Eye on Comics

Avengers/Invaders #1 (Marvel Comics)
by Jim Krueger, Alex Ross & Steve Sadowski

This limited series is clearly a departure for Alex Ross and Jim Krueger, who have been turning heads with major super-hero storylines that are set outside of regular continuity, such as the Earth X titles from Marvel and DC’s recent Justice limited series. Unlike those books, Avengers/Invaders not only embraces continuity, it relies on it for the story to have any resonance or impact on the reader. The premise is simple: the Invaders of World War II find themselves propelled through time to the present, where they encounter the Marvel heroes of today. Cap — believed dead by the multitudes living on Earth-Marvel now — serves as a catalyst for emotional conflicts. I have no doubt that the writers will also play around Bucky Barnes’s character and how it’s radically changed between then and now. Events from such Marvel titles as Civil War and Thunderbolts factor heavily into the story in this opening episode. As a result, the title’s appeal will likely be limited to the core Marvel fanbase. There’s a lot of action here, and the plot moves along briskly. Krueger’s script captures Spider-Man’s jester-like voice incredibly well. Sadowski’s pencils seem far too rough at first, but when the action shifts to the present, the art seems to get tighter and crisper. Perhaps that was by design. 6/10

Dead, She Said #1 (IDW Publishing)
by Steve Niles & Bernie Wrightson

Niles offers up an odd mix of the noir private-eye genre and big-monster horror storytelling, and the surreal qualities and awkward fit of those two disparate ideas actually make for a surprisingly entertaining read. The writer doesn’t waste any time, as the story lurches forward quickly after just a couple of pages. Coogan’s investigation into his own murder seems a little too easy. A single phone call gives him a primary suspect, and it feels a bit too pat and obvious. Though it’s a common technique, I enjoyed the misdirection Niles employs in the scene revolving around the monsters’ emergence outside the city. He creates the impression that vulnerable children are in danger, so when someone else is attacked, the scene is a little more effective. The most noteworthy thing about the book is the artwork by Bernie Wrightson. Though not as active or prominent in the industry in recent years, he’s nevertheless a legend in comics today. His participation in this project is a natural choice, as he’s primarily known for his horror-genre work, not the least of which was co-creating Swamp Thing with Len Wein for DC. Wrightson’s work on Dead, She Said shows that the artist has continued to develop and refine his style. His efforts here remind me a bit of Guy (B.P.R.D.) Davis’s work, balanced with an eye toward more detail and realism. The story suffers a bit as it’s burdened by noir cliches. It’s kitschy at first, but the notion of a 1950s kind of cop in a 21st century world gets harder and harder to accept as one progresses through the plot. 6/10

Gemini #1 (Image Comics)
by Jay Faerber & Jon Sommariva

Given the solid work he’s done on Noble Causes and Dynamo 5, whenever writer Jay Faerber launches a new title, it merits a look. Gemini is founded on a strong concept — that a regular citizen could be a super-hero without his knowledge, oblivious to the fact he’s being used by others as a crimefighting tool. The ethical and emotional issues with which those controlling the character stand out as the most interesting storytelling potential in the premise, and Faerber taps that potential early on. Faerber also has a good track record of selecting the right artist for his creator-owned projects, but that doesn’t hold true this time around. Jon Sommariva’s exaggerated style makes this book seem more like a super-hero spoof, and while there is a sense of humor at play, the overall tone isn’t farcical. Sommariva’s work looks a bit like that of Humberto Ramos’s style, with apparent Western animation influences. I like the character designs, and the over-the-top visuals add a lot of energy to the action scenes. But the extreme look also hinders the quieter, emotional elements that are vital to the uniqueness of the concept. It also takes away from the intended solemn tone of the darker cliffhanger ending. It’s not that Sommariva performs poorly; his style just doesn’t seem like a good fit. Faerber wisely connects Gemini with his other Image super-hero properties, slowly building up a shared continuity, but those connections hardly seem an important point. The writer wisely focuses on characterization even as he introduces the concept, and that’s enough to get me to overlook the art for now and check out the second issue. 6/10

