Eye on Comics

Annihilation: Conquest Prologue #1 (Marvel Comics)
by Dan Abnett, Andy Lanning & Mike Perkins

Though Civil War lit up the sales charts for Marvel in 2006 and 2007, one could easily argue that its Annihilation brand was a bigger success. The various Annihilation limited series didn’t sell Civil War numbers, but the creators behind those titles managed to grab readers’ attention with a number of third-tier, space-faring characters that no one really cared about at the time. The first round of Annihilation was so successful that it spawned a new hit ongoing title (Nova) and this sequel event. My concern was that the writers would tread the same territory as before, but Dan Abnett and Andy Lanning introduce a creepy new threat. The tension in this script is palpable, and it really draws one into this cosmic drama. More importantly, though, the writers are careful to bring these impossible heroes down to earth. With the new Quasar, they do so with her relationship with Moondragon and her insecurities about living up to heroic legacies. With Star-Lord, it’s his charisma and humor that make the cybernetically enhanced hero seem like a regular guy. Mike Perkins was an excellent choice as artist. His style brings a dark sense of drama to bear as well as a creepy, almost supernatural air to it. More importantly, the photorealistic leanings in his art makes these alien beings seem like people, not impossible figures on the far side of the universe. The design for the physical manifestation of the technological infection that drives the story forward is simple but thoroughly effective in instilling a sense of foreboding. it also makes it clear to the characters and readers that the infestation is deeply rooted and seemingly impossible to overcome. 8/10

The Flash: The Fastest Man Alive #13 (DC Comics)
by Marc Guggenheim, Tony Daniel, Jonathan Glapion & Marlo Alquiza

DC has promoted this comic book as a key, collectible issue given that it promises the death of a Flash. I’m not spoiling anything here, I don’t think; the artwork for both covers would seem indicate the same. The story is fairly accessible. Guggenheim’s script tries to bring Bart Allen’s character down to earth, but it falls flat. The issue opens with a scene set in the far future and a reference to Bart’s virtual-reality upbringing. The effort to bring gravitas to such a character just doesn’t work. It seems as though not only does the writer not know what to do with the character, but the publisher as well. This sudden cancellation of the newest Flash series, announcement of Mark Waid’s return to the property and resolicitation of Flash comics in the coming couple of months could all be part of some elaborate publicity campaign of misdirection, but instead of misdirection, it smacks of desperation. I’m thrilled to hear that Waid is taking on DC’s iconic speedster once again, but DC’s effort to close this chapter before Waid’s new one begins strikes me as a cheap stunt. The Rogues, characters I usually love to see in action, just aren’t that interesting here either. I came to enjoy Tony Daniel’s artwork on Teen Titans in the past couple of years, but his efforts on this title don’t come close to the strength of his work on his previous assignment. The page-three splash is a nice homage to the cover of Crisis on Infinite Earths #8 (the death of Barry Allen), but the rest of the issue just looks loose and rushed. The use of three inkers (Glapion, Alquiza and Tony Daniel himself) to get the product out would seem to support the notion that this was something of a rush job. 4/10

Re-Gifters original graphic novel (DC Comics/Minx imprint)
by Mike Carey, Sonny Liew & Marc Hempel

DC’s Minx graphic novel line follows up its initial release, The Plain Janes, with another solid read that boasts appeal beyond its target market of teenage girls. The art by Sonny Liew and Marc Hempel is full of fun and energy. Liew’s brings out the main character’s spunky, impulsive nature perfectly. The linework brings a level of energy and personality to the mix that’s reminiscent of the styles of Stan (Usagi Yojimbo) Sakai and Sergio (Groo) Aragones. The book design is a bit lackluster; it doesn’t really pop. The title refers to a plot element that runs through the book, but it’s not of such major importance to merit top billing. I kept waiting for the re-gifting aspect to play a more prominent part. Dixie is a wonderful character, a plucky, lovestruck heroine that one can’t help but cheer on. Sure, she’s a bit on the stereotypical side, but there’s a reason that type pops up so often (it works). Carey sets her apart from past kindred spirits such as Anne Shirley and Lizzie Maguire by weaving in Korean cultural elements. I learned a lot about Hapkido, a Korean martial art, but there are other smaller bits of culture that help to distinguish Dixie and her family. It’s an accessible look at a combination of Korea and America and how those worlds impact how a loving family functions. At one point, Carey breaks the Fourth Wall in order to provide exposition, but he abandons that approach fairly quickly for more straightforward narration. The plot itself is a bit predictable at times, but it’s a thoroughly enjoyable ride that’s bound to please young and old alike. Most importantly, the central message is that girls are just as strong as boys or even moreso. 8/10

Teen Titans #47 (DC Comics)
by Adam Beechen, Chris Batista & Jonathan Glapion

This comic book is evidence that DC is taking its crossover approach to super-hero publishing way too far these days. Beechen’s script not only deals with the fallout of the recent “Titans East” storyline, but the events of Countdown and Amazons Attack as well. There’s no cohesive plot here, but rather an effort to address minor points of continuity instead. In Countdown, Jason Todd is one of the protagonists, but Beechen addresses the fact that the Batman family sees him as a villain. The confrontation between him and Tim Drake is ridiculous, and it really doesn’t make all that much sense either. The Jericho/Match subplot is somewhat interesting, but I don’t know that there’s much else that can be done with it. The Beast Boy/Raven subplot is constructed awkwardly, reminiscent of bad sitcom writing. To be honest, there’s little redeeming in the story here. The emotional turmoil Wonder Girl goes through is overdone and played out, and the script relies far too much on the reader’s knowledge of other comics. I wish I could dismiss the creators’ efforts altogether, but there is one way in which this comic hits its mark. It looks too damn good for such a poor script. Batista’s crisp artwork is fantastic. His characters are expressive and the action is explosive. He makes this colorful super-hero book look as it should — he makes it look fun. His work here is so strong that I’m disappointed he’s not the new regular artist on the series. Unfortunately, Randy Green’s cover art isn’t similarly attractive. For some reason, Donna Troy looks as though she’s modelling rather than grieving… either that or trying to give the well-endowed Power Girl a run for her money. 3/10