Category Archives: Planet of the Apes

Betrayal of the Planet of the Apes 4 (February 2012)

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Well, I guess Betrayal does change some things to make the ending more in line with the first movie. All apes can be scientists–doctors–but I don’t think there were any chimp doctors in the first movie. I think they were still stooges to the orangutans. Humans are banned from the city. Those two changes about cover it.

Bechko and Hardman establish Zaius as a bad guy at the end, not out of some willful evil but through his embracing of ignorance. Maybe if the comic had been Zaius’s story, how he became corrupt, the ending might have some resonance. But it does not.

There’s a set-up for a sequel, with a gorilla and a human hanging out. Sadly, there’s nowhere for the story to go. The secret ape prison is closed too. Bechko and Hardman are inexplicably reductive.

Great artwork though. Hardman’s art just gets better throughout.

Betrayal of the Planet of the Apes 3 (January 2012)

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I wonder if Betrayal got four issues because Hardman agreed to do four issues. There’s not enough story for four issues; there’s probably only enough for two. Bechko and Hardman are introducing all these characters–or, if they’ve introduced them before, they’re now giving them more page time. But there’s still the pointlessness.

So what if the good guys are in danger? I don’t even know the female chimp’s name. And the sympathetic Doctor Zaius stuff continues, but without any ties to other stories in the franchise, the character’s presence is far from imperative. For a second, I thought Betrayal might tie a little into the first Apes movie… but it doesn’t seem to do so.

Even worse than boring is the pacing. Bechko and Hardman don’t pace the story to take advantage of Hardman’s art. And there’s no other reason to read the comic, so the art should rock….

Betrayal of the Planet of the Apes 2 (December 2011)

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The second issue of Betrayal has fantastic Hardman art and still no compelling story.

Bechko and Hardman seem to think setting a comic near the original movie is enough, but they’re ignoring the years of Apes comics before this one. While truly original content is off the table, the Ape prison introduced here is a bore. Betrayal isn’t even an exercise in constraint–Hardman’s (great) art opens up the planet from the movie’s confined one.

Maybe the one interesting aspect–in terms of continuity and franchise–is evil Dr. Zaius from the first movie being… ahem… humanized. But I think the second movie already did something similar (and I know comics have in the past). Having a heroic gorilla general is pretty cool, but the narrative doesn’t even follow him. Instead, Bechko and Hardman check in on their pedestrian conspiracy.

I wish it were better, but it probably can’t be.

Betrayal of the Planet of the Apes 1 (November 2011)

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It’s almost like a mantra… there are no new Planet of the Apes stories to be told, regardless of title, creator or company. Betrayal is no different. There are pro-human apes, anti-human apes and a conspiracy against either or both. It’s the way Apes comics have always been.

Except the art.

Gabriel Hardman brings professionalism and talent to Betrayal. It’s the best Apes art in decades, whether it’s Hardman’s take on the apes themselves or the fantastic action sequences. He has this chase sequence and it’s absolutely stunning what he gets done in a page. The implied transitions between panels are sublime.

The script, from he and Corinna Bechko, isn’t bad. Like I said before, the plot’s nothing new, but the characters are well-realized and some are quite likable.

Unfortunately, the cliffhanger doesn’t particularly grab one’s attention, but it could be worse.

Great art, totally harmless story.

Planet of the Apes 4 (July 2011)

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Eh.

For the first time, Gregory’s Apes is completely “eh.”

I never thought of him as ambitious, but this issue lacks ambition to the degree he’s just churning to get a comic out. Maybe because Boom!’s got a dollar issue next, it doesn’t matter. It’s the last issue before an imposed “jumping on” point.

But Gregory takes enough story for half an issue and stretches it. Modern comics are already stretched enough for trades and Apes is no different. There’s zero “A plot” payoff here and, worse, there’s no “B plot.” The character drama from the first couple issues has vanished. Now it’s Gregory pretending he’s doing “Battlestar” insurgency stuff, only with Apes.

Except, like I said before, he’s not. Especially since we (the reader) already have suspicions (ones Gregory painfully laid) there’s a puppet master behind it all.

Magno does some nice art, though his iffy panels return.

Planet of the Apes 3 (June 2011)

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I wish Gregory–and Boom! in general–were more forthcoming. About halfway through the issue, I started wondering if Apes was more a relaunch than just a prequel. Meaning, even though it’s set 1,200 years before the first movie, maybe the movie isn’t going to be precisely how it works. The movie’s got a cheap, limited set. The comic doesn’t… is it moving towards cheap, limitedness or is the movie going to be revamped?

Those questions are important for a movie tie-in book.

Otherwise, the issue’s okay. Except Gregory doesn’t know how to make the humans sympathetic. The humans in Apes aren’t insurgents, rallying against an oppressor… they’re dumb murderers. This issue reveals there’s probably a puppet master, which would be a cop-out.

Anyway, Magno keeps his art consistent this time and it helps.

While it’s hard to get interested when there’s no legitimate conflict, Apes remains harmless.

Planet of the Apes 2 (May 2011)

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Most of Magno’s art is too good for a Planet of the Apes comic. He clearly takes a lot of time and care creating the comic’s setting. So when he has a bad panel, it’s striking, especially since it’s usually something inexplicable–like drawing a character bad when one panel before it was fine or good.

But Magno’s art is a small quibble.

Boom!’s Apes continues to be harmless licensed material, even as Gregory starts moving towards choppy water.

He includes one of the mutants from Beneath, which creates a narrative problem. The reader might recognize the character, but the protagonists in the book have no idea. So the reader is miles ahead of the characters… doesn’t make the drama particularly compelling.

There’s also the more significant problem of the setting. It’s unbelievable apes and humans got along well enough to build Gregory’s society.

He’s writing into a corner.

Revolution on the Planet of the Apes 6 (August 2006)

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Even with Fowler back, nothing can stop Revolution from having a lousy finish.

O’Brien introduces a fighter pet gorilla. He just shows up. Maybe Templeton planned a second limited series from his point of view… I’m glad he never got around to telling that bad story.

This issue is loose with the characters. O’Brien was never good at making any of them interesting, so when they start dying off, the momentous scenes have no weight. The whole thing just can’t end fast enough.

And then when it does end, when O’Brien finishes with an inane development (apes learned to talk seven days after the Conquest movie), then there’s the backup.

Templeton continues the silliness of his backups, but almost has something interesting. Sort of a Back to the Future thing. He lets it pass and goes with something dumb instead.

Revolution is an awful comic book.

Great Fowler art though.

Revolution on the Planet of the Apes 5 (July 2006)

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Swell, Templeton brings in Kent Burles (from the Adventure series) for the backup. Burles’s art is still bad. Worse, Templeton’s script doesn’t have any action, so Burles is doing talking heads. It’s incomprehensible.

But it does explain there are multiple lawgivers (which doesn’t make much sense) and there’s something with the development of ape society. It’s pretty crappy; I expected more from Templeton’s writing.

The feature story has Sam back on the art, which isn’t a good thing. This issue’s about diversion–ties to the movies, ties to the Marvel black and white magazines. O’Brien sticks to the humans for this one, which doesn’t make much sense. They’re all unsympathetic and many of them are just plain evil.

It makes for an unpleasant read, which is better than a stupid one though. When it gets to the backup story, the issue is just plain stupid.

Thankfully, the series’s almost finished.

Revolution on the Planet of the Apes 4 (May 2006)

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O’Brien’s pacing of Revolution is bad, but it’s not entirely an issue-to-issue thing. It’s more of a four issue story being spread out to six. For example, this issue could go alltogether (if it weren’t for Fowler doing the art).

