Eye on Comics

Dynamo 5 #2 (Image Comics)
by Jay Faerber & Mahmud A. Asrar

Creators Jay Faerber and Mahmud Asrar prove that the strength of the first issue of this novel super-hero title was no fluke with another solid story that combines old-school action with a premise that opens the door to interesting possibilities for characterization. Faerber’s script is thoroughly accessible, and I like how different dynamics, personalities and attitudes are emerging among the protagonists. Slingshot is developing into a natural leader, and Scrap’s tough exterior is balanced by her insecurities about making her dream of a career as a filmmaker come true. Faerber also maintains a strong balance in his portrayal of Maggie Warner; she’s determined and ruthless, but there’s a maternal quality that’s beginning to shine through here. My one qualm with the story is that Whiptail’s motives for rampaging through the city aren’t apparent at all. Mahmud Asrar’s art continues to impress. His work is dynamic and full of energy, and his style is still reminiscent of such strong super-hero artists as Kevin Nowlan and Mike McKone. There’s a darker tone to be found in Ron Riley’s colors. That’s fitting, given that most scenes are set at night, but the approach also brings a slightly more mature tone to the story. I’m pleased that the first printing of the first issue of this series sold out. It seems as though it’s finding an audience. It looks as though Dynamo 5 will be the project that finally serves as Faerber’s big breakthrough. 7/10

Fallen Son: The Death of Captain America #1 (Marvel Comics)
by Jeph Loeb & Leinil Yu

I approached this book with some trepidation, as it seemed as though it might just be a money grab, designed to capitalize on the much-publicized gimmick of Captain America’s death. And it is a money grab; after all, Marvel is a business. To my relief, there’s also a story to be found within, a decent one at that. The best thing about writer Jeph Loeb’s story is that it acknowledges the basic flaw in a story about the death of any established super-hero character: that nobody would believe the character is “really” dead. In this plot, Wolverine operates on the assumption that Cap is, in fact, still alive, and that enables Loeb to overcome that liability. Like he did on Superman/Batman, Loeb makes the most of the shared continuity of the Marvel Universe, bringing together basically unconnected characters for a story so certain plot elements can be fulfilled. The problem with that is this story comes into conflict with other Marvel Universe tales, such as the current plotline in New Avengers. That story, which also involves Wolverine, doesn’t jibe with this one. Leinil Yu’s art is appropriately gritty and dark, given the premise and tone of the plot, but it also strikes me as being much looser than efforts we’ve seen from him in the past. At times, the linework here looks rushed, and I found my eye just wasn’t as engaged as it’s been when taking in Yu’s art in the past. 6/10

Green Lantern #18 (DC Comics)
by Geoff Johns & Daniel Acuna/Johns & Dave Gibbons

This issue has come under fire for the overly sexualized portrayal of Star Sapphire, not only as presented on Ivan Reis’s cover image but in the main story illustrated by Daniel Acuna. The criticism is justified; there’s no need of so much skin to convey the character’s sexuality, especially given the skin-tight nature of her costume (and any other super-hero/villain costume). Still, Acuna’s art is lovely, just as it was on Uncle Sam and the Freedom Fighters. He uses color to great effect here, and if ever there was a super-hero property that makes great use of and relies on color, it’s Green Lantern. I like Johns’s characterization of Star Sapphire as something of a cosmic parasite, employing sexuality with raw power in order to overwhelm her prey. The combination of the art and that take on the character (not to mention a more assertive and action-oriented Carol Ferris) was enough to get me to return for the next issue. Of course, the real star of this issue is the backup feature, the first in a series of “Tales of the Sinestro Corps.” Johns’s script harkens backs to the GL Corps stories of the 1980s, and to Alan Moore’s short GL stories in particular. Of course, it doesn’t hurt that artist Dave Gibbons contributes to this short segment. Ultimately, I love these kinds of stories, which explore the notion of sentient life taking forms that are incredibly unlike what we expect. 7/10

Runaways #25 (Marvel Comics)
by Joss Whedon, Michael Ryan & Rick Ketcham

I was disappointed when I heard the original creative team that launched this title was leaving the book but encouraged by the news that Buffy creator and popular writer Joss Whedon would inevitably bring a larger audience to this underrated book. Unfortunately, he also brought a change of direction that doesn’t really make sense, given the context of these established characters. The shift in setting from Los Angeles to New York comes from out of nowhere, and there doesn’t really seem to be a good reason for the character to choose it. There’s not enough buildup here to get the reader to accept the title characters’ odd and new tactics. Whedon’s script doesn’t seem to be in line with current continuity either, but then again, this title has only been tangentially linked to the Marvel Universe in the past. One cannot deny it’s fun seeing these newbie, would-be heroes screwing up a heist job, though. the characters’ bumbling offsets the newfound confidence they display in their confrontation/negotiation with the Kingpin earlier in the issue. I think Whedon’s got a solid handle on the unusual love triangle among Karolina, Nico and Xavin as well. Michael Ryan does a decent job of conveying the characters’ youth throughout the book, but his standard super-hero style rather pales in comparison to the much more unique look that original artist Adrian Alphona brought to the book. This issue was diverting and entertaining at times, but I think people were expecting something big from Whedon here, something he doesn’t deliver. 6/10

Witchblade: Shades of Gray #1 (Dynamite Entertainment/Top Cow Productions)
by Lean Moore, John Reppion & Stephen Segovia

I’m confused as to why this latest Witchblade mini-series is being published by Dynamite Entertainment rather than being released as it usually is under the Image Comics banner, but I thought perhaps that might serve as a sign that the storytelling might improve. Another such cue was the fact that this is co-written by Leah Moore, daughter of comics legend Alan Moore. Unfortunately, what lies inside is what I’ve come to expect from this Top Cow property. The creators offer up a nonsensical plot and a heaping helping of gratuitous T&A. Ass shots, cleavage and completely unnecessary nudity make for some ridiculous visuals throughout the issue, but even more frustrating is the complete lack of logic in the plotting. It’s never explained why two NYPD detectives are partnered for a particular murder case, and there’s no explanation as to the direction of the investigation and the Witchblade’s psychic reactions to a mysterious figure. This script is almost unintelligible at times, and the writers don’t even offer up a quick explanation as to what the Witchblade is and how Sara uses it to fight evil. This stands out as one of the weakest books I’ve read in some time, and outside of the core, diehard Witchblade fanbase, I can’t imagine that it would appeal to anyone. Do yourself a favor and ignore this comic’s existence. 1/10