WBC's QwikShots for 2/13/02
Dean Westerman
By Dean Westerman
WHIZ BANG COMICS Rating System: ***** (5 stars, a classic in the genre) ****
(4 stars, excellent reading) *** (3 stars, good book, won't change your
life) ** (2 stars, mediocre, yawn, blah) * (1 star, not too good, definite
skip) No stars (a waste of a once-hopeful tree)
THE ADVENTURES OF SUPERMAN #601 (DC) "Cult of Persuasion, Part One" Writer:
Joe Casey; Artist: Pete Woods; Inks: Jose Marzan, Jr.; Cover artist: John
Paul Leon. Apr 02. $2.25, 32 pages w/ads. Content: All Ages- While
Superman's life is bad; Cole Parker's is looking up quite a bit. Parker is
otherwise known as the Persuader, the ax-wielding member of Legion foes the
Fatal Five. How the Persuader wound up in our era is beyond me, but I've
also seen Valadius in an issue a few months back so maybe they were shunted
here from elsewhere. Either that or this is the original Persuader and the
one from Legion is a future version. I dunno. Parker is in lockdown at
Stryker's Island prison, just off the coast of merry Metropolis. He has an
annoying cellmate that talks in more riddles and enigma than an issue of
"X-Treme X-Men." Still, this guy does seem to have enhanced abilities in a
prison where so many others have been stripped of powers. He offers Parker
the chance to be the Persuader again, only this time to do it right. What's
his first trip on the revenge highway? Perry White, of course, the editor
that.why is he after Perry, anyway? Again with the "I dunno's." As far as
Supes goes, Lois wants some distance, as if her months long trip with her
widowed mother hasn't been long enough. Cut her loose, Supes! (Insert J
here) Casey's story is OK, but it isn't much better than that. Where is
the writer that wowed me on "Cable" and "Wildcats"? The story is ponderous
and anything but compelling. It seems like he pulled out the Superman mold,
poured the batter in and baked for 45 minutes, sticking closely to the
established recipe. Woods, of "Robin" fame, is slightly better here than
when he drove me to stop buying the Boy Wonder's title. His line work's
much better, his characters more defined, his layouts have even taken a
quantum leap. He's like a different artist. Even so, he's a long way from
Bryan Hitch or even Mark Bagley. Not a very good issue, even if Woods
showed some promise, and definitely not the draw to bring back Superman's
lost readers. **
BLACK PANTHER Vol. 2, #41 (Marvel) "Enemy of the State, Book One: Mirror,
Mirror" Writer: Christopher Priest; Artist and Cover art: Sal Velluto; Inks:
Bob Almond. Apr 02. $2.50, 32 pages w/ads. Content: Marvel PG- This title
never disappoints, does it? From the Black Dragon arc closing last issue,
Priest charges full speed into "Enemy of the State II", complete with Kirby
Panther clone. Alright, here's why this issue is so cool. Priest writes
both T'Challa's in extremely different ways, yet has them coexist and even
converse in the same issue. Moreover, they both speak with Tony Stark, who
receives a very different impression from each of them. The writer nails
the Kirby Panther; jubilant, boisterous, adventurous, a character that would
be easily at home downing mead in Asgard with the Warriors Three. The
Velluto Panther (for lack of a better term, but hey, Sal deserves it for his
great work) is a grouch. Self-serving and terse, this is the T'Challa we
all know, if not love. His interaction with the Kirby Panther is supremely
interesting, referring to KP (Kirby Panther, natch!) as "My King" and "My
Liege," not wanting to provide the clone any reason to make waves during
troubled times. The trouble comes in the form of a CIA branch bent on
taking over the US. They took over Canada and no one noticed (who would?)
They want to have the same type of bloodless coup in the US, ensuring a
smooth transfer of power. The Avengers are investigating this and Stark
asks T'Challa to be his point man. Reluctantly, the Panther King agrees, if
only because he sees the danger to Wakanda in a CIA-run US. Got intrigue?
I'll say, this title runs on high octane political drama. Priest is a
writer whose name should be mentioned among the elite, as this title is the
culmination of efforts at DC that included an intriguing take on "The Ray."
This is easily one of the quietest "good books" out there; you don't have
the sound and fury of "The Authority" but there is a very strong group of
supporters who appreciate an intelligent read. Oh yeah, Wolverine's in this
one, too. ****1/2
BLOODSTONE #4 of 4 (Marvel) "In the Blood" Writers: Dan Abnett & Andy
Lanning; Artists: Michael Lopez & Tom Derenick; Inks: Scott Hanna; Cover
artist: Michael Lopez. Mar 02. $2.99, 32 pages w/ads, glossy paper.
