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Quick Critiques for 9/24
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.
BATMAN #619
by Jeph Loeb, Jim Lee & Scott Williams (DC Comics)
 "And by the way, this is what was really going on the whole time." That's what Jeph Loeb tells his readers in this issue, the final one of his and Jim Lee's run. Though the writer dispelled my dissatisfaction with the Jason Todd element in "Hush," the whole answer to the mystery comes from out of nowhere. New Batman readers -- and I would imagine there were many who came to this title looking for Jim Lee's artwork -- will be left at something of a loss, and the explanation is a rather lot of information to assimilate at once. Mind you, there are elements here I enjoyed. The Riddler is transformed into a brilliant once again, and the Batman's paranoia and its effect on his relationship with Selina struck me as really getting to the heart of the tragic nature of the title character. Lee's artworkis detailed and action-packed, but it never really grabs me here. I just hope readers stick around for Brian Azzarello and Eduardo Risso's take on the Dark Knight, beginning next month. While the Loeb/Lee run marked a sales milestone, I expect the next storytelling team will bring a creative high point to the book. 6/10
CAPTAIN AMERICA #18
by Dave Gibbons, Lee Weeks & Tom Palmer
(Marvel Comics/Marvel Knights)
 It's my understanding that the Marvel Knights imprint is reserved for storytelling that boasts an edge, that explores more mature plots and themes in the super-hero genre. That was the case when this series began, but it's not so now. Gibbons delivers a rather generic Elseworlds-like story about Cap's worst nightmare, and the mainstream counterparts of familiar characters fit far too neatly into the same roles, even without powers and costumes. Weeks's backgrounds here are stunning, but Palmer's inks just don't work well with his pencils. I like Weeks's sketchier, darker tone, but Palmer's inks bring a slightly exaggerated and conventional tone to them. 5/10
CATWOMAN #23
by Ed Brubaker & Cameron Stewart (DC Comics)
 The title character's road trip continues as Brubaker explores DC's American cities. It's an entertaining story, and for those of us who loved James Robinson's Starman, it's a treat, a delightful visit with a couple of characters that really helped that series stand out as unique. While Brubaker makes the most of the setting, the story is a bit on the ordinary side; I didn't find these generic cultist villains interesting the first time around, and I still don't. Brubaker doesn't advance the story, but this is an interesting diversion anyway. Stewart's art may not have the gothic and deco leanings that Tony (Starman Harris's does, but he captures the flair and class referred to by the title character quite well. Not the best issue in the series, but still a good one. 7/10
FANTASTIC FOUR #504
by Mark Waid, Howard Porter & Norm Rapmund
(Marvel Comics)
 I have to admit, I wasn't a big booster of Howard Porter's work on JLA, even though it catapulted him to the status of high-profile, hot artist in the industry. His work here strikes me as being sketchy and cramped, and it doesn't boast the mature, reflective tone that's called for in the script. Waid's script is unpredictable, clever and credible, though the gimmmick of Reed's silence throughout the issue makes it far too easy to relate to the other heroes' frustrations. The ending is the big payoff; it's George W. Bush's wet dream, really. Waid's continued inclusion of a more plausible and mature tone here makes his eventual departure from the book all the more unfortunate. 7/10
LOSERS #4
by Andy Diggle & Jock (DC Comics/Vertigo imprint)
 I think Andy Diggle falls into the trap of taking some easy ways out so his characters can survive the impossible trap/cliffhanger scenario, but even if this issue isn't as strong as the previous three, it's still damn good. Jensen is easily my favorite character, and given the great dialogue the writer gives him, I'm guessing that holds true for Diggle as well. Jock's art is as strong as ever, though. I love how he's careful to delineate between two similar characters -- Clay and Roque, both white badasses with dark hair -- without being obvious about it. I remain impressed with how he keeps Cougar's face immersed in shadow, and how he hides Jensen's eyes behind the glasses. It brings mystique to the characters and gets the reader wondering what's going on behind those veils. 8/10
Email Don MacPherson with your comments about this review.
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