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Quick Critiques for 11/16/2005
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.
CAPTAIN ATOM: ARMAGEDDON #2
by Will Pfeifer, Giuseppe Camuncoli & Sandra Hope
(DC Comics/Wilstorm Productions)
 Pfeifer delivers a much stronger second issue than the first, and the reason is clear: a real story, full of mystery and action, emerges. To my surprise, this story is not only about a dimensionally displaced Captain Atom, but about the WildCats. Pfeifer delivers an accessible script by treating the WildCats almost as though they were new characters. We know they were a super-hero team, and we know that something happened to their teammate, Void. They've reunited to investigate her possible return, and Pfeifer has crafted the plot in such a way that even those unfamiliar with them will be drawn in. The premise allows Pfeifer to divest himself of Captain Atom's history for the most part, adding to the accessibility of the book. Camuncoli's art is full of energy, and his depiction of the gleaming title character is impressive. The colors really pop throughout the book, making for an even more fun atmosphere for this solid super-hero story. 7/10
MARVEL KNIGHTS SPIDER-MAN #20
by Reginald Hudlin, Pat Lee & Dream Engine
(Marvel Comics/Marvel Knights)
 In the 1980s, there was an Assistant Editors' Month humor issue of Marvel Team-Up in which Peter Parker's Aunt May teamed with Fantastic Four anklebiter Franklin Richards for a cosmic adventure. Immersing Aunt May in the more fantastic elements of the Marvel Universe was the gag, obviously, because it's such a ludicrous juxtaposition. Reginald Hudlin doesn't seem to get that it's a laughable idea. Aunt May in an Iron Man suit? Travelling back in time to experience a precious memory all over again with her nephew and his wife? I see where Hudlin's coming from. His chapters in this "Other" crossover have focused on the connectivity of the Marvel Universe, exploring the resources that Spidey would logically have access to thanks to his adventures over the years. But for the character and storytelling to work, some of those resources have to be ignored. Unfortunately, the art is as unappealing as the plot. Lee's scratchy, manga-inspired style fails to convey the emotion that's at the heart of this story. The cover is a misfire as well, as it gives away a key moment in the story that's meant to be a surprise. 1/10
ULTIMATE SPIDER-MAN #86
by Brian Michael Bendis, Mark Bagley & Scott Hanna/Mark Millar, John Romita, Jr. & Jimmy Palmiotti (Marvel Comics)
 This isn't a bad issue of Ultimate Spider-Man, per se, but both the main story and the Ultimate Vision backup feature serve as staging grounds for stories yet to come. The Spidey piece is basically an extended fight scene and a mysterious merc group's efforts to track and identify the hero. Really, not all that much of consequence happens. The art is as exciting and sharp as ever, and I like the changes Bagley has made to the Omega Red character design (though Bendis's voice for the character isn't in keep with the Russian background). The Ultimate Vision story basically picks up where Ultimate Nightmare left off, as the mechanical herald of Gah-Lak-Tus comes to life and adopts a female form. It's difficult to judge what the story will be about, let alone if it will be so riveting so as to compel readers to follow it through three titles. Romita's artwork is rougher in quality than what we're accustomed to see from the artist, though the looser linework earlier on in the backup feature does allow the reveal of the character's sleek new form to have a greater impact. 6/10
X-MEN: DEADLY GENESIS #1
by Ed Brubaker, Trevor Hairsine & Kris Justice/Brubaker & Pete Woods (Marvel Comics)
 In the midst of the Decimation event, Ed Brubaker and the X-office throw the X-Men into another crisis at the same time. It seems a bit odd to keep piling all of these events on top of one another in the same crossover context, but there's no denying that Brubaker establishes an intense atmosphere while providing little information as to the exact nature of the threat and the plot. I have a hunch who the villain of the piece is, but there are no definitive answers to be found yet. The problem I had with the main story was that it was a typical beginning of an X-Men story. Cerebra detects a major threat, an X-Man is struck down and the rest of the team flies off in a jet to investigate. The plot for the backup is a typical downtrodden teen mutant origin as well, and it seems odd for Marvel to introduce a new mutant at a time when it is emphasizing paring down the mutant population. Hairsine's art is appropriately dark for the main story, reinforcing the grave and tense mood Brubaler strives for in the script. Woods's softer style for the backup story is appropriate as well, emphasizing the main character's youth, innocence and vulnerability. 6/10
Email Don MacPherson with your comments about this review.
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