Content: Marvel PG- This is what a mini is for, providing a shot to a
borderline appeal title, running it up the flagpole to see who salutes. I'm
not sure how the salutations are coming, but this mini receives an
unqualified, "ehh." How can you have an unqualified "ehh," you ask? Isn't
"ehh" by its very nature a qualified response? True, perceptive reader, but
this review is strongly in the "don't hate it/don't love it" category. The
premise is "Buffy the Vampire Slayer," with Elsa Bloodstone is heir to her
father's fortune and Bloodstone amulet, which provides protection against
vampires and other nasty bump-in-the-nighters. She teams with her father's
cohorts Barnabus, a vampire, and Adam, a Frankenstein's monster in ferreting
out the worst of the undead set. Placing Elsa into the story and killing
off Ulysses Bloodstone is Marvel's nod toward attracting the youngsters, as
Elsa is Buffy without the angst. While her father may have been the world's
greatest monster hunter, Elsa certainly fills out the clothing better. It
seems that's what Abnett and Lanning were going for here; mix in some T&A
with some monster huntin' and voila, stimulated pimply-faced fanboys! There
's no crime in that, as "Buffy" does it each week to critical and commercial
success, why shouldn't Marvel try cashing in? The story isn't bad, a little
unbelievable in the realm of disbelief, more implausible than anything, but
not awful. Elsa and her cast are very likeable and her youthful exuberance
and bright outlook keeps the story light. There simply isn't that much
substance here, and that's also cool in such a disposable medium, but it
doesn't have me wanting more like the next issue of "Planetary" for which I'
m endlessly waiting. The art's a stumbling block this issue, as it appears
rushed and unfinished, probably the result of Derenick joining Lopez this
issue. Derenick looks great, no exaggeration, great in "Nightside."
Elsewhere, like here, he's actually sub par. Lopez had some cool looking
line work that had an animation feel, swathed in bright color that actually
played quite effectively against the backdrop of the subject matter. This
issue looks like "Splash Brannigan" (I hate that feature in "Tomorrow
Stories") except they're not going for that silly, disproportionate style,
it merely happens. This issue was a definite miss for a cast of characters
that has shown some charm and potential. *1/2
CABLE #102 (Marvel) "Oops, I did it Again!" Writer: David Tischman;
Illustration and Cover art: Igor Kordey. Apr 02. $2.25, 32 pages w/ads.
Content: Marvel PG- The Askani'son is back in Eastern Europe, primed to stop
genocide by any means necessary. The government of the former Yugoslavia
develops a lethal airborne virus aimed at Ethnic Albanians. The Ethnic
Albanians, in turn, have created thousands of clones, partly to carry on the
memory of the dead, partly to build an army of vengeance. Toss Cable into
that mix and things will generally go "boom." Actually, that happens on the
opening splash page. I'm continually surprised that Marvel has allowed this
direction on "Cable." In light of 911 (an increasingly used excuse for the
censorship of violence in entertainment,) many media venues have been closed
to they type of story "Cable" tells. Cable is a terrorist. There is no way
around that fact, regardless that those he terrorizes are "bad guys." I don
't have a problem with that, I've never really seen the character as much of
a hero anyway, more of a soldier fighting those he perceives as evil. I
also don't have a problem of a comic book where the protagonist is a
terrorist. You see, I'm able to separate fiction from reality. I know
Tischman and Kordey are trying to tell a story. I think the terrible effect
of 911 has been a form of censorship. "Cable" is the type of story that
should be censored in the present climate but Marvel isn't doing that.
Hurrah, Marvel, you have far more sense and cajones than your Distinguished
Competition who cancelled "Authority" (which contains far fewer instances of
terrorism than "Cable") for 911-related reasons. I like this title because
it doesn't assume that every act of evil is perpetrated in NYC by super
villains and aliens. It takes me places, Kosovo in this arc, Chile in the
previous. All of the stories are replete with geopolitical intrigue, taking
the socioeconomic effects of war and its winners under consideration. What
you have with "Cable" involves current topics that take a big picture
overview, craft it to the smallest detail, and use it as the framework for a
story. I enjoy this title a great deal and like it or not, you can't fault
the creative team for a half-assed approach or Marvel for not taking
chances. ***1/2
DETECTIVE COMICS #767 (DC) Bruce Wayne, Murderer? Part Eight "Timeless"
Writer: Greg Rucka; Artist: Steve Lieber; Inks: Mick Gray. "Josie Mac: Lost
Voices, Part Five" Writer: Judd Winick; Illustrator: Cliff Chiang; Cover
art: John McCrea. Apr 02. $2.50, 40 pages w/ads. Content: All Ages-
Hemmed in by the constraints of the broader "Murderer" storyline, Rucka
nonetheless proves he's gold by crafting a brilliant piece of internal
dialogue that works up to a revelation without providing a resolution. His
pacing is slow, deliberate, fabulous, as Sasha Bordeaux begins questioning
her faith in the deity of the church of the bat. Incarcerated for a crime
neither she nor her fellow inmate Bruce Wayne committed, Sasha starts
listening to those around her. Wayne is rich and will skate, no matter
what; she's the fall girl. Wayne has an army of big ticket lawyers and she
has the only one she could afford. Wayne isn't doing anything to help her,
why should she protect him with her silence? Sasha's heard all of these
things ad nausea and shrugged them off, stone-faced and silent. But the
walls are closing in on her cell and Bruce isn't communicating with her, isn
't even looking at her. And she wasn't with him the whole evening the night
of Vesper Fairchild's murder, no matter what she told the police (which wasn
't much.) Slowly, she questions the employer she idolizes and wonders why
he was already showered and changed by the time she returned to the cave.
