Category: Boom!

Sons of Anarchy 23 (July 2013)

Sons of Anarchy #23

This issue of Sons of Anarchy doubles down on everything wrong about the comic.

Not wrong about it overall, but wrong in terms of the creative direction of the book. For example, Bergara doesn’t take enough time with the panels, so what’s this issue’s solution? Over-stylize him. It feels like a spoof of “Miami Vice” at times. The heavy stylization doesn’t even try to hide the lack of detail in the art.

And Ferrier’s script brings in the IRA, because it’s actually a comic book from the past. It’s set in the late 1980s, early 1990s when you just brought the IRA into something so you could have a familiar looking guest star but nothing too exotic. Only it’s a comic book and doing a gimmick like IRA vs. SAMCRO is astoundingly unimaginative.

There’s actually some decent stuff with one guy in a trailer park. Everything else is crap.

CREDITS

Writer, Ryan Ferrier; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

2

Big Trouble in Little China 12 (July 2015)

Big Trouble in Little China #12

Big Trouble in Little China seems to have just finished its first long story arc. And it’s a doozy. The plotting of the series all of a sudden makes sense; one has to wonder if it was Carpenter’s idea for a film sequel, what he came up with for the comic or just Powell’s invention.

Strange thing about the comic is the art. Churilla is really rough. Maybe Gonzalo Duarte is a new colorist or something, but even Churilla’s lines look different. And he’s skipping backgrounds a lot more noticeably. And the visual pacing of the issue’s a little weird. His panel layouts don’t flow.

Is the comic satisfying? Not really. The doozy ending, even though it has some potential going forward, doesn’t do anything for the series up until this point. It’s a refresh; I wish Powell had taken more responsibility for things.

Still, it’s amusing, well-executed stuff.

CREDITS

Writers, John Carpenter and Eric Powell; artist, Brian Churilla; colorist, Gonzalo Duarte; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

0

Sons of Anarchy 22 (June 2015)

Sons of Anarchy #22

For the first time since he took over writing the book, Ferrier delivers a good Sons of Anarchy script. He doesn’t waste too much time with his new character–the obnoxious club prospect who turns on them–and he gives everyone else enough to do. He actually works on Jax’s character, which is cool.

Unfortunately, Bergara’s art is just as inappropriate as always. It seems like a Saturday morning cartoon, not a gritty comic book. There’s lots of blood this issue, but lots of blood not a comic book make. The prospect looks like mean Archie, everyone else looks slightly goofy. It’s like Bergara’s saying not to take the comic too seriously and not the sentiment one needs while reading it.

Ferrier’s moves are quite good once the issue gets going–so good it’s almost possible to overlook the art problems–and it ends well. Except the art, of course.

CREDITS

Writer, Ryan Ferrier; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

0

Curb Stomp 4 (May 2015)

Curb Stomp #4

It’s an okay finish for Curb Stomp, nothing more. It’s like Ferrier decided the story had gotten too big so he brings it all down to a more personal story for the final… but then he realized he’d made it too small so he put in a lot more big action. And poor Neogi is left to sort it out. Large action happens in very small panels this issue.

The finale’s strangely reductive for the comic too. All the world building Ferrier did at the start–and even maintained to some point–is over now. It’s the finish, no time for new things. Lukcily Neogi’s art never lets it feel rushed; even if it feels constrained, Neogi’s composition of each panel is strong.

Ferrier probably needed another issue to make it work better. Who knows if the somewhat off narration would play out with enough space. Probably. Still, worthwhile comic.

CREDITS

Writer, Ryan Ferrier; artist, Devaki Neogi; colorist, Jeremy Lawson; letterer, Colin Bell; editors, Jasmine Amiri and Eric Harburn; publisher, Boom! Studios.

0

Sons of Anarchy 21 (May 2015)

Sons of Anarchy #21

It’s a better issue but still not a distinguished one. Ferrier treats the characters a little like cattle. He has them stand around, he has them go crazy, but he never gives the impression they’re anything but what he needs them to be for the story.

