The Further Adventures of Indiana Jones 16 (April 1984)

22348

It’s a very fast paced issue from Michelinie. Maybe he knew he had Trimpe and Colleta back on art and didn’t want to make the reader suffer. That explanation is as good as any, especially when one considers the resolution to the previous issue’s cliffhanger–crabs attacking Indy–is the longest sequence in the comic.

For example, the bottom of the ocean submarine sequence reads faster. Somehow Michelinie never feels rushed–Indy and Katanga (who continue to make a great pair) are always in constant danger, the speedy storytelling actually provides relief for the reader. There’s no delaying the constant twists.

The art does have its expected terrible points. Besides Indy looking totally different for the issue’s finish, there’s one amazing panel of him swinging through the air where the artists make it look like he’s sliding down something.

It’s a rushed read to be sure, but a decent one.

CREDITS

The Sea Butchers, Chapter Two: Death on Dark Waters; writer, David Michelinie; penciller, Herb Trimpe; inker, Vince Colletta; colorist, Robbie Carosella; letterer, Joe Rosen; editor, Eliot Brown; publisher, Marvel Comics.

Ultimate Spider-Man 5 (February 2010)

186977 20091202144740 large

I don’t get it. Ultimate Spider-Man was supposed to be a realistic, modern retelling of Spider-Man, right? Why has Bendis turned it into a really stupid cartoon? Not just stupid, but really stupid.

He’s reduced May to pleading with Peter for Bobby Drake to live with them, telling Peter “she needs to do this.” She needs to fill her house with refuse from canceled Ultimate books who don’t even get scenes in the comic.

Bendis has even lost his ability to do a fight scene. Lafuente doesn’t help with that one–the Mysterio fight, resolving the previous cliffhanger, is atrociously handled.

There’s nothing redeeming in this issue. Nothing whatsoever. Except maybe Kitty Pryde and only because Bendis actually gives her a real scene.

And Bendis goes overboard with the dialogue to hide his lack of content. Lafuente’s composition’s so bad he just enables Bendis.

It’s terrible, terrible stuff.

CREDITS

The New World According to Peter Parker, Part Five; writer, Brian Michael Bendis; artist, David Lafuente; colorist, Justin Ponsor; letterer, Cory Petit; editors, Sana Amanat, Lauren Sankovitch and Mark Paniccia; publisher, Marvel Comics.

Rocket Girl 1 (October 2013)

285595 20131009141947 large

Rocket Girl is awesomely high concept. In 2013, there are flying cars, teenage police with rocket packs, a blissful future world. Why 2013? Because, if my read of writer Brandon Montclare’s implications are right, someone in the future (past 2013) went back to 1986 and gave some well meaning scientists future tech.

But all that stuff is just the background; it’s also about the lead character–who has the distressingly lame future name (for a white kid) of Dayoung–getting stuck in 1986 trying to fix the future and put it back the way it’s supposed to be. But she’s also a cop with a rocket pack so she’s out fighting eighties New York crime.

With Amy Reeder’s art, which does just as well futuristic and not, and Montclare’s inventive script, this first issue is a great success. It certainly seems like they’ll be able to carry it on too.

CREDITS

Times Squared; writer, Brandon Montclare; artist and colorist, Amy Reeder; publisher, Image Comics.

Powered by WordPress.com.

Up ↑

%d bloggers like this: