2005-01-12
Capsule Comic Reviews - 1/12
By: Harold Bloomfield
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Writer: Roberto Aguirre-Sacasa | ||
As usual writer Robert Aguirre-Sacasa is on to something but just can’t quite pull it off. The Puppet Master has blackmailed an eye surgeon into performing surgery on Alicia Masters, his step-daughter, using eyes from murdered women in order to restore her sight. The effects never last longer than a few days as the eyes aren’t strong enough to withstand the procedure. To remedy this the Puppet Master has captured Sue Richards intending to use her cosmically enhanced eyes. Although the atmosphere is right and Aguirre-Sacasa weaves a pretty good character study of Alicia (and his Puppet Master is infinitely superior to the raving lunatic over in Kirkman’s “FF: Foes”) the whole rescue is run of the mill stuff and I can’t for a minute accept that Alicia for even a second would ever be tempted to accept eyes from Sue or any other victim and there’s no attempt to paint the Puppet Master’s influence over her as more than a mild clouding of her mind. Similarly, the idea that Sue’s attitude towards Alicia has been altered by what Alicia had to do to her step-father is a good concept but the execution rings false.
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Writer: Fabian Nicieza | ||
I must admit that the cover boldly announcing a guest star stint by Wolverine and an “Enemy of the State” tie-in elicited a groan from me. But Fabian Nicieza pulls it off and this book continues to be a pleasant surprise. Despite the continued onslaught of cameos (Reed Richards, Spider-Man and Namor just last issue) and the ever expanding cast and plot threads, this remains an agreeable read with a good mix of super hero action, intrigue and the usual soap opera elements. Wolverine’s appearance actually ties in rather well to the ongoing plot in this book and doesn’t seem forced. I do question the difference in how Baron Von Strucker is depicted here -- vigorous, muscular and fighting effectively compared to the older, wary aristocrat over in the Wolverine book. The narration is a big plus this issue as it flirts with pretentiousness but gives the issue more substance and weight than normal.
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(click here for preview pages) Writer: Brian Michael Bendis Art: Brent Anderson | ||
This issue has two problems. First is its reliance of the Secret War limited series. As with last issue to readers of that book this is too much is rehash and to those not familiar with it not enough information is available. The second problem is with Jessica Jones. Jessica’s been a lot of things but a frantic shrew hasn’t been one of them. Even in the face of the potential tragedies presented here I don’t think her reaction would be so over the top on the screaming panic side. On the plus side is the revelation about Nick Fury’s relationship with the media and the difference in interpretation of it by Robbie Robertson and Ben Urich. The ending is also good and the art of Brent Anderson is a much better fit for Jessica and this series than Mark Bagley’s. Overall the Pulse is a disappointment that continues to hold promise based on the concept and Bendis’ terrific work on “Alias.”
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Writer: Dan Slott | ||
Against some substantial obstacles Dan Slott comes up with another winner. The main problem here is backstory. Backstory not of Slott’s making. A major part of this issue serves to reconcile this series with the events in “Avengers Disassembled” which featured a berserk, out of control She-Hulk. Slott uses Doc Samson, asked by Reed Richards to help Jennifer, basically as a plot device to allow rehashing of the Avenger proceedings and the early developments in this book. Amazingly this doesn’t bog the issue down and meshes seamlessly with the current Titania plot. Of course it helps that the book’s trademark humor is in tack and the supporting characters are present in fine form. Doc Samson’s presence allows not only for the flashback but for a good laugh involving Southpaw. The introduction of the law firm’s mailroom staff is a nice touch and good for another hoot. Paul Pelletier’s art continues to be a perfect fit for this book; handling the super hero action and the quieter moments with equal aplomb. Oh, and the cliffhanger ain’t bad either.
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Writer: Mark Millar | ||
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Oh please, can somebody write a major Spider-Man story without Norman Osborn and or the Green Goblin? On “Amazing” J. Michael Straczynski tried for a long time and then finally succumbed and met with disaster. On this series Mark Millar set out to produce an ambitious iconic year-long arc hitting on all the major Spider-Man flashpoints and after constructing a fine tale with a mystery at heart he blinked and turned to Osborn the most obvious source of a plan plotted by someone with knowledge of Spider-Man’s secret identity. Mark, after introducing so many bold ideas and taking some chances with this series why did you rely on the most tired and overly convoluted character in the Spider-Man canon? Additionally, Mary Jane is the only one making sense and Spider-Man’s actions here are just plain stupid unless the next issue proves he had a whale of a contingency plan. Heading towards the climax, this arc, which has been on the money much more often than not, has hit what could be a major bump in the road.
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