Eye on Comics

Fantastic Four: Isla de la Muerte! #1 (Marvel Comics)
by Tom Beland & Juan Doe

Ever since Randy Lander, my one-time website partner at The Fourth Rail and other previous online publications, introduced me to Tom Beland’s True Story, Swear to God, I’ve been a huge fan of Beland’s work, and we’ve been lucky enough to see him flex his creative muscles beyond his own wonderful, autobiographical comic. Isla de la Muerte is one such occasion. Those who have read Beland’s creator-owned work are well aware of his love for Marvel’s classic characters, and it shines through in this cute, entertaining story. Beland’s script harkens back to the Silver Age charm of the title characters. He even incorporates references to classic Lee/Kirby FF stories, but the tone of the script remains accessible; the reader isn’t required to know the ins and outs of FF history to appreciate what’s being said. Beland also brings a quality to the storytelling that will appeal to all ages, not just the die-hard, longtime FF fan. The love for Puerto Rico and the environmental message in this book are pretty heavy handed, but I have to admit I was intrigued by all of the information about the former aspect of the one-shot. Juan Doe’s artwork is in keeping with the all-ages appeal of the book. I’m reminded of some of the more cartoony instances of Kaare (Spider-Man: Reign) Andrews’s artwork when I saw Doe’s work on this book. His colors are so vibrant. Even the darker moments in the story are full of energy and personality. Anime appears to influence his work as well. He conveys Puerto Rican culture pretty effectively too. I’d say the only real problem with the artwork is the fact that we never get a clear, solid view of the chupacabras with which the heroes must do battle. 7/10
Note: A Spanish-language edition of this comic book was released simultaneously by Marvel.

The Infinite Horizon #1 (Image Comics)
by Gerry Duggan & Phil Noto

An intriguing title, a stunning cover and the participation of artist Phil Noto are more than enough to draw in discerning comics readers, and they won’t be disappointed. Gerry Duggan and Noto’s story is topical, to say the least, retelling the epic of The Odyssey through the filter of the broken U.S. war machine in a not-too distant but all-too possible future. We’re not filled on in all the details of this alternate scenario, but suffice it to say that the misguided or simply incompetent policies of the current U.S. administration have not only landed the Middle East in a bigger mess than before but brought conflict and desperation to America itself. The scenes featuring Penelope, the U.S. army captain’s wife back New York State, feel a little forced. It’s not the social and political unrest that’s hard to accept, just her behavior. It’s clear that imprinting The Odyssey over such a modern scenario isn’t easy. Noto’s art is always a treat, but it seems a little rougher this time around than it has in the past. Mind you, that works within the context of the harsh, war-torn story. Noto’s usual clean, attractive lines wouldn’t have served the gritty, intense qualities of this story. His colors convey the arid and inhospitable nature of the Middle East, desert setting incredibly well, and the darker, cooler tones used for the Penelope scenes help to distinguish those distant moments from the main action. Overall, the biting political and foreign-affairs commentary is more than enough to offer a satisfying read, and it’s not this book’s sole strength. 8/10

Legion of Super-Heroes #37 (DC Comics)
by Jim Shooter, Francis Manapul & Livesay

As a longtime Legion of Super-Heroes fan and someone who has read some of Jim Shooter’s Silver Age Legion stories, my interest was piqued when it was announced the writer and contentious industry figure was returning to the super-hero teens of the future decades after he first chronicled their adventures as a teen himself. I also approached his return with some trepidation; after all, Legion storytelling for the 21st century is a much different beast than it was in the 1960s. To my relief, Shooter offers a take on the team more in keeping with modern genre storytelling requirements, and I found it interesting that the main conflict in the story stems from one member’s apparent inability to lead. the Princess Projectra subplot was intriguing as well, but Shooter doesn’t provide enough background information for new readers about the demise of her homeworld. Still, after reading the story, I was left feeling I’d experienced a rather ordinary, by-the-numbers super-hero team book and little more. Shooter has captured the Legion pretty well, but I found I just wasn’t as excited about it as I’ve been in the past. Manapul’s artwork serves the story pretty well, and his angular style is bound to appeal to fans of such hot artists as Jim Lee and Olivier Coipel. Still, I found his work to be a bit uneven; some of the Legionnaires look as young as they’re meant to be, but others look far more adult. The tender age of these heroes is a bit part of their core appeal, and that’s lost a bit. The penciller also delivers a couple of completely gratuitous visuals when it comes to female characters, moments that do not fit with the overall tone of the tension of the action-oriented plot. Overall, this new direction for the title team is a competent, diverting one, but it’s not one that holds my interest enough to keep plunking cash on the comic-shop counter every month. 6/10

