Eye on Comics

Civil War: The Return #1 (Marvel Comics)
by Paul Jenkins, Tom Raney & Scott Hanna

After reading this one-shot, I was left with one nagging question: what was the point? The latter story, featuring the Sentry and his struggle to decide which side of the superhuman civil war to support, seems completely redundant when one considers another writer explored the question in New Avengers and that we’ve seen the Sentry side-by-side with Mr. Fantastic and Iron Man in the core Civil War title itself. That means we’re left with an extended and rather unimaginative fight scene with the Absorbing Man, resolving with the stereotypical revelation that the Sentry has too much power for the villain to leech from him. The main story, though, is the one that’s going to have comics fans talking… at least longtime readers familiar with the dead hero returns in these pages. I suspect many will scream that this story mars a rather poignant story of an atypical but rather human death in the Marvel Universe, but what strikes me about it is how unnecessary it is. The connection to Civil War is tenuous at best, and there’s little reason for the hero to act as he does. I do like the concept of a man living his life knowing exactly when and how he’s going to die and how that might mess with one’s noggin, but Paul Jenkins really doesn’t have the space to explore that idea all that much. Tom Raney’s art is quite strong. He brings out an appropriately pained look on the resurrected hero’s face. The colors are bright and crisp throughout the issue, reinforcing the cosmic energy that’s at play. 5/10

Okko: The Cycle of Water #1 (Archaia Studios Press)
by Hub

I’d heard good things about this French import and was pleased when I got a chance to read this latest release from Archaia Studios Press. The publisher has had a solid track record as of late, launching Mouse Guard and The Killer to critical acclaim over the past year. I enjoy both of those titles, but it doesn’t seem as though Okko is going to join them on my must-read list. French creator hub has crafted a story that’s clearly Japanese in influence. It’s not Amerimanga, but Francomanga, I suppose (will that anger right-wing manga lovers in the United States?). The historical and cultural setting is so far removed from my own so as to seem almost alien, and I just found it impossible to connect with any of the characters. Furthermore, I’m at a loss as to why this series is titled for Okko. Of the four heroes in the story, he is not only the least interesting character but the least heroic as well. The Asian influence in the art isn’t overt; Hub doesn’t resort to the oversized eyes that are typical of the manga style. Still, the Japanese touch, though subtler than usual, is unmistakable, eclipsing the expected European leanings in Hub’s work as well. There are some interesting visuals, such as Little Carp’s tattoo and Master Noburo’s almost bestial design. Actually, Noburo’s dichotomous character — monstrously fierce yet quietly gentle — is probably the most interesting element in the book, but there’s just too many other elements at play. The story is difficult to follow, and we’re not given any great reason to care about the characters, save for the fact that one is beautiful and innocent, and another is young and dedicated. 5/10

Red Sonja Annual #1 (Dynamite Entertainment)
by Michael Avon Oeming & Stephen Sadowski

Just about every time I thumb through a Dynamite Entertainment comic book, I come away a little bit surprised, and the story and art in this annual was no exception. Oeming’s plot is a novel one in that it doesn’t feature the title character as the heroine, but rather what she represents and how her legend can serve to inspire. The writer embraces a sense of medieval feminism as a disgruntled and overworked wife decides she’s had enough of watching her husband pimp prostitutes and ordering her to clean spills and stains. Her rebellion is over the top, but it’s in keeping with the period and the violent tone of Red Sonja. I think what I enjoyed the most about this story, though, is that the protagonist isn’t some perfectly shaped, impossible paragon of human physicality. Myria is a big-boned and buxom woman who nevertheless exudes strength. She’s also rather fetching, even when compared to the rake-thin prostitutes she endeavors to protect. Sadowski’s art is realistic in tone. Actually, his depiction of Myria reminded me of Sara Ramirez, a cast member from Grey’s Anatomy and another woman who’s proving to the world that big is beautiful. The playful tone of Oeming’s script early on, with the puppet show and Myria’s amusing frustration, immediately draws one into the story. My main complaint about this comic is how quickly it reads. An annual should feel a little beefier than a regular issue. 6/10

Wolverine #50 (Marvel Comics)
by Jeph Loeb, Simone Bianchi & Andrea Silvestri/Loeb, McGuinness & Vines

I remember when the previous Wolverine ongoing series reached its 50th issue, Marvel marked the occasion with a special, die-cut cover, with “claw marks” that offered a glimpse of what was to be found within. This time around, Marvel debuts a new creative team, bringing some industry star power to the title. The strength of Simone Bianchi’s work at DC Comics was more than enough to pique my interest, and Jeph Loeb, though more of a hit-and-miss comics writer as of late, has also penned some landmark books such as Batman: The Long Halloween. “First Blood,” his debut story arc on this title, ain’t no Long Halloween. Bianchi’s art is lovely, and he captures the feral and powerful qualities of the title character and his sometimes-nemesis, Sabretooth. Bianchi’s work is looks like a cross between the styles of Barry Windsor-Smith and Leinil Yu here. But Loeb’s script revolves around a pointless fight, and one we’ve seen time and time again at that. Loeb’s backup script also consists of a fight we’ve literally seen before, but what’s really confusing about it is some kind of weird crossover with Marvel’s Ultimate universe. It felt surprisingly like Loeb is trying to foster the kind of alternate-reality story he penned when working on Superman/Batman. Wolverine seems like a poor fit for such a story, especially when Marvel has Exiles to fill that role. And McGuinness’s over-the-top, cartoony art seems to conflict with the narration, which strives for a more grounded tone. 4/10