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Quick Critiques for 7/14
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 #51
by Brian Azzarello & Eduardo Risso
(DC Comics/Vertigo imprint)
 I've never been to New Orleans, but I've always wanted to go. Here, Azzarello explores an ugly corner of the Big Easy, and it makes me want to visit it even more. This issue is all about atmosphere and attitude. This new story arc gets back to the original premise of 100 untraceable bullets that grabbed my attention from the start. There's an urban poetry to the dialogue in this issue, as has been the case so many times before in this series. The unfortunate characters are fascinating, and they seem to say a lot by saying nothing at all. The setting once again plays to the artist's strengths. Darkness is molded to create form, and he hides the characters from the reader with unusual focal images and that same deep shadow. It adds a greater air of mystery to the story. Colorist Patricia Mulvihill makes the most of the new colors of the New Orelans nightlife as well, reinforcing the enticing but dangerous qualities of the cultural setting. 10/10
CAPTAIN AMERICA #29
by Robert Kirkman, Scot Eaton & Drew Geraci
(Marvel Comics)
 Kirkman clearly has some affection for the Mark Gruenwald era of the previous Captain America series, given the return of Diamondback here. Kirkman seems to be contrasting the inherent innocence of the title character with the darker realities of America here. Some story elements are quite traditional and straightforward, but alongside them are the reasons why Cap is asked to do the things he does. Kirkman manages to include his trademark sense of humor here as well with the characterization of a couple of off-duty Hydra soldiers. Scot Eaton tells the story clearly, but there's an uneven quality to the art. Sometimes his work reminds me of Paul (Negation) Pelletier's exaggerated work, and at others, it seems more like the grittier tone of Butch (Ruse) Guice or the softer style of Paul (DP7) Ryan. The inconsistencies in the line art is actually quite distracting. 6/10
IRON MAN #86
by Mark Ricketts, Tony Harris & Tom Feister
(Marvel Comics)
 Ricketts delivers an interesting story about a man whose life is crumbling down all around him, and it's made all the worse by the fact that it's a life of major accomplishment. I love the schaudenfreud factor at play and how the writer explores it through unnamed, incidentental characters. There are a couple of problems here, though. First of all, there's the time. This story flows out of events in Avengers #500, a comic book that has yet to hit the stands. Furthermore, Ricketts's script really calls upon the reader to be aware of Tony's history and past problems he's managed to overcome. The art is delightful. I've enjoyed Tony Harris's work since I first saw it in Starman #0, and his take on the Iron Man armor is intimidating and even a bit monstrous, which is in keeping with plot elements. I can't help but notice, though, that the same level of detail that so impressed me in Ex Machina #1 isn't to be found here. Don't get me wrong... the art is still strong, but it's not quite as realistic and meticulous as Harris's other recent effort. 6/10
THE LEGION #35
by Gail Simone, Dan Jurgens & Andy Smith
(DC Comics)
 Simone has done it again. She handles the 31st century incredibly well and captures the fun and personality of the property perfectly. But what's really fascinating here is the premise. I won't give it away, because the revelation of what the new group of villains is up to is actually a big part of the fun. Simone's description of various sci-fi elements here reminds me of an Authority-like, larger-than-life imagination tempered with intelligence. The writer's characterization of Chuck Taine as a natural leader is well as well, and I'm also pleased to find that this new story arc -- entitled "For No Better Reason" -- is accessible to new readers. Dan Jurgens's style is perfect for super-heroes, and he captures the Legionnaires' youth and energy nicely. I'm quite impressed to discover that Andy Smith's inks don't overwhelm Jurgens's clean pencilling style. In the past, Andy Smith's style always seems to make pencil art look as though it was rendered by Bart Sears. Fortunately, such is not the case this time around. 8/10
MARVEL KNIGHTS SPIDER-MAN #4
by Mark Millar, Terry Dodson & Rachel Dodson
(Marvel Comics/Marvel Knights)
 Millar's edgier look at Spider-Man continues, and again, what sets this apart the most from other Spidey stories is how the creators demonstrate that Spider-Man is human and vulnerable. In this series, he doesn't shrug off a vicious beating. I also like the new morally questionable direction in which the Black Cat is headed. Millar has returned her to her roots as a rogue, casting aside the generic super-hero riff that had defined the character in recent years. The new Vulture design is a striking one and is in keeping with the darker and more intense quality of this series. The Dodsons also convey a dangerous quality to the Black Cat's new attitude and methods. At the same time, they make sure to keep her sexuality at the forefront. The artists convey the harshness of the characters' actions with their depiction of the bloody results, and their work here stands out as their finest effort to date. 8/10
Email Don MacPherson with your comments about this review.
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