The Mice Templar Volume II: Destiny 2 (August 2009)

The Mice Templar Volume II: Destiny #2

There’s a lot of material this issue. Plot developments, character developments, but Glass still tries to deliver a somewhat action-packed narrative. The opening–the A plot–has the heroes held captive by moles; there’s humor from Cassius who mocks the moles, a fair amount of suspense (the moles are apparently under siege) and then some payoff on that suspense.

This opening is fairly big in terms of adventure. It certainly seems like Glass could carry the whole issue with it; instead, he goes over to the capital for the B and C plots. B plot is Kirac’s friends and family, C plot is political intrigue. There’s more to it–and Santos does a great job with making these machinations scenes particularly dramatic–but it has its own cast. Glass moves these plots together beautifully, but it’s still hard to transition from the protagonists to them.

Destiny is confidently, quietly and steadily building itself up.

B 

CREDITS

In the Bowels of the Earth; writer, Bryan J.L. Glass; artist, Victor Santos; colorist, Veronica Gandini; letterer, James H. Glass; editor, Judy Glass; publisher, Image Comics.

Brass Sun 2 (June 2014)

Brass Sun #2

Culbard’s art continues to be a problem when it comes to people. I spent half the issue wondering about the evil old maid lady who turned out to be some guy. Worse, there’s not enough of the scenery for Culbard’s strengths to make up for his weaknesses.

But this issue of Brass Sun reveals more problems than just the art. Once again, the format–a collection of previously anthologized short pieces–is severely hampering the narrative flow. It starts and stops all throughout and, by the end of the comic, which has maybe one page in thirty-some where Edginton spends any time on character development, it’s just too thin.

The concept isn’t particularly original; it’s not steampunk because it’s too grandiose with a mechanized solar system. However to describe it, Edginton isn’t spending time in the right places–like on his protagonists.

Sun is dwindling by the end here.

C 

CREDITS

Writer, Ian Edginton; artist, I.N.J. Culbard; letterer, Ellie De Ville; editor, Matt Smith; publisher, Rebellion.

The Flash 301 (September 1981)

The Flash #301

Bates seems a lot more comfortable and assured this issue–maybe assured isn’t the right word. He’s ambitious again, both in plotting the feature story and how he gets through it. The only weak part is when the Flash has to beg for Barry Allen’s job back. It reveals how little work Bates does on either character.

The issue’s sort of a thriller, with Barry’s boss being kidnapped and him having to figure it out. Throw in his mom waking up from her coma and his evil impostor dad up to no good and it’s the most compelling issue in a while. Especially since Bates disguises the kidnapping plot’s second act as the third.

Oddly, Infantino’s constrained, almost everything is in summary. There are no real scenes.

Similarly, in the Firestorm backup, Cowans’s art is competent but problematic. Luckily, Conway packs in good material, lots of character development and plot movements.

B 

CREDITS

…And the Beat Goes Off!; writer, Cary Bates; penciller, Carmine Infantino; colorist, Gene D’Angelo. Firestorm, How Laughs the Hyena?; writer, Gerry Conway; penciller, Denys Cowan; inker, Dennis Jensen; colorist, Jerry Serpe. Inker, Bob Smith; letterer, Ben Oda; editor, Len Wein; publisher, DC Comics.

Lazarus 9 (July 2014)

Lazarus #9

You know, I can’t remember the last time I’ve liked a comic plot–along with how things turn out for the characters–but not liked the comic itself. Until today.

Rucka has been making leaps and bounds improvements with Lazarus and they sort of culminate here… at least in terms of character development. The lousy narrative structure of this issue? It’s a regression. It’s practically an all action issue, but not really. Rucka opens with a sword duel flashback and it’s pretty art from Lark but it’s not worth the pages. Those pages would have been better spent towards the end in the present action, making the action scenes there resonate better.

There’s also the missed opportunity to better bring together the arc’s various characters.

Again, it’s a fulfilling issue for a reader in terms of narrative progression, it’s just a mess of a comic. Very awkward to talk about.

C 

CREDITS

Lift, Part Five; writer, Greg Rucka; artists and letterers, Michael Lark and Brian Level; colorist, Santiago Arcas; editor, David Brothers; publisher, Image Comics

Powered by WordPress.com.

Up ↑

%d bloggers like this: