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Quick Critiques for 11/3/2004
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 #6
by Joss Whedon & John Cassaday (Marvel Comics)
 Whedon and Cassaday bring their first story arc on the title to its conclusion, and Nick Fury and company show up to explain what's really been happening all along. It's a bit irksome that instead of allowing the heroes to uncover the mystery, it's spelled out for them instead by outside characters whose sole purpose in this issue is provide exposition. Still, the notion of extra-planetary diplomacy is an intriguing one. Foreign policy is on everyone's mind in the real world, and it makes sense that extraterrestrial policy and affairs would be dealt with in the Marvel Universe. Whedon also makes the most of a Colossus/Wolverine reunion, and the manner in which Ord is subdued is, I have to admit, quite cool. Cassaday brings that moment to life incredibly, and the expression on the villain's face is priceless. Cassaday's art throughout the book is wonderfully detailed. He brings a stoic look to the team's leader, Cyclops, and a warm, heartening feel to the Beast, for example. 7/10
HARD TIME #10
by Steve Gerber & Brian Hurtt (DC Comics/DC Focus)
 The growing complexity of the plotting and the expansion of the supporting cast of characters fill me with hope that this series will have a much longer life than its DC Focus sisters. It's amazing how many subplots and characters Gerber juggles here while maintaining a clear and accessible tone throughout the book. All the while, though, it remains Ethan's story. The added air of mystery about the nature of Ethan's other self and the new sense of hope that Red brings to the book add a freshness and sense of renewal. The dialogue and plotting (outside of the supernatural elements) boast a strong air of truth and reality. It's interesting to note that Gerber started the series off by commenting on society only to set the stage so he could explore individuals. Artist Brian Hurtt reinforces Gerber's strong characterization efforts with his simple yet genuine depiction of this unlikely grouping of personalities. Hurtt demonstrates the characters' vulnerabilities and their tough hides, not to mention the explosive emotions that lurk underneath the exteriors. 8/10
HAWAIIAN DICK: THE LAST RESORT #2
by B. Clay Moore & Nick Derington (Image Comics)
 It's been far too long between issues of this fun and unique limited series. B. Clay Moore's combination of noir, private-eye storytelling, the exotic nature of the setting and the supernatural elements that lurk on the periphery is a lot of fun... not deep, but deeply entertaining. This second issue is surprisingl accessible, and I love that some of the bad guys boast some strong and likeable personalities, and Moore handles the humor perfectly. He's wise to remind the reader there's a dark, dangerous quality to the story as well, which draws the reader in even further. Derington's art -- reminscent here of Darwyn (DC: The New Frontier) Cooke's and Cliff (Human Target) Chiang's tells the story clearly and captures the rather inviting, radiant and alluring qualities of the Hawaiian backdrop incredibly well. He brings a surreal tone to the book with his fluid visions of spirits, which make for a sharp visual contrast with the solid, brick-like looks of the male characters. Steven Griffin's colors bring warmth to the book, and that's important, again, given the setting. 8/10
MAJESTIC #4
by Dan Abnett, Andy Lanning & Karl Kerschl
(DC Comics)
 This concluding issue is surprisingly disappointing, as the writers have taken everything that set the title character apart from the Superman archetype and removed it, homogenizing him in the process. The plot is incredibly cliched and predictable. The hero is presented with his heart's desire -- a way home -- but he can only use it if he abandons his heroic principles. Sigh. What's worse is that the ending doesn't make sense. Instead of hurling the villain through a portal, the hero could have pushed him through and joined him; it makes little sense. Majestic conveniently finds his place in a world he never sought to live in... blah, blah, blah. The saving grace of the issue is the art by Karl Kerschl. Why his name isn't spoken along with such other strong young talents in the industry such as Steve McNiven and Jim Cheung, I'll never know. The colors and computer effects add some real imagination and energy to the issue-long action sequence as well. 5/10
THE PUNISHER #13
by Garth Ennis, Dougie Braithwaite & Bill Reinhold
(Marvel Comics/MAX imprint)
