Miracleman 16 (December 1988)

Moore bites off a lot for this final issue to the arc. It isn’t enough Miracleman and company will turn the world into a utopia, Moore has to sell it. He uses great detail–like the Warpsmiths liking the Inuit language the most–to make things process. He also throws in a lot of personality. Heavy metal gangs turning Kid Miracleman into a sensation; it’s unnecessary but perfect.

And Liz. How Moore deals with Liz is crazy good. Winter comes back, but she’s kind of comic relief. Liz figures in differently. One has to wonder if Moore always had this plan for her.

There’s a bit of joking at Thatcher’s expense. Moore is having a good time, after all.

Miracleman is not a superhero comic. Maybe Moore never intended it to be one, just let it pretend like on Gargunza’s tapes.

Fabulous work from Totleben too. The art is breathtaking.

A+ 

CREDITS

Olympus, Chapter Six: Olympus; writer, Alan Moore; pencillers, John Totleben and Thomas Yeates; inker, Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.

Minimum Wage 1 (January 2014)

Minimumwage1 review 1

Bob Fingerman sure does like holding on to a joke. The opening joke in Minimum Wage has one of the protagonist’s friends making joking advances on him. One of his male friends. Fingerman beats the joke with a stick, not just killing the funny in it–there isn’t any to start–but also looking desperate.

Except once that opening sequence–the lead, Rob, going out to a night club after breaking up with his wife and moving back home with his mom–once it’s over, Wage gets a lot better. Fingerman does go so much for actual jokes as he does for mood and tone.

The art’s fully realized, even if it’s just Rob sitting around on dating websites. The opening missteps seem like someone trying too hard. The rest is someone being very assured and chill.

Wage works out. It might even go somewhere interesting… if Fingerman lets it.

CREDITS

Writer and artist, Bob Fingerman; publisher, Image Comics.

Detective Comics 558 (January 1986)

5663

Moench paces the feature pretty well–Batman’s taking Catwoman to the hospital while Robin hangs out around Nocturna’s observatory. Throw in Robin having the save a guy obsessed with Nocturna and Batman having a little dust-up with the Nightslayer again (seriously, terrible villain).

The nicest stuff is actually with Bullock, who has to deliver bad news to a new widow. Moench also focuses on the romance between Batman and Catwoman, but doesn’t actually give them any time to develop together. They’re either fighting someone or she’s in a hospital bed. It remains to be seen what Moench’ll do once she’s out of the bed.

The art, from Colan and Smith, is rather nice. Robin’s got some good moments, though the Jason Todd angle of the character has almost disappeared at this point.

Truly terrible Green Arrow backup, written by Dean R. Traven. Even Trevor von Eeden’s pencils are lazy.

B 

CREDITS

Strange Loves; writer, Doug Moench; penciller, Gene Colan; inker, Bob Smith; colorist, Adrienne Roy; letterer, John Workman. Green Arrow, Believe Everything I Hear; writer, Dean R. Traven; penciller, Trevor von Eeden; inker, Dell Barras; colorist, Jeanine Casey; letterer, Agustin Mas. Editor, Len Wein; publisher, DC Comics.

Sons of Anarchy 5 (January 2014)

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It’s an all action issue. I’m not sure there’s time for anything else in this series besides action. At best a page or two, here and there, with the characters preparing for their eventual participation in the action. It’s good and pulpy.

One definite standout is the color from Stephen Downer; whoever decided to make the blood blue to make it stand out (there’s still red blood around… oceans of it), whether it was Downer or the editor or whoever, it’s a good choice. It draws attention to the violence, it makes the danger vibrant.

But it’s hard to say how well Golden can wrap this whole thing up. He’s got his major plots, but all the subplots have fallen away. It’s doesn’t feel like episodic but it also doesn’t feel like the girl on the run’s story.

Still, it’s definitely a good read for a licensed comic. Just slight.

B- 

CREDITS

Writer, Christopher Golden; artist, Damian Couceiro; colorist, Stephen Downer; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

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