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Quick Critiques for 8/4
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.
AMAZING FANTASY #2
by Fiona Avery, Mark Brooks, Jaime Mendoza & Victor Olazaba (Marvel Comics)
 I'm pleased that the main character in this book is a female from a visible minority, but that's about where the freshness of the book ends. There's nothing new to be found in this comic book. Everything about the plotting screams out "generic." This second issue isn't even particularly fun, as writer Fiona Avery goes through the motions to estalish the cookie-cutter origin story for the protagonist. She even introduces the stereotypical handsome jock love interest for the tomboy heroine (yawn). The supernatural and conspiracy-theory aspects of the story don't do much for me either. Brooks's art manages to maintain a dynamic and energetic tone in a book that's pretty low on the action quotient. At times, his own style seems to fade, though, and something oddly McFarlane-esque pops up in its place. Overall, there's nothing actually wrong with this comic book, but there's nothing particularly exciting or fun about it either. 5/10
BIRDS OF PREY #71
by Gail Simone, Ron Adrian & Rob Lea (DC Comics)
 The cover emphasizes what is essentially a minor scene from early on in this issue, but I can see why it was used. Simone writes a small but effective scene that demonstrates the importance of Oracle's place in the DC Universe. The larger plotlines take on a creepier and more mysterious tone in this issue, and it's rejuvenated my interest in what's going on. The closing splash page is quite chilling, and it helps to set this story apart from the generic sort of super-hero story I thought it was shaping up to be. Where this issue falters somewhat is in terms of the art. Rob Adrian is doing a good job of aping regular penciller Ed Benes's style... too good a job of it, really. I had no idea Benes wasn't involved here until I checked the credits in preparation to write this review. Adrian needs to develop his own style. But where he really goes awry is in his failure to convey key aspects of the art. Simone's script clarifies what's going on in the scene in which Oracle's works on a borrowed laptop, for example, as it's not at all clear in the art. 7/10
CAPTAIN AMERICA & THE FALCON #6
by Priest, Joe Bennett & Jack Jadson (Marvel Comics)
 Priest's writing has always been a creature of complexity. His work challenges the reader and plays around with perception, but I think he challenges us too much in this issue. There is an awful lot going on here, and this issue is such an incredibly dense read that it's difficult to keep everything straight. The transitions from scene to scene aren't nearly as clear as I needed them to be. The Falcon's running commentary about his new flying harness seemed out of place, but I have to admit that the new gear comes off as incredibly cool. Bennett's art is much stronger than what we got from Bart Sears in the first story arc of the series. Bennett brings an appropriate intensity to the Falcon's character. Unfortunately, like the script, the art here is incredibly dense. There's so much crammed into each panel that it's difficult to discern every detail needed to appreciate this over-the-top, brainy plot. 6/10
DC COMICS PRESENTS: SUPERMAN
by Stan Lee, Darwyn Cooke & J. Bone/Paul Levitz, Keith Giffen & Al Milgrom (DC Comics)
 Well, that was damn suprising. Stan Lee is a pioneer in the industry, yes, but I've always seen him as a creator whose time had come and gone. As his Just Imagine... series for DC proved, his Silver Age sensibilities don't really work in the context of modern super-hero comics... or so I thought. He delivers a playful and entertaining story here; its simplicity and innocence serve as the source of its charm. Levitz's script serves as a great tribute to the Superman comics of the 1980s that Julie Schwartz oversaw, and it was a pleasure to see the writer team with his longtime Legion of Super-Heroes collaborator, Keith Giffen. The artistic highlight of the book, though, is the cartoony and goofy artwork from Darwyn Cooke and J. Bone. When these two artists collaborate, one can be sure smiles will result. There's a sweetness to their combined efforts, a child-like purity that's soothing and warm. 7/10
EXILES #50
by Tony Bedard & Mizuki Sakakibara (Marvel Comics)
 Writer Tony Bedard delivers an ordinary but entertaining little super-hero story here that has a lot of fun with a particular character's precognition powers. The problem with the script is that the supposed twists are painfully obvious, and the fact that the heroes can't figure out they're being manipulated makes them seem like idiots. Bedard's script maintains a lighter tone overall here, and some of the humor reminds me of the sort of thing I enjoyed when Judd Winick was writing the book. I was also pleased to see that artist Mizuki Sakakibara delivers a more even performance this month. There's a greater consistency in the depiction of the characters, and they don't look like little kids at times. Like the writer, the artist doesn't seem to take things too seriously here, bringing a lighter, more playful look to the story. 6/10
FIRESTORM #4
by Dan Jolley, ChrisCross & Rob Stull (DC Comics)
