Eye on Comics

Captain America #34 (Marvel Comics)
by Ed Brubaker, Steve Epting & Butch Guice

Brubaker grabbed my attention immediately with this issue, immersing America in more extreme versions of real-world problems. Who would have thought the mortgage crisis would be the result of a super-villain’s machinations? The socio-political foundation of the opening scenes brings credibility to the fantastic story, but this comes as no surprise given Brubaker’s strength as a comics writer. Unfortunately, that strength fades as the plot shifts to the introduction of the new Captain America. His and Black Widow’s confrontation with a bunch of faceless villain henchmen is rather disappointing. It feels so familiar and conventional; it’s a cliched scene that doesn’t merit the space dedicated to it. Brubaker has done some surprisingly good work when it comes to the resurrected Bucky Barnes, but casting this damaged hero as an icon of American patriotism and idealism seems like a misstep. Perhaps he means it as a commentary on the fractured nature of the country in the 21st century, with the focus on red states and blue states instead of the American dream. Still, it doesn’t consistent with the Winter Soldier’s character. Alex Ross’s new Cap design makes sense in this context, as it combines the brightness and iconic qualities of the original cap costume with Barnes’s darker, black-ops nature. Unfortunately, it lacks a visual pop. Epting and Guice’s artwork throughout the issue is strong, in keeping with the realism and social disasters that are integral to the overall appeal and atmosphere of this era of Cap comics. 6/10

Jack Staff Special #1 (Image Comics)
by Paul Grist

I’ve enjoyed many of Paul Grist’s Jack Staff comics in the past, but like many of his regular readers, I was frustrated by the sporadic and inconsistent publishing schedule that seemed to characterize the series (at least during its run at Image Comics). With months between issues, it was impossible for the reader to get any sense of flow to the storytelling. But then again, maybe there never was any flow. There are awkward chapter breaks in this special, meant to introduce the reader to some of the central characters that populate the world of Jack Staff. As I made my way through the book, I wondered if perhaps pages had been printed out of order or if a page or two were accidentally omitted. Still, one can’t deny the campy charm of all of the characters and the clumsiness of Jack Staff’s adventures. Grist’s imagination is undeniable, and his clear appreciation of super-hero archetypes is tempered by the way he lampoons them a bit as he pays tribute to them. Grist’s simple style is nevertheless striking and effective. His sense of design is sharp; the opening shot of the Eternal Warrior is impressive, for example. I think the title character’s alter ego and the Claw look a little too similar; it made for a confusing moment or two. I also enjoyed how Grist plays with perspective to add a more refined quality to the simpler look of his figures. Grist also unveils a new logo for the series with this special, and I’m not wild about it. I liked the previous logo, which was more in keeping with Grist’s lettering style. The new one seems too… kids-show in tone. While there is a lightness to Grist’s Jack Staff comics, it’s not that light. 5/10

Fell #9 (Image Comics)
by Warren Ellis & Ben Templesmith

Writer Warren Ellis shifts gears with this issue. Before, we’ve see the title character cop, Richard Fell, dealing with the most evil, depraved and twisted killers one could imagine. Those he deals with on a daily basis on deserving of his scorn, but that anger and judgment are rerouted and directed at a different target in this issue. It’s not the man who commits the crime that’s the antagonist in this plot, but rather than the system that legally but immorally ignores the vulnerable. Ellis also delves more into what drives Det. Richard Fell, and it seems to be a disdain for the establishment and the Way Things Are Supposed to Work. The focus on his rebellious side is very much in step with the harsh criticism of a society and its topsy-turvy priorities. Perhaps the most unique and intriguing element in the crafting of this comic book stems from artist Ben Templesmith’s effort to convey the sound of Fell’s initial quarry moving behind a closed door. He employs a crude, child-like style to illustrate the character’s movements and moods, and he does so on the door to a barricaded apartment. Initially, it’s a bit off-putting, as it’s inconsistent with the rest of the visuals and at first glance, one could mistake it for graffiti on the door. However, what the artist is trying to communicate quickly becomes apparent. The distinction in style helps to set the visual apart from the rest of the action. Furthermore, the child-like quality of those representations also symbolizes the mood of a confused, anguished man, mistaken as an aggressor rather than the collateral victim that he is. 9/10

Star Trek: Alien Spotlight – Borg (IDW Publishing)
by Andrew Steven Harris & Sean Murphy

I have to admit that I enjoyed this comic book much more than I ever thought I would. I’ve been a casual Trek viewer over the years, hardly what you’d call a die-hard fan. My past experiences with Star Trek comics have been disappointing, and I expected the same from IDW’s dalliance with the licence. Furthermore, the title of this comic led me to believe it was little more than a profile book; I assumed it would be filled with factoids about the Borg rather than a story. I was wrong. There is a real story to be found here, and it’s immersed in Trek continuity. Fans of The Next Generation and Voyager are rewarded with a multitude of references to past Trek stories from TV and film. This comic book felt more like a part of the Trek universe than any other I’ve thumbed through before, making the most of the characters and the history. Mind you, the plot is incredible dense and inaccessible to those with only a passing familiarity with the characters and concepts. Furthermore, the story seems too big in scope to be contained in a single issue; there’s a more epic tone at play that would have merited several issues, or even an original graphic novel. I can’t help but wonder if IDW missed out on an opportunity to really grab the attention of the significant Trek fan base out there. Murphy’s loose, exaggerated artwork actually works well for a story about the Borg. Still, the slick, bright qualities of the source material are lost, so the comic doesn’t look all that much like Star Trek. Furthermore, the color palette — though appropriately sullen, given the dire tone of the plot — doesn’t capture the sci-fi energy and wonder that’s been a part of the Trek franchise for so long. 5/10