{REVIEW} PICK OF THE BROWN BAG: Jan 13 1999
Rayctate
A weekly review
by
Ray Tate
January 13, 1999
Welcome to the Pick of the Brown Bag. In this column, I pick from my
current batch, the most enjoyable and the most disappointing comic books.
E-mailed compliments and criticism are welcome. You may also post your
complaints and kudos to rec.arts.comics.misc. Argument is encouraged. Flamers
will have their buttocks exposed in a metaphorical sense by defender of the
Constitution, Larry Flynt. By the cosmos, I love America.
Contenders
Amazing Spider-man 3
Animaniacs 46
Avengers 13
Avengers Forever 4
Batman & Superman: Generations 3*
Buffy: Origin 1*
Chassis 3*
Far West 2*
Green Lantern 110
JLA/Titans 3*
Iron Man 14
Legends of the DCU 14*
Legionnaires 69
Nobody 3
Scooby-doo 20
Spider-girl 6
Titans 1*
Corrections: Captain America's: Torch of Liberty should be Liberty's
Torch. That's what I get for watching "The Son of Monte Cristo" before writing
the POBB : ).
Apparently, Mark Waid wasn't responsible for the phenomenal "Captain
America" # 14 which is too bad since it is highly recommended, and I a salute
the unknown author.
"Iron Man" certainly looks better with the fine work of Sean Chen, Larry
Stucker and Eric Cannon, but it's a little too convenient to accept that one)
the Watcher happens not to be home--or maybe he's in the shower, and doesn't
wish to be disturbed, two) the Watcher just happens to have the cosmic
doo-hicky after which Ronan lusts--surely this would be in the Possessor's
home, three) the cosmic maguffin happens to be in the only place on the moon
that can sustain an atmosphere, which also happens to allow the Torch to "Flame
On!" and Reed and Tony to spout all sorts of mind-numbing technobabble.
You can do worse than picking up "Avengers Forever," but when compared to
previous issues, this installment falls a tad short. The dialogue's too
obvious, and Hawkeye's rift with Libra seemed unconvincing. I would have
accepted the fit from Yellowjacket, since he is supposed to be unbalanced at
this time, and I'm surprised Roger Stern and Kurt Busiek missed the opportunity
for such characterization. I did enjoy Songbird's future sanity and the Wasp's
formidable leadership skills. Carlos Pacheo, Jesus' Merino and Steve Oliff
also continue to produce gorgeous artwork for this title.
"Avengers" pretty much just goes through the motions. Mr. Busiek
telegraphs that the vibranium will be vital to the plot. The relationship
between Wanda and Wonder Man makes me mighty ill, and damn it, Vance Astro is
still alive by the issue's end. Speed Ball isn't as wacky as he's usually
been, and the New Warriors are still pretty much a knockoff of the Titans.
For the real deal, you can't do better than JLA/TITANS and/or TITANS.
First, Devin Grayson regroups the sidekick brigade with light, characteristic
dialogue and a meticulously plotted world threat, but the latter isn't what
this is really about. The book centers on the Titan's relationship with each
other and their peers. These bonds Ms. Grayson effortlessly reinforces because
she recognizes that no one really believed that those links were shattered.
Batman will always be the father of Robin. Aqualad will always be the adopted
son of Aquaman. There's simply no ham-fisted writer, no matter how hard he
tries, capable of severing these ties, and when you're treated to a writer of
Ms. Grayson's caliber who wants even more links, you can expect magic. Thus,
you cheer at the banter between Troia and Green Lantern. You smile at scenes
between Catwoman and Batman--portrayed in a grimly delightful Ketonesque
fashion by Phil Jiminez and Andy Lanning. You snicker at the fish-slapping
dance, and you nod at the beautifully captured split between Keith Giffin's
jackass and the surprisingly selfless proprietor of Warrior's.
Opening the page gives the reader a superb rendition of Superman--the one
character who I thought more off-model than most during this mini-series. A
sort of miniature homage to the Crisis surrounds him, and it is great to see
Power Girl again. Since Supergirl is sporting those stupid flaming wings and
acting New Age Christian, we need a no-nonsense powerhouse of feminine
pulchritude to balance Superman's might. Who better than Superman's "niece"
Kara? An eye-catching portrait of Donna Douglas, the Harlequin from "Batman
Family" whets the appetite for more of this underrated character. Combining
with Ms. Grayson's words and the letterer's emphasis, the art team establish
Argent's determination and show why she deserves a place on the new team. On
page thirty-two the art team produce convincing looks of characteristic worry
on the Leaguer's faces as they witness what may be the deaths of their sons and
daughters. When the smoke clears, their individual relief issues from the
pages, and the epilogue with Mark Buckingham and Wade von Grawbadger is
perfect.
