Advertise on Eye on ComicsQuick Critiques – March 16, 2007
Posted by Don MacPherson on March 16th, 2007
Civil War: The Confession #1 (Marvel Comics)
by Brian Michael Bendis & Alex Maleev
With the release of last week’s Civil War: The Initiative and a slew of Fallen Son specials on the way, Marvel’s readers are no doubt getting sick of the fallout from the publisher’s Civil War crossover event. The anti-climactic tone of the final issue of the crossover series was unsatisfactory, but this latest one-shot provide a quite sense of closure for the central Captain America/Iron Man conflict. Bendis — with his strongest Marvel Universe script in recent memory — manages to humanize Tony Stark and cast him in something other than a villainous or corrupt light. Stark’s dedication to his cause makes sense here; one isn’t more likely to agree with him, but at least his behavior makes sense in the context provided here. This is a quiet, emotional story about two friends who feel forced into enmity, and Bendis’s script really gets to the heart of the hurt both men feel. Alex Maleev’s artwork might seem like a poor match for the sleek, technological qualities of Iron Man, but the dark, gritty tone in his style is a great match for the emotional pain that’s at the heart of this epilogue story. Colorist Jose Villarrubia brings some added texture and realism to the visuals, and given Bendis’s effort to achieve a realistic tone, it bolsters the gravity of the story. It’s a shame that the bulk of the plotlines from Civil War were so frustrating, because there is clearly potential in the concepts. Bendis demonstrates as much here, just as other writers — such as J. Michael Straczynski in Amazing Spider-Man and Fantastic Four — did in various tie-in issues. 7/10
Detective Comics #829 (DC Comics)
by Stuart Moore & Andy Clarke
Writer Stuart Moore fills in for regular scribe Paul Dini for a couple of issues, and like Dini’s done several times, he opts to introduce a new villain with this story. Vox is a terrorist-related character, and that’s a logical development given the political and military climate that dominates the news these days. His liquid-explosive gimmick is smart and even has an air of plausibility to it (as does the SWAT look for the character design). I think the codename is a bit of a misstep, if only because DC already has an active, C-list hero by that name at the moment (currently a member of the Doom Patrol). I like the plot, which keeps the Batman from changing out of his civilian guise, leaving Robin to do the heavy lifting. Still, the Dark Knight manages to get involved in the action from an intellectual, strategic standpoint. Still, there’s something of a generic tone to the plotting as well, and there just doesn’t seem to be the sense of danger that’s vital to selling the story. Andy Clarke’s artwork is detailed and appealing. It reminds me a little bit of the style of Renato (OMAC) Guedes, even to the point that it boasts the same sort of stiffness when it comes to conveying movement. Still, the artist conveys the carnage of the literally explosive situation quite well. Clarke does seem to fail to include a visual cue early in the story, a cue that’s referenced in the script but not seen. Overall, the issue is standard in tone but thoroughly accessible. There’s a serious tone to the conflict but not so harsh that younger readers can’t appreciate and enjoy the story. 6/10
G.I.Joe Vol. II #21 (Devil’s Due Publishing)
by Mark Powers, Mike Bear & Clayton Brown
Former Marvel/X-Men editor Mark Powers offers up a thoroughly accessible script that will allow new readers and those with a passing familiarity with the characters and concepts here to follow the story clearly. I like the core concept of this story arc, which pits the one-time queen of Cobra, the Baroness, against both the G.I.Joe team and her former terrorist allies. Powers offers up a scenario in which the Baroness is somewhat sympathetic, but he doesn’t go overboard. The villainess is still ruthless and corrupt, but her motives here are easier to accept. My favorite part of the script is the notion that the good guys (or at least the Powers That Be that direct G.I.Joe’s activities) allow for ethical compromises in their methods as well. the exposition is woven seamlessly into the script, disguised as a mission briefing. Powers wisely opens with an action-packed scene that establishes the militaristic tone of the book right away. The line art is detailed but not photorealistic, which is a wise choice. This is, after all, G.I.Joe, and one doesn’t one to see too much in the way of realism in the visuals or the plotting. Though the action is choreographed well, the art doesn’t stand out as terribly unique; Bear’s style is a rather standard one. Overall, the storytelling here is clear and capable, but there’s not enough of a hook to get me interested in the world of G.I.Joe. 6/10
