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Quick Critiques for 7/21
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.
DEMO #8
by Brian Wood & Becky Cloonan (AiT/Planet Lar)
 Forget about the super-powers riff that's been running through this series. Forget about the supernatural overtones of this story. This is really about a relationship. It could be yours. It could be that of a friend. I hope it's not mine, but it's one I've seen before. It's about being with someone just to be with anyone, and it's all too common. We so often mistake a sense of belonging for love, and it's not something that lasts. Wood delves into that notion through an unusually brave young woman who asks the questions no one wants to ask of a lover. She pushes, she prods, but she never gives the answers. She allows her lover to discover them for himself, and it's a sad but ultimately encouraging revelation. Cloonan's art conveys the tenderness and caring the woman feels, just as she captures the ignorance and distance that defines the man. I don't fully understand the premise that sets this story in motion, but it's really a minor point. This isn't a ghost story, but one about love -- or a lack thereof. 9/10
EX MACHINA #2
by Brian K. Vaughan, Tony Harris & Tom Feister
(DC Comics/Wildstorm Productions)
 Thank you, thank you, thank you, Brian K. Vaughan for focusing on the political side of this book rather than the fantastic elements. What we get here is The West Wing had it been conceived as an HBO series. Vaughan is taking his time when it comes to introducing new characters, easing the reader into this unusual but uncomfortably familiar world. He's not taking his time, though, when it comes to exploring issues, and man, does he tackle a doozy here. Freedom of expression collides with race relations in a premise that demonstrates that Vaughan -- and to its credit, his publisher -- isn't holding anything back. I'm surprised Harris hasn't taken a darker approach with the art, given the maturity of the ideas being explored, but I have to admit that the brighter tone reinforces the realistic quality of the story and characters. I'm amazed there isn't a bigger buzz surrounding this series. If this issue doesn't turn heads, nothing will. 10/10
THE FLASH #212
by Geoff Johns, Steven Cummings & Wayne Faucher (DC Comics)
 Geoff Johns offers up another one of his self-contained issues focusing on a single member of Flash's Rogues Gallery, and this time, it's the Mirror Master's turn. Yes, Johns throws in a rather hard-to-swallow coincidence as a key element of his plot here, but ultimately, he manages to humanize a cold-blooded killed. He makes the life of a super-villain make sense, but at the same time, while it's clear why it's attractive to this character, it's an ultimately pitiable existence. The final page brings some real credibility to the character; I've seen that level of denial and self-destruction in courtrooms innumerable times before. The only real problem with this issue is the art. Cummings tells the story clearly, but his style strikes me as being too soft for such a harsh and hardcore tale of a wasted life. Ethan Van Sciver's cover is fantastic, though, reminding me of the sort of thing one-time cover artist Brian Bolland might have come up with. 7/10
HUMAN TARGET #12
by Peter Milligan & Javier Pulido (DC Comics/Vertigo imprint)
 This was far my favorite issue of this otherwise strong series, and there are a couple of reasons. First of all, the notion that Christopher Chance's pseudo-wife has been living a double life just strikes me as being far too convenient. The premise allows Chance to tackle the issue of child smuggling from any number of vantage points; a personal connection seems a bit much. Furthermore, neither Mary or Christopher seem to realize there are rather obvious consequences to the decisions they make in this issue. Of course Mary's ally in Mexico is butchered. Of course she's in danger herself. I can't imagine why they don't consider it. Ultimately, I am interested in the story. The premise is a compelling and all-too real one. Pulido's art, though simple in tone, is quite successful in conveying the harshness of some characters and plot developments. Furthermore, Milligan offers up an accessible issue, which is quite a feat, given the history Mary and Christopher share. 6/10
OUTSIDERS #14
by Judd Winick & Tom Raney (DC Comics)
 Winick and Raney bring the same intensity and maturity to the super-heroes and villains of this book that made the title so interesting in the first place. I love the notion that the members of this team are critically injured on a routine basis, and that the villains actually behave like murderers instead of petty thieves with gimmicks. Unfortunately, the plot here doesn't seem to follow any cohesive direction. The villains, after being shown the error of their ways in the past (rather forcibly) fall into the same old routine anyway. There seems to be no clear plan beyond simple nihilism, which isn't the most believable of motivations, to be honest. I love Raney's redesigns of the Fearsome Five, though, and he conveys the super-hero action with an edge that rivals what we see on a regular basis in The Authority. My one qualm with the art is that the backgrounds are often lacking in detail, and when they're not, they're rather generic. 6/10
ROBIN #128
by Bill Willingham & Damion Scott (DC Comics)
 You have to give Willingham credit. The readers know that Tim Drake will eventually return to the role of Robin, and the writer knows they know. So, he's wasting no time with the Stephanie-as-Robin story arc. The plot is galloping ahead, but the writer doesn't dismiss Stephanie as a worthy successor to the role. She brings a new dynamic to the mix here; the Batman behaves differently around her. He doesn't seem as harsh. I love that Willingham takes us into Stephanie's head and shows us just how scared and overwhelmed she is, and that makes her courage to continue all the more impressive. Scott brings a dark intensity to the book that suits the Batman and the lithe and efficient villain, Scarab. It's Guy Major's colors that help the title character stand out. Her vibrant costume and glowing yellow hair bring light to the darkness. It's a visual cue that she's out of her element, but then again, her light is a welcome necessity in the midst of so much shadow. 7/10
SEAGUY #3
by Grant Morrison & Cameron Stewart
(DC Comics/Vertigo imprint)
 My brain hurts.