Painkiller Jane Vol. 2 #4 (Dynamite Entertainment)
by Jimmy Palmiotti & Nigel Raynor

This is a rather important of this fledgling new series as it crosses over with the uber-popular Terminator property, for which Dynamite has the comics licence. A new Terminator TV series is about to launch, and with the failure of the Painkiller Jane show after just one season, the property could use whatever boost it can get. There’s no real natural fit for these two divergent properties though, but that’s not stopped other comics/movie crossovers from succeeding in the past. I think where Palmiotti goes awry with his plot is that none of the elements or directions seems terribly original. Painkiller Jane, in this incarnation, is nothing more than a scantily-clad Punisher archetype that happens to be sanctioned by the police (and inexplicably so), and the Terminator future plotline, complete with a badass resistance outfit, is painfully familiar as well. I just don’t see the reason to tell this story, other than the marketing potential. Furthermore, references to the ongoing Painkiller Jane plotlines aren’t spelled out for new readers at all. I’ve heard of Palmiotti’s 22 Brides property, set in the same continuity as PK, but I know nothing else about them. The reader is expected to know the deal with them as well as the title character’s pal Libby and ongoing feud with a criminal named Fonti; that background information — which really has nothing to do with the main crossover story — is distracting and confusing for the casual or new reader. The artwork ranges from simply competent to blatantly and unnecessarily gratuitous. Another problem is that the main heroine in the alternate-future scenes looks far too much like the title character. For a moment, I thought I was looking at Jane two decades into the future, but it seems it’s a completely different character. 2/10

Robotika: For a Few Rubles More #1 (Archaia Studios Press)
by Alex Sheikman & David Moran

This was my first foray into the world of Alex Sheikman’s Robotika, and I have to confess, I was lost most of the way through the first episode of this followup series. The first act here is quite impenetrable. We don’t know who the characters are, who the protagonists are or what the hell is going on in this weird cyberpunk reality. Yes, this is the second Robotika series, I believe, but a certain level of accessibility needs to be addressed for new readers (and forgetful ones). The distant, impersonal narration that serves to open the issue is quite off-putting, though I realize Sheikman and co-writer David Moran are trying to set the mood and establish a certain level of gravitas. When the central protagonists appear in the second act, it brings more flair and some grounded personalities into the mix, but the initial confusion persisted for me. Furthermore, I found that just about everyone character was something of a villain or rogue; I found it difficult to cheer for anyone, let along the mercenary heroes of the book. The artwork is lovely and inventive, highly reminiscent of the sort of European artwork one would find in Heavy Metal back in the 1980s. I was also reminded of Tony (Ex Machina) Harris’s detailed, expressive style as well. Sheikman’s talent as a storyteller is undeniable, and his imagination is impressive. I think he just needs to bridge a cultural and intellectual disconnect to reach his audience in order to achieve the impact he desires with his work. The artist is paired with a co-scripter on this project, and that’s a good first step. But some stronger editing and an emphasis on including exposition would do this material a world of good. 5/10

Teen Titans: Year One #1 (DC Comics)
by Amy Wolfram, Karl Kerschl, Serge Lapointe & Steph Peru

I think it’s safe to say that Karl Kerschl’s art on this book isn’t going to be to everyone’s taste. His approach is a bit different than the traditional line art one sees in U.S. super-hero comics, and he’s redesigned beloved, long-running characters to look unlike their previous depictions. That being said, Kerschl’s work is stunning and helps make an ordinary super-hero story stand out from the crowds on comics-shop shelves. His vision of the original Wonder Girl is impressive. The artist acknowledges the teenage girl’s budding womanhood without sexualizing her. He even adds a little bit of pudge to her midsection, demonstrating she’s still a child even as she develops into an adult. Kerschl’s new look for Aqualad is impressive as well. I love the alien, downtrodden appearance he brings to the character. Of course, he’s taking strong cues from Wolfram’s script. Aqualad has been transformed completely as a character, and I love the changes. His timidity and fear help to distinguish him from other super-hero characters. Yes, it’s over the top, but it’s effective. Wolfram’s incorporation of modern youth culture and technology, albeit in small doses, works well, and it serves as a 21st century equivalent to the goofy hipster-speak that classic Titans writer Bob Haney brought to the characters in the 1960s and ’70s. Wolfram’s plot seems fairly standard and formulaic (there’s something wrong with the adult heroes, so the sidekicks have to save the day), but an intense, harsh moment between Batman and Robin helps to bring a fresh take on that familiar scenario. 7/10