Detectives Inc.: A Terror of Dying Dreams 3 (December 1987)

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The ending is worse than I expected and I wasn’t expecting much. McGregor plotted these issues awkwardly, with way too much material before the actual investigation. The stuff with following the wife beating husband around in the last issue was pretty much pointless. McGregor didn’t need it to make the mystery work. In fact, he might have done it all backwards.

There are some okay moments here. There’s good banter between the leads, though McGregor doesn’t give them enough time together. They seem familiar, sure, but McGrefor never just lets them relax together. He’s always working in exposition or some plot point.

There’s some action, some unlikely surprises and a truly terrible villain. The postscript is ludicrous too, but McGregor does get some sympathy for his characters so he can sell it. The nonsense before? He can’t sell that nonsense.

Okay Colan art. Some nice angles, but too static overall.

C 

CREDITS

The Corpse In the Bloodstained Body Bag; writer, Don McGregor; artist, Gene Colan; letterer, Mindy Eisman; editor, Catherine Yronwode; publisher, Eclipse Comics.

Sheltered 7 (February 2014)

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It’s another good issue. I think Brisson’s gift for Sheltered is how well he’s able to keep the plot moving along. He does just enough talking heads to show the characters thinking about what to do next, he makes those decisions the micro-cliffhangers along the way. And then, of course, he has excellent cliffhangers for the end of the issue.

Not sure how he’s going to get out this one resolved in an ongoing.

Then there’s the Christmas art. I haven’t been particularly gung-ho on the art, but one of this issues plot lines–oh, yeah, Brisson manages to have three plot lines in the issue, which is awesome–features an intruding adult on the run from the kids. So Christmas has to make the kids vicious killers while still making them somewhat innocent looking. He does an excellent job with that aspect.

Brisson and Christmas are excelling.

B+ 

CREDITS

Writer and letterer, Ed Brisson; artist, Johnnie Christmas; colorist, Shari Chankhamma; editor, Paul Allor; publisher, Image Comics.

The Incredible Hulk 46 (December 2002)

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Jones is bound and determined to confuse. Not only does he make it work this issue, he even makes his returning villain–previously rather lame–engaging. The villain kidnaps Bruce and takes him, inexplicably, to a morgue to investigate the latest murder charges against the good doctor.

On the way, there’s a lot of talking. Jones also employs some flashbacks to heighten to uncanny factor. The villain recaps the previous issue, sort of confirming the reader’s memory to him or herself, and then Jones doesn’t solve it. He’s got this incredible situation–pardon the adjective choice–and he makes it work in the context of the somewhat silly situation (Bond villain organizations) he’s set up.

The finish has a good soft cliffhanger or two and a nice action sequence from Immonen and Koblish. It’s all bad guys–Bruce is an observer; the artists’ skill makes it so good.

Excellent issue.

B+ 

CREDITS

Multiple Organism; writer, Bruce Jones; penciller, Stuart Immonen; inker, Scott Koblish; colorist, Studio F; letterers, Richard Starkings and Wes Abbott; editors, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

One-Hit Wonder 1 (February 2014)

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I’m going to go out on a limb and assume writer Fabrice Sapolsky thinks all of One-Hit Wonder’s misogynist moments are post-sexist and totally cool. There aren’t any rape jokes yet, but it’s just the first issue.

Reading Wonder, the only thing I really wondered about was Ariel Olivetti. His painted art is still rather nice (and the single good thing about the comic) but how the mighty have fallen. He’s doing an Image comic about a child star grown-up to be an obnoxious hit man? It also makes this series the third Image hit man book I’ve read in a month and a half. There are probably even more.

Sapolsky hints at developing the female character in the future–the lead’s unconscious by the cliffhanger–but there’s no point. Sapoldky frequently mocks his own dialogue and plotting. Why should a reader take it seriously then?

D 

CREDITS

Glorious Basterd; writer, Fabrice Sapolsky; artist and colorist, Ariel Olivetti; letterer, Wolfpack; editor, J.M. Besnier; publisher, Image Comics.

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