Popeye 4 (August 2012)


The Popeye feature suffers a little from lack of intelligent characters. For a second, I thought Castor Oyl would prove smart; he does not. Wimpy does show intelligence… and never gets recognized for it. But Langridge never loses track of him, which is sort of a reward. Langridge loses track of everyone at some point in the story.

It’s a very busy tale of a small (microscopic) kingdom Popeye and friends have to save. There’s lots of dialogue; Langridge wraps the exposition into the jokes beautifully. It’s well-written, it’s just a war story mixed with a detective story mixed with Popeye. It’s amazing Langridge is able to keep track of it at all.

The Sappo backup is a beautifully simple day at the beach. The jokes are universally strong, Langridge paces them all carefully, Neely’s artwork is lovely.

It’s a good comic, the backup’s just stronger than the feature.


Good Night, Blozo!; artist and letterer, Vince Musacchia; colorist, Luke McDonnell. Hero of the Beach; artist, colorist and letterer, Tom Neely. Writer, Roger Langridge; editor, Ted Adams, Craig Yoe and Clizia Gussoni; publisher, IDW Publishing.

Battlefields 1 (November 2012)

BFv2 01 Cov Leach

It wouldn’t be Battlefields without the Tankies and Sergeant Stiles. But Ennis is also doing a Korean War story–and drawing attention to the lack of attention the Korean War gets–so Ennis is coming from a different place. He’s educating.

A lot about Battlefields is different. Stiles is older and more self-reflective, for example. Te tank crew isn’t as important (so far). Stiles has a big scene with another WWII veteran as Ennis emphasizes the men returning to battle after an unsatisfying peacetime.

And the Ezquerra brothers are a little loose on the art. It’s still distinct and good, but it’s too broad and hurried at times. There’s no humor, just melancholy, and it doesn’t seem like they know how to do it.

Ennis has clearly worked hard to get the script right. He’s not doing a standard war comic, rather a specific one with familiar characters added.


The Green Fields Beyond, Part 1: Now Thrive The Armourers; writer, Garth Ennis; penciller, Carlos Ezquerra; inker, Hector Ezquerra; colorist, Tony AviƱa; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Before Watchmen: Silk Spectre 2 (September 2012)


Cooke and Conner set up Laurie as a hippie superhero; it’s kind of cool and definitely a decent look at sixties San Francisco. What’s interesting–and something I don’t think the original series ever established–is Laurie goes the “with great power” route. She turns into Silk Spectre because she can help people if she does. It deepens the character quite a bit.

And she needs it, because Cooke and Conner spend almost half the issue on the supervillains plotting to get kids tripping and consuming. It’s an incredibly boring scene and it goes on forever and ever.

Her boyfriend’s not much of a character either. I haven’t determined if they’re supposed to be teen runaways, but one would think his parents might be concerned.

The ending cliffhanger’s either going to be awesome or some terrible way to be grim and gritty.

Shockingly, Wein writes an okay pirate backup too.


Getting Into the World; writers, Darwyn Cooke and Amanda Conner; artist, Conner; colorist, Paul Mounts; letterer, Carlos M. Mangual. The Curse of the Crimson Corsair, The Devil in the Deep, Part Seven; writer, Len Wein; artist and colorist, John Higgins; letterer, Sal Cipriano. Editors, Chris Conroy, Camilla Zhang and Mark Chiarello; publisher, DC Comics.

Swamp Thing 100 (October 1990)


Not much of a hundredth issue celebration for Swamp Thing apparently. Unless you count Wheeler going back and retconning a lot of Moore and Veitch’s details about the Parliament of Trees and the new Earth Elemental storyline. And the time travel storyline. Lots of retconning.

But Broderick can draw trees, so at least the trip to the Parliament looks all right.

Kelley Jones handles some of the other pages, with Swamp Thing in Antarctica searching for Eden. The Jones pages are fantastic, even if he doesn’t have as interesting scenery to render.

Most of the issue’s exposition and there’s a lot of it (because it’s retconning exposition). It makes the issue drag to say the least. None of Wheeler’s new details are any good; they’re all set-up for some future storyline. And they raise the question of whether he’s corrupting the previous writers’ intentions.

The comic fails to resonate.


Tales of Eden; writer, Doug Wheeler; pencillers, Kelley Jones Pat Broderick; inkers, Jones and Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

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