The best story in this issue is Peter David and Bill Sienkiewicz spoofing “Merry Melodies” cartoons, featuring Daffy as the Ducketeer. The art’s great, the script’s funny; David knows how to pace the story right. It’s nice because it’s so subtle–obviously, there’d be pop culture about America’s only science hero.
Stan Sakai’s story makes a similar acknowledgement, but it tries too hard. Or maybe Sakai’s art just doesn’t work for the story. Cliff encounters a farm boy with parents named Jonathan and Martha and a nemesis named Lex. It’s cute, but slight. And the way Sakai draws faces is off-putting.
The worst is Marc Guggenheim and Sandy Plunkett’s story. The art is good, but the writing is moronic. Cliff’s injured and unconscious; his rescuers have to decide if they’re turning him in since he’s a wanted vigilante. Guggenheim’s script gets worse as it goes.
It’s a disappointing issue.
The Good Guys; writer, Marc Guggenheim; artist, Sandy Plunkett; colorist, Jeromy Cox; letterer, Robbie Robbins. The Ducketeer; writer, Peter David; artist, colorist and letterer, Bill Sienkiewicz. A Dream of Flying; writer, artist and letterer, Stan Sakai; colorist, Dave Stewart. Editor, Scott Dunbier; publisher, IDW Publishing.
It’s the “all female” issue… without a single female creator working on the book.
The best is in the Buffy story, when they turn rape prevention into a pun.
The Buffy story is the worst–Fassbender and Pascoe’s writing is, tasteless jokes aside, awful. Their dialogue is weak as is their plotting. Richards and Pimentel’s art isn’t awful.
Motter writes an indistinct Star Wars. But Owens’s artwork on it is fabulous.
The Xena story, from Edginton, Deodato and Nelson, is probably the best. Though Deodato’s photo referencing is annoying and ineffective. Edginton writes funny dialogue and comes up with solid plot developments.
Kennedy’s Ghost story isn’t bad. Brunner’s artwork varies. He has some good panels and some weak ones. Kennedy’s able to manage a good pace with a lot of details.
The one from David and Henry–Spyboy–is amusing. It’s breezy action; David gets in a good closing joke.
Star Wars, Aurra’s Song; story by Dean Motter; art by Isaac Buckminster Owens; lettering by Steve Dutro. Buffy the Vampire Slayer, Take Back the Night; story by Tom Fassbender and Jim Pascoe; pencils by Cliff Richards; inks by Joe Pimentel; lettering by Clem Robins; edited by Scott Allie. Xena: Warrior Princess, Atlas Shrugged; story by Ian Edginton; pencils by Mike Deodato; inks by Neil Nelson; lettering by Dutro. Ghost, Haunted Past; story by Mike Kennedy; art by Chris Bruner; lettering by Robins. Spyboy, Blowing Your Cookies; story by Peter David; art by Mark Henry; lettering by Chris Chalenor. Edited by Randy Stradley and Philip Simon.
Posted in Buffy the Vampire Slayer, Dark Horse, Ghost, Spyboy, Star Wars, Xena: Warrior Princess
Tagged Chris Brunner, Cliff Richards, Dean Motter, Ian Edginton, Isaac Buckminster Owens, Jim Pascoe, Joe Pimentel, Mark Henry, Mike Deodato, Mike Kennedy, Neil Nelson, Peter David, Tom Fassbender
Most of this issue is completely awful. Some of the fault is David’s, some of it is Pierfederici’s, some is Marvel’s. The adaptation clearly needs three issues, not two–David manages to get the comic back on track in the last pages, adding some sense of reason to the final events (something the movie skips over too, which is perfect for a kids movie).
Pierfederici is mostly awful this issue, trying to compress a bunch of action set pieces into a few pages. If someone hasn’t seen the movie, it’d be impossible to understand what’s going on.
David takes a lot of shortcuts too, which isn’t so bad, but instead of just using narration to move things along, he cuts. He cuts and he keeps the bad film dialogue.
I was looking forward to this part of the adaptation because I thought Pierfederici’d do something with the visuals.
Writer, Peter David; artist and colorist, Mirco Pierfederici; letterer, Nate Piekos; editors, Charlie Beckerman, Ralph Macchio and Joe Quesada; publisher, Marvel Comics.
I couldn’t resist. The idea is just too strange–a comic book adaptation of a twenty-eight year-old movie (yes, I know, IDW does these things, but this release is from Marvel)–and with Peter David writing. Whatever his problems, David is a far better writer than Tron writer Steven Lisberger.
So how is Tron as a comic book? Better than as a movie.
There’s only so much David can do, of course.
He retains a lot of the dialogue and about thirty percent of it is so bad it doesn’t even work in comic form. But most of David’s third-person narration works; it even feels like he’s writing a classic movie adaptation… though he wasn’t even working in comics in 1982, I don’t think.
Artist Pierfederici is also problematic. He’s way too glossy to be retro, but not design-oriented enough for it to be anything different.
Writer, Peter David; artist and colorist, Mirco Pierfederici; letterer, Nate Piekos; editor, Ralph Macchio; publisher, Marvel Comics.
As far as lame battles go, I think Puma vs. Beyonder–actually continuing it–is about as lame as you can get.
Maybe it’s just Priest’s writing (The issue credits Priest, online says Peter David wrote it. Hmm. Who’s really at fault?). I usually like it, but here it’s tired. Between the blabbering thought balloons (for every character) to Peter Parker man-slutting*, it’s just a mess.
The art might add significantly to the pain–I know it made me hurry through the comic so I could stop looking at it. Buckler’s inks are by the bullpen and it hurts. Though his pencils aren’t wowing to begin with.
So a c-list character duking it out with the lead of an enormous crossover event?
Spider-Man’s barely in here.
* Apparently, when Joe Quesada says marriage ruined Peter Parker, he meant Peter’s ability to successfully objectify every female character he encounters.
And Then the Gods Cried; writer, Peter David; penciller, Rich Buckler; inker, M. Hands; colorist, Nelson Yomtov; letterer, Janice Chiang; editors, Adam Blaustein and Christopher Priest; publisher, Marvel Comics.