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Snapshots for 6/16
There's no way that Don 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 #68
by Gail Simone, Joe Bennett & Ruy Jose (DC Comics)
 After the exhausting and exciting six-part "Sensei & Student," the art team and the characters take a brief rest in this self-contained issue. Bennett and Jose provide artwork that I like slightly better than the usual Benes/Lei outing, but which maintains a stylistic similarity (and the same proclivities for cheesecake), but the real gem as always is Simone's story. She gives us a realistically tense relationship developing between these three female crime-fighters now that the immediate danger has passed, and it's a deconstruction of their relationships that will delight the DC hardcore and the continuity newbie alike. Simone also throws in some welcome guest stars, sets up some interesting new sideline activities for Oracle's operatives and writes a really funny sub-story about the Huntress's ill-fated date, one that comes to an ambiguous but hilarious visual conclusion on the second-to-last page of the book. It's funny and sweet and very character-intensive, and it's not just a jumping-on point for new readers but a nice reward for long-time fans of the book as well. 10/10
GOTHAM CENTRAL #20
by Ed Brubaker, Michael Lark & Steffano Gaudiano (DC Comics)
 "Unresolved" is shaping up to be possibly the best Gotham Central story yet, making the Mad Hatter look like a genuinely dangerous foe and bringing Harvey Bullock, legendary tough cop, back into the fold for the story as well. I loved Brubaker's take on both of these characters here, from the stories about Bullock that indicate his lack of regard for procedure and corresponding impressive results as well as a good shorthand version of why he got kicked off the force to Bullock's slow self-destruction after he lost the only thing that mattered to him. Bullock's story is tragic, but there's also something undeniably entertaining about seeing the guy just walk up and take on a Batman foe with a violent, careless attitude, and even though you get the sense that Bullock is doing it for all the wrong reasons, it's hard not to like the guy for being the one to cut through all the BS and just do what he feels is right. At the same time, this issue features an incredible interrogation sequence between Josie Mac and the Mad Hatter, building a touch of Silence of the Lambs onto the already impressive Arkham Asylum atmosphere and hinting that what really happened to the youth baseball team is directed by a more human, normal menace than a guy with crazy mind-control hats. Gotham Central remains grounded in a believable sort of reality, and the touches of insanity from Gotham give it a twist that no other cop procedural story can touch. 10/10
HAWKMAN #29
by Jimmy Palmiotti, Justin Gray, Ryan Sook & Mick Gray (DC Comics)
 While it's still not what I personally want to see out of Hawkman as a character, I can't deny that Palmiotti and Gray have a compelling take on the character, one who is trying to steer away from his destiny and live a normal life but who finds himself drawn back into the web of superheroism at every turn. As much as I'm enjoying Carter's relatively normal romance with Domina Paris, and the clever examination of his reincarnation love affairs by use of 12th century love letters, though, the best thing about this issue was finally seeing Hawkgirl get to come into her own a little bit. Palmiotti and Gray have reversed the reluctant hero of the pair, turning Kendra into the one who goes out and does the hero thing (fairly impressively, in the first few pages) and tries to drag her partner back to their responsibilities, and I find that this transformation makes her character much stronger and considerably more interesting. In addition, I can't stress enough how great Ryan Sook and Mick Gray's art looks on this book, with elements of the slick animated style of Cameron Stewart, Darwyn Cooke and Cliff Chiang but a distinctive style as well, and a darker touch that fits the book without losing so much to the shadows that the action scenes are lost. In fact, the action scenes, particularly the opening one that pits Hawkgirl against some bank robbers, are pretty fast-moving and fun. 7/10
HUMAN TARGET #11
by Peter Milligan & Javier Pulido (DC Comics/Vertigo imprint)
 In the course of a single issue, Milligan and Pulido tell about a half-dozen stories, all of which are interesting and most of which are pretty satisfying with only a page or two to tell. Oh, sure, I could use some details filled in on the transitions, such as when exactly Chance had time to transform into the weatherman or how he rescued the kids and made sure the dealer's goons wouldn't threaten his friend again, but it's easy enough to fill in the gaps, and the story of Chance's various impersonations are really more flavor than anything else, reinforcing the main story which is about how a man whose job is to lie lets down his guard and trusts someone not to lie to him. It's the kind of psychological exploration that made me fall in love with Milligan's take on Human Target in the first place, and it's backed up by some very interesting action sequences. I'm still not as crazy about Pulido's artwork on the book as I am Cliff Chiang's, but he handles everything this issue, including the coloring, and does a weird '60s deco look that is very stylish, unusual and compelling. The storytelling isn't always 100% there, but the style is, and I like the sort of ethereal, floating style that fits in nicely with Chance's emotional disconnection and uncertainty. Human Target is a better book than I gave it credit for at first, and though it's not up with my favorite Vertigo books like The Losers, Fables or Y: The Last Man, I can't deny that it's found a permanent place on my reading list. 9/10
PLASTIC MAN #7
by Scott Morse (DC Comics)
 To tell the truth, I'm much more a fan of Morse's creator-owned work than I am his work on DC or Marvel characters, but I love his artwork enough that I'll pick up pretty much anything he does, and his Plastic Man artwork does not disappoint. Morse's art is beautiful in stark black and white, but he's just as gifted with colors as he is with linework, and I love seeing the unique painted approach that he takes to these books. For me, Plastic Man is most enjoyable if viewed as 22 pages of Morse artwork, without even looking at the word balloons or plot. Morse picks up from Baker's interpretation of the character as using his stretchy powers to be in different places at once, or to act out his thoughts and emotions in physical form, and it's a lot of fun to look at. The story, a tale of Plastic Man trying to get his pal Woozy a date, is pretty goofy and lightweight, but at any rate, it's enjoyable as well, and the artwork really is worth the price of admission all by itself. 8/10