 Garth Ennis drags the title character into the world of espionage and assassination, and the two concepts make a surprisingly good fit. Ennis exploits a natural (and I assume in-continuity) connection between Frank Castle and Nick Fury to get the title character to act out of character, and it works quite well. The MAX imprint and the more permissive language rules governing it are also a good fit for the title character, the world in which he lurks and the hard-nosed military man once known as simple an agent of S.H.I.E.L.D. The anti-hero's tactics are fascinating, and Ennis choreographs them well. I also appreciated the not-so-subtle political statements Ennis offers up here, especially in light of the recent results of the U.S. election. Braithwaite and Reinhold's dark, moody artwork is right at home in the Punisher's corner of the Marvel Universe, and their more realistic leanings helps bring the character down to earth and balance the more over-the-top action elements. 8/10
SPIDER-GIRL #80
by Tom DeFalco & Pat Olliffe (Marvel Comics)
 On the one hand, the plotting here is rather transparent, and those who are familiar with the super-hero genre will see exactly where the story is going. Nevertheless, DeFalco and Olliffe deliver a solid, entertaining and accessible teen super-hero story here that's full of personality. It's easy to relate to the characters, and despite the numerous ongoing plotlines and extensive history this character has, it's easy to dive into her world in this issue. For some reason, Marvel is trying to focus attention on Arana, the new Spider-Girl-esque character set in mainstream continuity in Amazing Fantasy and a new title to launch soon, but the future May Parker has a lot more going for her. She has a simpler, easier-to-swallow origin and the colorful playground of Spider-Man continuity to play in. Olliffe's art is wonderful. The softer quality of his style captures youth quite well, and given the young age of so many of the characters here, that's important. If one wants to get a young reader interested in comics and super-heroes, this issue is a great place to start him or her off. 7/10
SWAMP THING #9
by Joshua Dysart & Enrique Breccia
(DC Comics/Vertigo imprint)
 Back in the mid 1980, DC started over from scratch when it came to Superman. And Batman and Wonder Woman. Just recently, John Byrne and Chris Claremont rebooted the Doom Patrol for the publisher. And the Legion of Super-Heroes has been through the reboot treatment 174 times, I believe. So why not Swamp Thing? Joshua (Violent Messiahs) Dysart does a good job of continuing in the strong horror genre footsteps of those who came before him, but that's also part of the problem. The title character is bogged down (Get it? Bogged down? ... hurm...) with so much backstory that creating an accessible Swamp Thing story seems next to impossible. Leaving behind the brilliant work of Alan Moore and other writers doesn't negate those stories, and I think that's what the property needs. Dysart creates a strong new character here, but his vision of Hell seems more than a little reminiscent of Moore's and Neil Gaiman's. I also realize that I care little for Abby and Tefe Holland these days. Breccia's art stands out as the title's greatest strength. His inhuman take on the Swamp Thing is magnificiently monstrous, and the surreal hellish landscape is extremely alien. 6/10
ULTIMATE FANTASTIC FOUR #13
by Warren Ellis, Stuart Immonen & Wade von Grawbadger (Marvel Comics)
 On the surface, this issue -- which brings the six-part "Doom" story arc to a close -- is all about action; the fight scene extends from beginning to end. But underneath that, Ellis explores what it is that makes Victor van Damme tick. Instead of the intimidating figure that looms over mainstream Marvel continuity like an armored bogeyman, Ellis's vision of Doom is as a pathetic creature who wants his father's approval by trying to be even more cruel and tyrannical than he was. Ellis uses the characters' youth to set them apart from their mainstream counterparts. The heroes fight with a lot more attitude, and using their powers takes more effort in the face of inexperience and greater limitations. Still, Ellis shows them using those powers creatively as well, notably when it comes to Sue Storm. Doom's demise isn't a physical defeat or detention by authorities; it comes more as a result of being dismissed as a threat. This more cocky and unforgiving incarnation of Reed Richards essentially emasculates Doom simply by being smarter than he is. Immonen's art here reminds me of Alan Davis's work back during his early days on Marvel UK's Captain Britain, and at times, it puts me in mind of the richly expressive linework of Kevin (Formerly Known as the Justice League) Maguire. Also satisfying was the political elements Ellis included in the closing moments of the story. That and the real-world tech that Doom has adapted for his nasty purposes bring plausibility to the world of, well, the fantastic. 8/10
Email Don MacPherson with your comments about this review.
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