Highland Laddie 2 (September 2010)

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No doubt about it, Ennis is having a good time on Highland Laddie. The most fun is trying to remove all the superhero stuff from it mentally; the story works just as well. Makes one wonder what the main series would be like if Ennis started with characters and story and added all the superhero nonsense to it later.

This issue’s a lot of talking heads, which McCrea and Burns don’t do a particularly good job of illustrating, but the dialogue is all so strong it doesn’t matter. Hughie makes a new friend, hangs out with his old friends, has some flashbacks. The flashbacks are awesome–particularly the revelation of young Hughie the detective.

There’s also the big subplot, involving drugs (and superheroes, sort of). Ennis uses it to give the story some danger. Otherwise the biggest concern is Hughie discovering he doesn’t really like his childhood friends while sober.

CREDITS

Great Glass Elevator; writer, Garth Ennis; artists, John McCrea and Keith Burns; colorist, Tony AviƱa; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

Prophet 34 (February 2013)

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It’s another excellent issue. Whatever Graham’s got planned for Prophet, he’s also figured out a way to draw it out but never get boring.

This issue, featuring some great art from Roy, does establish a little more with the New Father John Prophet–he’s the one from the first few issues of the relaunch; seems like he’s been gone for a while and even though he’s sort of a bad guy, it’s nice having him back.

Anyway, what Graham and Roy do here is move him along baby steps but do so in a way to show all the variations of the John Prophet clone. Not all the Johns appear human, not all are equal, some are quiet alien. It’s wacky and wonderful.

The backup, from Matt Sheean and Malachi Ward, disappoints a little. It starts really cool but then turns out to be a Logan’s Run knockoff or something.

CREDITS

Prophet; writers, Brandon Graham and Simon Roy; artist, Roy; colorist, Joseph Bergin III; letterer, Ed Brisson. Care, Part One; writers, artists and colorists, Matt Sheean and Malachi Ward. Publisher, Image Comics.

Ultimate Spider-Man 106 (May 2007)

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Lots happens this issue. I guess crossing the hundred issue mark, Bendis has decided he needs lots of guest stars. Hulk for a panel, Daredevil, the Fantastic Four… Peter’s entering into the much bigger Ultimate Universe. Only about a ninety-eight issues later than the original did into the Marvel Universe.

Anyway.

It’s an okay issue. Bendis is very comfortable having Mary Jane back and without an agenda. He seems to have but Kitty Pryde into that awkward role–I can’t wait for the contrived reason she’s going to Midtown High. And Matt Murdock showing up at the school a few minutes earlier is lame too. There’s got to be a better way to bring him in to talk to Peter.

But the scenes at the Bugle and the one with Aunt May make up for the problems. The Fantastic Four scene is great too.

The series feels surprisingly rejuvenated.

CREDITS

Ultimate Knights, Part One; 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.

Star Trek 18 (February 2013)

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What a truly awful comic book. Ryan Parrott takes over for regular writer Mike Johnson–really hope it’s just for this issue and not forever–and does the secret origin of Uhura.

There’s something to be said about how the new Star Trek promotes Uhura to the big three and downgrades Bones, but now’s not the time or place (and it’s not Parrott’s fault anyway). But her big moment? It’s actually not asking out Spock, which would have been more amusing, but saving her parents from disaster.

So what? It’s not really a defining moment for young Uhura. In fact, as her uncle (who talks her through the rescue–over the communicator because she’s a communications officer) points out, she’s just using her pre-existing skills. It’s pointless.

Parrott’s dialogue is so atrocious I didn’t even notice if Balboni’s pencils. They’re probably a little better than usual… but still bad.

CREDITS

Writer, Ryan Parrott; penciller, Claudia Balboni; inker, Erica Durante; colorist, Claudia SGC; letterer, Shawn Lee; editor, Scott Dunbier; publisher, IDW Publishing.

Half Past Danger 3 (July 2013)

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Mooney gets a little rushed on a few pages. He brings it all together for the big finale though–how has no one thought of ninjas versus Nazis before? You’d think it would be its own genre.

There’s not a lot of action until the finish, just a lot of drinking. Noble–the superman–and Flynn get drunk before their mission and Noble reveals the super-soldier story. It’s more realistic than I expected, but Mooney plays the heart strings a little much. He starts the scene with it being about camaraderie, which works, then turns it into a sad story, which doesn’t.

There’s a very amusing punch line involving the British agent. Otherwise, though, Mooney doesn’t develop her character at all this issue.

The dinosaurs and good guys attacking Nazis stuff at the end is awesome. Mooney awkwardly loses track of the ninja, but the energy keeps things going.

CREDITS

Something Wicked This Way Comes; writer and artist, Stephen Mooney; colorist, Jordie Bellaire; editors, Christopher Schraff and Chris Ryall; publisher, IDW Publishing.

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