Daily Archives: 24 January 2010

Spider-Woman 3 (June 1978)

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At least Spider-Woman’s stalker doesn’t show up in this issue.

It’s kind of sad how phoned-in Infantino’s artwork is on this series. I don’t think I’ve ever seen him do Marvel before and he’s just completely disinterested. Some of his subsequent DC work is a lot better, so it’s not like he couldn’t do the work; he just didn’t care.

I don’t blame him, of course, Spider-Woman might be the worst executed ongoing series I’ve read from this era. Spider-Woman isn’t likable, her supporting cast consists of a stalker and an ancient magician who’ll probably turn out to be Merlin, and her bad guys are lame. Wolfman’s villain dialogue here is just atrocious.

Worse, Wolfman can’t stop with Spider-Woman’s thought balloons about having “the blood of a spider” in her veins–she’s half-woman, half-spider! Wouldn’t she have four legs then? It’s complete nonsense.

CREDITS

The Peril of — Brother Grimm; writer and editor, Marv Wolfman; penciller, Carmine Infantino; inker, Tony DeZuniga; colorist, Michele Wolfman; letterer, Joe Genovese; publisher, Marvel Comics.

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Spider-Woman 3 (January 2010)

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Really, I’m supposed to think Jessica is going to torture a pathetic, already tortured Skrull? Come on. If anything, Bendis has shown she doesn’t have any initiative. If she weren’t so damned passive, she wouldn’t be an agent of SWORD and the comic would probably have a much better first arc.

Speaking of better stories and better writing, why does Bendis think a crappy dialogue exchange is a good talking head book? I remember the great Bendis talking head issues and this one isn’t even a pale imitation, it’s not even a rote one. It’s like if Jeph Loeb or someone as awful as Jeph Loeb were trying to do a talking head issue.

I mean, why’s Bendis got all the stupid action going on? His best talking head issues don’t juxtapose. It’s because he knows, he’s got to know, he’s writing crap here.

It’s embarrassing.

Still, the art’s beautiful.

CREDITS

Writer, Brian Michael Bendis; artist and colorist, Alex Maleev; letterers, Cory Petit and Virtual Caligraphy; editor, Lauren Sankovitch; publisher, Marvel Comics.

Beasts of Burden 4 (December 2009)

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Compared to the previous three issues, the series ends on a weak note. It’s still awesome and all, but it’s a kinda cliffhanger and kinda cliffhangers are damned annoying when it comes to limited series. The letters column even opens with talk about another series, instead of giving this one any kind of closure. In fact, it raises even more issues, with the ostensible team leader (Ace) showing a murderous streak (he, possessed, helped kill the young Republican in issue two).

It’s a dark issue, with the Burden Hill Beasts (their team name, which I missed completely–it’s never used in the actual issues) fighting a resurrected human. It ties into the second issue and the third issue, not just their mysteries but also picking up the thread of the kitties in love from issue three, only from the disapproving canine perspective.

Great stuff; just wish it was an ongoing.

CREDITS

Chapter Four: Grave Happenings; writer, Evan Dorkin; artist and colorist, Jill Thompson; letterer, Jason Arthur; editors, Sierra Hahn and Scott Allie; publisher, Dark Horse Comics.

Beasts of Burden 3 (November 2009)

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As a rat owner, I’m horrified Dorkin uses them as these master villains, the animal kingdom’s equivalent of Al Queda or something; however, as a reader, I have to admit, it’s a darn good book–though I’m not sure I like getting done with it without the mystery being solved.

This issue’s a romance issue, at least it turns into one and it’s a fine romance issue. The issue starts like a–well, it feels almost like Tom Sawyer, just because it’s all these distinct characters in a suburban setting, but it’s also a lot like Lady and the Tramp (for the same reason)–it ends like an old detective movie, with the happy couple in the moonlight.

Dorkin and Thompson should be very proud of themselves (and Dark Horse should be paying them very well); this series is easily the best thing I’ve read from Dark Horse in years.

CREDITS

Chapter Three: Something Whiskered This Way Comes; writer, Evan Dorkin; artist and colorist, Jill Thompson; letterer, Jason Arthur; editors, Sierra Hahn, Freddye Lins and Scott Allie; publisher, Dark Horse Comics.

Beasts of Burden 2 (October 2009)

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I certainly hope no one ever sells this issue to a kid. It’s–wow. Let’s see. It’s about a dog with two missing puppies. The team (do they have a team name?) investigates and ends up in the forest where they try calling the puppies spirits. That attempt works, but has the unintended side effect of loosing all these other spirits (of dead animals) who the team tries to protect themselves against.

Except the team members who are possessed by some of the spirits and run off and kill the teenage boy who’s been killing cats and dogs and dumping them out in this pond.

So you’ve got murder, vengeance, then the possessed team members (once unpossessed) filled with guilt and the other team members all messed up because they should have tried the spell in the first place.