The issue ends in about the same place as it begins, which is odd. Even though there are exciting moments throughout the issue, by looping around, Ferrier just makes the reader wonder why the issue was necessary. And the reader should never be left wondering why something is necessary.

Bergara’s art is improving. It’s still too exaggerated and cartoony at times, but it’s definitely improving. In many ways, especially with the flat ending, it’s more successful this time out than the writing.

Sons is better this issue than last, but the series is still in trouble. Ferrier just doesn’t have a feel for it.

CREDITS

Writer, Ryan Ferrier; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

0

Big Trouble in Little China 10 (April 2015)

Big Trouble in Little China #10

This issue of Big Trouble is unrepentant in its awesomeness. It’s Jack Burton versus the probably dimwitted demons of Hell as he tries to plan his escape. Powell goes for humor the entire issue–so much so, when Jack gets into a fight at the end, it’s hard to see there being any danger.

And that cartoon aspect of the comic has become one of its pluses. Big Trouble isn’t straight-faced at all, but it often deals with “serious” issues (well, mostly just its cast being in danger); the silliness (and Powell’s attention to character detail) puts it past being a successful licensed comic and into its own territory.

In many ways–though it’s impossible see imagine this comic coming out in the eighties–it feels more like the movie is an adaptation of this comic than the other way around.

There’s some lovely, fun Churilla Hell art too.

CREDITS

Writers, John Carpenter and Eric Powell; artist, Brian Churilla; colorist, Gonzalo Duarte; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

0

Curb Stomp 3 (April 2015)

Curb Stomp #3

The first issue of Curb Stomp had a lot of promise, the second issue implied maybe it didn’t… the third shows Ferrier and Neogi are going to do even better than that initial promise. It’s an outstanding comic book with a masterful control of the plotting. And some of Neogi’s best art–there are a lot of rituals in this issue (as the gangs negotiate) and Neogi has a visual theme for each different kind of ritual. It’s awesome.

Ferrier’s script is almost in real time but lots of things happen. It’s not a talking heads comic, it’s an action comic, just one with occasional talking. Each conversation is a confrontation, which works entirely differently. It’s not about exposition or explanation, it’s about action.

Not to say there isn’t general action–whether it’s suspense or just all out fight scenes–but Ferrier and Neogi do a great job maintaining tone.

CREDITS

Writer, Ryan Ferrier; artist, Devaki Neogi; colorist, Jeremy Lawson; letterer, Colin Bell; editors, Jasmine Amiri and Eric Harburn; publisher, Boom! Studios.

1

Curb Stomp 2 (March 2015)

Curb Stomp #2

The second half of the issue works out a lot better than the first. It’s strange but the first half feels like a different comic; it’s a little too soon for writer Ferrier to have defined the Curb Stomp reading experience but it’s also not. It’s a limited series. Readers want to feel a connection to the previous issue.

This issue has Ferrier doing a lot of political intrigue. It’s all excruciatingly boring. The comic does not seem to have any hook this issue, which isn’t good for Ferrier. The ending sort of delivers on one promise from the issue, but that promise was just a red herring.

And Ferrier’s off with the dialogue this time around too. The previous issue had an urgency around the usually somewhat inane document.

Artist Neogi runs hot and cold. Decent composition can’t outweigh the static faces on the characters.

It needs more oomph.

CREDITS

Writer, Ryan Ferrier; artist, Devaki Neogi; colorist, Jeremy Lawson; letterer, Colin Bell; editors, Jasmine Amiri and Eric Harburn; publisher, Boom! Studios.

0

Sons of Anarchy 19 (March 2015)

Sons of Anarchy #19

On his first issue, it’s clear new writer Ryan Ferrier doesn’t have handle on Sons of Anarchy. He’s got Bergara on the art, which doesn’t exactly help him. Bergara has a few more really good panels this issue than I was expecting, but he doesn’t bring anything to the book overall.

And it’s not clear what Ferrier’s trying to do. The Sons bring in a new member who screws up a deal. There are problems and there will be more problems, there’s just not any tension. It’s also strange how the kid gets inducted; maybe because Ferrier doesn’t even write new dialogue for the scene, just recycles stuff from earlier.

