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Quick Critiques for 9/22
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.
ASTONISHING X-MEN #5
by Joss Whedon & John Cassaday (Marvel Comics)
 Whedon brings a Warren Ellis-like sensibility to super-hero action in this issue. The telepathic dialogue among the heroes is sharp and dynamic, setting the scene for some excitement and intensity. There's also some real emotion to be found in this issue as well. From the second-hand accounts of Emma's concern and love for Cyclops to Kitty and Colossus's reunion, it's quite compelling -- not to mention accessible to readers who might be new to the world of the X-Men, which is a nice change of pace. Where the script falters, though, is in the slapstick moment used to launch the issue's climax. It just doesn't fit in with the rest of the script, and it makes for a jarring moment that takes the reader out of the story. Cassaday's artwork, of course, is absolutely lovely. The slack-jawed reaction of the heroes during that slapstick scene doesn't quite work, though, because again, the artist is trying to match the comedic tone in the script. 8/10
SLEEPER: SEASON TWO #4
by Ed Brubaker & Sean Phillips
(DC Comics/Wildstorm Productions)
 Brubaker's story of double-crosses and triple-crosses is as engrossing as ever. How could one survive in a world in which one can trust absolutely no one, friend or foe alike? The answer is one couldn't. That's why other "villains," such as Triple X-Ray and Miss Misery, mean so much to the main character. He's carved out a small piece of something vaguely resembling normalcy and stability in a life characterized by chaos and change. The encounter with Lynch in this issue actually follows a somewhat predictable path, but that doesn't make it any less dramatic and intriguing. Lynch's cold ruthlessness makes a sharp contrast with the earnest tone he takes on earlier in this issue. Phillips's noir artwork adds to the tension and takes the reader to a place full of danger and devoid of happiness. A tip of the hat also goes out to letterer Jard K. Fletcher for the inventive font created to make the alien's telepathy come to life. 8/10
ULTIMATE ELEKTRA #2
by Mike Carey, Salvador Larroca & Danny Miki
(Marvel Comics)
 The first problem I had with this book is the art. Larroca, who's usually a strong talent, goes awry when it comes to his portrayal of the title character. Instead of a college-age woman, Elektra often looks like a pre-teen girl. Furthermore, the villain who turns up at the end of this issue just doesn't have the visual presence required to have a strong impact on the reader. The writing is, at best, standard. The scenes in which Matt Murdock saves the day boasts a silly kind of Silver Age Superman quality that just doesn't fit in with this supposedly gritty crime drama. The clumsiness of the later scenes featuring poor police protection of a key prosecution witness stretches the plot's credibility too far as well. The one aspect of the script that really made me sit up and pay attention was the Kingpin's dialogue. Carey captures the character's intimidating personality nicely. Oh, and Elektra's canopy acrobatics gag was a cute diversion as well. 4/10
Email Don MacPherson with your comments about this review.
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