Green Lantern 2 (December 2011)

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Yuck to Johns’s pacing. This issue features Sinestro showing off to Hal Jordan how much of a bad Lantern Jordan’s always been.

It’s lots and lots of talking, which the occasional action sequence or something ring-related.

For the most part, Mahnke and the inkers do a fine job. There’s sci-fi action, there are monsters, there’s superhero disaster stuff. The art never bests what the artists do in the first few pages, when they show how pissy Jordan gets over Sinestro having the ring.

I think the issue takes place in about twenty-five minutes, which is about six times longer than it takes to read the comic. And Sinestro is so much stronger, as a character, than Hal Jordan. Does Johns always write him this way?

He’s turned Sinestro into the Dr. Doom of the DC Universe; “evil” or whatever, but right about how to fix the world.

CREDITS

Sinestro, Part Two; writer, Geoff Johns; penciller, Doug Mahnke; inkers, Christian Alamy and Keith Champagne; colorist, David Baron; letterer, Sal Cipriano; editors, Darren Shan and Brian Cunningham; publisher, DC Comics.

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Planet of the Apes 17 (October 1991)

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Interesting. Very, very interesting.

Marshall’s either a terrible writer or he just never really wrote the comic and editors did.

This issue ties directly to the first Planet of the Apes movie. It does so in a neat way. The neat connection almost makes up for the fact Marshall has his protagonist recount events, until this issue, she never knew about.

She summarizes the Conquest plot, which directly refutes the previous few issues. I wonder if Adventure paid its editors in Hostess Fruit Pies.

There’s some other bad stuff here too–Marshall gets even worse with the tense, for instance. Then there’s the person living who shouldn’t be (twice, sort of). It’s all incredibly lazy writing.

Though Marshall is predating a lot of zombie stories by fifteen years with his empty American landscape and sole survivors.

Sadly, the art is no better. It made me almost miss the ending’s significane.

Superboy 2 (December 2011)

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I feel like Lobdell’s approach to Superboy is to fling as much senseless garbage at the reader as possible and how they ignore the lack of story. Or the endless comparisons to Marvel’s Ultimate Universe.

N.O.W.H.E.R.E.?

Really? DC really went to Warner Bros. and sold them on doing a knock-off Ultimate Universe, complete with stand-ins for SHIELD? Did they tell the Warner suits they’d be able to have movies with it too?

Superboy is crap, but it’s not even exciting crap. Oh, there’s Lobdell writing a “strong” female character, but it’s just bad, but amusing. I guess it’s sort of funny how he’s got Superboy thinking in all sorts of twenty-first century colloquialisms and none of it makes sense unless Superboy watched sitcoms… but, again, so what?

It’s crap.

But the art isn’t terrible, even though the content is boring. Silva occasionally even tries some innovative compositions.

CREDITS

Superboys and their Toys; writer, Scott Lobdell; penciller, R.B. Silva; inker, Rob Lean; colorists, Richard Horie and Tanya Horie; letterer, Carlos M. Mangual; editor, Chris Conroy; publisher, DC Comics.

Planet of the Apes 16 (September 1991)

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Wow.

Reading the issue, I kept wondering how the comic could get worse.

First, Wyman and Pallot have completely gone to pot. If I’d picked up this issue first, I would have never believed this art team could do the work they did on their first couple issues. It’s not as horrific as the original series artist, just because that guy was incompetent, but it’s bad art.

Second, Marshall’s handling of a female protagonist is disastrous. He seems to think strong woman equals sexually promiscuity. It’d be loathsome if it weren’t so earnestly idiotic.

But the character’s a moron too. At one point she’s equating horses to apes in terms of intelligence.

Worse—in terms of little details—there’s more of Marshall’s terrible continuity. In ripping off first movie, Marshall made the story a headache.

I don’t even have space to mention Marshall’s inability understand tense when telling a story.

Batgirl 2 (December 2011)

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The point, to me, of a Barbara Gordon Batgirl comic is Barbara Gordon.

And on some level, Gail Simone is with me. The comic comes (albeit slowly) to life when Barbara shows up in her civilian life. It also perks up when Batgirl, the cheeriest (traditionally) of the Batman Family, is out in the daylight.

But Simone doesn’t have a lot of Barbara or daytime in the comic. Instead, there’s more protracted “unsure Batgirl in action” sequences. I was hesitantly onboard with the book last issue and the first half of this issue had me ready to shred it.

The second half slightly recovers, not fully, but enough to show there’s still the possibility of good content. Just not much of a chance an issue will be completely good….

The most disappointing aspect has to be the discovery Syaf has trouble drawing regular people. His Commissioner Gordon’s about four foot.

CREDITS

Cut Short, Cut Deep; writer, Gail Simone; penciller, Ardian Syaf; inker, Vicente Cifuentes; colorist, Ulises Arreola; letterer, Dave Sharpe; editors, Katie Kubert and Bobbie Chase; publisher, DC Comics.

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