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Quick Critiques for 7/7
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.
ALEISTER ARCANE #3
by Steve Niles & Breehn Burns (IDW Publishing)
 Niles brings this twisted yet sweet fairy tale of horror to a thoroughly satisfying conclusion. Mostly, this is about having fun rather than freaking out the reader, but the writer still balances the morbidly playful quality of the story with a moment of real horror and tragedy. The tone of the plot reminds me a little of the feel of Alice in Wonderland or even the Harry Potter books/films, though I wish we got to know the youthful players a little bit better. The art here is absolutely stunning. Burns manages to tread the fine line between the fun side of this book and the darkly horrific elements incredibly well. There's a rich level of texture in his work. His art strikes me as a cross between the styles of John Bolton and Phil Noto. Burns's lettering is storng as well, and I love his use of color to incorporate the lettering into the art even more than he already has. Of all of Niles's recent horror comics in the past year or two, this one stands out as unique thanks to its more accessible and youthful qualities. Though this is far from the right material for elementary school kids, it's fine for pre-teens and 'tweens. 8/10
BIRDS OF PREY #69
by Gail Simone, Ron Adrian & Rob Lea (DC Comics)
 There's a lot to love in Gail Simone's script here, not the least of which is how the Huntress is beginning to gel with the core Birds team of Oracle and Black Canary. Furthermore, the premise that opens this issue is a heart-wrenching one. Simone manages to convey the horrific notion of a string of teen suicides without calling for gore in the art. Her script is as full of kick, attitude and fun as ever as well. Of course, there are elements here that aren't so enjoyable. The generic cult that serves as the source of the conflict here isn't all that interesting. Furthermore, the cliffhanger ending only has a real impact if one is aware of who the new Bird of Prey is. She's a somewhat obscure character, and newer readers aren't going to get as much out of her sudden appearance. Adrian is clearly trying to maintain a consistent visual tone for the series, as his style here is more than a little reminiscent of that of regular penciller Ed Benes. It's a little rough around the edges at times, though. For example, his failure to draw a carton of worms may not have been a major component of the story, but it is distracting in a key scene. 6/10
DETECTIVE COMICS #796
by Andersen Gabrych, Pete Woods & Nathan Massengill/Gabryh, Brad Walker & Troy Nixey
(DC Comics)
 The main story, featuring the Batman and the new female Robin on the trail of a serial killer, was surprising and entertaining. The writer and artists come up with a novel way to present the distorted perceptions and bloodthirsty determination of a serial killer. It's a nice, self-contained story that explores a crucial philosophical difference between the Dark Knight and his new sidekick. Woods's work here is surprisingly dark and grim; I was reminded of Yanick Paquette's work on Terra Obscura. The backup story, despite being the second chapter of an ongoing tale, was quite accessible. The notion of Gotham's diverse array of heroes coming together to set up a sting is a great idea. Gabrych makes good use of Alex Simmons's little known Orpheus character here as well. 7/10
EXILES #49
by Tony Bedard, Jim Calafiore & Mark McKenna (Marvel Comics)
 Bedard demonstrates he's got a pretty good grasp on Morph's sense of humor with this issue. This reminded me more than a little of some of the lighter moments from Judd Winick's run on the title. Bedard manages to capture the goofiness of the Impossible Man as well as a menacing quality in the character gone insane. The plot is ultimately inconsequential, as is reveals nothing of these characters, not even the two newer members of the team. I have to admit, though, that the writer won me over with some pretty simple jokes. The one about the two atoms especially tickled my fancy (and I'm suing! ... just kidding). Calafiore does a good job of capturing the irreverent appeal of Morph and the Impossible Man, and his depiction of the title characters as cute stuffed animals/toys was a lot of fun as well. Bedard's done a better job with the humor here than the traditional super-hero action, so I hope we see more of this sort of scripting in the future. 7/10
HARD TIME #6
