Spider-Woman 5 (August 1978)

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Wolfman edited Spider-Woman too? I guess I hadn’t paid much attention. Now a lot more makes sense. Without any editorial oversight, Wolfman can keep going with whatever he thinks works (to be fair, Spider-Woman did run fifty issues–five years–so he must have been in sync with readers) and what does he go with? A dream issue.

I can’t think of a dream issue offhand I like–did Alan Moore do a Swamp Thing dream issue? I liked that one if he did. But here’s why I hated this one.

Who cares?

Wolfman doesn’t really work at making Spider-Woman a) a likable protagonist or b) even the protagonist of her own book. On the fifth issue, with all her neurosis, it’s clear she’s a lame character. He’s trying to force interesting characteristics; they aren’t helping.

Maybe I think I like Spider-Woman because of the cartoon.

CREDITS

Nightmare; writer and editor, Marv Wolfman; penciller, Carmine Infantino; inker, Tony DeZuniga; colorist, Michele Wolfman; letterer, John Costanza; publisher, Marvel Comics.

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Spider-Woman 5 (March 2010)

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In this five minutes of comic book reading–it took a little longer because I was actually expecting the crooked cop to be a Skrull–Bendis does it again. It’s one thing to bring back a c-list character who has a lot of fans and do a shitty job on her title, but to bring back a c-list character who you say you love and to do a shitty job on her title is another.

I mean, is Spider-Woman even c-list? She might be d-list, brought back by Bendis–to what end? First that awful Origin series, now this awful ongoing?

I just don’t get it. How can this series be so godawful? Bendis, more occasionally now than before, writes good stuff. What’s the point? He’d sell a lot more books if it were a new Wolverine title if he just wants to produce garbage.

CREDITS

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

Batman and Robin 6 (January 2010)

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I do love this issue for Robin calling the flamboyantly gay South American toreador gay.
Or whatever Morrison named his second original villain for the series.

The rest?

Not wild about it.

Batman and Robin get their butts kicked, again. Morrison gets in some meta-textual references to Jason Todd’s resurrection (nothing about Bucky though) as it compares to the soon-to-be resurrected Bruce Wayne. It’s not particularly useful and is painfully obvious.

I’m also a little confused about Robin heading back to a Lazarus pit for his medical treatment (he got shot five times in the back). If he can just get resurrected over and over, what’s the point in putting him in dangerous situations?

And if Tan’s art was bad before, it’s really awful this time. It was so ugly I had to check the credits, because it’s beyond the banal mainstream he’d done the last issues.

CREDITS

Revenge of the Red Hood, Part Three: Flamingo is Here; writer, Grant Morrison; penciller, Philip Tan; inker, Jonathan Glapion; colorist, Alex Sinclair; letterer, Pat Brosseau; editors, Janelle Siegel and Mike Marts; publisher, DC Comics.

The Unknown: The Devil Made Flesh 4 (January 2010)

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Ok, the next Unknown series? That series might be okay, because Catherine whatever-her-name-is is going to be all messed up with the brain tumor and seeing wacky stuff all the time. It might make the mysteries interesting, but Waid’s steady reliance on Heaven and Hell for all answers certainly isn’t making the series engaging.

He answers maybe one question here, how did Catherine come back to life. But he raises a lot more questions and speeds through them (I’m still not clear on how Doyle got resurrected) to get to his ending, which is the setup for the next series.

Waid doesn’t seem to have much of an idea of where the series is going and he’s now eight issues into it. Instead of doing a comic version of Moonlighting or Remington Steele, he’s doing some lame TV pilot for a fundamentalist Christian pay cable station.

Eh.

D 

CREDITS

Writer, Mark Waid; artist, Minck Oosterveer; colorists, Javier Suppa and Andres Lozano; letterer, Marshall Dillon; editors, Dafna Pleban and Matt Gagnon; publisher, Boom! Studios.

Irredeemable 10 (January 2010)

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I was going to say, that art doesn’t look like Krause’s and it’s not. It’s a noticeable difference, which is too bad.

I guess if they’re going to do a fill-in artist, this issue’s an appropriate one, content-wise. There’s three stories going on (well, and a flashback); first is the Plutonian’s squeeze and her husband arguing then fighting the U.S. government sanctioned demon (no, I don’t have any Cheney jokes here, come up with them on your own), the Plutonian and his (resurrected?) sidekick (who’s secretly the Plutonian’s arch-villain) going shopping and the Plutonian giving some back story, and then the psycho super-hero who beat the Plutonian up a couple of issues ago.

In other words, it’s a bridging issue. It’s a solid bridging issue, but it’s not particularly important. All the information could be recapped in a two page seventies Marvel summary.

Still smooth sailing.

CREDITS

Writer, Mark Waid; artists, Diego Barreto and Peter Krause; colorist, Andrew Dalhouse; letterer, Ed Dukeshire; editor, Matt Gagnon; publisher, Boom! Studios.

Batman and Robin 5 (December 2009)

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Ok, what? I’m a little groggy or whatever, but why can Jason Todd’s untrained sidekick beat up Damian? Wasn’t he trained by the League of Assassins? It just seems silly.

This issue is the first one in the series where it doesn’t feel like Morrison’s got a hold of what he’s doing–Batman and Robin is supposed to be a quality mainstream book. With the Tan art, it feels mainstream all right, but there’s not so much in the way of quality. The writing’s fine, but it’s all soulless.

Take, for example, the Jason Todd and sidekick breather scene. What does Jason Todd look like out of costume? Some broken down bad guy. Morrison portrays him as completely nuts, the sidekick too, which makes them really boring when it becomes to the dramatics. The Penguin’s far more interesting….

Having the Red Hood be internet-savvy doesn’t make everything all right.

Having the Red Hood be internet-savvy doesn’t make everything all right.

CREDITS

Revenge of the Red Hood, Part Two: Scarlet; writer, Grant Morrison; penciller, Philip Tan; inker, Jonathan Glapion; colorist, Alex Sinclair; letterer, Pat Brosseau; editors, Janelle Siegel and Mike Marts; publisher, DC Comics.

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