This limited series started out on an incredibly strong note, but as it progressed, it just more and more surreal, and as a result, it became somewhat impenetrable as well. Morrison throws out such over the top ideas as the moon as an Egyptian tomb and a space-faring butterfly. It's clear that Morrison has a lot of ideas -- many of them mad -- running about his head, and it seems a good number of them have been poured out into this script. His message, fortunately, is a clear one: everything is a lie, so question everything. This isn't just about challenging authority and perceiving the dangers of media monopolies. It's about questioning history, culture and science. It's about taking nothing for granted. And it's all brought to life in incredible detail by Cameron Stewart. How the artist is able to keep up with the larger-than-life scope of the writer's madness, I don't know. But he does a great job with the diverse array of visual elements that turn up in this tragic Alice in Wonderland cautionary tale. 6/10
THE SYMBIOTES #1
by Davis R. Vaughn & George Lippert (Drive Comics)
 My eyes hurt. (Look, it's a theme! Or a motif. Shit. One of those.)
You know what? I don't think technology has progressed to a point at which computer-generated artwork for comics works. We saw the seeds of it two decades ago in Shatter, and this is the latest entry, and the figures are still stiff. The art here is incredibly dark and difficult to decipher. The characters and action are lost in the inkiness of it all. On top of that, the story is incredibly dense and complex. There are a number of plotlines going on here, and we've yet to get a clear sense of who the players are. There are glimmers of strong storytelling here, though. Racism is a key element in this mish-mish of sci-fi, fantasy and super-hero elements; the scene in which a young policeman laments his lot in life, due to a distant alien heritage, is a powerful one. Ultimately, I think the creators have bitten off a bit more than they can chew here. There's potential, but the writer burdens the reader with way too much information in the introductory issue. 3/10
WEAPON X #26
by Frank Tieri & Tom Mandrake (Marvel Comics)
 The storytelling here is accessible, and I like the notion of Sabretooth being cast in the role of protagonist, even though he is carrying out a contract to kill. Ultimately, this story is about Sabretooth looking like a badass. And Sinister looking like a badass. Everyone is a badass, and Tieri leaves an important storytelling out of the mix here: a reason the reader should care. This really has nothing to do with the organization from which the series derives its name. It's more of a super-villain showdown. For fans of mindless action, though, it could serve as an interesting diversion for a few minutes. The greatest strength of the issue is Mandrake's art. He was an excellent choice to serve as the regular artist for this series. His dark, Gene Colan-esque style suits the edgy appeal of the book, and his gritty, flowing style captures the power and quick motion that are a key aspect of the explosive, climactic scene in this issue. 5/10
WOLVERINE #17
by Greg Rucka, Darick Robertson & Nelson DeCastro
(Marvel Comics/Marvel Knights)
 This is Wolverine at his Kewl-est, folks. This isn't about him trying to recpature his humanity or trying to help a kindred spirit find her way back to herself. This is about Wolverine being the Best There Is At What He Does (tm). It's a comic full of people doing horrible things to one another. It's over the top, sure, but it has its place. But there's not a lot in the way of characterization going on here. What put me off this issue from the start was the notion of a brilliant surgeon traipsing around a mountainscape in a bustier (or is it a corset?). Rucka did pique my interest, though, with the ever silent Wolverine. Made for effective (though not surprising) climactic moment toward the end of the issue. One of the problems here is that the Native's fate isn't as heart-wrenching as it should be because the reader hasn't had a chance to get to know her that well yet. We're not vested in her story. 6/10
X-MEN #159
by Chuck Austen, Salvador Larroca & Danny Miki (Marvel Comics)
 Wow, it's hard to cheer on the heroes when the majority of them are behaving like such utter jackasses. I understand why Juggernaut and Iceman are bickering, but why they'd choose to bicker in the middle of what is essentially a global crisis is ridiculous. These seasoned heroes come off as children, and as a reader, I wish I was in the middle of the story so I could threaten that I would turn this adventure around right now unless they behave more appropriately. Austen's script contradicts itself repeatedly. The sudden appearance yet another exotic metahuman strike force comes off as redundant. The colors get ugly at times, losing the vibrant energy that can be so important to a super-hero story. Larroca's pencils aren't all that interesting either. What little action there is to be found here comes off as stiff. This is some of the worst X-Men storytelling I've seen. 1/10
Email Don MacPherson with your comments about this review.
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