Detectives Inc. 1 (April 1985)

324019

Marshall Rogers packs an incredible amount of information onto each page of Detectives, Inc. He’s got tiny little action panels, tiny little reaction panels, but every one of them works. His detail is precise while he’s still designing these great pages.

Don McGregor’s script is good and confrontational. There’s a lot of purple prose for exposition, but it definitely adds to the hard-boiled, world-weary tone. But the confrontational aspects are different–the leads are a black guy and a white guy, Army buddies who form a detective agency. The black guy’s better adjusted, while the white guy has an odious racist ex-wife.

Their case–McGregor opens with the resolution to one, which is neat–involves a lesbian couple. McGregor takes the time to examine how the white guy’s reacts. It isn’t just McGregor not avoiding something, he’s really doing a thorough examination of his character.

Good comic.

A- 

CREDITS

A Remembrance of the Threatening Green; writer, Don McGregor; artist, Marshall Rogers; colorist, Tim Smith; letterer, Tom Orzechowski; editor, Tom Orzechowski; publisher, Eclipse Comics.

Ms. Marvel 1 (April 2014)

Ms. Marvel #1

Finally. And it’s a Marvel book–insert Jeanette Kahn doesn’t work here anymore jokes about DC here. But someone finally did a superhero book aimed at teenage girls without being exploitative or objectifying the protagonist.

I wonder if Jeph Loeb read it and thought, “But she really needed to kiss that other girl!”

Sadly, it’s way too soon to say if Captain Marvel is going to be good. It’s not going to be full of crap, not with G. Willow Wilson writing it, but Wilson’s basically writing a funny drama here. The family stuff is awesome, for example. The teenager stuff is decent; really strong in passive scenes, somewhat tipsy in active ones.

Very nice art from Adrian Alphona too–it’s simultaneously wistful and humorous. Still, there’s no danger in it, which might get to be a problem.

Wilson’s apparently going to be very ambitious. I hope it works out.

A- 

CREDITS

Meta Morphosis; writer, G. Willow Wilson; artist, Adrian Alphona; colorist, Ian Henning; letterer, Joe Caramagna; editors, Devin Lewis and Sana Amanat; publisher, Marvel Comics.

Detective Comics 564 (July 1986)

5669

Colan’s art seems to have stabilized quite a bit. In a lot of ways, it’s less ambitious and a waste of his talent, but at least there aren’t any awful Jason panels. Instead, Jason’s barely in the comic. Moench sends him out on a date because he’s so perturbed at Batman hanging out with Catwoman all the time.

Catwoman, in the meantime, is perturbed Batman doesn’t treat her as a full partner. Batman’s oblivious to all these things, of course. He’s too busy trying to work up a plan against Two-Face, which Moench hides from the reader to get a surprise (or two).

It’s an okay enough feature, but it feels padded. Moench’s either avoiding a lot–like Bruce Wayne–or he’s just bored.

The Green Arrow backup has a terrible story. Inker Steve Montano and Rodin Rodriguez give Moore’s a more static quality; it’s still good, but different.

C+ 

CREDITS

Double Crosses; writer, Doug Moench; penciller, Gene Colan; inker, Bob Smith; colorist, Adrienne Roy; letterer, John Costanza. Green Arrow, This Masquerade; writer, Joey Cavalieri; penciller, Jerome Moore; inkers, Steve Montano and Rodin Rodriguez; colorist, Shelley Eiber; letterer, Todd Klein. Editor, Len Wein; publisher, DC Comics.

Robocop: Hominem Ex Machina 1 (February 2014)

RoboCop Hominem Ex Machina rev Page 1

Okay, it’s a movie tie-in but it’s a prequel and a sequel. Who knows? The new Robocop isn’t out yet so is it even possible to gauge whether Michael Moreci and Jason Copland got the tone right… because they don’t create one of their own.

Moreci follows around Robocop’s human handler–or so the character seems, as I haven’t seen the movie–while Robocop is malfunctioning. There are riots, there are hostages, will Robocop come through in the end? Will Moreci actually write vicious criminals or ones out of toy commercials?

Vicious criminals wouldn’t fit Copland’s style. With the colors over Copland’s pencils–no inking here–Hominem Ex Machina looks like watercolor. It’s not an action style. Copland quite often flings Robocop through the air and it just looks absurd. So does all the tasering; it’s practically a PSA in favor of taser “safety.”

It’s somewhat inoffensive licensed dreck.

D 

CREDITS

Writer, Michael Moreci; artist, Jason Copland; colorist, Juan Manuel Tumburús; letterer, Ed Dukeshire; editors, Alex Galer, Ian Brill and Eric Harburn; publisher, Boom! Studios.

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