Eye on Comics

Annihilation: Conquest #1 (Marvel Comics)
by Dan Abnett, Andy Lanning, Tom Raney & Scott Hanna

The first Annihilation event was an entertaining and well-crafted one, and I’ve enjoyed all four limited series leading up to this Conquest series. Not surprisingly, I enjoyed this comic book as well, but not quite as much as I’d hoped. I think writers Dan Abnett and Andy Lanning have included a few too many saviors in this story. Adam Warlock is back from the dead (which is getting a bit old for longtime readers, no doubt), but the Wraith has been established as a powerful figure that can hurt the Phalanx like no other as well. Still, this is early on in the story, so it’s not hard to get past that seeming redundancy. What I did find odd was the villain who stands revealed at the end of this issue. I don’t want to spoil anything, but I found the choice to be a bit puzzling. The villain fits in quite well with the Phalanx, but the character is also the main antagonist in a storyline still underway in another Marvel title. I realize that thanks to the character’s unique traits, he can be in two places (or comics) at once, but it just seems redundant to have so many Marvel heroes fighting the same threat in different ways. I was delighted to see Blastarr included among the generals in the war against the Phalanx, and the depiction of the Kree as a race and culture has been interesting throughout the various Conquest titles. I’ve never been one for the Warlock character, but that stemmed from his stoic and distant characterization in the past. This incarnation of the character seems much more grounded and relatable. Tom Raney’s art brings real power and presence to these alien warriors, and the detail he and inker Scott Hanna bring to bear really convey the ugliness of the war that’s at the heart of the plot. 6/10

The Art of Greg Capullo (Image Comics)
by Greg Capullo

This book opens with an introduction by Spawn creator Todd McFarlane, who really guided Greg Capullo’s career and made him something of a name talent in the industry. McFarlane offers some glowing comments about Capullo, placing him on a pedestal, really. Though I don’t entirely agree with McFarlane’s assessment, it’s heartfelt. My problem with his comments, though, stem from the fact that they’re the only ones in this art book. Many of the images in this book are covers from various Spawn-related comics, but there’s nary a word from the artist. There’s no analysis by an art critic or industry insider. Not enough is said about what sets Capullo’s work apart. The images throughout the book are impressive in the level of detail and strong moods that pervade them. But I’d like some discussion about the process and the craft. There are a few sketches included… very few, really, given the size of the book. The $24.99 price tag seems a bit high given the limited extent of the art that’s included here and the rather unimaginative design and layouts. Furthermore, the images selected are rather repetitive. Not only is the reader faced with a number of Spawn figures (which is to be expected), but there are multiple Sam and Twitch images not to mention a couple of repetitive, shapely dames as well. What about some input from the artist on his favored media? Does he use Photoshopping to enhance his art? What are his inspirations and influences (other than McFarlane himself)? How about some examples of how his work has evolved from more typical super-hero fare to the moody, noir- and horror-inspired images presented in this volume? Also confusing is the choice to shy away from actual comics storytelling. There’s nothing in the way of panel progressions to be found here either. 2/10

Batman and the Outsiders #1 (DC Comics)
by Chuck Dixon, Julian Lopez & Bit

There’s a fun, caper/espionage riff to the plotting and dialogue here that readers will likely find entertaining. I like the notion of a DC Universe title in which a figure behind the scenes directs a team of super-heroes to accomplish pre-emptive missions. The problem is that I’ve enjoyed that concept for some time in Birds of Prey. This new incarnation of Batman and the Outsiders seems rather redundant in the overall context of DC’s current super-hero line. Mind you, Chuck Dixon, the writer who essentially created and established the Birds of Prey concept, handles that approach to the genre quite well. Another problem I had with the book is the notion that the Batman would hang back, directing the action from a distance, allowing others to take all the risks; that doesn’t sound consistent with the classic character at all. Furthermore, I don’t think Dixon goes far enough to introduce new readers to these characters. With a first-issue relaunch and the addition of Batman to the title and lineup, there are bound to be newbies checking out this book. Julian Lopez’s art is quite strong. There’s a realistic look to his stuff that helps to capture the big-screen heist feel of the story and enhances the tension. I’m pleased to see the more modern Metamorpho design has survived here, and I’m also pleased to see that the blonde wig has been ditched from Thunder’s look. The big reveal on the closing splash page was a little disappointing; the figure that emerges is one whose popularity has peaked and waned quickly, and for good reason. 5/10

