Wool 1 (June 2014)

Wool #1

Wool opens with one protagonist, then moves on to another, then promises a third. It’s a novel adaptation, which might have handled the transitions smoother, but writers Justin Gray and Jimmy Palmiotti are a tad abrupt. They do well establishing the setting–a post-apocalyptic future where everyone lives in a huge silo underground and can’t go outside–but the characters and their relationships are confusing.

They don’t, for example, explain how people communicate with one another in the silo. It’s vaguely manipulative writing, intended to create drama instead of be reasonable.

Most of the issue follows the mayor and a sheriff’s deputy on their way to hire a new sheriff (the original protagonist being the previous sheriff). Gray and Palmiotti do a decent job establishing the mayor character, but at the end it’s unclear if she was worth the investment.

It definitely engages and Jimmy Broxton’s art is fantastic.

B 

CREDITS

Writers, Jimmy Palmiotti and Justin Gray; artist, Jimmy Broxton; letterer, Bill Tortolini; editor, Matt Hoffman; publisher, Jet City Comics.

Judge Dredd: The Judge Child Quest 2 (September 1984)

Judge Dredd: The Judge Child Quest #2

Wagner takes Dredd and company–though the company is rather indistinct–on an intergalactic quest. They’re in pursuit of the Angel family, who have kidnapped the Judge Child. There’s not a lot on the pursuit, but rather a series of imaginative sci-fi encounters.

The first has Dredd encountering a space station where the computer has taken over. Kind of 2001 with a lot of action. Not entirely original, but it works.

The second encounter, on a planet where the humans can download their consciousness into chips to live forever (another person loans out their body for the consciousness’s usage), is the best. This section is where Dredd gets a sidekick and Wagner gets to write the most.

Since Dredd is hopping from planet to planet, it never feels episodic.

The finale has him against a living, hungry planet.

Some great art from McMahon, Bolland and Smith throughout.

Excellent stuff.

A 

CREDITS

Writer, John Wagner; artists, Mike McMahon, Brian Bolland and Ron Smith; colorist, Ian Stead; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

Kinski 6 (November 2014)

Kinski #6

Hardman brings the story to a satisfactory, if somewhat unreasonable conclusion. He jumps through time a lot–a year total–and skips over the more interesting parts of his protagonist’s experiences. He also stops with the character study aspect of Kinski and treats the whole issue as an epilogue.

So while the narrative has a neat tie at the end, Hardman never really did anything with it. The point was the reading experience, something he succeeded executing. But the comic often feels like it could go further–and not explaining means Hardman can’t fail. However, as a narrative where he never tries to explain, it all feels too traditional.

Still, it’s a beautifully illustrated, often really well written comic book. Hardman got six issues out of a relatively slight idea–one he never significantly expanded on. It’s just a little too bad he didn’t try for more with the series.

B 

CREDITS

Writer and artist, Gabriel Hardman; publisher, Monkeybrain Comics.

Judge Dredd: The Judge Child Quest 1 (August 1984)

Judge Dredd: The Judge Child Quest #1

Judge Dredd heads into the Cursed Earth looking for a mutant child who’s going to have to save Mega-City One, or so one of the pre-cogs says. Writer John Wagner comes up with some decent encounters for Dredd–this issue’s primary villain is a “garbage god” who has thousands of slaves mining antiques from pre-apocalypse Memphis for him. There’s an ancient Egypt thing too; it doesn’t make much sense, but the Brian Bolland and Ron Smith are is excellent so it doesn’t need to make any.

The series is more compiled entries from 2000 AD but never feels too bumpy–with Wagner so focused on Dredd trying to find the child, it’s mostly action. The biggest bump comes after the end of the Garbage God episode, with Dredd continuining his hunt into Texas.

That finale, which leads to the cliffhanger, makes the issue seem a tad bloated.

B 

CREDITS

Writer, John Wagner; artists, Brian Bolland, Ron Smith and Mike McMahon; colorist, McMahon; letterer, Tom Frame; editor, Nick Landau; publisher, Eagle Comics.

Kinski 5 (October 2014)

Kinski #5

Hardman finds a better mix of the character work and the action, with his protagonist sharing a car ride with the dog’s owner and finding out a little more about her life. There’s nothing more about the protagonist (except his willingness to talk himself into bad situations). Instead, Hardman expands the supporting cast through the protagonist’s journey.

It’s almost a soft boot of the series, which started as the protagonist’s story, moved into more action oriented episodes and is now a look at the dog’s actual owners and their lives. Though Hardman does manage to get in some more action at the end of the issue.

Whether or not there’s a satisfactory conclusion, Hardman has definitely shown he can get a lot of mileage out of a simple idea and a good setting. His dialogue and character work this issue are phenomenal. And his action composition is masterful as always.

B+ 

CREDITS

Writer and artist, Gabriel Hardman; publisher, Monkeybrain Comics.

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