Sons has had a really good run; it’s possible Ferrier is just finding his footing but it sure doesn’t bode well for the series’s future. It’s an unworkable combination of too ambitious and not ambitious enough, which is too bad.

CREDITS

Writer, Ryan Ferrier; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

0

Big Trouble in Little China 9 (March 2015)

Big Trouble in Little China #9

Churilla’s art seems really rushed this issue, but it might not be his fault. The issue winds down and Powell gets to his cliffhanger and all of a sudden it’s clear the big panel composition wasn’t to help Churilla, but Powell. There’s not a lot of story this issue–and when there is story, it’s Powell keeping the movie villain in play (after promising his demise three or four times now).

It’s amusing enough, but Big Trouble in Little China hasn’t really gotten anywhere. It’s even lost some of the devices Powell utilized in the first few issues (like Jack’s flashbacks). Mostly it’s because Jack is barely a character in the comic anymore, save his appearance on the covers.

Only the supporting cast hasn’t really taken his place. Powell just has all these likable characters doing mundane mystical adventure tasks.

But, like I said, it’s amusing enough. Even when lazy.

CREDITS

Writers, John Carpenter and Eric Powell; artist, Brian Churilla; colorist, Lisa Moore; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

0

Curb Stomp 1 (February 2015)

Curb Stomp #1

Curb Stomp, quite frankly, plays like a Troma remake of Repo Man. It’s post-apocalyptic, but not in a fantastical way, with its characters just trying to get by in a difficult world. The leads are the five or six members of the gang The Fevers. They’re punk rock and all women, as opposed to their rival gangs, who are coed and don’t have any major unified fashion statements going on.

Writer Ryan Ferrier worries more about cool characters than good dialogue and it works. His dialogue’s fine, affected, not realistic. He doesn’t plot out long scenes. He keeps it moving. A lot happens in the first issue, maybe two major plot points, which is nice to see in an indie limited series.

Devaki Neogi’s art reminds a little of Love and Rockets (in a good way) and the issue is a rather substantial success. Curb Stomp gets started strong.

CREDITS

Writer, Ryan Ferrier; artist, Devaki Neogi; colorist, Neil Lalonde; letterer, Colin Bell; editors, Jasmine Amiri and Eric Harburn; publisher, Boom! Studios.

0

Sons of Anarchy 18 (February 2015)

Sons of Anarchy #18

It’s an okay flashback issue from Brisson and Bergara. It might have more meaning if one is familiar with the “Sons of Anarchy” television program, not just the comic book. I don’t even remember the protagonist of this issue–Happy–having much to do in the comic overall.

In this issue, set in the eighties, he goes to prison and goes a little crazy and runs off and joins SAMCRO. Brisson does reasonably well making the character sympathetic, but he’s never likable. He’s just surrounded by bigger jerks, not necessarily more dangerous ones. Brisson doesn’t have time to explore that aspect of the story, which is too bad. It’s more interesting than the plot.

Some of that interest problem is because of Bergara. His scenes set in prison come off like Archie In Oz just because the faces are too genial. Works against the mood.

And the ending’s too rushed.

CREDITS

Writer, Ed Brisson; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

0

Robocop 8 (February 2015)

Robocop #8

I’m not sure how I’d describe Killian, Williamson’s long-in-the-tooth antagonist in Robocop, but soap opera tough guy might be the best description. There’s no depth to the character, which is starting to get really annoying. Though Magno’s design for the him does look a lot like an eighties tough guy, which fits in with it being a sequel to Robocop.

This issue has Williamson lift a scene from Batman Returns to get stuff done, which is fine (there’s nothing else to do in that situation), but the parts with Robocop all of a sudden an upgraded superhero, doing things impossible to do with a man in a tin can suit? It’s where Robocop breaks. It’s where you can’t suspend disbelief long enough to hear Peter Weller’s voice saying the lines.

Williamson is still earnest with Robocop, but he’s not restrained enough. Not having a “budget” hurts it.