Lieber's art is solid, spotty in places, but all in all pretty decent. He
scores more for his framing and pacing than his actual rendering and in a
mood-driven mystery like this that's a strong suit. This is perhaps the
finest chapter of "Murderer," so far. Winick and Chiang's "Josie Mac" is
begging for its own mini, as Josie is the most likeable and interesting
character to hit the genre in some time. Judd's a bit heavy-handed in the
narration at times, but he keeps the dialogue very crisp and the characters
individualized in their speech patterns. Also, I can't say enough about
Chiang. God willing, some day I'll be writing comics and Chiang will be my
artist. In my fantasy land I could pick John Cassidy, Frank Quitely or
Chris Bachalo, but for my money the understated elegance of Chiang's art
tells more with its style than any of them. DC: Give Josie a mini with the
same team. ****1/2
ELEKTRA Vol. 2, #7 (Marvel Knights) Writer: Greg Rucka; Illustrator: Chuck
Austen; Cover art: Greg Horn. Mar 02. $2.99, 32 pages w/ads, glossy paper.
Content: Marvel PG+- Rucka picks up where Bendis left off and provides an
offbeat tale of assassination and revenge that takes a page from the
familiar. On an isle off of Greece inhabited only by warrior women, a
go-between takes an assignment to contact an assassin, with the sole caveat
being the assassin is a woman. As I'm guessing the female assassin quotient
is sort of low, the go-between knows the exact person for the job. One of
the interesting avenues Rucka explores is the protocol through which to
contact Elektra. Rife with code words in certain places, IP addresses
posing as phone numbers, the process insures Elektra's security and relative
anonymity. The writer also explores the economics involved with hiring
Elektra and it must be noted that even meeting with the assassin is going to
cost you. The owner of the aforementioned "Paradise Island" is a rape
victim seeking revenge upon her aggressors. The crime has affected her so
much so that she is unable to leave the island while those men are still
alive. In fact, I receive the strong impression that the isle's maiden
fears men, altogether. Drawing from various source materials, not the least
of which is "Wonder Woman," Rucka mines the effects of the most foul of
crimes, setting up a revenge scenario on par with "Lipstick" or "Sudden
Impact." Austen continues his interesting work on the title, blending his
animation style with more realistic Adobe Illustrator/Photoshop effects. It
's more seamless here than in the Marvel Mangaverse "Ghost Rider" he did,
where the art appeared like Hanna Barbara over static, photorealistic
backgrounds. Austen's art often runs the gamut from rich and textured to
basic animation simplistic. Luckily, the artist's technically solid, so in
these days of wildly varied styles, he can succeed with either take. This
is a surprisingly female take on revenge that holds back nothing and remains
genuine. ***
THE FIRST #16 (CrossGen) Writer: Barbara Kesel; Artist and Cover art: Andrea
DiVito; Inks: Rob Hunter. Mar 02. $2.95, 32 pages w/ads, glossy paper.
Content: All Ages- I enjoyed Bart Sears' artwork on this title, his uniquely
disproportionate style was befitting the larger than life gods. By the same
token, incoming artist DiVito blows Sears out of the water. Italian import
DiVito has been CrossGen's utility man, filling in on "Scion," "Sigil" and
drawing the two-part "Saurians: Unnatural Selection." It was obvious even
from his initial outings that the artist had potential. As I saw more of
his work, it was further made clear the progression the artist was making.
Where DiVito began peaking in "Saurians," this issue is the culmination of
his adjustment to the American comics style. Just think, this is only his
first issue! Kesel continues her exploration of Seahn's plot, as the
upstart Secundae proves how easily manipulated he is, but also reveals the
very real threat he also is. The writer also reveals a little more about
the dynamic between the leaders of House Sinister and House Dexter; there is
far more going on between Ingra and Pyrem than had been previously revealed.
This is high drama, politics, love and war among the gods. Beyond the
compelling power struggles and interpersonal dynamics, this may be one of
the true political thrillers on the market. The characters are gods,
blessed with great powers and diverse, archetypical personalities. In
utilizing those archetypes, Kesel makes the cast available and instantly
identifiable to an audience that knows nothing of gods, but has seen
power-mad upstarts like Seahn or mega-bitch bosses like Ingra. Take the
characters out of the context of godhood and they slide easily into "Melrose
Place" or "ER" or "Ally McBeal." Consistently, this book offers something
different than the normal pap on the market. ***
ICEMAN #4 of 4 (Marvel) Icons "No More Mr. Ice Guy" Writers: Dan Abnett &
Andy Lanning; Illustrator: Karl Kerschl; Cover art: Steve Uy. Mar 02.
