Nathaniel Dusk II 2 (November 1985)

11057 1

The second issue has a lot of action. The issues are double-sized and McGregor plots them quite well. There are three, maybe four, big action sequences in this one, along with a bunch of scenes involving the case itself, but there’s still time for the character work. McGregor always makes sure to work some of it into the investigation-related scenes too.

Even with all the character work, McGregor hasn’t hinted how the Dusk character is going to progress during this story. It’s set in the same year as the previous series, something I hadn’t realized until it came up in dialogue, so measured changes are fine. But there ought to be some change… and the only place I can guess is the easiest place.

I’ll have to wait and see.

The art’s stunning once again, those Zuiko skies are gorgeous.

McGregor and Colan are making good comics here.

B+ 

CREDITS

Apple Peddlers Die at Noon, Part Two; writer and editor, Don McGregor; artist, Gene Colan; colorist, Tom Zuiko; letterer, John Costanza; publisher, DC Comics.

The Incredible Hulk 54 (August 2003)

774294

And here’s that double-issue long Hulk fight Jones has never done before and now it’s clear why… Because he’s no good at it. Jones and Deodato have a rhythm to the fight. There’s the fight, there’s the side action (sometimes the Abomination’s wife, sometimes the bad guys in a helicopter). Those are usually six panel pages. So you get little panels for big fight moments. Or there’s the half double-page spread device, which Deodato uses a lot.

Here’s the thing about Deodato’s art. He knows how to compose the frame. With the half double-page spreads, action starts on the left page, moves to the right. It’s wholly competent and incredibly boring. The fight’s just Hulk and Abomination saying nasty stuff to each other between punches, at least it could look engaging.

Jones sort of resets the ground situation at the end, which is good, Hulk needs it.

C 

CREDITS

Dark Mind, Dark Hearts, Part Five: Welcome to Entropy; writer, Bruce Jones; artist, Mike Deodato Jr.; colorist, Studio F; letterers, Richard Starkings and Wes Abbott; editors, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

Sons of Anarchy 7 (March 2014)

SOA 07 Cover

Ed Brisson takes over Sons of Anarchy with a good pulpy story about a guy investigating the death of a friend's junkie son. I assume the guy and the friend are on the show, but since I haven't seen the show, it's just a guy and his friend.

The issue's paced rather well, with a couple good surprises in it. There's a deliberateness to how Brisson shows the investigation. Since the protagonist solves the case relatively early Brisson has to extend the resolution. Instead of seeming forced, it plays organically. It's a very well put together comic, even if it doesn't need the licensing brand. The story's solid on its own.

The art, from Jesús Hervás is okay, but on the lower end of it. It's definitely moody and expressive with the figures and settings but it's a little too rough. The inking doesn't compliment the pencils maybe.

Still, good.

B 

CREDITS

Writer, Ed Brisson; artist, Jesús Hervás; colorist, Stephen Downer; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

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