Hill’s resolution to the cliffhanger leaves a lot to be desired. Rodriguez does full page panels of this fight scene and… Rodriguez isn’t very good at fight scenes. He’s also not good at high concept fight scenes.
And believing the good guys wouldn’t see the bad guy slinking away in defeat? Well, Hill needed Rodriguez to sell that one and he doesn’t, not in those full page panels.
Anyway, the second half of the issue is good. There’s some more stuff about the head key, there’s some stuff with Kinsey and her new friends, a little nice implied stuff about the mom.
But then the issue just stops. I was wondering why it felt like I didn’t read anything and remembered the mishandling of the fight scene. While the issue’s got good material, it’s hard to excuse Hill and Rodriguez totally fumbling the first half.
They should have known better.
Light of Day; writer, Joe Hill; artist, Gabriel Rodriguez; colorist, Jay Fotos; letterer, Robbie Robbins; editor, Chris Ryall; publisher, IDW Publishing.
There’s not a lot of seventies L.A. scenery this issue; there are a couple good moments though, a couple great panels from Phillips. Instead, most of the issue is spent indoors, whether present or past.
Brubaker gives the modern protagonist–Lash, I think (Brubaker makes his name less important every issue)–a little story. There’s some mystery, of course. A flashback in the present tense set after the regular flashback. And then there’s a cliffhanger in the present.
There’s a cliffhanger in the past too, but Brubaker’s so successful in splitting the two, it’s hard to see the cliffhanger as consequential. All these events occurred forty years before the present action. There’s nothing anyone can do to change them.
It’s an excellent issue. Brubaker’s got a few plots running and he’s writing great characters for all of them. Well, except the evil cult leader’s tone-deaf interlude. It’s weak.
The Devil’s Business, Interlude and Chapter Three; writer, Ed Brubaker; artist and letterer, Sean Phillips; colorist, Dave Stewart; publisher, Image Comics.
Kirk tries out a different style for this issue’s extended flashback. I get it’s supposed to be folksy–the flashback takes place on a farm–but it lacks personality. It’s one of those awful farm stories; it’s effective too. Jolley makes the reader remember it and calls it back later.
There’s very little mystery to this issue. There’s suspense. Bloodhound is more a thriller book than anything else. Jolley brings a lot of toughness into the DC universe with the title. His concepts don’t fit in superhero books, which is kind of the point. It’s the dirty underside.
Jolley’s able to hide his hand for almost the entire issue. It’s going somewhere–Jolley’s solving a subplot–but he never gies it away until it’s happening. The main narrative distracts the reader too much.
It’s another fine issue. Very little character development, if any, but Jolley’s safe skipping it this issue.
Run the Gears, Part Two: The Shotgun; writer, Dan Jolley; penciller, Leonard Kirk; inker, Robin Riggs; colorist, Moose Baumann; letterer, Rob Leigh; editor, Ivan Cohen; publisher, DC Comics.