Planet of the Apes 28 (January 1977)

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Moench’s conclusion to his Battle adaptation isn’t exactly strong, but it’s better than I expected. The shooting script apparently had some ambiguity and Moench embraces it. As for Virgil Redondo’s artwork, it continues to be serviceable. What’s most impressive about this installment is how Moench paces the action and the expository sections. He does fast forward a little, but not through anything special.

For the original story—again with Trimpe, this time with Redondo’s inks (the inks help a tiny bit)—Moench comes to another conclusion of sorts. He gets a really affecting moment out of a brainwashed teenage orangoutang. Moench has this matter of fact observation about the cruelty of the world and it’s fantastic.

Unfortunately, he also changes up some of his character developments—u-turns in some cases—and it hurts the integrity. If Moench ignores his previous characterizations, why should the reader care about the characters?

CREDITS

Revolt of the Gorilloids; penciller, Herb Trimpe; inker, Virgil Redondo. Battle for the Planet of the Apes, Part Seven: Tremor of Doom; artist, Redondo. Writer, Doug Moench; editor, John Warner; publisher, Marvel Comics.

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One comment

  1. I think it’s hard to evaluate a title well in it’s final throes. I imagine it’s hard to be part of a creative team that when you’ve worked your ideas off to produce a decent story-and sales continue to go down. Do you succumb to the pressure to try something different that might work, or do you just finish your ideas with an ending point in mind? Would the twenty ninth issue of this mag finish the contractual time limits of how long Marvel could produce it? So many unanswered questions, the ultimate fate of this magazine for me is left in limbo after your great overview of the series. Obviously, Moench had a stake in the work he was producing. Also, obviously, the budget on an ever dwindling sales loser may have played a direction of the artists chosen to finish it off. Reading your reviews here makes me want to find out more about the life of this superior title in Marvel’s interesting take on the black and white magazine line.

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