Wednesday Comics 2 (15 July 2009)

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So even some of the better ones from the previous issue are losers this week. Specifically Neil Gaiman and Mike Allred’s Metamorpho. They flop on the format.

Still strong are Pope’s Adam Strange, Baker’s Hawkman, Dan Didio and Jose Luís Garcia-Lopez’s Metal Men (no, really) and Catwoman by Walt Simonson and Brian Stelfreeze. Oh, and Kamandi by Dave Gibbons and Ryan Sook. The biggest surprise has got to be The Flash from Brendan Fletcher and Karl Kerschl. They split it between Iris and Barry and have a very unexpected, but fun, twist.

Deadman, from Vinton Heuck and Dave Bullock, is another nice one.

The lousy ones remain lousy (or worse). Azzarello and Risso’s Batman stinks; Risso’s art wastes the large size. Arcudi and Bermejo’s Superman is probably worse, just because it’s so poorly written. Berganza and Galloway’s Teen Titans has to be the worst one overall.

Another mixed bag.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Rocketeer Adventures 2 2 (April 2012)

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I’m having a hard time buying the Rocketeer as Captain America. The first story, from Tom Taylor and Colin Wilson, sets Cliff up as an official U.S. military superhero. It makes no sense. Especially not fighting giant robots. But the story’s good anyway. Taylor structures it well and Wilson’s art is great. Very effective work.

Paul Dini and Bill Morrison’s story is not so effective. It’s actually rather annoying. It’s an unfunny episode of a Rocketeer cartoon–cartoon as a pejorative. Dini writes cheap jokes and weak characterizations. Morrison’s art isn’t terrible, but it’s nothing special.

The last story, by Walt Simonson and John Paul Leon, is dumb. The Dini story’s unrealistic and moronic, but this one is dumb. There’s a difference. Simonson attempts realism and fails. Leon’s art is way too design oriented; it’s static. The Rocketeer can’t be static.

Except the first story, it’s a weak issue.

CREDITS

Work To Do; writer, Tom Taylor; artist, Colin Wilson; colorist, Dave Stewart; letterer, Robbie Robbins. Betty’s Big Break; writer, Paul Dini; artist, Bill Morrison; colorist, Serban Cristescu; letterer, Chris Mowry. Autograph; writer, Walt Simonson; artist, John Paul Leon; colorist, Stewart; letterer, Shawn Lee. Editor, Scott Dunbier; publisher, IDW Publishing.

The Boys 30 (May 2009)

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Ennis brings back a little of the series’s jovial spirit (jovial in a disturbed sense, of course), but not much of it.

He splits the issue between the Boys as they recover from the events of the previous issue and the evil company guys. The issue starts with an entirely unexpected, awful moment, but Ennis eases his way into it; he removes the shock value.

But he does get that shock value for the finish. There’s a lot of possible foreshadowing, a bit with Hughie’s emotional trauma; Mother’s Milk has the best scene in the issue. Until the shock finish, Butcher’s got about the weakest. Ennis gives Butcher a functional subplot, while everyone else just gets some time and space.

The end’s a surprise and a scary one.

It’s a fine issue; Ennis smartly gives the series a breather. Robertson handles the seven or eight changes in tone quite well.

CREDITS

Rodeo Fuck; writer, Garth Ennis; artist, Darick Robertson; colorist, Tony Avina; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

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