The Legend of Luther Strode 3 (February 2013)

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And now Luther gets himself a supervillain. Not bad gimmicks, very creepy the way Moore draws him. It’ll probably be a great looking issue next time. Of course, this time was great looking too. Only nothing really came of the story.

The situation at the end of this issue is the same as at the beginning. Damsel in distress. The whole issue just circles around until Jordan finds a way to put the girl in danger again. There are some great fight scenes, some humor, some character development for the old guy… but there’s no story. It’s the third issue and it seems like Jordan has done nothing but show off what his artist can do.

Not what his characters can do, what the artist can do. Luther’s once again barely a character. He’s reduced to witty lines, almost always in response to someone else’s wittier line.

It’s severely uninspired.



Writer, Justin Jordan; artist, Tradd Moore; colorist, Felipe Sobreiro; letterer, Fonografiks; publisher, Image Comics.

Coffin Hill 4 (March 2014)

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Somehow it manages to slide further downhill and redeem itself simultaneously. Kittredge has a cool cliffhanger. As much as the issue flops–Eve’s now a completely lame protagonist–the cliffhanger makes decent promises. So instead of giving up on Coffin Hill, I’m back for another.

Kittredge has a lot of problems with Eve. She can’t write her in flashbacks anymore, because she’s shown all her cards regarding the character and her limits. She can’t write her in the present because her supporting cast is terrible; the scene with the mother, right before the cliffhanger, is astoundingly bad.

But Kittredge can introduce new characters and they can be compelling. For half an issue anyway.

As for Miranda, the art is definitely continuing its slide as well… but without any to save it. There’s lots of weak composition, there’s almost no detail to characters; this comic is not nice looking at all.



Death upon Her Eyes; writer, Caitlin Kittredge; artist, Inaki Miranda; colorist, Eva De La Cruz; letterer, Travis Lanham; editors, Sara Miller and Shelly Bond; publisher, Vertigo.

Batman 394 (April 1986)


The Gulacy art continues, albeit in a far less interesting environment. Batman, the KGB agent and Robin have to stop the villain from poisoning the city. It seems a much simpler story–if it weren’t a Soviet assassin as the villain, it could be the Joker. And some boring looking Soviet guy isn’t the best use of Gulacy.

Moench tries really hard to show the common links between Americans and Russians; it’s warm and fuzzy eighties peace-nik stuff. It’s okay, mostly thanks to Gulacy’s art, but without it I can’t imagine the book being very entertaining.

Where Moench is interesting is Robin. Jason Todd has changed completely at this point, just a background object as opposed to Bruce’s would-be adoptive son. He even calls Bruce “boss” at one point. Moench’s really pulled the plug on the adopting business.

It’s a fantastic looking comic book with a serviceable script.



At the Heart of Stone; writer, Doug Moench; artist, Paul Gulacy; colorist, Adrienne Roy; letterer, John Costanza; editor, Len Wein; publisher, DC Comics.

The Private Eye 5 (20 December 2013)

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After the protracted cliffhanger resolution, this issue starts getting really good and never stops. A lot of it is Martin. He’s got some breathtaking pages in this issue; it’s like he was waiting to impress.

As for Vaughan, he goes for some good humor and some cheap surprises. There are a few predictable moments as well. The villain is the problem so far–since the evil plan is already revealed, there’s not much to him without giving him active antagonists. Again, predictable.

Some of the smaller details eventually get revealed as more important than Vaughan implied. He contained his enthusiasm enough for a surprise. Very nice.

The character relationship between the private eye and his client is a little dull this issue, however. Vaughan never makes the girl particularly compelling and the P.I. is only interesting because Vaughan makes him so mysterious.

But those drawbacks can’t stop the issue’s success.



Writer, Brian K. Vaughan; artist, Marcos Martin; colorist, Muntsa Vicente; publisher, Panel Syndicate.

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