$2.50, 32 pages w/ads, glossy paper. Content: Marvel PG- Opal Tanaka's been
nothing but trouble for Bobby Drake, even back to his days in "X-Factor."
In what has been Marvel's best Icons mini, Legionnaires Abnett and Lanning
complete their second effort for the House (see "Bloodstone" review on this
page) and prove they have the chops to stand among the massive array of
Marvel creative talent. I was prepared to dislike this story after the
disappointment of previous Icons minis "Cyclops" and "Rogue." This
depiction of Iceman felt true. This features a maturing Drake, wiser, not
as silly as he's been depicted in the past. That characterization is long
overdue, Drake should be in his mid to late twenties by now, the "youngest
member of the X-Men" stuff should be put aside. The Winterbrand
Corporation, ostensibly in league with John Sublime's group from the core
X-titles, kidnaps the child of Tanaka and Drake in to blackmail Iceman into
becoming the world's most powerful computer fan. The CPUs for Winterbrand's
genetic augmentation and bonding process are capable of great output, but
unfortunately, the cooling units don't exist that would prevent them from
overheating and melting. The writers draw a nice portrait of Drake, from
his sense-of-humor to his demeanor, this is a team that's fleshed out their
character. Artist Kerschl's stuff has a heavily-inked Manga style that
looks like it may be a viable, popular style in the future. It's not my
favorite, but I can also see its merit. Kerschl also shows some nice
character design skills here, including the Augmen and Foe Dog (the silliest
character name I may have ever heard.) For what it is, a mini furthering
cashing in on the X franchise while also testing the waters for character
appeal, "Iceman" is an action-packed, enjoyable romp with a heart. ***
IRON MAN Vol. 3, #51 <#396> (Marvel) "Jane Doe" Writer: Mike Grell; Artist
and Cover art: Michael Ryan; Inks: Sean Parsons. Apr 02. $2.25, 32 pages
w/ads. Content: Marvel PG- Stylistically, Ryan's art is everything I don't
like. His cartoony, soft linework covered with heavy ink is the antithesis
of my cup of tea. Even so, Ryan's pacing here is nothing short of
brilliant, proving the perfect compliment to Grell's cross-cutting, parallel
action story. This certainly doesn't feel like an Iron Man story; the setup
is a cross between "Pretty Woman" and "Detective Comics," a dark crime drama
amidst Tony Stark's best intentions. Once again, I question Grell's
decision to cast Stark as "Saint Tony." This characterization is not only
boring but doesn't ring true to previous takes on the industrialist. Today'
s characters are far more complex and fans like them that way. Billionaire
philanthropists that moralize to anyone within earshot are not only
unbelievable but also unlikable. That said, this setup is one of the most
promising I've seen in some time. Stark's home for runaways sees a
prospective client go missing, the possible victim of a prostitute serial
killer. The woman that runs Stark's shelter describes the man that raped
her and very obviously the man is a super villain. That take on the Marvel
U, where villains commit real crimes other than robbery, is one of the
saving graces of the House's trend toward appealing to adult readers. No
one wants to see crooks running out of banks carrying sacks with "$" on
them. Iron Man and Tony Stark live in a world of invention, international
intrigue and industrial espionage; seeing them both in an area only
Daredevil seems to cover is fascinating. Again, Grell paints Stark as
insufferably good and I think an opportunity at compelling characterization
is missed when he places Stark at a movers and shakers gala and his
commentary and reactions aren't believable. This would have been a great
setting to explore Stark's warts, his flaws, among his own privileged kind.
That's a missed bet and no matter how well crafted the stories are, Saint
Tony may be the story element that keeps Grell's run from being special. ***
JUST IMAGINE STAN LEE'S SECET FILES & ORIGINS #1 (DC) "The Coming Crisis!"
Writers: Michael Uslan & Stan Lee; Artist: Dan Jurgens; Pinup artists:
Various; Cover art: Stuart Immonen. Mar 02. $4.95, 48 pages w/ads.
Content: All Ages- For me, "Just Imagine Stan Lee" was a marketing ploy
executed 25 years too late. Lee isn't in touch with much of anything
nowadays, regardless of how much I like and respect him, that's the truth.
His stories haven't progressed since 1963, as he's still utilizing the same
plot twists and storylines he mined for the FF and Spidey. I'm guessing
Uslan actually wrote this issue's story, as the dialogue and
characterization are sharper than Stan's usual hokey stuff. Maria Mendoza,
Wonder Woman, works for a tabloid desperate to get the scoop on the JLA.