There’s a good deal of implied action, but the reader doesn’t see much of it. Instead, O’Brien follows Roddy McDowell as he chases the bad guy from Conquest. I’m guessing Templeton and O’Brien hadn’t seen the extended cut where they kill that dude.

So it’s a chase issue instead of an action issue. Not sure why a movie tie-in series needs a chase issue.

Oh, there’s other stuff–the other governments (or “givernments,” I guess no one proofread the lettering) of the world nuke themselves instead of letting the American apes invade.

The backup, from Templeton and Sam Agro, is both a silly misfire and subtely profound.

Revolution on the Planet of the Apes 3 (March 2006)

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Oh, no dream sequence this issue. I would have entirely forgotten about the dream sequences if the backup story hadn’t mentioned them. Caesar (Roddy McDowell in the last two movies) is a psychic in Revolution. He sees the future, which looks shockingly like bad Charlton Heston movies.

The backup this issue clearly identifies what’s so wrong with Revolution. Templeton can write and O’Brien can’t. Templeton’s backup, even with the Sam art (and at times because of it), feels like a wacky Love and Rockets homage. The pacing of the story’s great and Templeton’s dialogue is excellent. Sam’s layouts are strong, even if his details get very lazy. It’s almost good and definitely interesting to read.

O’Brien’s script for the main story is crap. It’s all a Terminator 3 rip-off now with the acocalyptic stuff.

But it’s got Tom Fowler art. He alone makes this comic worth reading. He’s great.

Revolution on the Planet of the Apes 2 (January 2006)

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The problem with Revolution reveals itself in the backup from Templeton and Gabriel Morrissette–it’s supposed to be cheeky. It’s hard to describe the comic as anything else. Sure, it’s a direct sequel to Conquest but who cares? It’s also a direct prequel to Battle so the series is of little consequence.

To fill in for the pointlessness, Templeton and O’Brien are cheeky. It’s all a “wink wink” joke for the reader, who presumably likes Planet of the Apes… but not enough to want a real comic book series of it.

Almost all of O’Brien’s logic is bad too. The setting of Conquest gets retrofitted for the modern day, which means a lot of Internet references. Had the comic stuck to the actual setting it’s continuing, Revolution might have worked better.

As far as the art goes… Sam isn’t improving. Between him and the plotting, Revolution reads like a fanzine.

Revolution on the Planet of the Apes 1 (December 2005)

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Ty Templeton can draw,right? What I mean is… why did he hire Salgood Sam, who’s not a very good artist, to draw Revolution on the Planet of the Apes if he could do it himself? Sam’s a step down from the Adventure Comics Apes franchise, even if there is color this time around.

I assume it’s because Templeton thought–as the publisher too–people desperate for Apes comics would put up with anything. And I guess they might… if they didn’t like even medicore comic books.

Templeton (who plotted) and scripter Joe O’Brien do a direct sequel to the fourth Apes movie, Conquest, and a little bit of a prelude to the final film, Battle. Unfortunately, they don’t have anything interesting to say about either film. It’s shaping up to be boring and political.

There’s definite enthusasism, but it doesn’t produce anything good, showing enthusasism isn’t everything. Or anything.

Planet of the Apes: The Forbidden Zone 4 (March 1993)

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In the front matter, Cunningham seems to dare the reader to put Forbidden Zone in continuity. A few pages later, Cunningham has an inexplicable gaff. For a bit, I hoped I could just attribute it to playing with the reader. But as the issue ended, I could not.

It’s a slight blight on the otherwise well-crafted series. I wish Kirk had worked harder though. He’s even lazier than usual in this issue, with every one of his human faces bad (instead of just most of them).

Cunningham’s big twist this issue, literally bringing every plot point together, is sort of predictable. But it makes sense in the context of the narrative and characters and it shows Cunningham’s quality.

He knows how to put together a narrative. It’s just Planet of the Apes, he can’t work wonders, but he does create a well-told, well-written four issue limited series.