The Further Adventures of Indiana Jones 29 (May 1985)

22361

Whew, I thought something happened to Dikto and since the previous issue he forgot everything he knew about composition completely and replaced it with the inept angles of someone without dimension vision.

But it’s a new penciller–Ricardo Villamonte–and he’s awful. He ruins a bunch of good action set pieces in Grant’s script. She’s got a lot of material in the issue. Not enough for two but enough for one and a half easy. Indy meets up with an old flame, an old friend, dueling gangsters–it’s practically Yojimbo. It’s not, but it’s closer to it than I’d have expected from Grant.

Villamonte can’t do the talking, he really can’t do action, he can’t do much of anything. He can’t even draw Indy’s face the same size from panel to panel. It’s a shame Marvel is giving up on the book once they’ve got an okay writer in place.

C 

CREDITS

Shot by Both Sides; writer, Linda Grant; penciller, Ricardo Villamonte; inker, Danny Bulanadi; colorist, George Roussos; letterer, Diana Albers; editor, Ralph Macchio; publisher, Marvel Comics.

The Illegitimates 2 (January 2014)

Illegitimates 1

I tried, I really did try. But Sharpe’s lame, generic buff figures are just too much. He’s got no style, no finesse. The script is full of James Bond winks and Sharpe can’t bring personality to stereotypes much less settings.

But it’s not all Sharpe’s fault. Andreyko and Killam do a fine job with all the James Bond stuff–the villains conspiring, the crisis station–they just don’t do a good job with their lead actors, the James Bond Squad or whatever.

The writers go for cheap gags instead of actual scenes. Not one of the presumable main cast members has any personality in this issue, not a one. It’s like reading a movie trailer and getting all the worst parts of the movie left in. I’m sure the creators–and IDW–are hoping for a movie deal on the concept.

Because they sure don’t have it on the story.

D+ 

CREDITS

We Are Family; writers, Marc Andreyko and Taran Killam; penciller, Kevin Sharpe; inker, Diana Greenhalgh; colorist, Pete Pantazis; letterer, Thomas F. Zahler; editor, Sarah Gaydos; publisher, IDW Publishing.

Detective Comics 562 (May 1986)

5667

It’s hard to recall the feature story after the fantastic art on the Green Arrow backup. Moore does an amazing job. It’s packed with content too, so there’s a lot of variety. It’s not good content; since adding Black Canary, Cavalieri is struggling with a storyline and the basic characterizations. But great art. Just great.

On the feature, Colan continues his downward slide. There are occasionally good panels and often great composition in long shots and medium shots, but Colan and Smith aren’t bringing the detail anymore.

It’s a tense issue. Moench writes his villain to be more of a spree killer than a supervillain, which is a nice change. There’s a lot more talk about Robin’s jealousy over Catwoman, but no sign Moench knows where to take it. Not even Robin and Bullock are amusing together.

The feature has some moments; Batman and Catwoman do make a good team.

B- 

CREDITS

Reeling; writer, Doug Moench; penciller, Gene Colan; inker, Bob Smith; colorist, Adrienne Roy; letterer, John Workman. Green Arrow, The Criminal Element; writer, Joey Cavalieri; penciller, Jerome Moore; inker, Dell Barras; colorist, Jeanine Casey; letterer, Agustin Mas. Editor, Len Wein; publisher, DC Comics.

Pretty Deadly 4 (January 2014)

Pretty deadly 04

A real cast list. All I ask for is a real cast list. It’s got to make sense–and even I figured out the main girl’s destiny–but a cheat sheet would be so helpful. I probably could look online, couldn’t I?

But I like being off balance with Pretty Deadly. Something about Rios’s art makes discovering story connections, instead of worrying about them before reading, a more pleasing reading experience.

This issue might have DeConnick’s first tranquil scene in the series–Death talking to his love (more her talking to him). It’s a strange, beautiful, sad scene.

There’s also a big fight scene. Rios does fine with it, but it goes on way too long. Rios has a lyrical quality to her action, especially this fight–told mostly in long shots–and the horizontal panels get a wee long in the tooth.

DeConnick’s setting up for something rather big.

B+ 

CREDITS

Writer, Kelly Sue DeConnick; artist, Emma Rios; colorist, Jordie Bellaire; letterer, Clayton Cowles; editor, Sigrid Ellis; publisher, Image Comics.

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