House of Mystery #1 (DC Comics/Vertigo imprint)
by Matthew Sturges, Bill Willingham, Luca Rossi & Ross Campbell

I’m surprised DC/Vertigo didn’t put a bigger promotional effort behind this title. I’d only heard about it a week or two before its release, and I’m the kind of reader who pays attention to newly announced titles, especially from the bigger publishers. Not only has House of Mystery been a DC trademark for decades, but it also has the benefit of a boost from its link to Neil Gaiman’s perpetually popular Sandman series. The storytelling in this issue is two-pronged, and I would expect that will be a recurring motif. On the one hand, we have the main plotline, in which mysterious, nasty figures pursue a regular young woman, who stumbles into the sanctuary of the otherworldly and strange House of Mystery, where she meets a variety of weird characters. We’re also presented with the sad, horrific story of one of the house’s patrons, Hungry Sally. It’s the latter, illustrated in grisly detail by Ross Campbell, that really serves to grab the reader’s attention. It’s a disturbing, surreal story that really stays with the viewer. The main plotline, however, isn’t satisfying… at least, not so far. It feels as though the crowd scenes, and the central premise, is too reminiscent of Neil Gaiman’s the Inn at World’s End (another element from Sandman). It even seems like Willingham is repeating himself from the mystics’ bar that played a big part in his Day of Vengeance and Shadowpact series. Luca Rossi’s art, which brings the main story to life, boasts a pleasing, angular look, but it seems more like a fairly typical super-hero style than something suited for horror. 6/10

Secret Invasion #2 (Marvel Comics)
by Brian Michael Bendis, Leinil Yu & Mark Morales

For longtime Marvel readers, the faceoff between the 1970s and ’80s heroes and their 21st century counterparts offers some fun moments. Many of the character bits revolve around old continuity, especially the Ronin/Hawkeye/Mockingbird scene. There’s this oddly conflicting tone, though, as Bendis writes an extended, fun action sequence that should appeal to a wide variety of age groups yet includes a mature, personal element that’s out of place amid the big, splashy fun. The plot for this second issue almost non-existent, though, as the story itself doesn’t advance much until the final splash page. I worry that we’re faced with another House of M situation, as Bendis embraces a decompressed storytelling approach for a big event, which should really gallop forward. Yu’s artwork is pretty solid, telling the story fairly clearly for the most part. The double-page splash in the middle of the book, when the characters are reminded that there’s more to worry about than just Skrulls, is thoroughly effective in depicting an explosive, unexpected moment. 6/10

True Story Swear to God #11 (Image Comics)
by Tom Beland

Man, can I relate to this issue, in which we see the happy couple at the heart of the story planning their wedding. I’m in the middle of a similar scenario, but my fiancee and I are approaching it from a different vantage. As I read of Tom and Lily planning a small, simple ceremony, I was a little jealous, as my better half and I are working on an event with 150 guests. There are a lot of details to work out, but Beland demonstrates that no matter what one has planned, there’s a lot to consider and discuss. It’s a happy event, but there is stress, there’s no doubt. The writer/artist wisely treats the wedding plotline in a rather routine manner. There’s really not much of a build-up to it, and that works well, considering the audience (or presumably the vast majority of the readership) already knows where this real-life story is headed Beland balances the main plot nicely with a fantastic subplot about Tom’s discovery of a potential new pal who actually shares his non-Puerto Rican interests. Tom’s explosive joy over this turn of events is a hilarious moment, but it’s also one that speaks to the ongoing subplot about his cultural isolation. It’s interesting to read an issue in which Beland takes issue with his own artistic skills. I’ve found his simpler style is incredibly effective, and it helps to turn a personal story into one that boasts universal appeal. Despite the fact that readers have been following this romance in comic-book form for a few years now, Beland’s script maintains a high level of accessibility. It’s a smart move, because it gives newer readers a chance to get on board with just about any episode of the series. 8/10