The Unwritten 32 (February 2012)


I’m perplexed. Pullman does something bad, but I can’t figure out what he’s done or why it will put Tommy and the gang in danger.

What’s incredibly frustrating is Carey spends about half the issue with Pullman talking about what he’s going to do; I thought I’d understand it once he got to it… but no.

Otherwise, it’s a very solid bridging issue. Carey resolves the previous cliffhanger–not in a happy way, either–and sets up for the next challenge. Lizzie and Richie spend most of the issue trying to figure out how to survive without magic, which raises some interesting questions about Tommy’s powers while also providing drama.

There aren’t any big action set pieces, so Gross just excels at the dramatic pacing. Carey sets up a problem and gets to a resolution by the end; Gross has to make it frightening. He does.

It’s all quite good.


Tommy Taylor and the War of Words, Part Two; writers, Peter Gross and Mike Carey; pencillers, Gross and M.K. Perker; inker, Perker; colorist, Chris Chuckry; letterer, Todd Klein; editors, Joe Hughes and Karen Berger; publisher, Vertigo.

Godzilla: The Half-Century War 3 (October 2012)

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Stokoe plays up the human element too much here. He’s got a bunch of monsters–it turns out Godzilla was the only one until last issue–but they’re not getting the attention. Instead, the issue’s more a combination of exposition about what happened at the end of the last issue and off-panel after the first issue and then a human chase scene.

The characters are all weak and there are a lot of them. Almost uncountable but probably fifteen, with five or six having significant speaking parts. It’s just too much for the comic, which doesn’t really have a narrative purpose.

Stokoe draws a bunch of monsters should be great and it is when he draws them, but they don’t get too much intention. Solving the mystery he created this issue is a lot more compelling,

It’s still okay and the art’s fantastic, but Stokoe really fumbles the story.


Ghana, 1975; writer, artist and letterer, James Stokoe; colorists, Stokoe and Heather Breckel; editor, Bobby Curnow; publisher, IDW Publishing.

Swamp Thing 129 (March 1993)


Eaton (and Collins) give Swamp Thing long hair. Why? Because he’s losing control thanks to toxic waste and forgetting he’s not a man. Or something along those lines.

Apparently Alec can reanimate dead wood–a baseball bat–but he can’t get rid of this toxic waste. And Abby’s allowed to leave the swamp to visit Chester but Alec can’t leave to save the world.

Oh, can’t forget–Chester never thinks to say goodbye to Alec too.

Reading Swamp Thing is now just watching Collins make every single character unlikable and unsympathetic–hell, she never rehabilitated Tefé from killing her cat. It doesn’t offer anything else, except endless bad narration from Alec.

Someone else probably could have made the mundane plot work, but Collins isn’t cutting it. There’s nothing in the comic she seems to like. One can’t blame her, there’s nothing to like.

Well, it does read fast, I suppose.


Swamp Fever; writer, Nancy A. Collins; penciller, Scot Eaton; inker, Kim DeMulder; colorist, Tatjana Wood; letterer, John Costanza; editor, Stuart Moore; publisher, Vertigo.

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