Eye on Comics

The Escapists #5 (Dark Horse Comics)
by Brian K. Vaughan, Jason Shawn Alexander & Steve Rolston

The plot takes a couple of unusual turns in this issue, turns that test one’s ability to suspend disbelief a bit. Max’s deduction of who’s behind Denny’s legal woes and Case’s encounter with the corporate lawyer are a bit difficult to swallow, and those moments took me out of the story for a bit. But overall, I remain thrilled with the storytelling techniques and the personal, slice-of-life focus of the plot. The most striking scene in the book is the final one, as we visit with Denny in jail. Vaughan brings a surprisingly harsh element into play. It’s such a divergent turn in the story that it packs a real emotional impact, but it’s an effective one. The writer drives home the notion that what’s happening is serious, not just off the wall. Jason Alexander’s dark artwork is as sharp as ever, but I like that the darkness doesn’t translate into grim-n-gritty territory. The script still maintains a traditional, light tone in the storytelling. Rolston’s artwork continues to impress as well. It reminds me of the styles of such other comic artists as Philip Bond, Tim Levins and Cameron Stewart. 7/10

Joony Tuff #1 (self-published)
by David Bloodsaw

This black-and-white, independently produced comic book sees creator David Bloodsaw satirize super-hero storytelling… or at least he attempts to do so. The plot revolves around a dim-witted junkyard worker gaining super-powers from toxic sludge and setting out to become a super-hero. But he doesn’t do so for the adventure or a desire to do good; instead, he’s more interested in money, fame and “groupie whores.” Joony isn’t at all a likeable character; in fact, there’s not a single likeable figure in the book. Bloodsaw attempts to offer a comment on how poorly African American characters fare in the super-hero genre, but it’s fleeting and poorly executed. Of course, poor execution seems to be the rule with this amateur effort. The dialogue is incredibly awkward, as is the artwork. It’s stiff, inconsistent and almost child-like in its simplicity. There’s no sense of place, depth or perspective, and the artist seems to fail to recognize that the black-and-white format calls for a different approach to design. Bloodsaw’s passion for the material is clear. That he would go to the effort and expense to produce this on his own makes that clear. But I think where he’s gone awry is that he’s opted to handle this project all on his own, collaborating only with a letterer. I think he’d do well to work with an artist of greater skill, an editor and even a co-writer to bring this oddball super-hero story into focus. 3/10
Note: For more information on Joony Tuff, visit the official website.

newuniversal #1 (Marvel Comics)
by Warren Ellis & Salvador Larroca

I read a number of Marvel’s New Universe titles when they debuted in the 1980s; Nightmask was my favorite, even though the character was the least like a super-hero. When it was announced that writer Warren Ellis would bring a darker edge to the properties with this 2006 relaunch, I was intrigued. As I made my way through this first issue, I was surprised to find that he really hasn’t tinkered all that much with the properties he’s chosen to play with so far. Both Star Brand and Justice don’t seem changed all that much, though I am quite intrigued by the radical transformation of Nightmask. The most dominant change is the setting itself. Ellis offers up an alternate history for the world, one that’s thoroughly plausible. The changes in global politics and culture make for an imaginative and interesting backdrop for the new stories. The most dramatic transformation to be found in this book is in Salvador Larroca’s artwork. There’s a much more realistic look to his art. It’s not photorealistic in that Greg Land or Alex Ross way, but rather meticulously rendered, more like George Perez, with a sketchier tendency. Larroca employs shadows to great effect as well, really enhancing the tension in the story. 7/10

Supergirl #12 (DC Comics)
by Jimmy Palmiotti, Justin Gray & Amanda Conner

A cover blurb and additional logo bill this issue’s appeal as the first appearance of a new Terra, but that’s not why readers should give it a glance. No, it’s Amanda Conner’s artwork that serves as the book’s greatest strength. There’s a hipness to her character designs, and the visuals are full of personality and attitude. But most of all, it’s just fun. Overall, the plot here is a fairly traditional super-hero team-up, and Conner manages to bring an old-school energy to the mix but also a modern cool factor that helps to set it apart. While the issue is dominated by Supergirl and Terra’s battle with the Empathosaur (another delightfully Silver-Age touch), the real story is about Supergirl’s desire to be a regular teen, not a costumed champion with the weight of the world (and a heroic legacy) on her shoulders. It brings the title character down to a level to which anyone can relate. Still, that personal plotline doesn’t present a lot of drama because we know that eventually, Supergirl is going to be the heroine she’s supposed to be, simply from a publishing perspective. DC isn’t going to transform one of its best recognized properties into a spoiled party girl, at least not on any lasting level. One plot point I did find intriguing was Terra’s effort to hide who she is from other heroes. Mind you, it requires the reader to know a fair bit of Teen Titans history to realize the relevance of her trepidation. Still, this was an entertaining, self-contained issue. It’s a shame Amanda Conner isn’t sticking with this title, as she’d be a great choice as regular artist. 7/10

Ultimate Vision #1 (Marvel Comics)
by Mike Carey & Brandon Peterson

I thoroughly enjoyed Warren Ellis and Brandon Peterson’s Ultimate Extinction limited series. Ellis’s reimagining of Galactus as something other than a giant humanoid with an appetite for destruction fulfilled the promise of Marvel’s Ultimate line by transforming a classic comics concept into something completely different and new. He did the same with the Ultimate version of the Vision, so I was interested to see what writer Mike Carey would do with the character in this new mini-series. Unfortunately, he doesn’t do much. In order for the plot to work, the title character has to come off as being completely clueless despite being a millennia-old artificial being with experience with every conceivable species and personality type. The villain of the story is so obviously evil that the Vision’s participation in his scheme is almost laughable. Still, there’s a certain plausibility to the premise — someone’s always trying to tame dangerous technology or biology into a weapon, far away from prying eyes — and there’s a palpable tension as a result. The visual element that dominates the book is the Vision, or to be more specific, her metallic tits. It’s a ridiculous design element; the character could easily be conveyed as feminine without qualifying for the night shift at Hooters. Still, once you get beyond that flaw, there’s some great sci-fi artwork to be found in this book. I also found that some of Brandon Peterson’s cleanly drawn figures reminded me of the style of Chris (The Midnighter) Sprouse. 6/10

Welcome to Tranquility #1 (DC Comics/Wildstorm Productions)
by Gail Simone & Neil Googe

DC’s effort to relaunch its WildStorm super-hero line with the “WorldStorm” event hasn’t proven to be the most successful stunt, both in terms of sales and storytelling success. Welcome to Tranquility should be seen as a success, though, at least in the latter perspective. Gail Simone offers up a delightful satire of the super-hero genre here while still paying tribute to the fun, campy nature of the Golden Age of super-hero comics and concepts. As entertaining as the bulk of this first issue is, it’s really a set-up for a dramatic turn in tone in the final scene. It’s not a plot twist, but a powerful 180-degree turn that grabs the reader and compels one to follow the story further. It’s not just entertaining writing, it’s smart marketing. Neil Googe’s art captured the larger-than-life, god-like qualities of the Superman-like title character of Majestic a while back, and it’s interesting to see him adapt his style to achieve a more comedic tone. I love the varied character designs here as well, and the first page — presented as a yellowed page from a comic book from yesteryear — really sets the right tone for the book right away. 7/10