Maria persuades her boss to give her a raise if she can produce the JLA for
a n interview. Believing she can't, he agrees, only to meet the team
one-by-one. They also assemble as a group and utilizing WW's power to see
into the future, glimpse the new teammates they will have in the coming
months. It would have been more direct if Uslan simply said "On to the
pinup section!" The Secret Files & Origins are not only a means to make
extra cash, but also a potentially useful way of expanding on a detailed
story. In this case I think it's merely an excuse to squeeze more money out
of fans with the Stan Lee name. Unfortunately, at $4.95 and such a
disposable, forgettable story, I don't know how much the Lee name will earn.
Think of the line from "Trainspotting," where Sick Boy provides Renton his
theory on aging. It basically says than an artist peaks creatively at a
certain point in their career and then proceeds downward into the creation
of weak material. Sadly, Stan has been on that trajectory since he stepped
away from active creating in the 70s, as "Ravage 2099" and Stan Lee Media
clearly attest. Not worth your money or your time, I wish "Just Imagine"
occurred only in my imagination. *
MYSTIC #21 (CrossGen) Writer: Tony Bedard; Artist and Cover art: Fabrizio
Fiorentino; Inks: Matt Ryan. Mar 02. $2.95, 32 pages w/ads, glossy paper.
Content: All Ages- CrossGen's spearheading comics' Italian Invasion. Don't
believe me? Check out this title's new artist as well as that of "The
First," both Italian. They're also better artists than the very established
veterans they replace, Brandon Peterson here and Sears on "The First."
Fiorentino is in no way a Peterson clone, so expect a decidedly different
look, henceforth. Where Peterson utilized thicker lines and heavier inks,
Fiorentino goes for thinner linework and more natural form in rendering
characters. Fiorentino reminds me of John Buscema's stuff with slightly
less ink. The story, though rooted in the magic surrounding the planet
Ciress, harkens back to the metropolitan early setting of the title, with
Giselle returning to her party girl past. This seems a symptom of the
change in the main character, brought about by her apparent destruction of
Animora. In reality, Animora and Darrow are hatching a scheme against
Giselle that effectively divides her from her wiser older sister Gen.
Amidst this chaos is a subplot concerning corrupt law enforcement and the
return of Giselle's buddy Thierry. Bedard continues impressing with his
writing, delivering crisp dialogue that belies the more formal tone the
series took early on. I also like the fact that he's returned to the series
' early motif, the high society party scene of a world of magic. The rich
are infinitely as fascinating in their crime as the poor, as their
motivations and actions seem often more depraved and desperate. Evil lurks
within this title, and Bedard is deftly bringing it to an identifiable
street level. ***
NEW X-MEN #122 (Marvel) "Imperial" Writer: Grant Morrison; Artist and Cover
art: Frank Quitely; Inks: Tim Townsend, with Perrotta & Florea. Mar 02.
$2.25, 32 pages w/ads. Content: Marvel PG- This is the homerun issue I've
been waiting for from the Morrison-Quitely team. Oh, they've hinted at
comics immortality previously, but this issue they deliver the classic that
may well define their run in the annals of funny book history. Written as
one continuous story rather than serialized arcs, Morrison's "New X-Men"
explores the very real consequences of a world where human weapons are born
daily. From the more realistic public paranoia in the X-Men's "outing" to
the devastating usage of his characters' power, this version of the X-Men
stands as a complete departure from what has gone before. That's what makes
this the most anticipated title in comics month-to-month. Morrison infuses
the title with uncertainty, you don't know who will die or what might happen
next. Couple Morrison's writing with Quitely's singular art and witness the
birth of the post-modern superhero. Cassandra Nova, the first post-modern
super villain, hijacks Professor Xavier's body and heads spaceward with the
Shi'ar Empire, leaving a wake of mysterious devastation in her path. This
issue opens on the devastation wrought upon the Shi'ar Empire, which has
been torn asunder and has a battle fleet headed toward Earth. Nova has
halted all opposition except for Empress Lilandra, desperately escaping to
warn the X-Men of Nova's attack. This attempt surely does not go as
planned. Morrison goes on to show the X-Men recovering at the school. Emma
addresses the assembled students, stressing they be at their best since the
eyes of the world are upon them. She also announces the return of staff
member Hank McCoy, physically recovered from his injuries. Jean knows
better and pursues Hank regarding the mental and emotional effects of Nova's
attack. She continues her role as nurturer and de facto headmistress of the
school. When Scott questions her about the Phoenix effect during the battle
with John Sublime's troops, she dismisses his concern and actually comments
on his brooding, negative behavior. Grant's take on Jean is the best since
Claremont's, effectively casting her as leader of the X-Men and the title's
main character. The pacing of the story, the framing and shots Quitely
uses, build one of the best issues of the title ever and what appears to be
a classic storyline for our time. *****
