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Quick Critiques for 11/17/2004
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.
BIRDS OF PREY #76
by Gail Simone, Joe Prado & Ed Benes (DC Comics)
 Marvel's She-Hulk has been earning praise for its wonderful sense of humor and its accessible celebration of the diversity offered by the shared super-hero continuity in which it is set. Gail Simone's Birds of Prey boasts the same strengths, and they show clearly in this issue. Black Alice's embodiment of several DC heroes was a lot of fun for this longtime reader and will no doubt pique the curiosity and interest of newer fans. Simone also addresses the emotional distance between Oracle and Nightwing quite well without dwelling on the events of the Batman: War Games event. Benes's finishes over Joe Prado's layouts are much to dark and inky, and the layouts themselves don't tell the story as clearly as they could. The various Black Alice costume designs are sharp, but the art depicts the teenage characters here as looking pretty much the same as the adult women. Overall, this was a nice, self-contained issue that's not a bad jumping-on point for new readers. 7/10
EX MACHINA #6
by Brian K. Vaughan, Tony Harris & Tom Feister
(DC Comics/Wildstorm Productions)
 Each story arc in this series seems to follow a certain formula: half of the story revolves around Mitch Hundred's powers or his days as a costumed crimefighter, and the other half focuses on his political life and the hotbutton issues that arise. I honestly prefer the latter material to the former. Here, the Great Machine flashback and connecting plotline in the present boast a real X-Files feel, and while interesting, that side of the book pales in comparison with its politics. Given the divisive atmosphere in the United States at the moment, I can't wait to see how Vaughan deals with the issue introduced in the final scene of this issue. Harris and Feister's detailed and realistic artwork help to reinforce the already genuine tone of this story. However, my one qualm with the art is that all of the main players strike me as too attractive. Politics is hardly a world full of supermodels and bodybuilders. I want to see some regular people, some believable body types, among the core cast of characters. 8/10
FANTASTIC FOUR #520
by Mark Waid, Mike Wieringo & Karl Kesel
(Marvel Comics)
 Mark Waid achieves a nice balance between drama and the inherent fun of the super-hero genre. Johnny Storm's goofy escapades as Galactus's captive/new herald are hilarious, but Waid pulls the rug out from underneath Johnny (and the reader) by the issue's end with an inventive new application of invisible forcefield powers. The script also brings a plausible tone to the notion of the Human Torch's fire powers by filtering them through the inexperienced perceptions (and preconceptions) of Susan Storm. Waid really shows Reed Richards as something more than the smart guy who knows who to solve problems. Here, he shows real leadership. He doesn't take charge because his big brain as come up with a solution, but because someone needs to set his or her emotions aside and focus on the tasks at hand. Wieringo's art is well suited to the sci-fi wonder of an FF/Galactus story, and Paul Mounts's colors really make the title characters' powers come to life. This is a wonderfully fun and intelligent read. Waid balance the tradition and wonder of the property's Silver Age origins with more refined characterization and scripting. 8/10
JLA #108
by Kurt Busiek, Ron Garney & Dan Green (DC Comics)
 In the JLA: Earth 2 graphic novel, Grant Morrison established a new vision of the Justice League's evil counterparts in another dimension. Kurt Busiek reintroduces the characters here, but he really doesn't offer anything new or necessary. Furthermore, reality seems to retool the Crime Syndicate's reality in order to bring it into line with the JLA's by ensuring both teams have a black Green Lantern. I'm hope Busiek's got a better explanation coming in future issues, because this development is clunky and unnecessary. Furthermore, there's little in the way of a main plotline here. We learn the Crime Syndicate members are bored and that an alien culture has been compromised by corruption and the loss of its founding principles. But there's no real story here. Garney's rough artwork doesn't suit the sci-fi tone of this script, and his exaggerated approach can be inconsistent and distracting. I'm confident Busiek has something good up his sleeve, but these first two issues of his run on the title look like part of a losing hand so far. 4/10
MADROX #3
by Peter David, Pablo Raimondi & Drew Hennessy
(Marvel Comics/Marvel Knights)
 This stands out as the best issue of the series to date, as it offers not only the best twists and demonstrates the incredible versatility of the title character's powers, but it explores a new aspect of Jaime's character. David reveals just why the mutant detective has been feeling so melancholy and detached from those around him, and it makes for some fascinating reading. David's script is funny and insightful, unpredictable and inventive, genuine and imaginative. Raimondi's art brings a realistic look to the world of a surreal character. I'm not wild about his take on Wolfsbane, though. And like other artists before him, Raimondi can't keep Strong Guy from looking ridiculous; it's that little tuft of hair and little-biddy glasses that do it. I'm really quite surprised this title is only a five-issue limited series; it's clear just how much potential there is in the core premise, and David's strength as a writer who excels with wit and characterization is perfect for this off-the-wall property that's on the fringes of the super-hero genre. 9/10
Email Don MacPherson with your comments about this review.
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