RUNAWAYS #16
by Brian Vaughan, Adrian Alphona & Craig Yeung (Marvel Comics)
 I'm disappointed by the cancellation of Runaways (even if it winds up being merely a hiatus before a "season two" starts in 2005), but that doesn't mean I'm not enjoying the hell out of these last few issues while I can. Vaughan continues to shock and surprise, finally revealing the traitor in this issue, but doing it in such a way that even though I had guessed at the traitor's identity, it came as a shock and served as yet another phenomenal cliffhanger for the book. In addition, Vaughan, Alphona, Yeung and the rest show us a good old-fashioned superhero vs. supervillain fight, well-choreographed and exciting and with fun dialogue interspersed throughout the fight, with Molly as always getting one of the best lines. Runaways is fun and unpredictable, and will no doubt remain so throughout the next two issues and hopefully on into a new incarnation in the new year. Even if the series never does return, Vaughan and company have plenty to be proud of, and I look forward to seeing the entire series collected in trade format. 10/10
SEAGUY #2
by Grant Morrison & Cameron Stewart (DC Comics/Vertigo imprint)
 The first issue of Seaguy was an introduction to a wild, weird world of retired superheroes that had the stamp of Grant Morrison all over it. Rather than sort of stick with that world and tell a story, however, Morrison chooses to introduce even more weird elements, and while it's undeniably imaginative and entertaining, it's not quite as fresh and exciting as the first issue of the book, and it's certainly a hell of a lot less linear. The book is looking like all high-concept, no story, and while I praised the first issue for being a nice injection of fun, that doesn't mean I wasn't hoping for some kind of meaning in the story beyond "look at all this goofy superhero stuff!" Mind you, the artwork by Cameron Stewart is still drop-dead gorgeous and just as imaginative as Morrison's creations, and while the book is not what I had hoped for after a brilliant first issue, it's still a joyous collaboration between two very talented creators. 8/10
ULTIMATE FANTASTIC FOUR #7
by Warren Ellis, Stuart Immonen & Wade Von Grawbadger (Marvel Comics)
 While there is a noticeable change in Ultimate Fantastic Four with the new creative team, I was surprised to find that Ellis has modified his style somewhat to fit in with the style that Millar and Bendis brought to the book, notably a playful style to the dialogue between Reed and Sue that is far more optimistic than I tend to expect of Ellis's work. His take on Doctor Doom is pure Ellis, though, built on a deranged parent and a history of bloody evil that sets up Victor Van Damme as a monster regardless of his decisions later in life. To be honest, I hate having Victor tied into Vlad Tepes, but other than that, I kind of like "Ultimate" Doctor Doom so far, as Ellis is not just making slight tweaks but remaking him wholesale, including a creepy new visual and weird powers courtesy of Stuart Immonen. It doesn't beat out classic Doom for me, but it's a damn sight better than other attempts at remaking the character's image courtesy of Mike Wieringo or Walt Simonson. In summation, there are definitely big changes in this issue, and Ellis's focus on Doom's heritage or the weird pseudo-science behind Reed Richard's powers, along with Immonen's different art style, are most notable, but those who have been enjoying the book will probably still be enjoying it now. 7/10
ULTIMATE SPIDER-MAN #61
by Brian Bendis, Mark Bagley & Scott Hanna (Marvel Comics)
 I hate Carnage, so I'm just mind-boggled that this storyline has got me loving Ultimate Spider-Man as much as ever. Partly it's because Bendis is using Carnage (and Clone-saga regular Ben Reilly) in name only, coming up with what are essentially brand new takes on the characters that are more interesting than the lame-o origins of the Marvel Universe versions, but partly it's because the focus isn't on the new big bad villain but on the enjoyable mentor-student relationship developing between Peter Parker and Curt Connors and mostly it's because Bendis still writes the most enjoyable dialogue in the business. While Ultimate Spider-Man is structured in trade-friendly story arcs, it's really the story of Peter Parker growing up and how his life and the life of his friends and remaining family is affected by his being Spider-Man, and it is that central story, maintained with skill and style by Bendis, Bagley and the rest through guest appearances of characters I can't stand like Elektra, Venom and Carnage that keeps me tuned in. I'd be happier with the book if Bendis wasn't rushing to introduce all this '90s flotsam and jetsam, but for the most part, the book remains as much fun now as it was when I first cracked the covers of Ultimate Spider-Man #1. 9/10
WOLVERINE #16
by Greg Rucka, Darick Robertson & Jimmy Palmiotti (Marvel Comics/Marvel Knights imprint)
 Greg Rucka started with a somewhat cliched premise, another Weapon X survivor and another conflict between Sabretooth and Wolverine, and from that premise, he has crafted a very interesting and action-packed little tale that ranks as some of his best work on this title. There's some fun to be had in seeing Wolverine frustrated by his stolen memories, or the questions raised about who and what the Native is, but the real fun this issue is a knockdown dragout between Wolverine and a swarm of soldiers working for the bad guys. Rucka deserves credit, of course, but a lot of credit must also go to Darick Robertson and Jimmy Palmiotti, who deliver an amazing action sequence that features Wolverine leaping at attack helicopters, wading in against heavily armed troops and, perhaps most tellingly, giving a little grin when he's asked for surrender. Robertson's work is always impressive, but this might be one of my favorite action sequences in comics over the past few months, and even though I'm not really in a Wolverine mood much these days, it's sequences like this one that remind me why I sometimes like the character. 8/10
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