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.

Star Trek 13 (April 1981)

Star Trek #13

It's another high concept issue from Pasko. He's got McCoy meeting his estranged daughter for the first time in years–she's marrying a Vulcan (a much, much older one), he's got the Enterprise landing on The Planet of the Apes and how it plays out when the Klingons get there. Pasko plays a lot with the Apes thing, working in all sorts of genre stuff from outside. For a few pages, it all feels like a mystery, and for the last few pages, Pasko goes for difficult character work.

In the meantime, there are also Klingons around causing trouble. These are post-The Motion Picture Klingons having a very television series encounter with the Enterprise crew. Pasko hits all the right notes.

Unfortunately, Joe Brozowski, Tom Palmer and Marie Severin don't exactly knock it out of the park on the art. There's some detail, but it's more consistently messy than anything else.

B+ 

CREDITS

All the Infinite Ways; writer, Martin Pasko; pencillers, Joe Brozowski, Tom Palmer and Diverse Hands; inkers, Palmer and Marie Severin; colorist, Carl Gafford; letterer, Joe Rosen; editor, Louise Jones; publisher, Marvel Comics.

Star Trek: The City on the Edge of Forever 3 (August 2014)

Star Trek: The City on the Edge of Forever #3

The bottom falls out this issue. Given nothing compelling to illustrate–unless one counts the various odd jobs Kirk and Spock perform–Woodward is left with talking heads, where he seems to be painting panels directly from pauses of old “Star Trek” episodes. The result? Terrible, static figures. Even worse, he’s rushing, so there’s a lot of loosely rendered, terrible, static figures.

As for the writing, there’s some angry banter between Kirk and Spock. It’s real bad; either from the original Harlan Ellison teleplay or the Tipton brothers adaptation, the characters have no chemistry. Combined with the static faces, it makes for terrible comics.

Even worse is when the love interest arrives. The flirting scene between her and Kirk is atrocious, but Woodward’s so insistent on the Joan Collins reference, the character never fits in the environment.

Edge has been a consistently problematic effort, but this issue really tanks it.

D 

CREDITS

Writers, Harlan Ellison, Scott Tipton and David Tipton; artist, J.K. Woodward; letterer, Neil Uyetake; editor, Chris Ryall; publisher, IDW Publishing.

Star Trek 36 (August 2014)

Star Trek #36

I love how static Shasteen draws all the faces. It looks like he's going through either publicity photos or maybe screen grabs and picking the ones he thinks are closest to the emotions the characters should be feeling.

Actually, I do not love anything about Shasteen's art. I was being sarcastic in an attempt to feign enthusiasm for talking about this comic book.

It is barely a Star Trek issue in terms of being about the new movie franchise crew; it's more of a "Star Trek: Deep Space Nine" comic it turns out. Is it a good "Deep Space Nine" comic?

No.

As a writer, Johnson continues to confuse concept with imagination. Just because the Paramount rep okayed crossing over with the "Star Trek" shows isn't reason enough to do so.

Johnson can't even get any mileage out of Bones and Spock banter. It's pedestrian and pointless with lifeless art.

C- 

CREDITS

The Q Gambit, Part Two; writer, Mike Johnson; artist, Tony Shasteen; letterer, Neil Uyetake; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek: The City on the Edge of Forever 2 (July 2014)

Star Trek: The City on the Edge of Forever #2

Not only is Janice Rand back, she kicks butt.

There are a few more big changes in this issue, with Kirk and company beaming up after time has changed to find themselves on a mercenary freighter or some such thing. It’s where Yeoman Rand reveals her fighting skills.

It’s very hard to take City seriously with this sort of distraction, although it does feature some decent action art from Woodward. Not great, because painted fight scenes just don’t move, but decent. Yeoman Rand kicks butt and all.

The rest of the issue has Kirk and Spock going back in time and getting into some trouble with thirties rabble rousers. This comic shouldn’t be made just for people familiar with the original episode, but the creators certainly aren’t making it accessible otherwise. The whole soft cliffhanger hinges on that familiarity.

It’s a mediocre comic and its curiosity value is waning fast.

C 

CREDITS

Writers, Harlan Ellison, Scott Tipton and David Tipton; artist, J.K. Woodward; letterer, Neil Uyetake; editor, Chris Ryall; publisher, IDW Publishing.

