The Maze Agency 3 (1998)

Maze Agency v2 3

It’s a rough, rough issue.

First there’s the storyline. Barr does this whole Bettie Page thing with a magazine trying to find an old model. Three show up, so there’s the investigation to figure out who’s who–only two other private detectives show up besides Jennifer, one supporting each possibility.

Then there’s the murder and that mystery. Barr wraps them up at the same time, of course, in an incredibly convoluted finish. It’s a lot of information to digest, none of it particularly interesting–lots of scenes this issue to move things along. He’s trying to hard.

But the real problem is the art. Gonzales and Baumgartner do half the issue and it’s fine, but it’s the first half so not the big revelation scene. James Bible and Larry Shuput do the second half and it’s just plain bad.

It’s an unfortunate outing for Maze; it’s too long, too ugly.

CREDITS

The Two Wrong Rhoades; writer, Mike W. Barr; pencillers, Gene Gonzalez and James Bible; inkers, Jason Baumgartner and Larry Shuput; letterer, Caliber Graphics; editor, Joe Pruett; publisher, Caliber Comics.

Star Trek 27 (November 2013)

290235 20131128192417 large

It’s too bad Fajar is still on the art for this series. Johnson’s writing–and his post-Star Trek 2 plotting–is getting fairly entertaining and the bad art really just kills the issue’s momentum.

There are some rather good parts with Kirk facing off with the bad guys, Spock and McCoy bickering… Even with the idiotic way they spell out Chekhov’s accent, Johnson has made Star Trek feel like it has an actual cast and not just photo-referenced stand-ins. But Johnson also gives Fajar way too much to do.

Not usually making that compliant–a writer giving an artist a lot of chances to do different things. Fajar fumbles all of them. The space battle is terrible, but it’s leagues better than the away team getting into a phaser fight. That last action sequence is just atrocious.

The bad art is holding this series back–nothing else.

CREDITS

The Khitomer Conflict, Part Three; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Chris Mowry; editor, Sarah Gaydos; publisher, IDW Publishing.

Detective Comics 542 (September 1984)

Detective 542

It says something when Moench’s got more character in two or three dialogue interchanges between Jason and Alfred’s daughter–they don’t like each other or something–than in a bunch of lengthy conversations between Batman and Robin. Family services takes Jason Todd away because Bruce Wayne neglected the legal process.

Yeah, right. Seems unlikely, especially when he tells the Wayne Foundation board they exist to do his bidding. It’s a megalomaniac scene and just shows how little Moench has to say about the character. The supporting cast? The villains? Moench does great. Batman? Not so much. Not at all.

If it weren’t for the moody artwork, there wouldn’t even be a point to having Batman and Robin show up in the comic. Everything else is better.

In the feature, anyway, because there’s nothing worse than the Green Arrow backup. Cavalieri introduces so many new character names, it story’s almost incomprehensible.

CREDITS

Between Two Nights; writer, Doug Moench; penciller, Gene Colan; inker, Bob Smith; colorist, Adrienne Roy; letterer, Ben Oda. Green Arrow, The Nightfly II: The Turn of an Unfriendly Card ; writer, Joey Cavalieri; penciller, Shawn McManus; inker, Sal Trapani; colorist, Jeanine Casey; letterer, Bob Lappan. Editor, Len Wein; publisher, DC Comics.

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