The Savage She-Hulk 3 (April 1980)

The Savage She-Hulk #3

Well, Kraft certainly doesn’t turn things around this issue. He might make them worse–nothing this issue gets a full breath. The big ending, which should be an exciting fight between She-Hulk and her first superpowered villain, flops because of the setting. A beach house isn’t the place for a visually dynamic brawl.

There’s some subplot development with Jennifer’s dad and then a little bit more with the villain, but nothing with Jennifer herself. The idiotic “faked her own death” plot turn gets even worse with her opposing counsel, also a confidant in that plot, harassing her. And then there’s Jennifer’s good buddy, Zapper, who gets to play dude in distress.

The art, from Volsburg and Stone, is also weak. The action’s too small but they couldn’t handle anything more. Volsburg doesn’t have any sense of style to his composition either. It’s confused and unpleasant.

It’s a trying read.



She-Hulk Murders Lady Lawyer!; writer, David Anthony Kraft; pencillers, Mike Vosburg and Chic Stone; inker, Stone; colorist, Carl Gafford; letterer, Michael Higgins; editors, Mary Jo Duffy and Al Milgrom; publisher, Marvel Comics.

Wayward 1 (August 2014)

Wayward #1

Wayward is awful. I wish it weren’t, because Steve Cummings’s art is awesome. With the single exception of the teenage girl protagonist looking about the same age as her mother. But otherwise.

So why is Wayward so bad I can’t even stick with it for the art?

Writer Jim Zub. Unless he’s trying to do a “girl power” comic with some deceptive objectifying of women and some really bad dialogue, all the writing is a disaster. Every word. Down to Marshall Dllon’s lettering choices.

The dialogue sounds like a combination of protracted, insincere soap opera expository writing and poorly translated subtitles. At times, Wayward really does feel like Zub is trying to mimic a bad subtitle job. There are some goofy plot developments–like the fantasy ninja girl wanting strawberry milk.

As for the sexism, Zub’s characters are generic, predictable fetish objects. Sadly, Zub’s serious and not mocking the genre.



Writer, Jim Zub; artist, Steve Cummings; colorist, John Rauch; letterer, Marshall Dillon; publisher, Image Comics.

The Fury of Firestorm, The Nuclear Man 33 (March 1985)

The Fury of Firestorm, The Nuclear Man #33

Kupperberg sticks around this issue to ink Rafael Kayanan and it’s an interesting result. The figures and composition are still Kayanan’s, but–with a couple exceptions–Kupperberg’s really bringing the personality to the faces. While Conway does do a little character development on Ronnie and Martin, the newly expressive faces are what sell the scenes.

Though, they’re very likable scenes–Ronnie falling asleep studying, bonding with his dad, bonding with Martin–it’s like Conway finally realized giving Ronnie endlessly negative scenes wasn’t helping endear the character.

Conway also establishes a new A plot, B plot, C plot structure; hopefully he’ll keep with it. The A plot has Québécois terrorists threatening New York City. The B plot is the return of Killer Frost, then the regular cast gets a couple C plots. The visual disconnect–the playful inks from Kupperberg–gives Firestorm a much-needed boost of energy. It seems to have reinvigorated Conway as well. For now.



“Burn, Manhattan, Burn!”; writer, Gerry Conway; penciller, Rafael Kayanan; inker, Alan Kupperberg; colorist, Nansi Hoolahan; letterer, Phil Felix; editors, Janice Race and Conway; publisher, DC Comics.

Pop 1 (August 2014)

Pop #1

About half of Pop is awesome. The rest of it is rather good, given the gimmick. The gimmick–which the title fits but in no way applies–is the eugenic world of pop stars. Pop stars are grown in tubes by an Illuminati-type organization.

With any consideration, it seems like an obvious gimmick writer Curt Pires is using; if no one has done it exactly, someone has done it approximately. And the Illuminati scenes are the worst in the comic.

But the stoned guy saving the escaped “not yet fully grown” pop star? Awesome. Pires dialogue–in general–but for those two characters specifically? Awesome.

Unfortunately, the assassins and the Justin Bieber stand-in are predictable.

Like any other problems with the story, Pires gets away with them because of Jason Copland’s wonderful art. Even if the comic weren’t often great, the art would be enough to elevate it.



Eyes Without a Face; writer, Curt Pires; artist, Jason Copland; colorist, Pete Toms; letterer, Ryan Ferrier; editors, Roxy Polk, Aaron Walker and Dave Marshall; publisher, Dark Horse Comics.

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