Detective Comics 789 (February 2004)

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So Batman finds this rock Indiana Jones once lost and it turns you into a violent superman. While under its influence, he kills a helicopter pilot who’s being held hostage.

Bolles is such a crappy writer, he doesn’t even seem to acknowledge it once the helicopter explodes. Moments later, Batman has the good old “no, I’m not a killer” thing and saves the bad guy. That poor helicopter pilot’s corpse is, in the meantime, burning.

And then there’s the finish. Batman commits the mastermind to Arkham. Why? Well, she’s bad. Can he prove she’s bad? No, not at all. Bolles might be a moronic writer–with some of the worst exposition in a comic ever–but the editors okayed this crap.

The backup, about Batman’s costume manufacturer, is dumb too. A.J. Lieberman’s script starts decently, but once he gets to the plot it all goes to pot.

Awful comic.

CREDITS

The Randori Stone, Part Two; writer, Paul Bolles; penciller, Mike Lilly; inker, Dan Davis; colorist, Jason Wright; editors, Michael Wright and Bob Schreck. The Tailor, Part One; writer, A.J. Lieberman; penciller, Jean-Jacques Dzialowski; inker, Dan Green; colorist, Giulia Brusco; editors, Nachie Castro and Matt Idelson. Letterer, Clem Robins; publisher, DC Comics.

Hawkeye 11 (August 2013)

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Fraction and Aja tell the issue from the dog’s perspective. I’d forgotten Clint even had a dog. Luckily there’s the text recap.

So, there’s a whole visual language for the dog, how he encounters the world–with image memories like street signs and so on–based on smell mostly. I doubt there’s ever been a comic so much about smell.

And it’s really cool. The dog runs into people he doesn’t like, he makes a new friend, it’s really cool. For a while.

But then there’s the narrative. The clown guy is apparently in Clint’s building hiding out with an evil old lady, it’s still unclear if Clint knows Grills is dead, and then Kate moves to California. Also, unclear why clown guy hasn’t attacked Clint as lots of time seems to pass this issue.

It’s really cool, but cool doesn’t make up for Fraction’s insistence on bewildering the reader.

CREDITS

Pizza is My Business; writer, Matt Fraction; artist, David Aja; colorist, Matt Hollingsworth; letterer, Chris Eliopoulos; editors, Tom Brennan and Stephen Wacker; publisher, Marvel Comics.

Ultimate Spider-Man 102 (January 2007)

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Very confused as to what Bendis is doing with this arc.

The big reveal has to be the Spider-Woman isn’t a Mary Jane clone but a Peter Parker clone made female. There’s also this implication Richard Parker is just an illusion or a clone too. I suppose Bendis is keeping that revelation for this arc’s finale, to reunite Peter and Aunt May.

There’s another big problem–at the beginning when the Fantastic Four faces off against Fury, they seem a little alone. One would imagine someone else would speak up against Fury executing a teenager, some other superhero (where’s Dr. Strange when they need him), but maybe not. I can’t imagine Thor’d be okay with it.

All of a sudden, the Ultimate Universe feels way too small. Bendis is trying to manage things, but then kicks off his weird Peter Parker clones business.

It’s goofy and trite and disappointing.

CREDITS

Clone Saga, Part Six; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

Brother Lono 1 (August 2013)

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I’m not sure I understand anything in this first issue of Brother Lono except the titular character has been in the town jail for a while and he gets out. He’s on a mission to escort a visiting nun–of course she doesn’t look like a nun–to the parish. I think.

Brian Azzarello fills the rest of the issue with drug cartel guys torturing people for information, threatening priests, implying police corruption. Then there’s this meticulously crafted finale outside the bus station. The bad guys are looking for a DEA agent, Azzarello hasn’t revealed the nun yet and there are like three other guys doing shady things. It’s a beautiful sequence, even if it doesn’t make any sense.

Or maybe it all does and I’m just really tired, but I don’t think it does.

Eduardo Risso’s art is excellent. He gets bloody, but still implies even more.

“Fun” stuff.

CREDITS

!El Hombre Respira!; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Trish Mulvihill; letterer, Clem Robins; editor, Will Dennis; publisher, Vertigo.

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