House of M: Avengers #1 (Marvel Comics)
by Christos N. Gage & Mike Perkins

A spinoff mini-series set in the continuity of House of M is a great idea… or least it would have been almost two years ago, when the original crossover event came to a close. Marvel’s been through so many crossovers and events since then, I’m at a loss as to why it’s returned to the concept now. It’s even more puzzling when one considers that many writers seem to ignore the premise of the fallout event, “Decimation.” Still, what drew me to this comic book was the fact that it’s crafted by Christos Gage and Mike Perkins. They did a stellar job of the Union Jack limited series last fall that I figured they’d offer another colorful adventure this time around. Instead, Gage offers up an issue full of exposition, and nothing about the premise and characters really hooked me. Not only are we presented with the origins of Luke Cage and the world of House of M, but there’s also the typical gathering of the heroes. The thing is, this title is really aimed at House of M readers, so they’d have some familiarity with this alternate incarnation of the Avengers. It seemed like gage was spinning his (and our) wheels the whole time. Perkins’s art wasn’t as attractive this time around either, though I honestly can’t put my finger on a reason why. The visuals here are so much darker, and it doesn’t seem to fit with the more traditional incarnations of these characters. I like that this stands out as Luke Cage’s story, though, and that it explores issues of race and social status pretty effectively. I just wish more had happened here. 5/10

New Avengers #36 (Marvel Comics)
by Brian Michael Bendis & Leinil Yu

Lord, but this title is frustrating. There are some strong ideas at play in the plotting, and Bendis’s characterizations draw one further into the story. There’s a complexity at play that I enjoy, but that’s also balanced by some old-school, traditional super-hero genre enthusiasm. But ultimately, it seems as though an unconventional approach to the storytelling gets in the way of those other strengths. Too much of the plotting in this book occurs off panel, and none of it is to be found anywhere else. We’re presented with a New York City full of Venom-like threats, but it’s only to serve as a secondary or tertiary element in a larger plot. But there’s a lot of fun in that Venom concept, but it’s glossed over far too quickly. The same can be said of the Hood’s organization’s Deathlok plot. Everything happens off-panel. The heroes talk about adventure and justice; the action unfolds outside the reader’s purview. It’s rather frustrating. Also irksome is Wolverine’s confrontation with a naked Spider-Woman; it’s completely unnecessary, and the intrusion of Black Widow, clad only in her underwear, just bolsters the gratuitous nature of the scene. Leinil Yu remains a poor fit with this super-hero team title. His work here is far too loose and sketchy. It’s difficult to make out a couple of characters in the opening scene, and the crowd scenes are a jumble of lines that almost seem random in nature. I’m not saying Yu’s a poor artist; quite the opposite. He’s done some great work in the past, but he just doesn’t seem at home on New Avengers. His work seems rushed and doesn’t serve the story well here at all. 3/10