CREDITS

Writer, Joshua Williamson; artist, Carlos Magno; colorist, Marissa Louise; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

1

Big Trouble in Little China 8 (January 2015)

Big Trouble in Little China #8

Well, Big Trouble in Little China is definitely going places. This issue, which is mostly (amusing) exposition and (great) banter–with a lot big action set piece thrown in–moves the series to an unexpected cliffhanger. Powell is getting closer and closer to needing to establish a point for the series past the gimmick of its very existence. He seems to be almost there.

The only problem with the issue is Churilla’s art. He’s hurried in places, not putting a lot of thought or time into his compositions. There’s the action set piece and it does work out, but it’s a small part of the issue. The build-up to that sequence has some wonky, disjointed moments.

Powell’s script has a good amount of surprises alongside the humor. The conclusion’s unpredictable (unless I missed something in the previous issues); it probably shouldn’t be. Powell artfully uses the laughs for misdirection.

CREDITS

Writers, John Carpenter and Eric Powell; artist, Brian Churilla; colorist, Lisa Moore; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

1

Sons of Anarchy 17 (January 2015)

Sons of Anarchy #17

Every third or fourth issue of Sons of Anarchy, I write something about how it’s amazing what Brisson is doing with this licensed title, especially one about bikers, which doesn’t seem the most natural fit for a comic.

I need to change up that practice as of now.

Sons of Anarchy is the best book people aren’t reading. What Brisson does this issue in terms of narrative plotting–executing a bunch of little twists to turn the book from a talking heads to a montage to an action story–is exceptional. And Bergara’s art is essential too. So much happens and he fits it all in.

Brisson is committed to not let Anarchy be disposable. The issue he and Bergara create here is fun, tough, subtle. And Brisson plots it out as only a comic can be plotted out.

He’s using a licensed comic to advertise the medium’s unique strengths.

CREDITS

Writer, Ed Brisson; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

0

Robocop 7 (January 2015)

Robocop #7

Seeing Robocop run–he gets upgraded–reminds of two things. First, it’s like running zombies. Second, it’s a little like Batman on ice skates. It’s just too much. Magno’s art is stronger than it has been in the last few issues so he’s able to tone it down and keep the action grounded, but it’s still too much.

However, Robocop being faster than a speeding bullet and able to leap tall buildings in a single bound isn’t the emphasis of the issue. The cops finally get around to going after the bad guy; Murphy gets some evidence, Lewis gets some evidence. Williamson’s Mr. Big is going down!

But not this issue. This issue has a boring hard cliffhanger.

Still, Magno does well with all the action and talking heads and so on and Williamson does really well with Lewis’s arc this issue. It’s problematic licensed property stuff, but still worthwhile.

CREDITS

Writer, Joshua Williamson; artist, Carlos Magno; colorist, Marissa Louise; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

0

Star Trek/Planet of the Apes: The Primate Directive 1 (December 2014)

Star Trek/Planet of the Apes: The Primate Directive #1

It’s strange, but the best thing about Star Trek/Planet of the Apes: The Primate Direction so far is Rachael Stott’s artwork. And her artwork isn’t particularly good. She does okay with people in action sequences, less with the spaceship stuff, but her talking heads are particularly interesting. She doesn’t go for photo referencing the cast of the original “Star Trek,” but she does capture the actors’ expressions.

And, given writers Scott Tipton and David Tipton are really good at approximately an episode of “Star Trek” in terms of dialogue, the talking heads scenes are rather effective. It feels as much like Leonard Nimoy and William Shatner crossing over with Planet of the Apes in the late sixties as one is going to get.

But what’s the point? So far, nothing. The Klingons go to Apes Earth and cause trouble. Big deal.

Apes is nowhere weird enough for “Star Trek.”

CREDITS

Writers, Scott Tipton and David Tipton; artist, Rachael Stott; colorist, Charlie Kirchoff; letterer, Tom B. Long; editors, Sarah Gaydos and Dafna Pleban; publishers, IDW Publishing and Boom! Studios.