New Avengers #28 (Marvel Comics)
by Brian Michael Bendis & Leinil Yu
There are a lot of problems with this issue. Bendis’s script promises an answer to the question of how the New Avengers went from being underground in New York to stalking the underworld in Japan for a colleague in trouble, but the flashback wallows in the wake of the Civil War and fails to provide the answers that are promised. Furthermore, the macho posturing between Wolverine and the non-costumed Silver Samurai takes up way too much time in the story and goes nowhere. Furthermore, Bendis reveals that the secret fate of Cap as mentioned in last week’s Civil War: The Initiative was a red herring, but it nevertheless shines a spotlight on the fact that the reader knows Cap will turn up alive somewhere down the line. Yes, there are a number of flaws in the plotting and pacing here, but I have to admit that Bendis’s dialogue is a lot of fun. He delivers some of the goofiest and most entertaining Spidey banter ever (“Yikes-a-hooty!), and the prominent role that Luke Cage plays in this new direction for the team is surprisingly satisfying. There’s a lot of fun to be found in this incarnation of the team, especially given the darker tone that the Civil War aftermath has brought to the book. Leinil Yu’s artwork — which evokes favorable comparisons to the maturity and edginess of the work of such artists as Bill Sienkiewicz, Kevin Nowlan and Sean Phillips — looks great, but it’s a poor fit for the more playful tone to be found in the dialogue. Bendis’s scripting actually puts me in mind of the Keith Giffen/J.M. DeMatteis era of Justice League, and it goes a long way to compensate for the awkward pace of the plot. 5/10
March 17th, 2007 at 11:47 am
Great reviews as always, Don.
New Avengers #28 left me more than a little unsatisfied. I actually liked the “red herring” Cap plot that was started in the Initiative one-shot and resolved here. Bendis is already demonstrating a tightness in continuity between the two Avengers titles and I like that. And I’m REALLY digging Luke Cage as leader and his scene at the convenience store was outstanding. That stuff is great.
However, I’m not particularly enthralled by the New Avengers fighting Elektra and the Hand again — been there, done that. I’m not exactly certain what the threat is or why or heroes should care.
Silver Samurai watching “Mean Girls” is definitely something that Giffen/DeMatteis would have done, but it really doesn’t jive with Bendis’ recent characterization of Silver Samurai in this very title.
Yu’s art is leaving me cold. It’s too sketchy, but not wonky enough like Sienkiewicz to keep my interest. It looks like a sketchier Silvestri rush job to me. Maybe he’d benefit from a better inker, I don’t know. Some of his faces — I’m think Wong’s in particular, but also Cage’s and Samurai’s at times — looked off to me. I know other people dig his art, so maybe just not my cup of tea.
March 17th, 2007 at 12:00 pm
Lou wrote:
I actually liked the “red herring” Cap plot that was started in the Initiative one-shot and resolved here.
I think it’s ridiculous that Marvel calls upon readers to follow the death of Cap storyline from Cap #25, to Civil War: The Initiative #1, to New Avengers #28 — while never informing the readership that the plotline was to be found in those subsequent comics in the first place.
March 17th, 2007 at 12:22 pm
well all the civil war tie in are kinda required. Marvel puts the list off all of the issues that will be tied in.
March 17th, 2007 at 1:00 pm
Alx wrote:
well all the civil war tie in are kinda required
Required? I don’t think so. The story in The Confession really should have been in the final issue of Civil War, if you ask me.
March 18th, 2007 at 7:03 pm
Hey Don! Long time FourthRail reader here, and even though I found Randy over at ComicPants, it took me this long to discover your site. Good to know you’re keeping up with some great reviews. Onto your Quick Critques…
GI Joe #21 was the first issue I picked up of the series earlier this week, and I really enjoyed it. Being 18, Joe was a bit before my time, so I was glad to see it was pretty accessible, well-written, with some great art.