It’s a heavy, heavy read.

Real glad I bought this series.

CREDITS

Chapter Two: Lost; writer, Evan Dorkin; artist and colorist, Jill Thompson; letterer, Jason Arthur; editors, Sierra Hahn, Freddye Lins and Scott Allie; publisher, Dark Horse Comics.

Beasts of Burden 1 (September 2009)

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Here’s an idea: dogs and cats who fight the supernatural (animals). It sounds Disney on paper, but the execution of Beasts of Burden has a lot of darkness and a lot of oomph. Dorkin’s killing off animals left and right here; admittedly, they’re all off-panel deaths (at least of the cute animals), but the survivors describe what’s happened in detail.

Jill Thompson’s art somehow makes everything–whether it’s an easy subject like a pug or a cat–or a more difficult one like a demonic toad–look adorable. It’s painted art, so there’s this definite “Dogs Playing Poker” thing going on.

There’s some uphill resistance when getting into this first issue as there are previous adventures in some Dark Horse anthologies (something I didn’t know as I picked up the comic to read). Dorkin does a good job of filling in the new reader through dialogue.

Adorable, if hardcore.

CREDITS

Chapter One: The Gathering Storm; writer, Evan Dorkin; artist and colorist, Jill Thompson; letterer, Jason Arthur; editors, Sierra Hahn, Freddye Lins and Scott Allie; publisher, Dark Horse Comics.

Dazzler 40 (November 1985)

I didn’t mention it in the previous Secret Wars II response, but is Dazzler always a loose woman or is she just being written as a loose woman for the Secret Wars II crossovers? Shooter handled it better, but here, Goodwin points it out and it just makes her look cheap.

On to the art, however. Dazzler’s comic is, from a storytelling standpoint, incredibly disappointing (she’s on the run–to turn herself in for jumping bail–and a bunch of redneck psychic pillagers on motorcycles are after her). Oddly, the cover shows the motorcycle thugs as youthful and punk; the interior shows them to be freakish and middle-aged.

Anyway, I had no idea Paul Chadwick did mainstream books. He’s okay. His Beyonder, for example, looks like a soap opera star and Dazzler’s kind of boring looking. Guice’s cover is better than the interior art (which he inked).

It stinks.

CREDITS

Travelers; writer, Archie Goodwin; penciller, Paul Chadwick; inker, Butch Guice; colorist, Petra Scotese; letterer, Jim Novak; editors, Michael Higgins and Mike Carlin; publisher, Marvel Comics.

Spider-Woman 2 (May 1978)

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Vixen. A spiteful or quarrelsome woman. Vixen.

Marv Wolfman refers to his protagonist as a vixen in this issue. Not so sure he knows what the word means and for someone so flatulent in his writing, he really ought to have a dictionary handy.

I’m not entirely sure what’s wrong with this comic book, whether it’s Wolfman or the editorial decisions behind Spider-Woman, but it’s a mess.

She’s heading to America at the end of this issue, presumably to have superhero guest stars, but it’s the second issue. Why bother with her in England in the first place? More, why bother with the inane romantic interest (actually, he’s more of a stalker–a stalker from SHIELD–it could be a new title).

Infantino’s professional enough to pull everything off, but he’s clearly bored. Worst is how Wolfman’s exposition sometimes doesn’t match Infantino’s panels, like Wolfman’s trying to force it.

CREDITS

A Sword in Hand!; writer and editor, Marv Wolfman; penciller, Carmine Infantino; inker, Tony DeZuniga; colorist, Janice Cohen; letterer, Irving Watanabe; publisher, Marvel Comics.

Spider-Woman 2 (December 2009)

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If they’d released this issue without any text, just Maleev’s awesome art, it would have been much, much better.

The issue opens with Jessica in jail (no costume) and probably has a present action of fifteen minutes. Maybe ten. It’s inanely pointless. I haven’t read a Bendis comic in a while, at least not one making up a story-arc, so I’m left wondering if he’s just filling pages to get the collected edition to a certain price point. Obviously the guy’s overworked and doesn’t think a lot about what he’s writing, but still… this comic book probably took him twenty-three minutes to write. While he was watching an episode of Webster.

I’m hesitant to judge the series’s potential based on this stupid, “aliens among us” story-line, but Bendis is making it harder and harder for me to remain open-minded.

What’s he going to screw up next?

CREDITS

Writer, Brian Michael Bendis; artist and colorist, Alex Maleev; letterer, Cory Petit; editor, Lauren Sankovitch; publisher, Marvel Comics.

Aliens 4 (December 2009)

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All right, I’m clearly missing something here. Not only does my android question go unresolved, so does the two major questions the series raised–why are these aliens different than those previously encountered and what’s the deal with the mystical alien canyon?