1

Sons of Anarchy 16 (December 2014)

Sons of Anarchy #16

It’s a really cute issue. Seriously, it’s cute. Brisson manages to tell a cute, life affirming story with Sons of Anarchy. If there’s the Sons equivalent of a teddy bear, he finds it this issue.

The story has the owner of the pot shop in trouble with an ex; now, said pot shop owner is in business with a biker and he calls the biker for help. So then the biker has this whole investigation thing–the comic really does read like a detective story, but the brute force kind, not the meticulous investigation kind–before he discovers the truth and then there’s go to be the reckoning.

Artist Matías Bergara is not ready for prime time. With some of the action panels, he’s not even close. Occasionally, it does look like he’s got a good talking heads thing going, but the colors mess him up.

It’s an awkward issue.

B- 

CREDITS

Writer, Ed Brisson; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

1

Robocop 6 (December 2014)

Robocop #6

It’s a bridging issue. An undercover cop goes after Killian–in one of Williamson’s most unexpected moves, the character (who everyone is accusing of being an undercover cop) turns out to be an undercover cop just in time for the cliffhanger. Robocop gets beat up by the new ED–209, which has a silly name I can’t remember. And Anne Lewis gets into a yelling match about how she’s not going to back down from her job (with another female detective).

And Robocop gets new legs. He can run now. Not quite a jetpack, but… a running Robocop.

Next time, because this issue is a bridging issue.

It’d probably be okay if it weren’t for some real compositional laziness on Magno’s part. He’s wasting a lot of space, with angles intended to fill space with blah content. Without anything particularly good in the narrative, the art pitfalls hurt the issue.

B- 

CREDITS

Writer, Joshua Williamson; artist, Carlos Magno; colorist, Marissa Louise; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

0

Escape from New York 1 (December 2014)

Escape from New York #1

I’m trying to figure out how to describe Escape from New York to those unfamiliar with the movie. You wouldn’t buy the comic on a whim, without a familiarity, because if you paged through it, you’d be immediately lost. Writer Christopher Sebela doesn’t really do an introduction, he does a direct sequel to the movie… then immediately invalidates it.

But, let’s say you stuck with it for a few more pages. And then you wondered why Diego Barreto is drawing the main character so blandly. And why is the dialogue so terrible? Sebela rips off a line from Terminator 2. In a sequel to a movie from eleven years before T2. It feels weird. But not totally awful yet.

It gets awful a few pages later with Sebela’s first “I thought you were dead” line from a diner waitress. It’s a terrible sequel; bad, officially licensed fanfic.

It’s wretched stuff.

D- 

CREDITS

Writer, Christopher Sebela; artist, Diego Barreto; colorist, Marissa Louise; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

1

Sons of Anarchy 15 (November 2015)

Sons of Anarchy #15

It’s once again amazing how much Brisson is able to do with Sons of Anarchy. Especially this issue, which seems to deal a lot with continuity from the television series. Instead of that continuity dragging the issue down, thanks to Brisson’s rather impressive use of expository dialogue, it makes it better. It provides foundation.

The issue has a rather simple plot. Gemma–the den mother of the club (i assume, still haven’t watched the show)–tells Jax (he’s in charge of the club) to go find her stolen car. The comic plays out over four scenes. Brisson has a big reveal at the end of the issue and the way he simultaneously ties that reveal into everything he’s done in the issue while still keeping it entirely separate is phenomenal.

Even with a simple story, Brisson gets Anarchy running beautifully.

Nice art from Matías Bergara too. Moody but still straightforward.

B+ 

CREDITS

Writer, Ed Brisson; artist, Damian Couceiro; colorist, Michael Spicer; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

1

Big Trouble in Little China 6 (November 2014)

Big Trouble in Little China #6

And Big Trouble is back. Powell is setting up a new storyline, but he’s also back with his core cast–or maybe just developing his core cast. It feels less like a direct sequel to the movie and more like a real one.

Maybe just because Powell finally gets to explaining what’s going on with Gracie Law, who was inexplicably missing from the first story arc–until now–but also because he’s developing. He’s developing Miao Yin (the kidnapped girl from the movie) and the friendship between Jack and Eddie.

