Quick Critiques – Oct. 24, 2007

Annihilation: Conquest – Wraith #4 (Marvel Comics)
by Javier Grillo-Marxuach & Kyle Hotz

This series started out on a really strong note, bringing together science-fiction with a Western genre feel, but that was lost by the time the plot reached its conclusion. Javier Grillo-Marxuach’s story for this final issue is a typically cliched ending about the triumphing underdog in the midst of a sci-fi war. Despite his efforts, there’s no dramatic tension to be found here. Furthermore, the Wraith’s angst and a message from his dead father come from out of nowhere, interrupting the flow of the storytelling and shifting away from the edgy intensity that made the title character so cool in the first place. I did enjoy the Super-Skrull’s role here, but Praxagora’s presence adds nothing to the story at all. It’s not clear why she’s been included. While the story is a misfire in just about every way, artist Kyle Hotz does just as solid a job here has he has on previous chapters. His vision of the Super-Skrull’s shapeshifting powers strikes me as different from what we’ve seen before, emphasizing the character’s alien origin rather than making him look like a Plastic Man knockoff. He also does an excellent job of presenting Ronan as a huge, imposing and powerful figure; that makes for a great contrast with the desperate, wailing man he becomes by the end of the issue. My only qualm with the art is the two-page spread toward the end; it’s not at all clear what’s happening. Of course, the script’s description of the deux ex machina resolution is confusing as well. Despite my appreciation of Hotz’s work, this was a disappointing conclusion and a sample of squandered potential. 4/10

The Brave and the Bold #7 (DC Comics)
by Mark Waid, George Perez & Bob Wiacek

The second story arc of this series gets underway, and Waid has made sure to maintain the same balance between lighter, more traditional super-hero fun and a slightly darker, edgier tone that’s more in keeping with a modern sense of storytelling. The teamup here is a natural pairing, and I like the contrasts and comparisons Waid makes between the two heroines. Mind you, he has to present more simplified versions of these characters to offer a succinct story. We’ve seen greater depth in Power Girl, for example, in JSA and JSA Classified. The catalyst for this story is a fantastic hook; Power Girl’s sudden admission to a murder plot is as entertaining and compelling for the audience as it is shocking and disturbing to the characters. It was a pleasure to see the return of a campy, Silver Age Flash villain, and if memory serves, Perez actually offers up a subtle tweak to the character design. Visually, this issue was a real treat for me because I was such a big fan of Perez’s run as writer/artist on Wonder Woman when the title was relaunched in the late 1980s. Any chance to see Perez take on that character along with an array of Greek architecture and supernatural opponents is welcome. I also like that Perez doesn’t fall into the trap of overly sexualizing these two female protagonists. Yes, the costume design do accentuate certain physical attributes, but compare, for example, the depiction of Wonder Woman in this comic book to that in the most recent issue of Justice League of America. I was taken aback by Perez’s presentation of the sci0fi torture of Superman later in the issue. It’s a gruesome scene but never disgusting. Perez captures a dark, dire tone with that scene and manages to instill a strong level of suspense even though the reader is well aware DC isn’t about to bring Superman’s adventures to an end here. 7/10

The Flash #233 (DC Comics)
by Mark Waid & Freddie Williams II/by Mark Waid, John Rogers & Doug Braithwaite

Looks like DC’s pulled the ol’ bait-and-switch on Flash readers yet again. This time, it’s the artist, not the title character and entire creative team, that undergoes the quick change. DC’s solicitation copy for this issue and the next two in this series all list Daniel Acuna as the artist of the main story. Instead, Freddie (Robin) Williams II handles the art for the main story, and it’s a big disappointment. It’s not that Williams performs poorly; his work here capable and clear. But compared to the distinct, glowing work of Acuna or Karl Kerschl (who illustrated big chucks of the All-Flash one-shot that relaunched the Waid run on this title), it pales in comparison. Waid’s script on the main story disappoints as well, as the alien invasion plotline takes a cliched turn, ending with more of a whimper than a bang. What’s really frustrating is the Justice League’s confrontation with the Flash over his kids’ super-heroic activities, a frank discussion that makes no sense in a world full of sidekicks and Teen Titans. The backup story is much more satisfying, offering a sci-fi story that gets to the heart of the Golden Age appeal of a war-era super-hero. Braithwaite’s art is a real surprise. There’s a painted look at play in his work, much more refined than what we’ve seen from this already-strong artistic talent in the past. I didn’t know this backup feature was coming, but I’m now looking forward to the next few chapters, given compelling visuals. Of course, the art does come off as a bit cramped, but with such a short segment and so much information to convey, that’s to be expected, I suppose. 5/10

