Fair Enough: Goyer and Johns add some depth to this rather stoic and enigmatic leader of the Justice Society, and it was nice to see his origins from the John Ostrander Spectre series referenced. Ultimately, though, this is another inconsequential story in which the character is thrust into some sort of forced, fabircated personal crisis that pretty much leaves him unchanged. It's an interesting diversion, but I came away wondering what the point of the plot was in the first place.
Michael Holt, better known as the new Mr. Terrific, visits his wife's grave, and he's overcome by an emptiness. Something is missing inside him, and he doesn't know what it is. And for a man with all the answers, such a vague, spiritual mystery is a curse. Delving into the mystery of why two men have been following him, though, provides not only a distraction, but some answers from his past.
Dave Ross's artwork is quite strong, and the darker tone suits the main character. He handles the brief flirtation with action here adeptly as well. Stephen Sadowski illustrated the previous issue, and there's a similarity to be found in their styles. It made for a nice sense of consistency in a series that's been visually diverse overall. The colors looked a little washed out at times, especially in the scenes set in the Department of Extranormal Operations.
Doctor Nil: Usually, every issue of this limited series features a brief backup story that celebrates the Golden Age origins of the characters that inspired newer incarnations, but this time around, the "backup" is the main feature. The reason: this is the first comic story penned by Pulitzer Prize winner Michael Chabon, so it's something of an event (or so CNN seems to think). Unlike the stories that came before this one, Chabon's script sets aside the focus on replicating a Golden Age feel and concentrates on the character instead.
Actually, Chabon focuses on Neddy Sloane, brother to the original Mr. Terrific, rather than the champion of fair play himself. The foundation of the plot -- think of the Bill and Roger Clinton dynamic -- is somewhat predictable, but it's remarkably easy to relate to Neddy (and easy to dislike the ever-proper and smug Terry). I rather enjoyed that Neddy doesn't really come off as resentful of his successful sibling, that the conflict arises from judgment instead. In the end, though, despite the strong voice Chabon grants Neddy, the plot seems a little too familiar.
Lark's gritty and dark style suits the rough edge of the main character quite well, and there's a refreshing timelessness in the design of settings and characters. As he's shown on Scene of the Crime and more recently on Gotham Central, Lark's work brings out a more grounded and downtrodden tone that works well here.
