Eye on Comics

Booster Gold #0 (DC Comics)
by Geoff Johns, Jeff Katz, Dan Jurgens & Norm Rapmund

This series seems to stand out as something of a guilty-pleasure read… at least for several online comics critics, and one can count me among them. Geoff Johns and co-writer Jeff Katz have crafted a fun comic that makes the most of the shared continuity and history of the DC Universe without being constrained by it. For the most part, the plot and script — which are deeply steeped in past DC super-hero stories — are fairly accessible for new readers. The story here is based on original Booster Gold stories of the late 1980s and a DC Universe crossover event from 1994, and yet, it’s easy for one to follow along. The time-travel riff always allows for exposition to be woven logically into the dialogue. Most important is that the writers make even more room a sense of fun, adventure, action and even a little melodrama. There’s always a colorful array of diverse characters to be found in the pages of this series, and this issue is no exception. Even if one hasn’t checked out previous issues, the zero issue is actually a decent jumping-on point. Dan Jurgens’s art is a perfect match for the old-school approach to the genre. He’s the one who created and designed the title character after all, so he’s captured the 1980s appeal with ease. I remain impressed with Norm Rapmund’s inks. In the past, he’s often brought a rougher look to the line art, but he’s tightened up his inking style for this project. The use of the metallic ink for the cover is a nice treat for those of us who remember all of the zero, crossover issues from DC’s Zero Hour event more than a decade ago. And for those who don’t get the reference, the rarely used metallic look will help this comic book to stand out. 7/10

Fantastic Four #554 (Marvel Comics)
by Mark Millar, Bryan Hitch & Paul Neary

There’s a lot to enjoy in this new take on the Fantastic Four, as writer Mark Millar has worked to balance his extreme mix of realism and sci-fi with the more traditional aspects of the FF. There’s a lot to enjoy in this book, such as the title team’s notion of a vacation and Sue Richards’s pop-culture evaluation of her brother, the Human Torch. It was a pleasure to see Bryan Hitch’s hyper-realistic approach to comic art return. He’s adapted to the FF’s lighter tone as well. The characters’ faces are a bit softer, and the open, white panel borders reinforce the bright tone inherent in the property. But for every element that I enjoyed, there seemed to be one that didn’t sit well. Alyssa Moy’s appearance comes from out of nowhere, and she’s a rather obscure leftover from Chris Claremont’s tenure on the title. Furthermore, Hitch has drawn her to look far too similar to another female heroine who appears in the same scene. While it was fun to see the Thing bring some fun into some schoolchildren’s day, hearing him use some overt sexual innuendo to hit on a teacher was not only inappropriate but jarring. As many other writers have done before him, Millar has also apparently regressed the Torch’s character to be nothing more than an impulsive, spoiled brat. Some maturity has crept into his character over the years, but it’s not to be found here. I think what interfered the most in my reading experience was the fact that this particular creative team — known for its intense, edgy work within the super-hero genre — just doesn’t seem to suit these characters and the lightness that’s been an integral part of their appeal for so many years. 6/10

Foundation #2 (Boom! Studios)
by John Rozum & Chee

I was impressed by the strength of the first issue of this series (created by artist Kody Chamberlain), so I was eagerly anticipating this second episode. As I made my way through the initial scenes, I worried the strength I found in the first issue was fleeting. But as the issue progressed, I found I was more and more drawn back into this compelling and unusual story. Part of the problem earlier in this issue is that writer John Rozum spells out just how the Foundation works, and while the exposition is woven logically into the script (by way of a new-recruit orientation session), the matter-of-fact approach to the presentation of the information spotlights the implausibility of the concept. But as the plot moves on to another mission for the reluctant Foundation agent named Valentine, and as the pieces of a puzzle made up of predictions and psychic impressions fall into place, I found I was again riveted by the story and concepts. The scene in which Valentine’s superior counters the agent’s ethical concerns makes for an important balance, but dividing the debate between two issues diluted its effectiveness. Mind you, it might read better as a collected edition. In another review, a critic compared Chee’s art to the work Brian Hurtt did on Hard Time from DC; it’s an accurate comparison, though Chee’s work adds more darkness and therefore adds a greater degree of tension and maturity to the storytelling. He exhibits a solid eye for anatomy and movement, but he still employs a simpler style that allows the reader see himself or herself among the cast of characters. 7/10

Sword of Dracula/Vampirella: Extended and Dangerous #1 (Digital Webbing/Harris Comics)
by Jason Henderson & Greg Scott

While Vampirella has been a mainstay and an icon in the comics industry for decades, Sword of Dracula is a newer property, having been published by Image and IDW before landing at Digital Webbing. I’m not sure if I’ve read any SoD comics before, and I certain didn’t recognize much here. The good news is that this is an accessible introduction to the concept, which is sort of like Buffy the Vampire Slayer meets Mission Impossible. The better news is that SoD creators Jason Henderson and Greg Scott handle Vampirella incredibly well. She’s not depicted as a blood-sucking sexpot heroine in this story; instead, she’s a rogue agent in a supernatural underworld of crime, commerce and curses. While Dracula’s hard-blood powers seem out of place in this espionage-genre spin on vampires, I have to admit the story is engaging. We really don’t get to know the characters all that well. The only one with any real time in the spotlight (thanks to the narration in her voice) is the SoD heroine, Ronnie Van Helsing, and she’s all about her work. Just as the writing has a cinematic feel to it, so does Greg Scott’s dark, moody artwork. The dark atmosphere stems not so much from the gothic qualities of the vampire characters but from the black-ops riff at play in the premise. There’s an entertaining noir sensibility at play in this comic that draws one into the story. Overall, the plot is rather superficial, and this is really only the most cursory glimpse at the characters and concepts. But it’s an undeniably diverting and successful glimpse. 7/10