Predator 3 (November 1989)


So Schaefer gets kidnapped by a drug lord and has to break out. Meanwhile his partner is trying to let everyone know there’s an alien invasion coming. Lots of warships cloaked in Manhattan, you know… the norm.

Occasionally Verheiden will give Warner some awesome scene to draw–the Pam Am building being a meeting place for the aliens and the military–but a lot of the comic is the South American stuff. It’s a bridging issue is all and a four issue series shouldn’t need one.

Especially not since Verheiden contrives the whole thing with the drug lords. It would have been more natural if Schaefer had stumbled across them instead of being their nemesis.

The genial readability quality is going too. Verheiden has used up his good will. He’s stopped doing anything interesting and is now just trotting through a lame plot.

Hopefully the next (and last) issue’ll succeed.


Writer, Mark Verheiden; artists, Ron Randall and Chris Warner; colorist, Chris Chalenor; letterer, Jim Massara; editor, Randy Stradley; publisher, Dark Horse Comics.

Ultimate Spider-Man 127 (December 2008)


Oh, come on, Bendis. If you can’t plot a full arc–even when you’re doing a bad one like this arc–don’t do a pad issue, just cut the number of issues down a little.

Here’s what happens this issue. Eddie threatens Peter in the present. He wants the suit back–now, let’s not forget Bendis opened this arc with Eddie having the suit and then got confused in his flashbacks. Peter tries to find Eddie and can’t. Gwen comes to see Peter because she’s got the Carnage face stuck on her body.

There’s the comic. Oh, and apparently Mary Jane isn’t reading for French kissing. Peter should have asked if she ever French kissed Harry, but he doesn’t.

It’s a shame Bendis can’t sustain this book for any length of time anymore. He gets better, then he falls off. Even the Immonen art is padded with artificial panel breaks.


Writer, Brian Michael Bendis; penciller, Stuart Immonen; inker, Wade von Grawbadger; colorist, Justin Ponsor; letterer, Cory Petit; editors, Lauren Sankovitch, Lauren Henry and Ralph Macchio; publisher, Marvel Comics.

Planet of the Apes Giant 1 (September 2013)

POTA Giant 01 rev

All you need for a last issue is apparently a sole survivor, a big event and a flash forward in time.

Gregory isn’t rewarding his long-time Apes readers with the Giant finale, he’s finishing the story before Boom!’s license runs out. And, for some of the issue, he doesn’t do too bad. That basic quality is why the awful finish is so offending.

He’s in a rush, he’s got a lot of characters, he’s got lots of excuses. But the resolution is as poorly conceived as his use of twentieth century sayings from the humans. Why would anyone have preserved them?

It’s hard to properly talk about the stupidity without spoiling things–and Gregory does at least follow an established Planet of the Apes standard, but it’s a stupid one and the reference is without enthusiasm.

Additionally, the ending is obvious. It’s like someone dictated an uncreative finish.


Writer, Daryl Gregory; artist, Diego Barreto; colorist, Darrin Moore; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

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