Star Trek: Flesh and Stone (July 2014)

Star Trek: Flesh and Stone

Was someone out there desperate for a really bad team-up of all the doctors from “Star Trek” shows? The only regular medical officer the writers don’t include is the new continuity McCoy, which is just as well–the issue is heavy on McCoy anyway.

The important events, at least as how writers Scott and David Tipton show them, all take place in the past. The “Next Generation” doctors, along with all the other doctors, are just around to find McCoy and get his story. None of it’s interesting and the medical condition is less a condition as something they lost the solution for beating. The story is about finding that solution, not creating it or discovering it.

I didn’t have many hopes for Flesh and Stone, but it failed to meet any of those. It’s a lame comic and the David Brothers’ lifeless art doesn’t help it much either.

D 

CREDITS

Writers, Scott Tipton and David Tipton; artists, Joe Sharp and Rob Sharp; colorist, Andrew Elder; letterer, Neil Uyetake; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek 35 (July 2014)

Star Trek #35

I’m having a hard time trying to figure out how to talk about this issue of Star Trek. Not because the comic is all of a sudden doing well or good–and not because new artist Tony Shasteen is doing anything special–but because the comic has finally given in to itself.

Here we have the new Star Trek franchise crossing over to the “Star Trek: The Next Generation” franchise and, if one can guess from the cliffhanger, its spin-offs. In other words, Star Trek the comic has become the desperate cash grab it was always meant to be.

This issue has Jean-Luc Picard in a small role. Johnson writes him great. You can hear Patrick Stewart. Similarly, Johnson writes Q great and he also writes the regular cast better than his usual too. He’s finally excited; he’s not updating something old.

Sadly, Shasteen’s photo-referenced, static, nonsense art can’t match the enthusiasm.

B- 

CREDITS

The Q Gambit, Part One; writer, Mike Johnson; artist, Tony Shasteen; letterer, Neil Uyetake; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek: The City on the Edge of Forever 1 (June 2014)

Star Trek: Harlan Ellison's The City on the Edge of Forever: The Original Teleplay #1

I guess I didn’t realize–or care–how much Harlan Ellison’s original teleplay for the classic “Star Trek” episode The City on the Edge of Forever got changed.

From the first couple pages, it certainly seems like IDW is mounting an ambitious adaptation. Artist J.K. Woodward paints a mean Enterprise and writers Scott Tipton and David Tipton certainly set up the characters well. Not the principal cast, but the supporting characters.

Then the regular crew shows up and the problems start showing. Woodward spends too much time on likenesses, while the Tiptons’ script doesn’t do enough with the characters. As a comic, City on the Edge of Forever is way too dedicated to the source material. Adapting the original script, while an interesting project, is somewhat short sighted. There have been thousands of “Star Trek” stories since… something in them might synthesize well.

The coolest thing so far is Yeoman Rand’s inclusion.

C 

CREDITS

Writers, Harlan Ellison, Scott Tipton and David Tipton; artist, J.K. Woodward; letterer, Neil Uyetake; editor, Chris Ryall; publisher, IDW Publishing.

Star Trek 12 (March 1981)

Star Trek #12

Penciller Luke McDonnell–along with Tom Palmer on inks–does a lot of photo referencing this issue. But he’s only partially successful. Kirk looks spot-on, but Spock doesn’t. And Janice Rand returns this issue; she’s not spot on either. At least she’s not problematic. The work on Spock is downright bad.

The issue references the first episode of the television show, the disappearance of Rand in the first season and then a lot from the movie. There are a few visual cues straight from The Motion Picture.

Pasko’s script moves fast and doesn’t stop for the absurdity speed bumps. There’s a big crisis and the entire thing should have been avoided. Pasko seems to realize it and skips even trying.

He also does a feeble characterization of Rand. She’s an entirely new character from her time on the show; Pasko can’t connect to her.

It’s a well-intentioned misfire.

C 

CREDITS

Eclipse of Reason; writers, Alan Brennert and Martin Pasko; pencillers, Luke McDonnell and Tom Palmer; inker, Palmer; colorist, Carl Gafford; letterer, Joe Rosen; editor, Louise Jones; publisher, Marvel Comics.

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