|
Quick Critiques for 9/10
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.
CAPTAIN AMERICA #17
by Dave Gibbons, Lee Weeks & Tom Palmer
(Marvel Comics/Marvel Knights)
 I can't help but feel we've been here before. Gibbons takes us into a world in which the Nazis, and specifically the Red Skull, won the Second World War, and the premise just doesn't strike me as being at all original. Mind you, the writer and artists are meticulous in their attempts to bring thise alternate vision of a conquered America to life. Palmer's inks are a bit too heavy for Week's usually dark and gritty artwork. Their collaboration puts me in mind of the work of such artists as Mike Zeck and the late John Buscema. The cityscapes are truly eye-catching. Unfortunately, the title character lacks the larger-than-life quality that usually distinguishes him, and the Skull isn't a visually intimidating figure. 6/10
GOTHAM CENTRAL #11
by Ed Brubaker & Brian Hurtt (DC Comics)
 Brian Hurtt doesn an excellent job of maintain a consistent visual tone with regular artist Michael Lark's approach, but at the same time, he doesn't sacrifice his own unique style. Lee Loughridge's dark, muted colors aid him a great deal in that effort as well. Brubaker's script brings even more plausibility to the world in which the Batman operates. He explores some interesting legalities that would come into play in a hypothetical world of costumed vigilantes, and he tells a touching, personal story who's an outsider but a needed cog in the justice machine. 8/10
JSA: ALL-STARS #5
by Geoff Johns. David Goyer, Adam DeKraker & Prentis Rollins/Howard Chaykin (DC Comics)
 Johns and Goyer's penchant for telling capable but rather ordinary and inconsequential stories persists this month. Rick Tyler is a character rife with potential. His demons are many, but instead, the writers offer up a rather idealistic and near-pure take on the current Hourman. The plot is predictable and the ending rather saccharine. Chaykin's backup story is a wonderful tribute to the Golden Age of comics, but it doesn't make the most of his talents. The plot is crude, and his sexy style goes to waste on some rather straightforward fisticuffs. Still, John Cassaday's covers continue to impress. His take on House jumps off the slick paper. 5/10
MARVEL 1602 #2
by Neil Gaiman & Andy Kubert & Richard Isanove
(Marvel Comics/Marvel Knights)
 It's a lot of fun to see the familiar faces of the Marvel Universe in this new and unusual context, but I keep waiting for Gaiman's originality, brilliance and thought-provoking ideas to come shining through. So far, though, this story has been a diverting but rather by-the-numbers Elseworlds-type story. I admit, though, that Gaiman's take on Peter Parker as a tinkerer first and a soul burdened by responsibility is intriguing. Kubert's gritty style reinforces the mature and dark atmosphere of the story, and the digital inking/coloring approach employed by Richard Isanove here maintains a feeling of the supernatural throughout the book. 7/10
ULTIMATE X-MEN #37
by Brian Michael Bendis, David Finch & Art Thibert (Marvel Comics)
 Bendis's exploration of the Ultimate Universe continues, and it's as much fun as ever. Though Wolverine is the central figure in this story, the real strength in this issue stems from the contrast between Spider-Man and Daredevil. The former is awkward and overwhelmed, and the latter is stern and confident. He's in control, and Spidey's the antithesis of control. Bendis also offers up a disturbing moment when he convinces the reader of the depth of the mysterious antagonist's hatred for Logan. Finch is delivering up some of his best work on this story arc. His Daredevil elicits memories of Frank Miller's and Joe Quesada's work. 8/10
Email Don MacPherson with your comments about this review.
|