NIGHTWING #66 (DC) Bruce Wayne, Murderer? Part Nine "The Unusual Suspects"
Writer: Chuck Dixon; Artist: Rick Burchett; Inks: Rob Leigh; Cover art:
Michael Golden. Apr 02. $2.25, 32 pages w/ads. Content: All Ages- A part
of the crossover in name only, this issue addresses Oracle's growing
distrust of Batman and Nightwing's blind devotion to him. Dick also meets
new Gotham crime fighter Orpheus and rushes home Bludhaven to help with a
prison fire. Aside from perhaps eliminating some of the suspects in the
crime, this issue should hardly be considered a chapter in the ongoing
Batman story. Dixon knows the characters and certainly has the knack for
writing them so the issue isn't as lame as it might be. Some of Oracle's
takes on Batman and his manner of dealing with his "extended family" are
very insightful questions that I've often asked myself of late. The Dark
Knight is weak on soft skills, even if his mission is one in which they
universally believe. They also begin wondering about Bruce's secrecy; none
of them know anything about Sasha Bordeaux and for all they know she could
be in on the frame. Furthermore, they're not so sure there is a frame. I
liked the angle that even the loyal lapdog Nightwing has his doubts. This
compounds the observation that Bruce's secrecy, even within his own camp,
could provide his downfall. Burchett's art is minimalist, a little under
defined for my liking, but also technically proficient including some nice
framing and pacing. The story's a bit all over the place, too much included
to truly provide a satisfying issue. Every time Dick's dragged into a
Batman family crossover, his budding storyline and mythos are disrupted and
make any Nightwing setting seem temporary. **
THE POWER COMPANY #1 (DC) "Executive Search" Writer: Kurt Busiek; Artist and
Cover art: Tom Grummett; Inks: Wade Von Grawbadger. Apr 02. $2.50, 32
pages w/ads. Content: All Ages- For as pedestrian and average as the Power
Company one-shots have been, I enjoyed this first issue of Busiek's new
team. A huge plus stands in artist Grummett's excellent Byrne-style art,
which is so consistent that it sets a tone the one-shots were never
successful in establishing. Grummett's return to regular artwork is a
welcome one, as the former "Superboy" artist always produces detailed,
expressive settings and characters, respectively. This issue deals with
Josiah Powers' recruitment of Sky Rocket, probably the most likeable
character introduced in the one-shots. The other characters aren't truly
fleshed out as of yet, but at least Busiek keeps them in the character he
established in the individual issues. The team is set up like a law firm,
with partners and associates. They take on "cases," anything from security
to protection to asset recovery. Think "Heroes for Hire" run like a real
business. Grummett's art is the strong suit of this issue, as well as
Busiek's concentration on Sky Rocket as the team's main character, but much
of it is predictable. This also provides the same failing of the one-shots,
wherein nothing that happens is much of a surprise and the story isn't
anything that might keep you around. **
THE PUNISHER Vol. 4, #9 (Marvel Knights) "You Talkin' to Me?" Writer: Tom
Peyer; Illustrator: Manuel Gutierrez; Cover art: Tim Bradstreet. Apr 02.
$2.99, 32 pages w/ads, glossy paper. Content: Marvel PG+- This incarnation
of "The Punisher" begins its first arc sans Garth Ennis and Steve Dillon.
Does it survive? Actually it does, fairly well in fact. Where Ennis'
straightforward, no bullshit, guns blazing approach worked well with the
ultraviolence, Peyer's slower, more deliberate story building may yield just
as desired an effect. This is the beginning of "Taxi Wars," the hyped Peyer
arc exploring a brutal battle of territory and terror threatening to engulf
NYC in a transit bloodbath. Frank dives into this mainly because of the cab
industry's relation to organized crime, the Punisher's main target. Suffice
to say, Peyer looks very promising, especially since he added the two
villains Mr. Badwrench (he must be seen to be believed) and boss Medallion,
who insists on meetings in the nude because "Betrayal requires greater
effort from the nude." These are a continuation of the offbeat characters
Ennis created, especially the Russian. This series and its array of
weirdness are reminiscent of the characters inhabiting that other Ennis gem
"Preacher." Gutierrez's art is somewhat rough and I'm not sure if I like
his lack of definition as opposed to the clearly rendered lines of Dillon.
This story has some potential and the setup is first rate, as the corpulent
Medallion's introduction is as enticing as that of Odin Quincannon, the
unforgettable Meatman. ***
ROBODOJO #1 of 6 (Wildstorm) "Robodojo, Part 1" Writer: Marv Wolfman;
Artist: Greg Lane; Inks: Richard Bennett. "Nanobotz: Buggin' Out" Writers:
Conor Libby & J. Torres; Artist: Dario Brizuela; Inks: Vince Russell; Cover
art: Michael Golden. Apr 02. $3.50, 40 pages w/ads, glossy paper.
Content: All Ages- This issue holds everything that's positive and
frustrating about Manga and Anime for me. The art is fabulously big, with
highly-detailed organic and inorganic settings as well as wonderfully
expressive characters. Wolfman is a near-industry legend, most notable for
his memorable 80s run on the "New Teen Titans" with George Perez. He takes
a stab at the hot new form and actually migrates quite well and naturally.