Another score for Ms. Grayson comes in the form of the team's own book.
The compliments I paid to the team-up--bouncy dialogue, realistic group
interaction, acts of heroism, the close-knit elements of a family formed by
choice--apply to TITANS, and Ms. Grayson adds a damn cute guest star as well as
an interesting nonlinear method of unfolding the story. New Titans artists Mr.
Buckingham and Wade von Grawbadger recapture the group's innocence with lots of
smiles--so rare on super-heroes not from the thirtieth century--and friendly
tomfoolery emphasizing their long relationship. When the action begins the art
team aren't shy about giving the reader proportionate anatomy in motion,
without shedding the team's playful quality of character.
I know Lori's history is complex, but was all this exposition really
necessary? The people who care know and have seen the scenes tickering in the
flashbacks, and those who didn't may suffer from sensory overload. Always
great to see Jo and Tinya back in "The Legionnaires," and it's sleazily cool
how Leland is making a family from scratch.
Another teen made the grade this week. I'll admit to having doubts about
BUFFY THE VAMPIRE SLAYER: THE ORIGIN--whouf, that's a mouthful. I've seen the
movie, and frankly, adaptations are usually, usually mind you, a waste of
money. Why pay for an inferior copy when you've seen the superior? "Origin" is
the superior.
When you open the book, you immediately notice a difference in the
prologue. In the film, if memory serves, a Rapunzel-like character seems to be
the dish of the day only to turn the tables on her fanged dinner guest. The
adaptation opens with more energy and horror. One of the main problems with
the film was its misplaced sense of humor. The novelty of a woman battling
evil may have seen comical then for less sophisticated audience members, but
the comedy and the originality has worn off. I'd imagine comic fans wondered
what everyone was laughing at in the first place. The original Buffy--Kristy
Swanson--was the closest we've ever come to seeing Black Canary on the big
screen. We always knew women--Batgirl, the Thorn, Black Cat--could fight
rather than uselessly catch their stiletto-heels in a puddle of mire, but now,
the general audience knows the Slayer and the myths. The change or reversion
of the opening was a very smart move, and Joe Bennet maintains the greater
moody atmosphere throughout.
Mr. Bennett is really doing an extraordinary job capturing Sara Michelle
Gellar's likeness, and for this issue, he has softened her eyes to give them a
less glassy look. Inker Rick Ketcham smoothes the skin of the character and
draws out the depth from Mr. Bennett's pencils by emphasizing the roundness of
muscle and jawline. Together--with the writing team of Joss Whedon, Dan
Brereton and Christopher Golden--they do a remarkable job recasting the role.
The line about "The blonde in the nightie" comes directly from the film, but
you hear Ms. Gellar's voice. Recasting also aids the character of Pike whom
without Luke Perry's squeakiness conveys a believable outsider's persona as
well as a believable object of Buffy's unwitting attraction.
In many ways Kristy Swanson portrayed a good stereotype of the more
familiar Buffy. With her ice-goddess countenance, she fit into this world of
the "Clueless," but Ms. Gellar's Buffy we know gravitates toward the unusual,
and I'm not referring to her battles against the fanged. Think about those who
have been her constant companions. Xander and Willow are the geeks of
Sunnydale. Angel is a good vampire. All three are outsiders from their
individual cliques. Thus, the creative team remolds each scene into
character-driven moments. The sketch in the restaurant--from the film, I
think--rather than a throwaway joke becomes a typical Buffy moment. It's not
really funny. Just odd. The creators also drive their stakes through
Christopher Walken's performance. Lothos issues immense threat in "Origin"
instead of ennui. Paul Reubens' over the top role bleeds to a vampire more
deadly. In short, the vampires disintegrate in "Origin" but not your reading
pleasure.
"Dot the Vampire Slayer?" More like Dot the Vampire Runner. If this were
the Animaniacs, the zombies would be shambling for their undeadness like that
poor Mr. Dracula who became the Warner Brothers special friend.
Looks like Brain should have repeated instead of rinsed. The Brain's
plans usually possess a modicum of logic--that's why they're so funny. This
one does not, and Brain's self-humiliation is the plan not the unwitting
aftermath of the plan.
The last cartoon is a highly recommended rip on Martha Stewart. Writer
Mark McKain fulfills the quotient of slapstick while also concocting several
character-driven jokes in the dialogue. Griffo and Andrew Pepoy add to the
hilarity with a more realistic Moutha that makes the 'toons' appearances that
more intrusive.
Sorry, Scoob. The first mystery plays unfair, and the second story
contains a fatal flaw that cripples the plot.
Joshua Dysart opens the race by coughing smoke in the faces of some
CHASSIS critics--not me, but I know who--which simultaneously sets up the story
for future issues. He counters the unfavorable critical response by driving
laps around the competition. The culprit behind the sabotage last issue comes
to no shock to the observant reader, but Mr. Dysart reveals his motive in a
Columboesque fashion and peels away another enigma from a dream.
