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Quick Critiques for 9/4
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.
CATWOMAN #22
by Ed Brubaker & Cameron Stewart (DC Comics)
 Brubaker offers up yet another satisfying chapter in the lives of Catwoman and the few people she's allowed to get close to her. The Selina/Holly plotline is a fun one, even if it does hinge on a rather significant coincidence. The real meat of this issue, though, is to be found in the antagonistic encounter between the two men in Selina's life: Slam Bradley and the Batman. The scene says a lot about Slam Bradley, and the resolution of the exchange is somewhat surprising. It's been announced that Stewart will be leaving this title, to be replaced by Paul Gulacy and Jimmy Palmiotti. Stewart's simple noir leanings will be sorely missed. He's captures the fun, carefree side of the story quite well, but there's edge to be found in his art as well. 8/10
ELEKTRA #27
by Robert Rodi, Sean Chen & Sandu Florea
(Marvel Comics)
 Though my interest in Robert Rodi's new direction for this title remains high, this action-oriented issue lacks the storng characterization, extreme methology and politics that made previous issues stand out. This issue is more about bullets and blowing things up, which is fine, sometimes. I didn't really dig the "just desserts" ending for the title character's employer, as it strays out of the shades-of-grey territory that makes Elektra interesting. Chen's artwork is as strong as ever. He handles the action quite well, and he convincingly portrays the scantily clad protagonist as a thoroughly intimidating figure. 6/10
EXILES #33
by Judd Winick & Tom Mandrake (Marvel Comics)
 Though not as strong as Winick's earlier issues in the series, this latest script is starting to seem a lot more like the characterization-oriented stories I originally came to expect from the book. One gets the sense that Winick really knows this incarnation of Heather Hudson well, and the tenderness of the climactic scene worked quite well. Unfortunately, I have to admit I'm getting tired of seeing so much of Wolverine in this book, and this version isn't a new spin on the character, but another appearance of the Barry Windsor-Smith Weapon X vision of the feral mutant. Mandrake's dark style suits the reflective and violent tone of the story, and his depiction of Sasquatch's transformation from beast to woman was well done. But his take on Morph just didn't click for me at all. The character came off as too boxy and buff for my taste. 6/10
GO BOY 7 #2
by Tom Peyer, Jon Sommariva & Kris Justice
(Dark Horse Comics/Rocket Comics imprint)
 Peyer includes some strong elements in this issue. I love the notion that Jonny Zero's new abilities and nanoplasm blood won't allow him a moment's peace so he can even grieve. We get a much stronger sense of the characters here as well. Jonny's acceptance of his lot in life and refusal to blame his uncle for his parents' death is refreshing. Sommariva captures the title character's youth and energy quite well, but I really didn't care for the look of the character when he's enraged. Jonny looks like a Wolverine berserker wannabe in the opening scene, and it robs the character of his grounded and likable personality. Peyer seems to be trying to build the Cultist up as an intimidating, villainous figure, but at times, he comes off a little like one of the screwup bad guys from Keith Giffen and J.M. DeMatteis's super-hero sendups.6/10
Note: This comic book was not among this week's new releases.
HAWKMAN #19
by Geoff Johns, Scot Eaton & Ray Kryssing
(DC Comics)
 Readers will be pleased to know they get some answers to some recent, surprising developments. The problem is that these are JSA developments, not ones from Hawkman. Johns picks up the epilogue from the most recent issue of JSA here, and while the answers are intriguing, those who don't follow both titles are bound to be confused. It's too bad, because otherwise, this might have made a good jumping-on point. Eaton's artwork is strong, conveying the power of Black Adam and the ferocity of the Hawk-characters quite well. And it maintains a consistent tone with the work of regular artist Rags Morales. 6/10
NEGATION #21
by Tony Bedard, Paul Pelletier & Dave Meikis (CrossGen Comics)
 This is not only an excellent introduction to this series for new readers, but it boasts a strong focus on a single character. The story is a little on the predictable side, but one gets such a clear picture of the gentle soul of Matua that the telegraphing of the plot isn't a major concern at all. Bedard's script casts the Lawbringers in a convincingly intimidating light, while Pelletier conveys the ugliness of their Giger-esque forms. At the same time, the artists capture the natural and mystical beauty of Matua's home and culture. This was the best issue of this series I've sampled yet, and I'm impressed that despite the fact that elements from other CG titles are incorporated into this one, it remains accessible and thoroughly entertaining. 9/10
NEW MUTANTS #4
by Nunzio DeFilippis, Christina Weir, Keron Grant, Rob Stull & Rich Perotta (Marvel Comics/Tsunami imprint)
 DeFilippis and Weir's skill for characterization continues to serve this series well, but the slow pace of the plot does not. There's been a formulaic quality to each issue, with an original New Mutant or two swooping down into new characters' lives to rescue them from oppression or themselves. I keep waiting to see more of these new students interacting with one another. The artwork just isn't working for me at all anymore either. Grant and his inkers make these characters look far too young, and the figures aren't nearly as expressive as they could be. I realize Grant is being replaced on the book, but Carlo Barberi's exaggerated style is one that I don't believe will serve the grounded nature of this title. There's plenty of potential in this series, but it's not being fully realized. 5/10
SIGIL #39
by Chuck Dixon, Ron Wagner & Armando Durruthy
(CrossGen Entertainment)
 Though the title character makes no appearance in this issue, I have to say I'm impressed with Dixon's portrayal of war in this science-fiction setting. I was also pleased to find a rather accessible script, and I wasn't at all irked by the incorporation of elements from other CrossGen titles (specifically, Negation). The other book is not required reading at all. This issue is full of villains, no heroes to be found at all, and it's an unusual and intriguing focus. Wagner's thick and angular linework suits the harsh nature of the characters and the violence quite well. I'm honestly surprised that I enjoyed this issue, as past chapters didn't grab my attention nearly as well. I'll be keeping an eye out for further issues to see if Dixon can sustain my interest. 7/10
SUPERMAN: BIRTHRIGHT #3
by Mark Waid, Leinil Francis Yu & Gerry Alanguilan
(DC Comics)
 Waid explores a much different aspect of the Man of Steel's past, one I'm not sure has ever been touched upon before. The writer delves into the universal notion of a strained father-son relationship. Clark's awkwardness around his adoptive father is a feeling that's remarkably easy to relate to, and it brings credibility and tension to the Kent family dynamic, which has usually been characterized by a 1960s-sitcom, nuclear-family perfection. Yu and Alanguilan continue to perform incredibly well as an art team. Their collaboration is somehow idyllic yet gritty all at the same time; I'm reminded of Tan Eng Huat's work on Doom Patrol, actually. 9/10
TROUBLE #3
by Mark Millar, Terry Dodson & Rachel Dodson
(Marvel Comics/Epic imprint)
 Though the ending of this issue interests me more than any other previous element, this chapter of the series was disappointing, mainly because our four protagonists come off as so unlikable. Two of them plays as remarkably selfish and uncaring toward their best friends' feelings, and the other two come off as ridiculously clueless. The art remains strong and sexy, but the most impressive visual element are Hollingsworth's colors. He's best known for the noir, more mature tones he brings to darker stories, so this array of bright, pop colors is a significant change of pace. He brings texture and depth to the artwork, making for a little balance to the Dodsons' implausibly perfect figures. Another strong visual element is the photo cover, not because of its playfully sexual suggestion, though. No, it's just that the photo cover combined with the striking but simple design really jumps off of the comic-shop shelves. 5/10
Email Don MacPherson with your comments about this review.
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