Like all Manga though, cool situations and basic characters have unrealistic
motivations that are never fully explained in the course of the story. For
instance, what is the Robodojo besides a robot research facility. Much is
hinted but never explored and I wonder why the new students are so eager to
begin work there. There's a prestige to the program that isn't explained,
save for providing the impression that this is the place to be for budding
robot developers. The characters are fairly stock, which is par for the
course in this genre. Included are the enthusiastic girl, the uptight,
snobby guy, the prankster, the idealist and the average, everyman girl,
through whose eyes the story is told. The art is excellent, Lane handles
the rigors of Manga as if he grew up in Osaka and was raised on the art
form. Though the story needs some development, I truly enjoyed its light,
positive tone, far removed from the doom and gloom permeating Anglo comics.
Not as good is the very silly Nanobotz, which features a Professor X-type
character, remotely commanding a team of Transformers. Again, the
characters are essentially one-dimensional, but the art is lacking and the
inks appear too heavy. The story is also a little over-the-top for my
liking, and although short, I'd have gladly sacrificed the space for a few
more pages of the far more enjoyable Robodojo. ***1/2
THE SANDMAN PRESENTS: THESSALIAD #2 of 4 (Vertigo) "Part 2: The Long Crawl
or The Trouble with Riddle Games" Writer: Bill Willingham; Artist: Shawn
McManus; Inks: Andrew Pepoy; Cover art: Dave McKean. Apr 02. $2.50, 32
pages w/ads. Content: Mature- The second issue of this mini is easily
better than the first, as we lose the narration of undead assassin Fetch and
concentrate more on his interaction with the increasingly likeable Thessaly.
I wasn't sure what to make of her early on, as I haven't read "The Sandman"
issues in which she appeared. Points go to writer Willingham for grounding
her in reality, providing her an intelligence and sense of humor not often
seen in comics, and making Fetch far less annoying. Willingham also proves
quite crafty, having the two board a subway that is actually a vehicle for
traversing and myth and legend. Thessaly defeats the Sphinx because she
already knows the riddle she'll ask. In fact, Thessaly answers it before
the mythological beast asks. When queried as to how she knew, she replies
"That's the riddle you always ask." She utilizes folklore as a map for
navigating the mythological plain, a fact Fetch finds most ingenious. The
two are building a chemistry that's almost irresistible and I think I'll
come back for that alone. McManus' art suits the story, rough enough for
Vertigo, yet having a definition to it that aids visual storytelling. In
fact, stories are what this title's about, even the title intimates
"Thessaly's Iliad," Thessaly's quest. The story fairly parallels Homer's
epic tale, quite consciously in fact when you consider Willingham's use of
the Sphinx, itself. Though I didn't care for the first, disjointed
installment of this mini, the second part made up for any shortcomings.
***1/2
TASKMASTER #1 of 4 (Marvel) "The Right Price" Writer: Ken Sui-Chong;
Illustrators: Udon; Cover art: Arnold Tsang. Apr 02. $2.99, 32 pages
w/ads, glossy paper. Content: Marvel PG- With the skill of reflexive
memory, the Taskmaster is able to copy the moves of anyone he's ever
encountered. Thus, he can fight like Captain America, has the agility of
Spider-Man, and is the acrobatic equivalent of Daredevil. Taskmaster is a
crook, though, covering anything from assassination to industrial espionage.
It's the latter this mini's concerned with, as Sunset Bain hires Taskmaster
to infiltrate Stark Enterprises and destroy all traces of a revolutionary
prototype. He demands to be paid quite well, as he knows a Stark incursion
will no doubt bring the billionaire's mechanical bodyguard. He also,
mistakenly, asks Bain why he's doing what he is. That's the cardinal sin
where Bain is concerned. He accomplishes his mission successfully and even
escapes a run-in with Shellhead before he discovers Bain was setting him up
for a fall. I'm highly impressed by the artwork of Udon Studios, but have
quite an opposite impression of their storytelling ability. This issue
makes up for that, as its pace and plot development are first rate, all the
while providing a glimpse into the character of the enigmatic Taskmaster.
Taskmaster is a cool character and thankfully the writers stopped short of
making him sympathetic or likeable. In not being likeable, he's also not by
any means a repugnant character, simply a character we know is not a good
man. The art doesn't slip, providing an animation feel that, reading these
reviews, you'll see as the style of the moment. While this isn't the best
thing I've read this week and I'm not dying to read the next issue, it is
nonetheless some pretty good work from a studio of rising stars. ***1/2
TRANSMETROPOLITAN #53 (Vertigo) "The Cure, Part Two of Three" Writer: Warren
Ellis; Artist: Darick Robertson; Inks: Rodney Ramos; Cover art: Glenn Fabry.
