The Mice Templar Volume II: Destiny 3 (September 2009)

The Mice Templar Volume II: Destiny #3

There’s some awesome art from Santos this issue. He gets to do not just the regular action, but also the flashbacks detailing the origins of the world. Glass has been doing a lot with the supernatural angle of the series and, for the first time, it feels like Mice Templar might not even take place on Earth. It’s way too soon to tell–and it might not even matter; this issue has a myth about two suns and one going out.

It’s also got that amazing action with a battle against a bee and a chase sequence involving the zombie cat. Or dog.

Glass sends his two mouse heroes into the daylight world and it invigorates their story. The interaction with the daytime creatures is fantastic.

The secondary plot, with the mouse captives escaping their cell, is less effective due to space constraints. It’s complex, which the primary isn’t (so far).



The Bright Realm; writer, Bryan J.L. Glass; artist, Victor Santos; colorist, Veronica Gandini; letterer, James H. Glass; editor, Judy Glass; publisher, Image Comics.

Southern Bastards 3 (July 2014)

Southern Bastards #3

I’m really hoping Earl isn’t leaving voicemails for his dead wife. I’m sort of hoping he’s leaving them for his dude. If Earl were an old gay guy who kicks ass, it might give Southern Bastards an edge. The series already has an edge, but it’s a predictable edge. I think I said it before–Bastards is prime option material for any actor from the Expendables series.

But it’s also got Latour and he’s bringing enough edge to make up for the rest. The comic is visually unexpected, between Latour’s composition choices and just the way he paces out action scenes. It’s a delight to read. It’s just not a delight to dwell on.

Aaron goes for the cheapest cliffhanger he can–young ally in trouble–and one has to wonder if the comic wouldn’t have read better longer, so the cliffhangers could be less forced.

Still, Latour covers it.



Here Was a Man, Part Three; writer, Jason Aaron; artist and colorist, Jason Latour; letterer, Jared K. Fletcher; editor, Sebastian Girner; publisher, Image Comics.

The Flash 302 (October 1981)

The Flash #302

I was hoping Bates would keep Flash running smoothly after the previous issue, but this one doesn’t bode well for the series keeping up. Even more than usual, Barry–and the Flash–are less characters in the comic than they are movable pieces for Bates’s plot. There’s not even the attempt at showing the Flash’s fantastic powers. Instead, Bates shows him doing what equates to a grade school science project without the traditional verbose, fantastic explanation.

This issue has Flash apparently falling for the Golden Glider. Now, I’m not sure about her family situation, but she doesn’t remember Flash messing with her brother a few issues ago. I guess they aren’t in touch. SO why’s she important–do they have some deep, repressed attraction for one another? Nope, it’s all for Bates’s evil dad plot.

It’s lame.

The Firestorm backup isn’t much better. Again, fine composition from Cowans, weak detail. And rushed writing.



Lisa Starts with L and That Stands for Lethal; writer, Cary Bates; penciller, Carmine Infantino; inker, Bob Smith; colorist, Gene D’Angelo. Firestorm, Invitation to Revelation; writer, Gerry Conway; penciller, Denys Cowan; inker, Rodin Rodriguez; colorist, Jerry Serpe. Letterer, Ben Oda; editor, Len Wein; publisher, DC Comics.

The Field 3 (July 2014)

The Field #3

This issue feels incomplete. Not just because of Brisson’s plotting, but also because of the lack of grandiose art. While Roy gets to go crazy a few times, it’s always reserved in terms of space. For instance, the decapitations don’t get the page time they deserve.

Brisson saves himself time for the big revelation and it’s fine enough. It’s an easy one, just because it sounds vaguely plausible but it’s a familiar enough trope. It’s effective too. Easy and effective, but it takes Brisson page after page to get all the exposition done. Those pages are talking heads and who wants talking heads when Roy’s more than capable of going fully nuts on the art.

And, given certain aspects of the revelation, it seems like it’s coming a little late. In the third of four issues, there’s only so much time left for Brisson to play.

The issue’s too slight.



Writer and letterer, Ed Brisson; artist, Simon Roy; colorist, Simon Gough; publisher, Image Comics.

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