The humor’s stronger too. Powell holds on to jokes and gets all the laughs he can from them; there are also fish people and dumb bikers. The only place where Powell stumbles is with the new villains–men in black–but not significantly.

Churilla gets a lot stuff to draw–the fish people–and some good action.

It’s good again.

CREDITS

Writers, John Carpenter and Eric Powell; artist, Brian Churilla; colorist, Lisa Moore; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

0

Robocop 5 (November 2015)

Robocop #5

Once again, there are occasional moments where this issue of Robocop feels a little bit too much like Robocop 2. Not even the action, but the way Williamson is moving things along for Murphy. The evil OCP conspiracy, him having to get fixed. In terms of action, however, there is an ED–209 fight and Murphy having a super-nightstick instead of a gun.

Also, Robocop not getting a gun feels a little too much like Robocop 2 as well.

I hate bringing up those comparisons, but Williamson was setting Robocop the comic up to be something different. Magno’s art is still gritty (though really problematic in this issue) so some of the details really don’t play.

But there’s good character work on Lewis, if her dialogue gets a little too much towards the end of her scenes. And some nice small parts from familiar movie characters.

Not bad stuff.

B- 

CREDITS

Writer, Joshua Williamson; artist, Carlos Magno; colorist, Marissa Louise; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

0

Sons of Anarchy 14 (October 2014)

Sons of Anarchy #14

Brisson wraps up the arc wonderfully. Everything comes to a collision, there's lots and lots of action, lots and lots of violence. So much violence and action, in fact, it becomes very hard to follow the art. Couceiro just has too many bikers to draw and Michael Spicer's colors are so dark, it's difficult to keep them apart.

So, even though Couceiro's art is strong as usual, it's the reason the issue isn't a total success. Too many pages have to ride on momentum to get through the visual confusion. Brisson has reminders throughout scenes and so on–and the cuts back and forth between sets of characters is good–but there are just too many players in motion. Eventually, people start getting lost.

But it all does wrap up and it's impressive how Brisson makes it happen. He intricately plots these arcs and the pay-off makes it all worthwhile.

Great comics.

CREDITS

Writer, Ed Brisson; artist, Damian Couceiro; colorist, Michael Spicer; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

0

Big Trouble in Little China 5 (October 2014)

Big Trouble in Little China #5

Big Trouble isn't exactly in big trouble yet, but Carpenter and Powell's plotting is definitely getting long in the tooth. The comic opens with a very funny trip through various hells; this trip seems like it should be setting up the showdown between Lo Pan and Jack Burton. But it doesn't.

Instead, Jack is on the road again, this time with a different sidekick. If Powell and Carpenter's plan is just to send Jack away from Chinatown with one person and then back to pick up another, it needs to be handled a lot more obviously. This issue is also the first without some funny and slightly disquieting flashback to Jack's past.

It's a fine enough issue–and Churilla does get some excellent action sequences–but the series has stalled out a bit. It remains to be seen if there's anywhere for the comic to go… all of a sudden, seems not.

B 

CREDITS

Writers, John Carpenter and Eric Powell; artist, Brian Churilla; colorist, Michael Spicer; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

0

Robocop 4 (October 2014)

Robocop #4

Williamson does a couple unexpected things this issue. First, he brings a level of what one has to call Robocop 2 ultra-violence–well, technically Magno brings it–but Williamson wrote the scene. It's a big hero moment for Robocop and it's awesome. Robo saves the day.

Then Lewis turns around and figures out a way to save the day a little bit more, if only temporarily, because Williamson doesn't have a short game for Robocop. He's going long with the series and he's asking the reader for something of a significant investment. He's going beyond the accepted norms for a Robocop comic.

Sure, the cliffhanger–gun control is so tight Robocop has to lose the sidearm–is a Robocop 2 moment in the worst way, but the issue shows some definite ambition on Williamson's part.

The really awkward scene where Murphy talks about dying is great too.

It's a difficult, not entirely successful comic.

