Ultimate Spider-Man 60 (August 2004)

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Bendis doesn’t have anything this issue. Well, he doesn’t have much. He introduces Ultimate Jeanne De Wolf, but otherwise… nothing.

There’s a dream fight between Spider-Man and the Lizard, there’s a way too long fight–with Bagley wasting space on double page spreads–with some villain Bendis doesn’t even bother to give a name and then there’s Peter and Curt Conners hanging out for a bit.

Two things stand out. First, during the big fight scene, Peter and the dumb villain are breaking precious museum items. After the fight, all the hostages of the big dumb villain forget about the artifacts–and how they weren’t exactly in immediate danger. The big dumb villain wasn’t about to shoot one, for example.

Bendis doesn’t even try for logic.

The second standout is the scene between Peter and Conners. While it’s not enough payoff for the rest of the issue, it’s good.

CREDITS

Carnage, Part One of Five; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, Nick Lowe and Ralph Macchio; publisher, Marvel Comics.

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Snarked 7 (April 2012)

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I didn’t count but I don’t think the North Pole-South Pole romance in this issue took Langridge more than seven or eight panels. Spread throughout the issue, of course. But it’s a devastating little romance. It’s sweet, heartfelt and melancholic all at once. It’s quite lovely.

This issue our heroes find themselves trapped on an island with the last surviving dodos. Everyone manages to get him or herself in a bit of trouble–except the usually troublesome little prince, actually–and Langridge keeps them moving.

It all takes place–the island stuff, so not counting the first act–in a couple days. Langridge never focuses on the time, but Snarked never feels rushed or not rushed enough. It comes from Langridge concentrating on making each moment, even if it is building to another (or none at all), as pleasing as possible.

It’s a great way to approach comic storytelling.

CREDITS

Fit the Seventh: Beautiful Soup; writer and artist, Roger Langridge; colorist, Lisa Moore; editors, Bryce Carlson and Eric Harburn; publisher, kaboom! Studios.

Swamp Thing 92 (February 1990)

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Wheeler is getting rather predictable. As far as Abby and Alec go–you know, Swamp Thing’s main characters–he has no idea what he’s doing. But he’s ambitious and enthusiastic. And well-versed in Swamp Thing. He seems to have read a lot of it; he just can’t write it.

This issue concerns the bayou reversing to how it was back in the thirties, before the oil companies, before the infrastructure, before the boob tube. Besides a terrible monologue from Abby–she’s not by herself, she’s with Alec… Wheeler just doesn’t know how to write a real conversation–and some interior monologue from Alec, Wheeler spends the whole issue with the bayou residents. Either they’re narrating or he’s writing in close third person.

The issue’s just a ghost story, which puts it in line with other Swamp Thing comics. Only Alec hasn’t got anything to do with this issue.

CREDITS

La Terre qui Disparait; writer, Doug Wheeler; penciller, Pat Broderick; inker, Alfredo Alcala; colorist, Tatjana Wood; letterer, John Costanza; editor, Karen Berger; publisher, DC Comics.

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