by Steve Gerber & Brian Hurtt (DC Comics/DC Focus)
 Yes, I'm still enjoying Gerber's unusual prison drama. Yes, Brian Hurtt's art is still some of best work we've seen from this always strong talent. And yes, I still like the monochromatic color scheme. What makes this issue stand apart is just how clever our protagonist, Ethan Harrow, is portrayed to be. This issue is full of excitement, and it doesn't even rely on the superhuman hook that sets this series apart from other prison stories. Ethan's intellect and his drive to survive make him a thoroughly likable character, even if he is full of attitude. Gerber wisely balances things, though, by portraying the young character in a slightly negative light in his legal-consultation scene. Hurtt's soft style is surprisingly effective at bringing the harshness of the setting to life. The color scheme reinforces the dreariness and the coldness of the backdrop as well. Hard Time stands out as one of the best new series to debut this year. I just hope it can survive longer than other titles in the DC Focus line. 9/10
INVADERS #0
by Allan Jacobsen, Chuck Austen & C.P. Smith
(Marvel Comics)
 This comic book has a lot going for it. The political symbolism of a changed America is as powerful as before, and I love the mysterious and creepy air that looms over the Thin Man. On top of that, C.P. Smith's art, which reminds me of Dusty (Mutant X) Abell's work, is quite attractive and overcomes its somewhat stiff nature. Unfortunately, there are problems here as well. The Thin Man joins the story from out of nowhere, and there's little explanation as to who he is or what he can do. The story doesn't seem to have a resolution either. The conflict between the Avengers and the Invaders just seems to end. Why the Thin Man and John Walker aren't carted off in custody isn't clear. The Invaders go free because the series requires it, or so it would seem. I also question the wisdom of launching a series with the concluding chapter of a four-part story arc. It's not the most accessible of comic books. 5/10
LEGION #34
by Keith Champagne & Steve Lightle (DC Comics)
 Inker Keith Champagne steps a little more into the forefront as the writer on this fill-in issue. The is plot is somewhat compressed, and I can't help but think it might have worked better as a two-parter. Still, the premise is a clear one, and Champagne makes great use of the Legion's "stealth team." He introduces the new characters with clarity, and I enjoyed the extremely dysfunctional father/son conflict at the heart of the story. The one aspect of the script that could have been boosted a bit was in terms of accessibility of the ttle characters. Champagne doesn't really get into their powers, and quick introductions could have been helpful for new readers. It was a pleasure to see longtime 1980s Legion of Super-Heroes) artist Steve Lightle return to these characters. He captures an appropriately dark mood here, and longtime Legion fans are bound to be amused by the unusual Tellus cameo he provides. Still, providing Wildfire with a new status quo strikes as a larger story than just a fill-in issue, and I wish the writer had had more space to develop the plot and characters. 6/10
Note: This comic book was not among this week's new releases.
UNCANNY X-MEN #446
by Chris Claremont, Alan Davis & Mark Farmer
(Marvel Comics)
 Storm can generate an electromagnetic pulse? The entire X-Compound is flooded with knockout gas except for the convenient little corner the heroes have cleared out for a fight? Out of an entire campus full of mutants, there's not one immune to the gas? This plot just didn't work for me. For it to work, the X-Men's world and experience has to be both larger and smaller than it actually is all at once. A gun-toting Sage, even one under the control of a malevolent weapon, is hardly the most intimidating obstacle. Davis's art tells the story clearly and capably, but it lacks the darker edge of his original work on the Fury stories we saw two decades ago (or more) in Captain Britain. The Fury just doesn't seem as terrifying a figure here. Mind you, some of that impression stems from the script's failure to instill a creepy air about it. Claremont establishes that it is incredibly powerful, but it never seems scary. The heroes' ignorance of what it is combined with their uber-competence in dealing with the threat robs the conflict of tension. 4/10
Email Don MacPherson with your comments about this review.
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