The Further Adventures of Indiana Jones 8 (August 1983)

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Michelinie wraps up the story with an all action issue. He splits it, after bringing everyone together a couple times, between the Nazis and Indy and Marion. They all discover this lost tribe of evil Atlantis descendants. It would seem the only reason the tribe is evil is to give Michelinie an excuse to keep killing them whenever a scene needs to progress. They’re really tall too; apparently Marion’s just as good as hand-to-hand combat as Indy.

Gammill and de la Rosa continue to do a good job on the art, but since it’s an action comic–with digressions–set in the jungle, there’s not much for them to draw.

There’s really nothing to this issue; Michelinie doesn’t even take the time for character moments. He rips off the end of Raiders, which you’d think Marion or Indy would comment on (they don’t).

It’s harmless and utterly pointless.

CREDITS

Africa Screams, Chapter Two: Crystal Death; writer, David Michelinie; pencillers, Kerry Gammill and Sam de la Rosa; inker, de la Rosa; colorist, Paul Becton; letterer, Janice Chiang; editor, Louise Jones; publisher, Marvel Comics.

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Popeye 12 (April 2013)

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Langridge goes out of his way to give the feature a distinct look.

He’s got a lot more lines–for backgrounds–than the other Popeye artists usually use and it gives the story an aged quality. Langridge is crossing Popeye over with another comic strip character, Barney Google, and he takes it seriously.

Castor and Wimpy are the real stars of the story. Popeye’s sturdy as usual–and there are some great lines from him for Olive to hear–but Castor and Wimpy’s individual schemes run off with the story.

It’s also nice how Langridge constructs the narrative–he’s introducing Barney Google to everyone, which makes everything seem so fresh. It’s a good one….

But it can’t compare to the backup. It’s Popeye and Swee’Pea at a carnival. Langridge brackets the story with Popeye writing to Swee’Pea’s mom. It’s touching, it’s funny, it’s perfect.

Langridge continues to make Popeye outstanding.

CREDITS

A Horse of a Different Color. Letter to Momma. Writer, artist, colorist and letterer, Roger Langridge; editors, Ted Adams, Craig Yoe and Clizzia Gussoni; publisher, IDW Publishing.

Swamp Thing 167 (June 1996)

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Lots of returning faces this issue–Millar’s first (and last?) regular appearance of Chester. He and Abby go to a McDonald’s stand-in and discuss the world’s predicament. Millar positions their relative calm against everyone else, who are all expecting the world to end.

Most of the issue follows Timothy Raven. Millar’s setting up this arc like a heist movie. Every character has a role to play, the reader is watching it all play out, Alec is the loot. He’s pretty much off panel the entire issue.

There’s also what must be the last appearance of the Parliament of Trees. They try to stand up to God. It doesn’t go too well. Millar really shows it in Lady Jane, who is–while scary looking in the Hester rendition–very caring and sympathetic.

There’s only one hiccup. Millar’s got some weird timeline gaff. It’s slight but jarring. Otherwise, another excellent issue.

CREDITS

Trial by Fire, Part Two: The Word of God; writer, Mark Millar; penciller, Phil Hester; inker, Kim DeMulder; colorist, Tatjana Wood; letterer, Richard Starkings; editor, Stuart Moore; publisher, Vertigo.

A Pocket Guide to Objects (2013)

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What’s A Pocket Guide to Objects about? Guess what, not objects. Not really. Sort of. Maybe.

The pamphlet or comic or book is itself an object, which Kevin Huizenga wrote while listening to Beethoven. A lot of the concepts he actually does discuss–I thought when he said “objects” he meant something simple like how to organize one’s mix tapes from the late nineties–regarding form and content tie into his experience listening to the music. So it’s a narrative. It’s non-fiction, first person narrative about his thoughts about making comic books (without saying comic books) while listening to Beethoven.

According to the back of the guide, Huizenga made this book on his inkjet printer. It runs approximately sixteen pages; I’m probably counting the covers. On the front cover Huizenga writes, “Keep it for Future Reference.” Definitely.

His ideas perplex and engage, but his execution of his thoughts inspirits.

CREDITS

Writer, artist, colorist and letterer, Kevin Huizenga; publisher, USS Catastrophe.

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