Apr 02. $2.50, 32 pages w/ads. Content: Mature- "The Cure" is one of the
most satisfying arcs on this title in a long time. Following the remarkable
"Year of the Bastard," this title was mired in making Spider look cool,
where the story itself seemed a secondary concern to character development.
The two must go hand-in-hand, and with this arc, Warren's back on track.
During the presidential campaign, the Smiler indulged his sexual
proclivities with various prostitutes in the City. One by one, those
prostitutes and anyone connected with them are being killed, presumably
insuring their silence, President Gary Callahan's last loose end. One of
the girls is still alive and this issue Spider whisks her away to get her
story. It's good to see Spider involved with his work again, see the filthy
assistants do what it is only they can. It feels right for this story, too
often preoccupied with Spider's illness as of late to truly progress. This
is the type of story I expect from "Transmetro," mean, vile and utterly
righteous in its quest for the truth. The stalwart crew that's missed nary
an issue is also in top form, as Robertson and Ramos prove their artistic
partnership is one of the elements that made this title a must-read. The
detail infused into every intelligently rendered, cinematic frame aids in
making this character-driven book one that no one views negatively.
"Transmetro" is back, let the bastards beware! ****1/2
ULTIMATE X-MEN #14 (Marvel) "Wild Card" Writer and Illustrator: Chuck
Austen; Cover art: Andy Kubert. Mar 02. $2.25, 32 pages w/ads, glossy
paper, card-stock cover. Content: All Ages- Austen's certainly kept himself
busy since joining the House, providing the art on "Elektra" and supplying
both art and story for "U.S. War Machine" and "Marvel Mangaverse: Ghost
Rider." This is the talented newcomer's take on one of Marvel's most
popular characters in one of its best-selling books. He does not
disappoint, as his art strays from the animation style fans are used to into
a grittier, more photorealistic vein. I enjoy the animation stuff, but
wouldn't cry if this was the style Chuck stuck with. This and the previous
issue have concentrated on Ultimate Gambit, as the creator provides a
decidedly different origin that nonetheless rings true and suited for this
title. Gambit is homeless, a street hustler and a thief surviving on his
wits and mutant talent. While the origin may differ, the character's good
heart and charm survive, although he's not portrayed as the skilled veteran
we see in continuity. That's an approach I like, foe what reason would Remy
LeBeau have to join Xavier's if he already mastered his skills? In fact,
Remy is even approached by Professor X and Storm, whom he at first believes
to be more religious Samaritans, looking to save his soul. Though rejecting
their offer, Gambit nonetheless keeps the Prof's business card which means
he'll inevitably come calling. Austen's Gambit may be the best version so
far, as he casts off the smarmy manner and tugs at the heart strings, not
implying any inherent evil but also admitting past mistakes. I don't see
this two-issue story as filler, I see it as a solid arc that introduces a
"new" character that I'm anxious to have join the team. ****
X-TREME X-MEN #10 (Marvel) "Keys of the Kingdom" Writer: Chris Claremont;
Illustrator and Cover art: Salvador Larroca. Apr 02. $2.99, 32 pages
w/ads, glossy paper. Content: Marvel PG- Sal's art is becoming more
defined, less Photoshop manipulated which can only stand as a plus for this
uneven series. Claremont's narration is more sparse and the dialogue's even
more believable. Granted, no one really embarks on the soliloquies a
Claremont character does, but he's at least managed to tighten up the side
notes, whittle down the verbosity. The major event in this issue is wholly
unlikely and yet wholly predictable. A character is "changed" which should
really be no surprise, as I never really thought the writer would keep him
around and romantically link him with the female lead without "powers." The
setup was cheese, though. Lifeguard and Gambit are kidnapped by an
inter-dimensional monster bent on using Remy's powers to open a dimensional
gateway. My first guess was another invasion, but upon seeing the aliens in
action, my first guess was less aggression than rescue or reclamation. At
the very least, I doubt they're evil. Claremont drops cookies in his
writing and leaves a trail that allows you to follow the progression of the
story. Next issue promises a fight that will turn out to be a
misunderstanding. Then Lifeguard will save the day, providing a glimpse
into her power and potential. Finally, the X-men and the aliens will join
against a common threat, defeating it but with a grave loss, probably on the
side alien side (as Psylocke recently died in the X camp.) In a Claremont
story I know what I'm getting and I usually like what I get. However, tried
and true dialogue that's existed for 17 years should be jettisoned. When
Thunderbird implores Lifeguard's brother not to take a certain risk, he
responds with "My life. My decision." If I hear that dialogue again, I
think I'll say "My money, My decision." **1/2
As always, Whiz Bang Comics would like to thank Guy at Locker Room Cards &
Comics (330) 385-0511 in East Liverpool, OH for providing advance DC and
Marvel titles. We also greatly appreciate the advance CrossGen copies,
provided by CrossGen Comics http://www.crossgen.com