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Quick Critiques for 11/5
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.
ALIAS #28
by Brian Michael Bendis & Michael Gaydos
(Marvel Comics/MAX Comics)
 Though I wish Bendis delved more in the meta-textual qualities of the Purple Man's role in this story arc, he does bring Jessica Jones's story to a satisfying close. The super-hero/villain elements are wrapped up in a rather conventional manner, but the character-oriented bits are as strong as ever. Appropriately, Bendis doesn't provide a happily-ever-after ending for his protagonist, but neither does he end this darker series on a tragic note either. This is about endings and new beginnings, and in a way, Bendis brings the book full circle. While the first issue is mirrored here, Bendis also offers the complete opposite in a way. The most striking moment of the first issue was a darkly sexual one that was about punishment and about distancing oneself from the core purposes of sex. This final issue... well, it's not. 8/10
ARROWSMITH #4
by Kurt Busiek, Carlos Pacheco & Jesus Merino
(DC Comics/Cliffhanger imprint)
 Busiek seems to shift gears dramatically with every issue of this series. Each chapter of the book launches forward in time in the story, examining a different perspective of war and a kid's dangerous and unusual journey to manhood. The moral of this issue: war is Hell, folks. The wonder of the fantasy elements still shine here, but they're eclipsed by the dark truths of war. It's amazing how Busiek manages to convey those ugly realities in this most unreal setting. Pacheco's artwork is stunning, as always. His blend of medieval and supernatural elements with the historical garb and backgrounds of the early 20th century are nothing short of brilliant. Alex Sinclair's colors bring out the fantastic energy of the magical elements, but he tones it down for the darker and far more realistic portrayal of warfare. 8/10
DARK DAYS #5
by Steve Niles & Ben Templesmith (IDW Publishing)
 There's an element in this issue that I find particularly irksome, and that's Niles's inclusion of a sexual component in the story. I don't have problem with sex -- especially in a vampire story... they seem to go hand in hand most times -- but the scene just doesn't jibe with what we know of one of the characters. It seems completely out of character for her, and as a result, the sex comes off as gratuitous. That sexual scene and the vampire Dane's charm seems to come from out of nowhere as well. Nevertheless, the core plot continues to fascinate me. Templesmith's style -- a blend of sketches and seemingly painted art -- is almost hypnotic, and Niles's script adds to the creepy quality of the visuals. By the issue's end, the intensity that makes the characters so interesting is back as well, getting the book back on course. 7/10
HAWKMAN #21
by Goeff Johns, Rags Morales & Michael Bair
(DC Comics)
 Johns has crafted a thoroughly creepy character in the Headhunter, reminding me of the striking oddity of Onomatopeia, a new arch-villain created by Kevin Smith to face the title character in Green Arrow. Unfortunately, the Headhunter is far less visually engaging. Furthermore, it's hard to completely loathe the savage villain, as the hero of the book is so pitiful here. Hawkgirl's complete berating of her male counterpart is right on target, but it's hard to reconcile the vision of confidence from earlier in the series with this supposed hero who seems to have resorted to stalking. Maybe it's because I see so many pathetic, controlling men through my work as a court/crime reporter, but this isn't the kind of Hawkman I want to read about. I have no problem with him being conflicted over his feelings for Kendra and her right to her own life, but here, Carter Hall is a slave to his own emotions, and it's just as creepy as the villain of the book (though not in that good, entertaining way). 5/10
ULTIMATE SPIDER-MAN #49
by Brian Michael Bendis, Mark Bagley & Art Thibert (Marvel Comics)
 Let's see, this is written by Brian Michael Bendis, so odds are it's brilliant, poignant and funny. (Flip, flip, flip.) Yep, he did it again. Bendis brings depth to J. Jonah Jameson in a wonderfully surreal action scene that captures the wonder of the Silver Age source material while injecting modern wit, plausibility and edge into the equation. This issue resonated with me in particular thanks to my career as a news reporter (see above), and I've given thought to what I might do if I was threatened in the course of doing my job. As strong as that scene was, though, the quiet climactic confrontation that closes the book blows it away. It's hilarious, and it demonstrates that wit, ethics and hope can overcome just about anything. This issue's a bit schmoltzy, sure, but it's damn fun. Some of that fun stems from the energy in Bagley's artwork, which has been just as consistently impressive as Bendis's scripts from the start. 9/10
WEAPON X #15
by Frank Tieri, Georges Jeanty, Norm Rapmund & Don Hillsman (Marvel Comics)
 Frank Tieri spends 20 or so pages telling a story that probably could have been summed up in three. He brings Chamber into the Weapon X cast in a logical manner, but it's also a thoroughly predictable one. It's nice to see someone picking up on some loose plot threads from Uncanny X-Men, but the simplicity of this script just isn't all that engaging. Jeanty's artwork tells the story clearly, and it boasts a quality that reminds me of the work of Terry and Rachel (Trouble) Dodson. Unfortunately, it's far too light for the darker and angrier tone of this story. His style fails to capture the edgier, more modern costume designs of the New X-Men characters, and putting that cast of characters side-by-side with the Uncanny just seems to spotlight the radical differences in two sets of characters who are supposedly one big happy family. 5/10
WOLVERINE #7
by Greg Rucka & Leandro Fernandez (Marvel Comics)
 Writer Greg Rucka reunites with his one-time Queen & Country collaborator Leandro Fernandez, and the result is yet another intense and rough story that plays to the title character's darker strengths. Fernandez's work here makes for a surprisingly consistent tone with the artwork of regular penciller Darick Robertson, but at the same time, the artist doesn't sacrifice his own style in the least. Studio F's bright, glowing colors convey the arid nature of the setting, and the way they almost wash out the linework with their brightness creates an unsettling effect that enhances the harsh nature of the story. Rucka's take on Logan is an appropriate intense and gritty one, and he's a hard character to know. That's what makes the Cassie Lathrop character such an important element here. Her, we can understand. She brings a grounded quality to the book. 8/10
Email Don MacPherson with your comments about this review.
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