Hulk / Wolverine: Six Hours 2 (March 2003)

Hulk / Wolverine: 6 Hours #2

Kolins goes more into detail this issue than he did in the first. The exterior Canadian mountains are precise and intense; it makes Six Hours a distinct-looking comic, even when Kolins occasionally has problems. He doesn’t deal with movement particularly well.

The story is reasonably successful, although Jones introduces an absurd villain and gives him crappy dialogue. Kolins runs with the art on the guy, who wears a hood and has an extended arm with claws on it. No doubt he’ll get into it with Wolverine one of these issues.

And Wolvering finally gets to come into the issue, but he and Bruce Banner are just around to move the other story. Banner and Logan have no stories (so far) in Six Hours, they’re just caricatures. It’s the supporting cast who Jones most concentrates on, including a worried family and a mob boss.

It’s a peculiar, but reasonably successful, approach.



Writer, Bruce Jones; artist, Scott Kolins; colorist, Lee Loughridge; letterer, Dave Sharpe; editor, John Miesegaes; publisher, Marvel Comics.

Letter 44 9 (August 2014)

Letter 44 #9

Soule has a big cliffhanger at the end and a bunch of little ones throughout. He lets his subplots thread out even further and some of these threads practically establish them as their own plot lines. For instance, who would have thought the previous President ever would have been such a big character?

I think I said before Letter 44 would be just as interesting without the aliens and the science fiction aspect–the MacGuffin–because the way Soule plays things on Earth are just phenomenal. He’s adding layer after layer to the characters and their relationships and flushing readers’ expectations of where the story might go.

As for the sci-fi element, Soule initially seems to be rushing things this issue but then it does turn out he has a plan. He wants to have two big cliffhangers and an even bigger final one.

Letter 44 is an aggravatingly compelling comic book.



Writer, Charles Soule; penciller, Alberto Jiménez Alburquerque; colorist, Dan Jackson; letterer, Crank!; editor, Robin Herrera; publisher, Oni Press.

The Fury of Firestorm, The Nuclear Man 42 (November 1985)

The Fury of Firestorm, The Nuclear Man #42

It’s a thoroughly decent Crisis crossover. Firehawk and Wonder Girl are trying to find loved ones in New York and they run into all sorts of problems since New York City is split between different eras.

Akin and Garvey don’t do great on the inks but they do better than they ever have before. The people’s faces don’t look two dimensional anymore. The action stuff is good and Kayanan breaks out a very nice flying sequence.

Eventually there’s a Tomahawk guest appearance when they find themselves in colonial America Manhattan. There’s some adventure with Firehawk and Wonder Girl helping the troops against the British. Conway presents both time periods well; when they go to colonial time, it feels like they’re guesting in a Tomahawk story.

There’s a big narration thing from Firehawk about her embracing life as a superhero. It’s not great, but it’s serviceable. It’s a crossover after all.



A Long Night’s Journey Into Day; writer, Gerry Conway; penciller, Rafael Kayanan; inkers, Ian Akin and Brian Garvey; colorist, Nansi Hoolahan; letterer, Carrie Spiegle; editor, Janice Race; publisher, DC Comics.

Juice Squeezers (December 2013)

Juice Squeezers

David Lapham takes a really interesting approach with this first Juice Squeezers one-shot. He doesn't try to do too much. He opens the comic with new Juice Squeezer, Lizzy Beedle. She's the only girl on the team of high school students who kill all those giant bugs the world doesn't know about. He changes points of view quite a bit, but it's always Lizzy who's at the center of the character stuff.

Then there's the way the kids go out and hunt the bugs. It's simultaneously scary and safe, with Lapham skipping from character to character. He doesn't go too far establishing any of the other characters, usually just giving them distinct names and personalities, but not entire scenes to themselves. He doesn't want to lose the focus.

The conclusion nicely ties up this introduction issue while keeping things open.

Great art too. The movement is outstanding, the bugs creepy.



Squish; writer and artist, David Lapham; colorist, Lee Loughridge; letterer, Nate Piekos; editor, Jim Gibbons; publisher, Dark Horse Comics.

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