Salvation Run #1 (DC Comics)
by Bill Willingham, Sean Chen & Walden Wong

There are a lot of problems with this book. The notion that the government would want to get rid of super-villains while leaving their powers and weapons intact makes no sense, and the book’s title tells the casual reader nothing about the story or characters. Furthermore, placing the focus in this first issue solely on one hero’s enemies might limit the title’s appeal. Nevertheless, I have to admit I was entertained. Featuring mainly the Rogues makes sense in the context of the story and gives a logical reason for a small group of prisoners to co-operate. Furthermore, trapping bad guys on an alien world isn’t that hard to accept in the shared continuity of the DC Universe. Sean Chen’s art is crisp and strong, and though it doesn’t really convey the harshness of a hostile alien world, it’s bright and full of energy. Willingham expands the cast of characters quickly by issue’s end, including more well-known DC villains and a number of obscure ones that only the most die-hard, longtime fans will recognize. There’s a lot of fun to be had with Salvation Run, and it’s clear that Willingham sees that potential. The writer balances nicely between crafting elements that get the reader on the criminals’ side (government violation of their rights) and reminding one of how corrupt and loathsome they can be. I can’t help but feel there could have been a better premise through which to explore an all-villain title, one that’s more sustainable. I’m intrigued by the notion that these superhuman villains will be forced to construct a new social order, but the limited nature of the mini-series seems to signal that this will be short-lived, rendering the whole social exercise a moot point in the long run. 5/10

Special Forces #1 (Image Comics)
by Kyle Baker

When I first heard about this project and saw the cover image, I figured it was a satire about the military and the war in Iraq. I figured Baker wasn’t taking it too seriously, given the odd collection of soldiers gathered on the cover. It turns out that it’s the U.S. Army and the administration of George W. Bush that aren’t taking it too seriously. Baker tells the story of an odd platoon of soldiers who find themselves under fire in the Middle East. He’s cast a buxom young woman in the role normally occupied by Sgt. Rock-type characters in war comics of the past, and it’s the emphasis on her sexual attributes that hinder the credibility of Baker’s story. But his point is powerful and compelling. And when one discovers that his story of the poor, disabled and disenfranchised being used as fodder for the war machine is inspired by fact, it’s horrifying. The creator demonstrates that war is a filthy, terrifying business, but more importantly, his flashbacks and characterizations dwell on the unscrupulous efforts to recruit soldiers for an unpopular war. Baker’s script reminds us that the impoverished, desperate and damaged among us — people in need of help and protection — are instead the focus of exploitation. It’s powerful subject matter, and Baker provides an unflinching look at that dirty underbelly of politics and international affairs. Baker’s artwork is remarkably effective at bringing the confusion and chaos of conflict to life. He employs extreme perspectives to capture the violence and ordinance. The action moves quickly, and despite the cartoony leanings in the artist’s style, it captures a surprisingly realistic feel. Really, my only complaint about this book is the gratuitous depiction of the heroine. 8/10

Titans East Special #1 (DC Comics)
by Judd Winick, Ian Churchill, Norm Rapmund & Andy Lanning

DC did with the Justice League Wedding Special, so I shouldn’t have been surprised to find the ol’ bait-and-switch tactic used again here. In both one-shots, the creators explore more traditional, fun super-hero stories, only to pull the rug out from under the reader in the final few pages with a gratuitous death. Or in the case of Titans East, deaths. Clearly, Winick is trying to launch a new Titans title featuring the members from the Marv Wolfman/George Perez era of the team in the 1980s, and the excuse for the gathering of those heroes sometime down the line will be the deaths of these new would-be Titans. I can see why DC saw some of these characters as expendable, but the slaughter of so many in an otherwise bright book is irksome and frustrating. I’m at a loss as to why DC has killed Hawk and Dove characters yet again. How many times does the publisher plan on resurrecting properties that needn’t have been “killed” in the first place? The reader isn’t even given a complete story here, and Winick’s oversexualization of two of the younger heroes adds nothing to their characters or to the plot. Churchill’s artwork seems a little more restrained than I remember it. His tendency to ape Rob Liefeld is significantly subdued, and his portrayal of the female characters, though slightly gratuitous, isn’t nearly as distracting and exaggerated as it’s been in the past. Still, he’s really not the artist for the job of capturing the Wolfman/Perez Titans in the opening flashback sequence. 2/10