 Jolley and company deliver another satisfying issue, but the book hasn't really blown me away since the first issue. There's a lot to like in this issue, though. The new Firestorm's encounter with other super-heroes really drives home the main character's greenhorn and down-to-earth personality. I thought the new villain boasted a thoroughly creepy feel; nothing like a psychotic to spice up a super-hero story. Jolley's also demonstrating the potential in Jason's absorbption of different personalities in order to transform into Firestorm. Cross's artwork here is as edgy and expressive as I've come to expect from him, but the dark colors and a poorer paper quality make for some unclear moments in the action. The nature of the new villain's powers is ambiguous, given the inkiness of some key panels. The cover led me to believe Killer Frost was entering this new Firestorm's world, but it took me a while to realize that wasn't the case. The art is so dark and obfuscated, I can't help but think it's a production problem. 7/10
JUSTICE LEAGUE ELITE #2
by Joe Kelly, Doug Mahnke & Tom Nguyen (DC Comics)
 Kelly lost me with a script that emphasized mood over clarity with the first issue, but he wins me back over here with this second issue and his over-the-top analogy for arrogance and corruption in authority. The thematic conflict of trying to uphold ethical ideals while hiding within an amoral world is a compelling one, and I look forward to when someone fails. Major Disaster's blue-collar attitude really brings this extreme story down to earth, as does Dawn's yearning for some sense of normalcy in her life. The script's got a couple of problems... the heroes are far too cocky when it comes to their deception, and the cliffhanger ending is telegraphed from the moment the new villain is introduced. I'm also surprised Kelly's provided no information as to the guiding force behind the team. Mahnke's art is appropriately intense, conveying some of the more gruesome aspects of the story without being gratuitous. I love what the artist is doing with Manitou Raven. He brings his creepy powers to life incredibly well. The colors are appropriately dark, reinforcing the ugly and intimidating world into which the heroes are venturing. 7/10
SWAMP THING #6
by Andy Diggle & Enrique Breccia
(DC Comics/Vertigo imprint)
 The opening story arc comes to a close in this issue, and now I know what this plotline has been all about: typical cosmic-level super-hero fare. This story boils down to a super-hero -- the Swamp Thing? -- fighting a super-villain -- Sargon (who used to be a super-hero). The hero wins the fight simply because he has to, and thanks to the writer providing a plot device with vague and ever-so convenient powers. The art is, fortunately, quite lovely, eliciting the best of John Totleben's classic run on a previous Swamp Thing series with a certain gentleman by the name of Alan Moore. I'm pleased that the art emphasizes the title character's monstrous nature rather than his humanity, and the villain of the piece, though human in form, still boasts an inhuman appearance as well. The colors manage to bring a sense of the supernatural and the natural to the story, which is in keeping with the odd nature of the title character. 5/10
ULTIMATE SPIDER-MAN #63
by Brian Michael Bendis, Mark Bagley & Scott Hanna (Marvel Comics)
 The strongest issues of this series are those that focus on the characters and how they're feeling as opposed to the super-hero action. Well, this issue falls into that category, and while I enjoyed it, it just didn't seem as strong as Bendis's other character-driven, resonant issues. The detective's suspicion of a high school student in connection with such a bizarre sudden death comes off as ludicrous, and while Peter's grief just doesn't come off as as powerful as I expected, May is a walking overreaction to the point that she loses credibility. Another problem is Peter's dialogue, in which he explains to the reader what Dr. Curt Connors did to inadvertently create a monster; Bendis spotlights the over-the-top, silly super-hero science behind the plot. This isn't a bad issue, really, but it just lacked the punch of the series's previous emotional roller-coaster episodes. Bagley's art tells the story clearly, but there's not a lot of action here to allow his more angular, kinetic style to shine. Furthermore, Hanna's inks continue to bring a sketchy quality to Bagley's line art, which calls for a crisper, tighter approach. 7/10
ULTIMATE X-MEN #50
by Brian K. Vaughan, Andy Kubert & Danny Miki (Marvel Comics)
 So the young heroes head to the carnival... there's somethign far too familiar about the entire issue, and what's worse is that so little happens here until the final couple of pages. The Iceman-Kitty-Rogue conflict comes from out of nowhere and doesn't play off as at believable. The speech about people exploiting mutants versus mutant exploiting people is actually a little interesting but all too short. There's much more there to explore. The art is surprisingly flat; Kubert isn't at his best when it comes to stories that focus on talking heads. Mind you, the action doesn't exactly unfold clearly either. The climactic scene featuring a runaway ferris wheel is difficult to follow due to an awkward panel layout on a two-page spread. Furthermore, Gambit, instead of seeming mysterious and dangerous, looks rather scummy and silly. This is far from the strongest issue of this series. Efforts to emphasize the characters' humanity instead come off as melodramatic, soap-opera fare. 5/10
Email Don MacPherson with your comments about this review.
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