The Further Adventures of Indiana Jones 10 (October 1983)

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It’s an adequate, underwhelming resolution. Michelinie handles the cliffhanger from last issue well then sends Indy off into the jungle. It’s the jungle from the beginning of Raiders, but there’s no fanfare to its return. There is another Raiders connection–the villain has a secret–but it’s lame.

Michelinie also gets history very wrong concerning when the Nazis starting plotting against the United States. Maybe it’s different in the Indiana Jones universe.

Like I said, the opening is fine. Reed does much better with two people in his action panels. So when it’s Indy alone, while the panels are sometimes good, there’s no excitement. It’s just Indiana Jones in another jungle, fighting another couple bad guys.

Michelinie’s steam runs out just after Indy gets back to the jungle too. He figured out how to resolve the issue and wrote the rest of the pages to fit.

Still, it’s not terrible.

CREDITS

The Gold Goddess, Chapter Two: Amazon Death-Ride; writers, Archie Goodwin and David Michelinie; penciller, Dan Reed; inker, Danny Bulanadi; colorist, Bob Sharen; letterer, Joe Rosen; editor, Louise Jones; publisher, Marvel Comics.

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Fashion Beast 8 (March 2013)

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More problems. Doll goes back to her old neighborhood and Tomboy shows her how everything has changed.

Only Johnston–and Moore, he doesn’t get off the hook for this one–never showed how it was when Doll was there. There’s no passage of time; Doll could have been a model for a couple weeks, a couple months or a year. Since Johnston and Moore never established the ground situation or how much time has passed since the beginning of Fashion Beast, it’s hard to say.

The lengthy tour with Tomboy explaining why functional fashion is better is trying. It’s Moore’s second big monologue about the place of fashion in the world and not even the first one worked. Fashion Beast isn’t enough about fashion for these monologues.

And then the shocker of an ending. It almost reads like Johnston hadn’t read the whole script when breaking it out to issues.

CREDITS

The Lovers; writers, Malcolm McLaren, Alan Moore and Antony Johnston; artist, Facundo Percio; colorist, Hernan Cabrera; letterer, Jaymes Reed; editor, Jim Kuhoric; publisher, Avatar Press.

The Superior Spider-Man 14 (September 2013)

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Umm. Couple things. First, Slott doesn’t have Otto narrate this issue. Maybe the first Superior without some insight from him. Second, Marvel never resolved that “Shadowland” crossover? Wasn’t it like five years ago?

Otto–with an army of spider-robots and spider soldiers–cleans up the Shadowland compound this issue. Apparently Kingpin has had a fortress in New York City and no one did anything about it. I love how Marvel zombies claim 616 is so much more realistic than DC.

Anyway, it’s kind of obvious why Slott doesn’t get into Otto’s head… because it turns out he’s letting crime continue. He might even be in cahoots with the Goblin King, he might even be selling drugs. Or at least employing drug dealers.

I hope Slott’s got something good up his sleeve because otherwise this setup will be for nothing. The issue feels off, like the storyline wrap-up’s starting.

CREDITS

A Blind Eye; writer, Dan Slott; penciller, Humberto Ramos; inker, Victor Olazab; colorist, Edgar Delgado; letterer, Chris Eliopoulos; editors, Ellie Pyle and Stephen Wacker; publisher, Marvel Comics.

Ultimate Spider-Man 85 (January 2006)

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Good issue. Finally. The last few have been trying.

Bendis still has his pacing problems, but at least the comic’s amusing. The scene where Black Cat meets Peter Parker had me laughing out loud, even if Bagley and Hanna’s art for it is weak.

The resolution to the big gang fight works well too, though it’s unclear why Bendis brought in so many new characters for it. None of them get a resolution, which makes the time Bendis spent on them earlier even more pointless.

And the soft cliffhangers are good. There are a couple, one for the Kingpin–Bendis really didn’t use him enough this arc as it turns out–and one for Peter. The Peter one just shows Aunt May should probably get half the comic to herself.

She’s definitely more interesting than Ultimate Moon Knight.

Bendis’s finish makes up for the arc’s weaker issues. Well, pretty much.

CREDITS

Warriors, Part Seven; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Scott Hanna; colorist, Jonathan D. Smith; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.

Five Weapons 3 (April 2013)

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Robinson doubles back quite a bit here–the lead (who he’s still calling Tyler, which might be a mislead, might really be the kid’s name) now has to face off against another of the weapon clubs. Only in the previous issue, Robinson established he’d somehow bested the other clubs… just not in a way worth showing.

Here he takes on the archery club. As usual, Robinson saves the big resolution for the next issue. He still has his pacing magic–this issue opens with the fight scene for Tyler beating the staff club, then moves into everything else, but Robinson has now raised more questions than are worth having open.

For example, why’s the principal out to get Tyler? Robinson can only keep so many subplots in the air at once. He’s starting to fumble them.

It’s still a rather good read, it’s just too clear how Robinson’s forcing things.

CREDITS

Joon The Loon and Darryl The Arrow; writer, artist and letterer, Jimmie Robinson; colorist, Paul Little; editor, Laura Tavishati; publisher, Image Comics.

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