Category Archives: Reviews – Quick Critiques

Quick Critiques – Oct. 11, 2006

The All New Atom #4 (DC Comics)
by Gail Simone, Eddy Barrows & Trevor Scott

Original series penciller John Byrne is nowhere to be seen, replaced by relative newcomer Eddy Barrows. To be honest, I hadn’t heard of Barrows before his name started turning up in the credits of 52. He does a solid job of the art on this title, and his style suits the comedic leanings in Gail Simone’s script. What Byrne did better than Barrows, though, was conveying the thoroughly weird nature of the two antagonists involved in this story — the other-dimensional aliens and the “cancer god.” Barrows’s art in this issue barely hints at those elements, even though they play significant roles. I do like his take on the title character better, though, and his style boasts an action-oriented, dynamic look that reminds me of Claudio Castellini’s art. Simone’s script is playful, entertaining and thoroughly accessible. New readers could pick up this issue and figure out what was going on with little trouble. Simone also brings real-world science into this science-fiction super-hero story, which is in keeping with the Silver Age property that serves as this book’s foundation. The influence of writer Grant Morrison — who provided the general ideas and framework for this title — is still strongly felt, but it’s Simone’s sense of humor and punchy dialogue that keeps me coming back. 7/10

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Quick Critiques – Oct. 7, 2006

Agents of Atlas #3 (Marvel Comics)
by Jeff Parker, Leonard Kirk & Kris Justice

It’s not hard to find super-hero stories from the industry’s Big Two that are mired in past continuity, focusing on obscure characters. Such stories are aimed at longtime comics readers and no doubt satisfy them. But for newer readers, they can be frustrating unless they’re crafted just right. Jeff Parker gets it just right. His plot hinges on the histories of these 1950s comics characters, but he provides plenty of exposition, which is made quite palatable thanks to the clever script and strong personalities injected into these campy characters. Parker’s imagination really grabs the reader’s attention, from the unusual first-person manner in which Marvel Boy’s background is conveyed to the character’s dining habits. Leonard Kirk’s art is fantastic. His soft lines capture these somewhat crude characters of yesteryear perfectly, but he brings maturity and credibility to the characters as well. The visual highlight of the book is Tomm Coker’s brilliant cover. These Agents of Atlas covers are some of the best work we’ve seen from him, and now I’m dying to see some Coker interior artwork. 8/10

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Quick Critiques – Sept. 30, 2006

Amazing Spider-Man #535 (Marvel Comics)
by J. Michael Straczynski, Ron Garney & Bill Reinhold

In the wake of Marvel’s announced delay of numerous titles and the developments in Civil War #4, readers have loudly proclaimed how disappointed they are in the crossover event. I don’t blame them, and my voice chimed in with that chorus for certain verses. But there is value in the core premise that’s at the heart of Civil War, and select crossover tie-in issues show that. This is one of them. Straczynski handles the ethical and personal conflicts of the event far more convincingly here, so much so that I feel it’s a shame he didn’t have a more direct hand in the core crossover title itself. The new conflict between Spidey and Iron Man works incredibly well, and the scene between Peter and Reed makes the latter’s participation in the registration movement a bit easier to accept. Garney’s incorporates an energetic, traditional super-hero genre look with a slightly edgy, tense atmosphere that’s in keeping with the script. There’s nothing wrong with these ideas; it’s in the execution that they succeed or fall apart. 8/10

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Quick Critiques – Sept. 26, 2006

Checkmate #6 (DC Comics)
by Greg Rucka, Nunzio Defilippis, Christina Weir, Cliff Richards & Dan Green

DC revives the Suicide Squad yet again, and it makes sense of the concept to arise in this series, given that Amanda Waller is a significant player. This story will be thoroughly satisfying for fans of the John Ostrander-penned series of the 1980s. The concept is a solid one, and the writers explore it within the context of the DC Universe at the moment: namely, one in which just about every super-villain is organized under the umbrella of the Society. It’s a suspense-filled, entertaining script… for those of us who are up on all of the details. Those who haven’t read the first Suicide Squad series or Villains United will no doubt feel as though they were left out of the loop. Furthermore, DC can’t seem to decide what it wants to do in regard to the status of the Tattooed Man; I’m not sure, but now there are at least two of them running around, if not three, all with the same powers. Cliff Richards’s fill-in art starts off strong, bringing an appropriately gritty, convincing quality into play. The linework gets rougher as the issue progresses, as though the artists were rushed toward the end. Of course, a side effect of that lesser level of detail and definition later on is that the art looks a bit like that of Luke McDonnell, the first regular penciller on the original Suicide Squad series. 6/10

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Quick Critiques – Sept. 21, 2006

Civil War #4 (Marvel Comics)
by Mark Millar, Steve McNiven & Dexter Vines

Remember Avengers #500-503?  The “Disassembled” story arc? And Identity Crisis? This issue of Civil War reminds me of those stories quite a bit, mainly because the plot is mired in the unnecessary and difficult-to-accept deaths of several characters, more for impact than anything else. This issue has already irked a number of readers, though I would imagine the ill will that its lateness fostered might have something to do with it. After reading this issue, I was a bit torn. There were elements I just didn’t buy — such as Reed’s and Tony’s willingness to accept that former allies would have to die for their cause, not to mention their new “recruits,” as revealed on the final page. But other elements in the book are strong. We finally get to see the long-promised rift in the Fantastic Four, and it’s a subplot in which the character of the Invisible Woman really shines. And McNiven’s art is, as always, powerfully detailed and effective in conveying the dire atmosphere of the story. In the end, though, the plot is quickly losing credibility despite some interesting character bits. 5/10 

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Quick Critiques – Sept. 19, 2006

52 Week Nineteen (DC Comics)
by Geoff Johns, Grant Morrison, Greg Rucka, Grant Morrison, Mark Waid, Keith Giffen, Patrick Olliffe, Drew Geraci & Brian Bolland

This stands out as the strongest issue of the series to date, mainly because it offers such a surprise and establishes a thoroughly creepy tone in a character that was practically invisible up until now. Based on the cover, I had thought this would be about the creation of a new Booster Gold, but instead, it seems a conspiracy of sorts is emerging. Olliffe’s art is perfect for this series, walking a fine line between a brighter, more traditional super-hero tone and a slightly darker, grittier atmosphere. The Brian Bolland art on the two-page Animal Man origin backup was a real treat.  Bolland offered up great covers on Grant Morrison’s Animal Man for years, so it was a special treat to see him illustrated actual interiors, even if it was only two pages. 7/10  

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