellect at play in her character, and it just doesn't jibe with a woman who's managed to wrest absolute control of a country. Mind you, her security chief is an intriguing, clever character, and I look forward to seeing more of him in the next issue. Chen's artwork is as crisp as ever. He captures the dangerous and exotic nature of the title character quite well, while still presenting her human and vulnerable. 6/10
EXILES #29
by Chuck Austen, Clayton Henry & Mark Morales (Marvel Comics)
 Austen's decision to cross this title -- one of infinite possibility, given its detachment from mainstream Marvel continuity -- with the mainstream-continuity version of the X-Men continues to prove itself to be one of his most ill-advised. The ongoing Exiles story is completely submerged by a flood of elements from Uncanny X-Men, making for an impenetravle read. And I read Uncanny regularly. I also don't understand why Uncanny, one of the most popular X-titles, is getting a push in Exiles, and not the other way 'round. Perhaps Marvel is hoping Uncanny readers will pick up Exiles, but the crossover fails to shine much of a spotlight on the title with the smaller readership. Clayton Henry's lighter tone isn't in keeping with the more grave and frantic tone of the plot, and the characters who should seem more fearsome lack any real edge. 2/10
JSA: ALL-STARS #3
by David Goyer, Geoff Johns & Barry Kitson/Darwyn Cooke (DC Comics)
 The greatest strength of this series so far is the artwork. This month, we get a taste of Barry (Empire) Kitson's wonderfully detailed and expressive work, as well as Darwyn (Wolverine/Doop) Cooke's noir tribute to the Golden Age of comics storytelling. The latter is definitely the more impressive of the two, though even eclipsing that is John Cassaday's brilliant and eye-catching cover. It's a shame that the stories within don't match the quality. Hector Hall's conversation with Nabu is well scripted, but Nabu's advice seems so obvious -- and Hector's rejection of it so stubborn -- that I just didn't see the point. Cooke's backup story was rather simple, but it was a fitting homage to the original Dr. Fate stories from More Fun Comics from the 1940s. 6/10
MYTHSTALKERS #3
by Douglas Barre & Jiro (Image Comics)
 Douglass Barre apparently has a lot of mythical adventures in mind for his cast of characters, so many that he keeps sidetracking them as they make their way to the legendary Labyrinth of the Minotaur. Still, one can't help but enjoy the imaginative and wondrous little detours. My real problem with the book is that Barre can't seem to decide if Mythstalkers is an adventure title or a comedy. The script takes on an Abbott-and-Costello-esque tone at one point, and while entertaining, it comes off as out of place in a book that seems to be about danger and the supernatural (as the cover suggests). Jiro's McFarlane-like artwork tells the story clearly, though some of the characters are a bit ambiguous at times (notably the black monk in the pirate story flashbacks). 6/10
Note: This comic book was not among this week's new releases.
TOP COW BOOK OF REVELATIONS #1
by various (Image Comics/Top Cow Productions)
 The folks at Top Cow Productions deliver their version of a Who's Who listing of the major characters in their little corner of the Image Universe. I was pleasantly surprised to discover that CyberForce -- Marc Silvestri's initial Image contribution, and essentially, the first Top Cow property -- included here, but overall, the reading experience was empty. Mind you, I usually find that to be the case with these character profile books. If anything, this comic book serves to spotlight the superficial and formulaic nature of the characters. Furthermore, the printing quality on some key pages -- with white print on black background -- is poor, making them nearly impossible to read. 3/10
Note: This comic book was not among this week's new releases.
ULTIMATE SPIDER-MAN #43
by Brian Michael Bendis, Mark Bagley & Art Thibert (Marvel Comics)
 I suppose it's only fitting that since Spider-Man is playing a role in the current story arc in Ultimate X-Men that the X-Men should turn up in this title. The greatest strength of this issue is the title character's awkward interaction with three other super-heroes who have a much more casual and comfortable attitude when it comes to the fantastic circumstances of their lives. The action sequence later on in the book is reminiscent of a similar scene in the recent X2 movie, but the plotting flows logically. Bendis brings a key sense of balance to the book by showing what goes on in Peter's life in his absence. Bagley and Thibert capture the youth of the X-"Women" quite well, and as always, the action is depicted dynamically and clearly. 8/10
WITCHBLADE #66
by Chuck Austen, Scott Benefiel & Jasen Rodriguez
(Image Comics/Top Cow Productions)
 Top Cow offers up a self-contained, accessible issue of Witchblade, and I was surprised to discover there were elements I enjoyed. Sara's temporary partner, Frank Bernard, is a truly likeable character, and he's not the stereotypically sexist grump one expects from his appearance. I also like the forensic elements in the script, as they brought a realistic tone to the story. Still, the plot is quite transparent, but what's even more distracting is the unavoidable focus on the main protagonist's physical attributes. Even she refers to the allure of her own ass in the script, and the notion that the Witchblade weapon shreds its shapely host's clothing is completely obvious. Benefiel's artwork is appropriately dark, though, and reminds me a little of Adam Hughes's and Karl Moline's work. 4/10
Note: This comic book was not among this week's new releases.
Email Don MacPherson with your comments about this review.
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