2004-10-20
Capsule Comic Reviews - 10/20
By: Harold Bloomfield
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Writer: Si Spencer | ||
Some good stuff. Some creepy stuff. Some gross stuff. Speaking of which enough with the puking already. A little narrative or summary would help as the plot is fairly dense and doesn’t seem to be moving ahead very much. It’s been four issues already and I’m having a hard time caring about any of these characters. The Zantana storyline is good but Constantine is getting too mysterious and inscrutable. And how much does Tim Hunter really know? If he’s aware he’s imply hiding out then a whole lot of what’s been happening concerning him doesn’t make too much sense. Beginning to suspect this would read much better as a trade.
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Writer: Kurt Busiek | ||
This is the first issue since Dark Horse restarted this property that isn’t knock your socks off good. Oh it’s still good it just doesn’t reach the heights of what’s come before. This is basically a self contained story sandwiched in between a mystical prologue and threatening epilogue that links this to issues to come. The story itself is an enjoyable tale of Conan telling of his entry into the city of Nemedia, his confrontation with a nobleman and his revenge. Events take a fortuitous turn for Conan and it’s to writer Busiek’s credit that he doesn’t strain credibility by trying to convince us that Conan set things up to turn out that way. Things tread perilously close to either cliché or parody as Conan and the thieves in the bar act and talk in an all too predictable manner. Conan’s ability to easily overpower just about every normal person he meets can become too repetitive and Busiek needs to be careful. Cary Nord’s artwork continues to impress, whether it’s the firey introduction or the bar scenes. He does a good job making the numerous characters distinctive. Conan himself, however, looks much too mature as I believe he’s only supposed to be somewhere in the neighborhood of sixteen at this time.
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Writer: Mark Waid | ||
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I’m conflicted about this issue. On the one hand there’s true dramatic tension and a real sense of crisis as Sue faces extermination by an alien race trying to protect the galaxy from Galactus while Johnny and Ben look on helplessly. On the other hand Mike Wieringo’s artwork has never been more of a mismatch than in this issue. Try as he may his cartoony style just can’t convey the gut wrenching emotions on display here and with the one exception of a panel of Sue’s face on page three his close ups are woefully inadequate. The alien monsters and alien leader look cuddly instead of threatening. He also lessens the impact of Reed’s dramatic entrance. Back on the positive side Mark Waid provides a clever way for Reed to resolve Sue’s predicament. On the other hand, would such sophisticated beings be so easily fooled? Other good moments include a classic super hero speech by Reed that probably will also serve as a vehicle to get the group back in the public’s good graces and Sue and Johnny’s reactions to the other’s powers. However, it goes to the very core of forty plus years of this series that Reed’s guilt is such that he would switch places with Ben if he could. Waid really needs to explain why he hasn’t if he’s had the technology to do so.
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(preview pages)
Writer: Brad Meltzer | ||
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There are really some powerful and gripping moments in this issue. Initially I was all for the DC Universe getting grittier and more realistic. After all look what it’s done for Daredevil. However as this goes on I’m not so sure it’s a good idea. The story takes a turn to wholesale carnage with this issue and once this type of genie is out of the bottle how do you put it back? We all know for villain and hero alike the mortality rate is ridiculously low for the types of battles in which they constantly engage but we accept that as one of the things, among many, that goes along with these fantastic types of stories. Here by my count a hero, a villain and a relative bite the dust. When things get this real it makes you question everything else. For example why after firing point blank at Kyle Radner does Deadshot then just flash a bright light at him instead of taking a kill shot? At the excruciatingly tense climax why does Batman only ask to try and contact the Flash? Why not Superman or a whole number of others who could get to the scene quicker than normal? Still the strengths of this issue outweigh the ever increasing nagging doubts. For the second time in five issues the opening features a great fight scene. Artist Rags Morales continues stake a claim to being a rising star as he matches the realistic tone of the series with blood spurting and eyes swelling and darkening but he handles the tender moments as well. With two issues to go Brad Meltzer needs to begin the payoff and turn the story away from red herrings and shock tactics.
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Writer: Paul Jenkins | ||
Someone please put this series out of its misery. This ridiculous story arc comes to ridiculous conclusion through a series of ridiculous unexplained happenings. The Queen brings here fiendish plot to detonate a bomb that will destroy all human life within a 600 mile radius except for those who carry an insect gene that allows her to control them to an end. Additionally she has turned Peter into a giant spider for the purposes of mating. Oh and she’s held the doctors who experimented on her captive since 1954 hanging upside down in some kind of cocoons. That’s right 1954. Peter overcomes his metamorphosis by, by, well I don’t know how; he just does. He comes out of it with some new powers (one of which makes him match the movie Spidey) saves the day and really doesn’t seem too bothered by the whole experience. What drivel. The only positive is this isn’t drawn by Humberto Ramos the regular artist on this series who shouldn’t be allowed anywhere near a Spider-Man book that’s not a parody. Paco Medina is only acceptable because he’s not Ramos but his style doesn’t lend itself to the sci-fi horror elements of this story. This series has never clicked. When Paul Jenkins delivered a half decent story the art has ruined it. When the art has been bearable the story stiffed. This series is screaming for a new creative team.
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Writer: Brian Michael Bendis | ||
The comic relief continues and despite the title this series hasn’t jumped the shark. Logan and Spidey apprehending a two bit costumed hood is a classic moment as are the closing panels. The rationale for the Peter Logan body switch is marginally acceptable but doesn’t detract from the mild amusement. Not the funniest stuff ever but a welcome diversion.
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Robin #131, Gotham Knights #3431, Batgirl #57 | ||
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DC needs to give instructions as to which to read first, Robin #131 or Identity Crisis #5. The Robin issue is highlighted more by the Spoiler’s fight with Black Mask than what’s happening with the title character. In Gotham Knights Tarantula and her gang battle the cops while Batman learns what happened to Spoiler. Over in Batgirl Cassandra aides a cornered Onyx and Black Mask goes public with a startling revelation. These issues highlight what’s wrong and what’s right with the crossover. The more interesting stuff in Robin doesn’t involve the main character plus the issue’s muddled by awkward chronology with Identity Crisis. The other two parts could easily be condensed into one issue as much of them feel like filler. A Batman associate, Tarantula, leading a gang battling the police poses serious consequences and is one of the better potentially long term developments here, so why isn’t Batman upset. Finally the cliffhanger in Batgirl is a humdinger.
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