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Quick Critiques for 8/11
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.
DC COMICS PRESENTS: FLASH
by Jeph Loeb, Ed McGuinness & Dexter Vines/Dennis O'Neil, Doug Mahnke & Mark Farmer (DC Comics)
 Jeph Loeb and Ed McGuinness offer up a fairly starndard super-hero story here, but it's a playful one that incorporates a Silver Age sensibility along with Loeb's penchant for bringing characters from other corners of the DC Universe into parts they don't usually frequent. McGuinness adapts his style to achieve a slightly simpler tone that's in keeping with the light adventure of the story and the period of comics that inspired it. The second story, Dennis O'Neil's, is a real treat, though, as it picks up on a lesser known but delightful tradition of including Julie Schwartz in the lives and stories of the characters he's guided since the Silver Age. We saw the same sort of thing in DC Comics Presents: Hawkman and in a few select stories in decades gone by. O'Neil acknowledges the ridiculousness of some of the plotting in the script itself, and while paying tribute to Schwartz, he balances things with jokes about how demanding the man could be of those creators working under him. Manhke doesn't offer up the strongest likeness of Schwartz here, but he captures the goofy tone of the plot nicely. 7/10
DISTRICT X #4
by David Hine, Lan Medina & Alejandro Sicat
(Marvel Comics/Marvel Knights)
 The drug storyline that emerges in this issue is an interesting and suspenseful plot direction, and Hine plays it out perfectly to achieve a cliffhanger that really gets the reader anxious about what's going to happen next. I'm enjoying seeing the Marvel Universe from a different perspective, but the police-procedural aspect of the book could be beefed up a bit. This issue is also lacking in the characterization department. The most powerful moment in the first issue was the one in which Izzy Ortega's home life and personal connection to the world of mutants were exposed to the reader; we don't get the same personal punch in this issue. Furthermore, the story of the mysterious mutant who's going around helping people (and inadvertently getting in the way of other efforts to save lives) is surprisingly uncompelling. He interferes with the realistic lens through which the more fantastic elements of this story are being filtered. Lan Medina's art is capable, but it's not nearly as strong as previous efforts I've seen from the artist. The overall look of the art -- line art and colors -- is far too bright for the dramatic tone of the script. 6/10
IDENTITY CRISIS #3
by Brad Meltzer, Rags Morales & Michael Bair
(DC Comics)
 If the murder that served as the catalyst for this story irked you and struck you as misogynist, then the last few pages of this third issue are going to drive you nuts. I have to admit, though, that it seems odd that Meltzer didn't opt to target a different sort of character. The meat of this issue is a spectacular fight scene, puitting Deathstroke against the Justice League. Again, Meltzer's narration is powerful, bringing both the intellect and brutality of the confrontation to life incredibly well. Meltzer's take on Deathstroke is powerful. The emotional subject matter here, though, is surprisingly redundant. Meltzer really had said it all with his surprise revelation in the previous chapter of this series; the turmoil between heroes this month is nothing new. I remain interested in the series, as Meltzer has really hooked me with his dark take on the DC Universe and the complex mystery that's unfolding. Morales presents the fight scene quite clearly. His style isn't really a fluid one, but he captures the perfect little moments, ones that compensate for the lack of sense of movement here. 6/10
JLA #103
by Chuck Austen & Ron Garney (DC Comics)
 This is getting old in a hurry.
Austen puts Green Lantern John Stewart through the wringer, and it's a story that emphasizes the character's physical and emotional vulnerabilities. The problem is that we've read the same sort of story in the previous two issues, only those featured Superman and the Flash. It's getting repetitive, and no clear point has emerged yet. It's as though Austen is working for the Department of Redundancy Department. I honestly liked the idea of a story arc that focused on one character in each chapter, but Austen just isn't bringing enough variety to it. There's a strong -- and far from subtle -- theme linking these stories, but there's no plotline connecting them (none that's apparent so far, anyway). Garney opts to inks his work work here (or allow it to be colored directly from the pencils), and it's an interesting approach. Obviously, there's a looser quality at play here, allowing Garney's already exaggerated style to seem even more over the top. But I have to admit I appreciated the larger-than-life quality it brings to the heroes, and the looseness of the line art creates a gritty look that's in keeping with the more mature tone that the script is aiming for. 5/10
POWERS #3
by Brian Michael Bendis & Michael Avon Oeming
(Marvel Comics/Icon imprint)
 The political and social backdrop of the new status quo for this series take a backseat in this issue to allow for the two main characters -- Christian Walker and Deena Pilgrim -- to explore more personal issues. Walker's discussion with Calista taps into the unusual connection the two share, but it beats around the bush a bit too much as well. Bendis seems to draw out the sequence, perhaps to pad out the issue. What really grabs the reader's attention is Pilgrim's intense and harsh interrogation of her prisoner. The scene demonstrates just how smart Deena is, how angry she is and how committed she is. Ultimately, the scene isn't about trying to elicit a confession from the perp, but about Deena's efforts, fresh off of a disability leave, to prove herself. Oeming's art is as effective as ever. The brief spurts of action are frenetic and dizzying, conveying what the characters' experiences as well. 8/10
QUEEN & COUNTRY #26
by Greg Rucka & Mike Norton (Oni Press)
 Greg Rucka offers up a thoroughly accessible script that presents the minders as regular folks while fostering a strong sense of suspense. This story arc promises to be something of a political thriller, and the West Wing fan inside me is loving it. Government manipulation of justice and security lurks at the edge of this script, and I hope we see Rucka tackle the political plot elements with a great degree of cynicism and realism. Mike Norton's art demonstrates he can do much more than super-heroes and cutesy cartoon characters; he brings a crisp, realistic quality to the artwork here. His efforts on this issue actually remind me of the style of Steve (Preacher) Dillon at times. I love the quiet intensity he brings to Crocker's meetings with his boss. The conflict shines through in the characters' eyes in those scenes. 9/10
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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