|
Quick Critiques for 8/23/2006
There's no way I can cover all of the material I have for review in full reviews, so these capsule reviews will offer some brief comments on other recent releases.
52 WEEK SIXTEEN
by Geoff Johns, Grant Morrison, Greg Rucka, Mark Waid, Joe Bennett & Ruy Jose/by Mark Waid & J.G. Jones (DC Comics)
 I think it's fair to say that a lot of readers saw the first two or three months' worth of this weekly title as being somewhat middling in quality, but sufficiently colorful to maintain one's interest. That's definitely how I saw it. Now, the title's readers are seeing the payoff. For 16 weeks, we've invested in these characters, gotten to know them, and that connection serves as the book's strength. Seeing Black Adam and Isis happy, seeing Renee Montoya making one of the most difficult decisions of her life... it's more satisfying given the greater familiarity we have with the players. It was a real treat to see the Marvel Family behaving like, well, a real family here. The art tells the story clearly, but as has been the case repeatedly, it looks a bit rushed and rough at times. I suspect it's a necessary evil with a weekly project. Waid is to be commended for summing up Black Adam's history so succinctly in a two-page backup feature. I would have preferred these origin features ran four pages, as the previous "History of the DC Universe" backup did, but there's no arguing with the strengths of the results provided thus far by Waid and his artistic collaborators. 7/10
ASTONISHING X-MEN #16
by Joss Whedon & John Cassaday (Marvel Comics)
 This issue boasts a creepy conflict with clever villains, and it's a real treat to see Kitty Pryde spotlighted so well as a confident, capable warrior. But what stands out as the greatest strength in this issue's script is Whedon's merciless mockery of Wolverine is incredibly fun, and reverting the unstoppable mutant hero to his childhood Little House on the Prairie personality serves more than just a comic relief purpose. The reader knows Whedon would never mess with Wolverine on any kind of permanent basis; Marvel has too much invested in the property. But Kitty Pryde, Colossus and Emma Frost... those characters are much more vulnerable, and it brings real tension to the conflict. I enjoyed the foreshadowing Whedon provides when we see Emma detect Kitty's presence behind the mirror. Cassaday's art is as fascinating as ever. He pulls off some great Kitty phasing effects, and the dark mood inside the X-Mansion is quite effective at keeping the audience on edge. 8/10
ELEPHANTMEN #2
by Richard Starkings, Moritat & Henry Flint (Image Comics/Active Images)
 Richards Starkings and company offer up another fascinating foray into a future, feral world. The imagination and meticulous development of this sci-fi society is awe-inspiring and entertaining, but the real strength of this new series under the Image Comics banner is its strong foundation in characterization. The focus here is on Elijah Delaney, a half-alligator, half-humanoid "monster." One story portrays Elijah as a victim of racism, of being judged on appearance alone. But the other portrays to be that bloodthirsty and brutal monster. It's an interesting contrast and an excellent balance. The narration for the latter story is unusual, in that it's made up entirely of Biblical quotes from the Book of Job. The art is impressive on both segments, but it's Moritat's stuff that really grabs the eye. His story is chiefly conversational, but his thick lines and the bright, textured colors stimulate the reader's imagination as much as the action-packed sequence offered up by Henry Flint. 8/10
LEADING MAN #2
by by B. Clay Moore & Jeremy Haun (Oni Press)
 It's easy to see why this shiny, new comic-book property has been picked up for the Hollywood treatment, and it's not because it's about moviemaking in part. It's got that simple accessibility to it that mass audience will be able to connect with and enjoy. This issue kicks up the satirical tone of the story a bit more, but I really feel the spoof should be played up even more, to the extreme. The premise is actually rather ludicrous, and that Moore's script plays it straight to any extent strikes me as a bit odd. I do like the characters and personality he brings to the script, though, ad Haun's working is sharp as well. There's a lightness in the characters' faces that reinforces the playful nature of the story. The colors are dark but not so dark that they foster a serious or tense mood that would fly in the face of the sillier side of the story. 6/10
Note: This comic book was not among this week's new releases.
ULTIMATES ANNUAL #2
by by Charlie Huston, Mike Deodato Jr., Ryan Sook, Joe Pimental, Wade von Grawbadger & Scott Koblish (Marvel Comics)
 Though my reaction to last week's Ultimate Fantastic Four Annual was somewhat middling, I've enjoyed each and every one of the annuals in Marvel's Ultimate line... until now. Moon Knight writer Charlie Huston fails to bring the edge and intellectual quality I've come to expect from Ultimates. This reads more like a regular Captain America story than one set in Mark Millar's extreme but convincing world of war and politics. I like the reimagining of Arnim Zola for the Ultimate universe here, but the character is so obscure I doubt a majority of readers will even realize this isn't a new character. Huston's transitions from scene to scene aren't clear at all, and at several points, I wondered if the page order of the book got mixed up somehow. Deodato's done some nice work on Amazing Spider-Man in the past, but that strength isn't to be found here. Ryan Sook's work is as strong as ever, but this quick taste just made me wish we asw his art on a more consistent and regular basis. 4/10
WONDER WOMAN #2
by Allan Heinberg, Terry Dodson & Rachel Dodson
(DC Comics)
 The notion of Wonder Woman trying to explore and develop a new life as a federal law-enforcement officer is an appealing one, and Heinberg handles it well here. I just wish there had been more of a buildup to the pressure she feels to return to the life of a costumed super-hero. It would have been fun to see more adventures of Donna Troy as Wonder Woman while Diana Prince solidified her reputation in the Department of Metahuman Affairs. There also doesn't seem to be rhyme nor reason to the actions of the three villains here, though the conflict between Diana and Cassie in the script worked quite well. The Dodsons' art is, of course, quite appealing, and I didn't find it degenerated into cheesecake mode much at all in this issue. The art fosters an air of tension and urgency quite effectively while maintaining a bright, colorful and wondrous (pardon the pun) energy. 6/10
Email Don MacPherson with your comments about this review.
|