Marvel Zombies 2 #1 (Marvel Comics)
by Robert Kirkman & Sean Phillips

While I found the first Marvel Zombies series to be thoroughly entertaining, there’s no doubt that Marvel’s been milking that undead cow far too much in the wake of its success. With that in mind, I approached this sequel with some trepidation, figuring it would be difficult for Kirkman to overcome the cosmic ending he’d given the zombie Marvel heroes in the first series. I was mistaken. By catapulting the story decades into the future, Kirkman brings fresh new premises and backdrops to the mix, revitalizing the property. The writer also blends a nice mix of drama and black humor for a nice, balanced read. The story is surprisingly accessible, given how much of it flows from the first limited series. A passing familiarity with Marvel characters certainly helps with the reading experience, but really, who other than fans of Marvel characters are going to buy a comic book featuring zombified versions of those characters? Phillips’s gritty artwork is a good fit with the horror elements of this science-fiction story, but it’s also surprisingly effective when it comes capturing the cosmic quest of the space-faring characters. Phillips’s depiction of aged characters is vital to the story. He instills frailty in many of those characters, but he also allows us to see their strength as well. Another reason for the popularity of this property is Arthur Suydam’s zombified reinterpretations of classic Marvel covers. Unfortunately, his vision of a Civil War of the undead for this cover isn’t nearly as eye-catching, but perhaps that’s because the artwork that inspired it wasn’t all that iconic either. 7/10

PVP #35 (Image Comics)
by Scott Kurtz

Scott Kurtz’s comic strips usually bring a smile to my face at the very least and elicit a solid guffaw at most, so I always enjoy delving into a new issue. This one didn’t sit as well with me as previous issues have. The cover, suggesting a spoof of such uber-violent pop-culture fare as Sin City, instead serves as an accurate representation of what one can expect within. Scratch the cat has always been something of a cross between Stewie Griffin and Catbert, but in this issue, he discovers his inner predator. Kurtz takes that concept to an ugly extreme. Scratch’s escalating violence doesn’t prove as humorous as the creator hopes it to be. Scratch’s bloody behavior struck me as a little unsettling, contrary to the goofy, slapstick material we’ve come to expect from this series. Fortunately, that plotline is brief, allowing other oddball stories to unfold. The haunting plot was a lot of fun, while the revelation of Jade’s checkered past wasn’t all that engaging. Kurtz’s cartooning is solid. I love how expressive his characters are, and the simple, light designs are always pleasing to the eye. I’m often reminded of the anthropomorphic characters from Frank Cho’s Liberty Meadows; it seems clear Cho’s influence is undeniable here, or perhaps vice versa. 6/10

Suburban Glamour #1 (Image Comics)
by Jamie McKelvie

Jamie McKelvie did a fantastic job of illustrating Phonogram, another Image limited series from the past year, but it seems he was also taking some important lessons from the writer on that project, Kieron Gillen. With Suburban Glamour, McKelvie takes on both the illustration and writing chores, and he performs quite well. His plot loves along much more slowly than Gillen’s, but there are many commonalities as well. There’s a youthful energy to the storytelling and an undeniably hip quality to the characters. The teen protagonist and her friends are charming and thoroughly likeable. I think McKelvie makes a small misstep with his decision to hold off on the introduction of the supernatural elements until late in the issue. He ends up creating a false impression that this book is something of a teen drama, a slice-of-life comic rather than a story of magic. Still, up to that point, it’s a really good slice-of-life comic, but the shift in focus doesn’t bring disappointment either. McKelvie’s art continues to remind me of the tight, convincing style of Steve (Wolverine Origins) Dillon, though past correspondence indicates that’s not a direct influence. McKelvie’s characters are obviously attractive, but the artist doesn’t rely on the characters’ sexuality to provide their allure. Astrid is lovely, but her sexual attributes are never emphasized. It’s the softness, thoughtfulness and enthusiasm we see in her face that serve to draw the reader to her. I also have to applaud McKelvie for a strong cover design. While he uses a different motif and approach than he did for the Phonogram covers, it’s clear he has a great eye for design, using white space and simple patterns to converge in an unusual, eye-catching manner. 8/10