The letters page this issue tells the reader to stick with the comic continuity, but I’m pretty sure Dark Horse stopped doing new Aliens comics in 1999, which means other than collected editions, this story is the first new one in ten years. And they expect the reader to know their continuity?

You’ve got to be kidding me. What about the casual reader who’s picking up the series because of all Dark Horse’s anniversary nonsense?

Again, it’s a fine enough Aliens story (it would have been right at home running through eight issues of Dark Horse Presents), but come on–this series isn’t some awesome event.

It’s common.

CREDITS

Writer, John Arcudi; penciller, Zach Howard; inkers, Mark Irwin and Howard; colorist, Wes Dzioba; letterer, Blambot!; editors, Samantha Robertson and Chris Warner; publisher, Dark Horse Comics.

Aliens 3 (September 2009)

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Ok, so, a little more information–there was an alien invasion of earth, which I kind of remember from the old Dark Horse comics. Old as in before Alien³. Still, not sure what’s going on here. The android’s a weak lead, but there aren’t any other good options. The supporting cast is all weak too (they’re recovering from some kind of mind control).

The question Arcudi hasn’t answered yet is whether the android’s ship’s crew knew he was an android. Not sure why that question is so important to me, but it’s a definite necessity. There’s so little to the character, other than his physical presence, it’d give some context.

I don’t think I should be trying to figure out the ground situation in the third issue though.

Aliens is leaving a lot to be desired. They’re pretending it isn’t a relaunched series instead of celebrating.

One to go.

CREDITS

Writer, John Arcudi; penciller, Zach Howard; inkers, Mark Irwin and Howard; colorist, Wes Dzioba; letterer, Blambot!; editors, Samantha Robertson and Chris Warner; publisher, Dark Horse Comics.

Aliens 2 (July 2009)

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Thought balloons. Arcudi uses thought balloons. I haven’t seen a thought balloon in a new comic in so long, I thought it was some kind of stylizing error (the character also talks to himself so it’s possible).

Um. Otherwise. Huh.

Aliens is a competent book. Arcudi doesn’t do a bad job, but it’s all in the approach. He’s hiding stuff from the reader (the protagonist is a newly android who kills–they aren’t supposed to harm any living thing, right?–and falls in love–with a murdered crew mate). The android also seems to know about previous encounters with the alien. I don’t know Dark Horse Aliens continuity so I’m kind of lost–except I think I’m supposed to be lost.

Presumably, all will be revealed, but Arcudi’s halfway through the book now and he’s basically established the protagonist and had him go for a walk. Not exactly high drama.

CREDITS

Writer, John Arcudi; pencillers, Zach Howard and Gabriel Andrade; inkers, Mark Irwin, Marcelo Mueller and Howard; colorist, Wes Dzioba; letterer, Blambot!; editors, Samantha Robertson and Chris Warner; publisher, Dark Horse Comics.

Aliens 1 (May 2009)

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Wow, Zach Howard’s good. Never heard of him before (or maybe I have), but he’s great. Seems a little bit wasted on an Aliens relaunch (seeing as how the first issue is mostly people, just a couple xenomorphs and Howard clearly is putting more into the composition of the people panels).

The rest of it, the comic itself, is wasteful. It invalidates itself in the last few pages (actually, in the third act, Arcudi nicely gives his comic acts) and instead serves as an interesting way to do exposition.

I’d probably love the approach if Aliens was running five issues instead of four, but it isn’t and blowing a quarter of your series on exposition seems like a bad idea.

There’s no (as far as I can tell) direct ties to previous Aliens titles, only some homage and a reference to the movies.

In other words, too early to tell.

CREDITS

Writer, John Arcudi; penciller, Zach Howard; inkers, Mark Irwin and Howard; colorist, Wes Dzioba; letterer, Nate Piekos; editors, Samantha Robertson and Chris Warner; publisher, Dark Horse Comics.

Spider-Woman 1 (April 1978)

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Wow, does Wolfman like to write exposition. I mean, he just loves it. It really made this issue incredibly boring. Maybe I wasn’t paying attention, but I had no idea–until a few pages into it–the issue is taking place in London. I’m also not sure if Jessica Drew is English or not. I mean, does she have an accent? Wolfman likes doing European settings, but his dialogue never sounds like it’d be right if said with an accent.

Infantino’s art was a little disappointing. It’s competent and all (DeZuniga’s inks practically make it look like someone else), but there’s a decided lack of enthusiasm.

Wolfman’s approach to the character, with her missing memories and her anti-social behavior (her neighbors are afraid of her? That’s just lame), is under-cooked. He sets up all these contradictions for her and bypasses resolving them like he doesn’t know the answers.

CREDITS

…A Future Uncertain!; writer and editor, Marv Wolfman; penciller, Carmine Infantino; inker, Tony DeZuniga; colorist, Glynis Wein; letterer, Joe Rosen; publisher, Marvel Comics.