Power Pack 18 (January 1986)


Power Pack might be one of those ludicrously irresponsible titles–really, the kids skip school to go on vindictive, violent rampages (if Millar had the Power Pack kids kill a bunch of other kids by accident in Civil War, well, that one would be something)–but it’s got Brent Anderson artwork so I’m not sure I really care.

The comic’s idiotic. I mean, these kids talk with a vocabulary a teenager wouldn’t have, so it’s incredibly silly on top of being bad… it takes an artist like Anderson to make the thing tolerable. And there are some beautiful panels here. What’s going on in the panels is dumb, but it’s a well-drawn dumb.

The comic closes with the Power Pack kids getting ready to invite Wolverine to Thanksgiving. Wolverine’s Canadian on top of everything else, why the hell would he want to go to Thanksgiving?

Summing up, it’s stupid.


Kurse!; writer and colorist, Louise Simonson; pencillers, Brent Anderson and Scott Williams; inker, Bob Wiacek; letterer, Joe Rosen; editors, Rosemary McCormick-Lowy and Carl Potts; publisher, Marvel Comics.

Robocop: Prime Suspect 1 (October 1992)


What a goofy series. Well, I guess it’s too soon to say the series is goofy, but the first issue is certainly goofy.

Maybe it’s John Paul Leon’s artwork. I’ve only seen his more recent work. Prime Suspect looks like Dark Horse hired him to ape Kyle Baker’s most cartoonish style (I’m thinking the Disney Dick Tracy series). Except Leon’s clean, bright style doesn’t fit the story at all. The story’s a little over-cooked anyway, with Arcudi wasting panels with guys at bars having these political conversations using every word off a SAT practice test Arcudi can fit into the word balloons.

The story itself–Robocop is a murder suspect–is lame. What’s worse is how the series follows the Robocop 3 movie and treats the characters from the film series poorly (Robocop’s sergeant is afraid of him? Really?).

Why pay for a licensed property and make this tripe?


Writer, John Arcudi; penciller, John Paul Leon; inker, Jeff Albrecht; colorist, Matt Webb; letterer, Clem Robins; editors, Edward Martin III and Barbara Kesel; publisher, Dark Horse Comics.

Robocop 7 (September 1990)


So Alan Grant did Westworld with dinosaurs before Michael Crichton? There’s a dinosaur park in this issue, which came out a few months before Crichton’s novel, and, strangely, things go wrong. They go wrong for different reasons, but still… this issue could have been called “Robocop vs. Jurassic Park.”

There’s a lot of action here and a lot of–well, it’s not procedural, but it’s Robocop solving the mystery, but instead of it being an investigation with revelations, it’s an investigation with action sequences. Grant does a fine job with it, adapting the procedural both for the comic medium and Robocop as the protagonist.

Still, I miss seeing Lewis in the comic.

Sullivan’s dinosaur art is nice and the whole thing works well.

I mean, if you don’t dwell on Robocop’s internal dialogue, which is still way too human. The Judge Dredd influences come back too, with Robocop street judging.


Robosaur; writer, Alan Grant; penciller, Lee Sullivan; inker, Kim DeMulder; colorist, Steve White; letterer, Ben One; editor, Gregory Wright; publisher, Marvel Comics.

The Unwritten 4 (October 2009)


The fourth issue–I’m trying to remember if something magical is revealed each issue, but I don’t think so, just the first and second–ends on a wacky cliffhanger. I mean, it ends on a very dramatic, horrific note, but then on this, well, sweet one too.

The potential for The Unwritten is just amazing–if Carey pulls it off, but there really isn’t any sign he’s going to mess it up.

This issue introduces, with its first page, a new mystery, one I’m wondering if Carey’s even going to have time to reveal, since he’s kind of closed the action in this issue and the last one.

Still, as nice as the book gets, I’m not convinced I like it at this pacing. Carey introduced a lot the third issue, spent lots of pages, only to invalidate it this issue. It’s a bad formula.

In other words, fingers crossed.


Tommy Taylor and the Bogus Identity, Conclusion; writer, Mike Carey; artist, Peter Gross; colorists, Chris Chuckry and Jeanne McGee; letterer, Todd Klein; editor, Pornsak Pichetshote; publisher, Vertigo.

The Unwritten 3 (September 2009)


The third issue drastically changes pace. Instead of it being a summary of events, it’s more “real time,” with Tom’s trying to figure out the variety of weird things going on. Not the weird things overall, just the weird things going on since the end of the last issue.

There’s a lot more humor this issue, as Carey drops Tom in the middle of a horror writers’ workshop and none of the attendees are particularly bright. They bicker, it’s funny; but there’s this artificial sense to everything, because Carey’s always weaving the “fictional” into the story’s reality, which I’m sure is intentional.

Oh, and the mystery girl comes on to Tom, which is a cool little moment. Carey’s way of making Tom this incredibly identifiable protagonist–he’s not on Joseph Campbell’s twelve hero steps, for example–he’s almost comically tragic.

However, I don’t believe he wouldn’t not question mystery girl.


Tommy Taylor and the Bogus Identity, Chapter Three; writer, Mike Carey; artist, Peter Gross; colorists, Chris Chuckry and Jeanne McGee; letterer, Todd Klein; editor, Pornsak Pichetshote; publisher, Vertigo.

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