B 

CREDITS

Writer, Joshua Williamson; artist, Carlos Magno; colorist, Marissa Louise; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

1

Sirens 1 (September 2014)

Sirens #1

Sirens is a whole lot of work. George Pérez clearly had this series in mind for a while, considering it’s a sequel to some other long-running series in his imagination. He’s not introducing the cast of beautiful and empowered caricatures he calls Sirens, he’s reintroducing them.

So there are a lot of characters, all of them in different times through history–not sure any of the time periods are particularly realistic. The Wild West one, where the schoolmarm is teaching the kids secular reads on religion themes? Not realistic.

The art’s okay. Everything’s really busy and detailed and it’s a bunch of new characters so who cares.

Pérez spends more time on the supporting casts–in terms of writing–in these various time periods, than he does on the lead characters. They’re supposed to be a surprise, sure, but they need some kind of depth. Even if it’s shallow.

C 

CREDITS

From Time to Time; writer and artist, George Pérez; colorist, Leonardo Paciarotti; letterer, Ed Dukeshire; editors, Chris Rosa and Dafna Pleban; publisher, Boom! Studios.

0

Sons of Anarchy 13 (September 2014)

Sons of Anarchy #13

So much talking. And Couceiro does a great job with all that talking, but the issue consists of four or five conversations and one suggestive last page. I can't remember but it might be the first time Brisson's done a bridging issue on Sons of Anarchy. Maybe not, but certainly never so deliberate as this one.

Worse, the principal conversation is recapping events the reader already knows about. Jax and the regular cast members have been guest starring in this arc, but here Brisson brings them up to a lead status… only there had to be a better way than the recap. The conversation just goes on and on.

But, like I said, Couceiro's art is fantastic throughout and he does keep those conversations moving. And Brisson's dialogue is good, it's just too much build-up. The arc, which is definitely different, is now lagging.

Brisson should wrap it fine though.

CREDITS

Writer, Ed Brisson; artist, Damian Couceiro; colorist, Michael Spicer; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

0

Wild’s End 1 (September 2014)

Wild's End #1

Wild’s End is supposed to be The War of the Worlds meets The Wind in the Willows. Only Dan Abnett’s approach to the quaint British townsfolk isn’t Willows, it’s a bad BBC show. There’s the sexy bruiser, there are the closeted elected officials, there are the annoying townsfolk. It’s dumb.

But End has some more problems. I.N.J. Culbard’s art isn’t anywhere near detailed enough or stylistic enough. The animal (properly attired, of course) cast is boring to look at. Culbard has no personality to the animals. Sure, doing anthropomorphized characters well probably isn’t easy but Culbard doesn’t even seem to be trying.

Some of the problem seems to be the lack of seriousness with End. Willows has, in recent years, become recognized as a work of literature and Worlds certainly has a solid reputation. Abnett and Culbard seem to be cashing in for a possible cheap CGI movie deal.

Boo.

D 

CREDITS

The Village Fete; writer, Dan Abnett; artist and letterer, I.N.J. Culbard; editors, Cameron Chittock and Dafna Pleban; publisher, Boom! Studios.

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Big Trouble in Little China 4 (September 2014)

Big Trouble in Little China #4

Even with some amusing jokes throughout, this issue is easily the weakest so far. It’s still pretty darn good–like I said, the jokes are amusing and Powell consistently rewards the reader with them, either big jokes or small. In some ways, Powell is making observations about Big Trouble to its fans, which is fine when the story’s good too.

And the story here isn’t particularly good. There’s a protracted conclusion to the cliffhanger with the stupid monkey guys in the other dimension, then it’s back to Chinatown for the big build-up. Powell awkwardly goes sincere for Jack’s flashback this issue too.

Churilla gets a few cool things to draw; not as many as he should.

The cliffhanger is predictable and unfortunate. It’s a bridging issue and Powell’s enthusiasm can’t maintain it. Powell also has way too many little plot twists and not enough actual content.

It’s entertaining instead of exceptional.

CREDITS

Writers, John Carpenter and Eric Powell; artist, Brian Churilla; colorist, Michael Garland; letterer, Ed Dukeshire; editors, Alex Galer and Ian Brill; publisher, Boom! Studios.

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