Haven’t read the Confession yet, and I probably won’t enjoy the story, considering I’ve dropped tons of Marvel stuff lately. I did order it, and I’m pretty sure Maleev will knock it out of the park, if those preview pages are any indication.
And Lou, I agree about Yu’s art. Something about it does not click with me. He needs an inker. Not surprised to see New Avengers get a mediocre review, but I’ve pre-ordered the next few issues, so I’ll still get to read it, even if I have dropped it (starting in May).
Good reviews, Don. Glad to find the site. Expect to see me around here a bit more
March 18th, 2007 at 9:10 pm
Kiel wrote:
Hey Don! Long time FourthRail reader here, and even though I found Randy over at ComicPants, it took me this long to discover your site. Good to know you’re keeping up with some great reviews.
I’m surprised you had trouble finding it. There’s been a link on The Fourth Rail for months, and Randy’s promoted it a couple of times on Comic Pants.
GI Joe #21 was the first issue I picked up of the series earlier this week, and I really enjoyed it. Being 18, Joe was a bit before my time, so I was glad to see it was pretty accessible, well-written, with some great art.
I’m curious… what was it about this issue of G.I.Joe that made you decide to check it out?
Good reviews, Don. Glad to find the site.
Thanks for the kind words, Kiel. I’m pleased you found your way over here.
March 18th, 2007 at 10:41 pm
Heard a lot of hype among fans for Larry Hama’s new Storm Shadow series, and I’ve kinda been wanting to try out Joe for some time. Thought I’d get a taste with the most recent issue. Simple as that.
And yeah, I should have found this site earlier. I may have come across it earlier, but I guess it just didn’t register.
March 19th, 2007 at 2:13 pm
Don wrote:
The story in The Confession really should have been in the final issue of Civil War, if you ask me.
Joe Q. was hedging his bets by killing Cap in his own title. He gets twice the return if he can sell two trades; “Civil War” and “Death of a Dream” (not to mention the arc that set up the assassination) to anyone who wants to catch up.
March 19th, 2007 at 2:30 pm
Johnny wrote:
Joe Q. was hedging his bets by killing Cap in his own title.
To be fair, I think we’d be seeing the Death of Cap storyline in Cap even if Civil War hadn’t been published. It seems to stem much more from Brubaker’s Red Skull plotline than from the CW conflict.
March 20th, 2007 at 8:14 pm
The Confession made me wonder how many issues we’ll see of various superheroes crying for one reason or another. While I enjoyed Bendis referencing Iron Man meeting King Arthur, I wish that the issue had a point. As you say, it would have been better served in Civil War, or at least Frontline, the book that claimed to talk about the other stuff going on in CW. (And yes, I know the reason it wasn’t included was money, but that’s no excuse for weak stories.)
New Avengers, on the other hand, made me like the Avengers for probably the first time ever. This issue, oddly enough with Spiderman Reign #4, made me really wish for a full fledged return of quippy Spiderman.
March 20th, 2007 at 8:30 pm
Dave wrote:
The Confession made me wonder how many issues we’ll see of various superheroes crying for one reason or another.
Well, there is the upcoming parade of Fallen Son specials, due out in the next few weeks…
March 22nd, 2007 at 3:38 am
I’m not sure I understand the problem so many people are having with the Civil War-related crying.
If this was the 70s there would be big captions reading “… and even a HERO can shed a TEAR!” and everyone would be saying that it’s writing like this which truly defines what it means to be a superhero and how wonderful superhero comics are. Or at least that’s what they’d be saying thirty years later.
It seems to me to be perfectly in character that both Captain America and Iron Man might shed a tear over how they’ve acted. And by ‘perfectly in character’ I mean ‘how people like that might actually act’ rather than ‘how superficially they’ve been written in the past’.
Doctor Doom shedding a tear in ASM#536: not so good. This: better.