What further interests the reader is the strong sense of evolving
characterization. In other words, never judge a book by its headlights. That
tasteful Adam Hughs cover probably sold the book and tricked readers into
following a flowing, comic-strip narrative centering on Chassis McBain. She
grows more nakedly heroic with each panel. The steel she primes against Cover
Girl though not out of character is a far cry from her uncertain days in the
first issues of the first volume, and her flirtatious moments exhibit her
greater sense of self-worth. On or off the track, Chassis is a dangerous woman
to cross.
Will O' Neill, Troy Brian and John Ott return with their art deco style.
This "gimmick" might have worked for about three issues for a lesser title, but
"Chassis" has more to offer. Steer your direction for instance to the expert
camerawork closing in on Cover Girl's smashup. Observe the cuts in the panels
depicting Chassis' rescue attempts--all designed to increase the tension of the
scene. Witness the way the reporters flock by the person--so subtly
placed--who probably won the race but not the day. I could go on about the
expressive faces still confined to the art team's demanding style, the vivid
colors, the natural flesh shading but gear shifting would ruin the transition.
An attention to character in John Byrne's BATMAN & SUPERMAN: GENERATIONS
causes your stomach to feel empty when you spy a moment of the purest villainy.
The impact affects you because you care about these characters.
Compared to some of Spidey's more recent villains, Shadrac resonates
greater depth, but Mr. Byrne's take on the Ice Man fails to leave shivers. He
ruins any gust of Spider-Friends nostalgia with an emaciated Bobby Drake who
has the worst hair day on record.
The twist at the end of "Spider-girl" is unexpected and foreshadowed, but
I've seen it before in "Justice League Europe," and when compared to the DC
hero, Ladyhawk seems fairly generic. Dialogue, pacing and artwork are all
however topnotch.
I see no reason why Green Arrow guest stars in this very personal story of
Jenni's. Still, the ends, though definitely not justified by the means, of
"Green Lantern" are most satisfying.
I like the character of Nobody. I enjoy Charles Adlard's stark contrasts
in black and white, but the story lost me completely.
A female star of a different breed rides in FAR WEST. Meg, though a tough
filly and mean with a Colt Peacemaker, reveals a welcome softer side on page
one and an enviable cunning within the hunt for the a mangy dragon-rider. Her
partner Phil--a talking bear--offers a more stable contrast to her more ornery
side, and writer/artist Richard Moore beautifully choreographs the action to
draw out a gamut of emotion from his multidimensional creation. The finale
especially displays a complex, attentive domino-like quality to visual
continuity.
Finally, LEGENDS OF THE DCU brings Steve Rude back to the sunlit majesty
of Metropolis and its guardian Superman. Perhaps, due to the subject matter,
Mr. Rude puts more Kirbeyesque influences into his usually smoother style, but
his trademark multiple-angled faces and profound sense of scale makes each
panel a joy to study. Mr. Rude's world is one in which you appear to be
looking at photographs, just shy of one dimension. His characters display body
language you can see walking down the sidewalks or chatting in cafes. When the
heroes step onto the stage, not an ounce of realism departs. It just
acclimates into something more dynamic.
Mark Evanier's script takes a big philosophical stand on what it means to
be human. The exploration in inheritance doesn't impede the flow of the story,
and Mr. Evanier's imitation of Jack Kirby's super science doesn't degrade the
real stuff. Add some Earthworm Jim inspired humor with the hilarious bickering
of Mokarri and Simyan, and you've got a Pick of the Brown Bag.
Past Picks from January 6, 1999
Batman: Gotham Adventures 10*
Ghost Special 3 (Dark Horse)
Superman Adventures 29
Talismen 3 (Blink)
Thor 9
Tube Review
Zoe, Duncan, Jack & Jane
Network: The WB 9pm Sunday
A talented, likable young cast delivers cunning jokes that also establish
their characters. Bizarre additions--the pilot with one eyebrow, the meanest
"handicapped" girl on earth, "enchanted shoes"--sets the sitcom ninety degrees
from "Friends" and makes any resemblance superficial. This new series provides
the best excuse to buy a new VCR or a reason to have your old one fixed.
"My point is. Some kids don't know how to play with others."
--Mr. Chapel: "Vendetta"--Vengeance Unlimited
The Pick of the Brown Bag is Copyright 1998 Raymond Tate. You
may of course copy the POBB for your own amusement or to share
with your friends as it is intended as a public service. You may
quote from it if you find some of my ramblings accidentally praise
your comic book project. Plagiarists will face the Curse of Kharis!
All hail Kharis!
"I'm half-human, on my mother's side."--The eighth Doctor