Ghosted 7 (February 2014)

Ghosted #7

Trick is okay. I’m a little surprised, since he sort of ominously disappeared for a bit last issue. He’s in sidekick role, self-proclaimed dirty old man to Jackson’s more sympathetic narrator.

Williamson gives the issue a speedy pace. It’s maybe three or four different sequences set in the same night. But there’s something too speedy about it. Williamson forecasts the cliffhanger too early. Not the exact details of it, but how he’s going to use it. Hard cliffhanger, just after Jackson has discovered a big detail in the story arc.

It’s too bad the comic gets predictable for the last few pages, because, otherwise, Williamson’s pacing is good–pulp, ghosts and action all play a part. There’s even a flashback to some mystery woman. I’d forgotten Williamson might want to develop Jackson a bit more; even though the character narrates, he’s distant.

The issue meanders, which is a shame.


Writer, Joshua Williamson; artist, Davide Gianfelice; colorist, Miroslav Mrva; letterer, Rus Wooton; editor, Sean Mackiewicz; publisher, Image Comics.

The Terminator: Enemy of My Enemy 2 (March 2014)

The Terminator: Enemy of My Enemy #2

Okay, the structure confuses me. I think the issue opens and then goes back to an early time and stays there but it also seems like maybe it continues the time from the open. I don’t know.

The confusion aside, it’s a fairly decent comic for a Terminator comic. Igle’s pencils are good–he’s got a fantastic sense of action and how to break out those scenes. And enough nostalgia for the eighties to make tone engaging.

Jolley writes more of a movie script than a comic book one. You can just hear the Brad Fiedel Terminator music at times and it’d make a great scene in a movie. In a comic, it makes an okay one.

The problem with the comic is mostly the pacing. Not enough happens in it; Jolley raises some neat questions about the franchise, but there still needs to be some narrative content… Doesn’t there?



Writer, Dan Jolley; penciller, Jamal Igle; inkers, Ray Snyder and Robin Riggs; colorist, Wes Dzioba; letterer, Nate Piekos; editors, Ian Tucker and Brendan Wright; publisher, Dark Horse Comics.

The Incredible Hulk 58 (September 2003)

The Incredible Hulk #58

There’s no nice way to phrase this observation so I’m going to just go ahead–Jones gives his female characters, in particular the New York paralegal or whatever she is, way too much credit. Unless he reveals her to be a trained law enforcement officer (like most of his strong female members), it’s just absurd. She can track Banner on the run, she carries night vision binoculars, she’s cool when confronted with Creel possessing a little kid… she’s practically Rambo.

It’s too much. It’s not even clear why she needs to be here, other than Jones likes her. Her scenes with Bruce are good too. It’s the other ones where there are problems.

Almost nothing happens this issue. It’s not a bridging issue, it’s a train ride issue. Bruce and Creel take the train to the final action. Fernandez’s Hulk scene is awful.

Besides decent plot details, this issue’s plodding.



Hide in Plain Sight, Part Four: Brain Dead; writer, Bruce Jones; artist, Leandro Fernandez; colorist, Steve Buccellato; letterer, Cory Petit; editors, Warren Simons, John Miesegaes and Axel Alonso; publisher, Marvel Comics.

Clockwork Angels 1 (March 2014)

Clockwork Angels #1

Ah, a young man, unhappy with the life predetermined for him, sets out on his own to find adventure but instead makes discovers to shake the foundation of his understanding. Never been done before.

Oh, wait, it has been done before. And it seems like Kevin J. Anderson knows it’s been done before and instead of trying to seem original, tries for charm with Clockwork Angels. On that level, he succeeds.

The art, from Nick Robles, is painted. Robles is decent with figures–most of the dialogue is in dark settings, so painted doesn’t hurt too much–but he does really well with the scenery. Angels takes place in a mechanized steampunk-type reality, only without the grim. It’s idyllic.

This first issue establishes the protagonist, establishes the antagonist, but it’s clearly from the protagonist’s point of view. Except Anderson also gets in a third, nearly omniscient presence.

It’s fine; unoriginal but fine.



Writers, Neil Peart and Kevin J. Anderson; artist, Nick Robles; letterer, Ed Dukeshire; editors, Jasmine Amiri and Ian Brill; publisher, Boom! Studios.

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