Highland Laddie 3 (October 2010)

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Another excellent issue, save the art. When Annie shows up at the end, I didn’t even recognize her. I thought for a minute Ennis was bringing in one of Hughie’s childhood crushes.

Otherwise, like I said, excellent. Even with the flashes to Boys events, the series feels completely removed from it. If Highland Laddie does actually exit Hughie from the main series, it’d be kind of perfect. Ennis built up a character in a fantastical world, only to send him off into reality.

But I doubt Hughie’s going anywhere.

There are a couple really nice flashback scenes, if occasionally disgusting. Ennis does try a little hard to show Hughie’s awareness at his demeanor and what he blames for that situation; the nice relationships with friends and family make up for the obviousness though.

It’s a shame Ennis doesn’t have a better artist. McCrea doesn’t begin to convey the script’s depth.

CREDITS

Beware the Jabberwock, My Son; writer, Garth Ennis; artists, John McCrea and Keith Burns; colorist, Tony AviƱa; letterer, Simon Bowland; editor, Joseph Rybandt; publisher, Dynamite Entertainment.

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Prophet 35 (May 2013)

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Graham has seemingly hit a lull issue. Not a bad issue, but definitely some kind of a bridging one. It’s always hard to say with Prophet, since Graham and his collaborators often do something unexpected.

He splits the issue between Old John and New John. Old John is traveling to meet The Troll, a warlord of some kind apparently, who occupies a moon of Mars. There’s some great stuff with his crew, some oddly touching moments and some funny ones. Very grand scale sci-fi stuff.

New John, on the other hand, should have grand scale too–he’s part of an attack to defeat these aliens who Graham leaves obscure–but Milonogiannis never amps up the huge battle. There are establishing shots, some quick interludes, some expository help, but it feels oddly small. Even though it’s obviously huge.

The Care backup continues to be weird. Better this issue than last.

CREDITS

Prophet; writers, Brandon Graham and Simon Roy; artist, Giannis Milonogiannis; colorist, Joseph Bergin III; letterer, Ed Brisson. Care, Part Two; writers, artists and colorists, Matt Sheean and Malachi Ward. Publisher, Image Comics.

Ultimate Spider-Man 107 (May 2007)

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Wow, Ultimate Iron Fist isn’t going to get his own series if he’s buddying up to Kingpin. Jeez.

Bendis splits the issue, mostly, between Peter and Kitty having a breakup conversation–actually, a post-breakup conversation–and Spider-Man talking Daredevil down from the idea of killing Kingpin. Maybe for the first time ever, Ultimate Daredevil works as a character. Because it’s interesting to see him brought down, intellectually, by Peter.

The scene with Kitty is good too. Bendis’s reasoning for her being at Midtown is idiotically contrived, but even he seems to know it. And having Ultimate Jessica Jones show up is kind of funny.

There are a few more scenes–Kitty in class, Mary Jane and Peter, Peter at the hospital–and Bendis is on for each of them. It’s still a little too soon to say, but he definitely seems engaged in the series again.

It’s good.

CREDITS

Ultimate Knights, Part Two; writer, Brian Michael Bendis; penciller, Mark Bagley; inker, Drew Hennessy; colorist, Justin Ponsor; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

Half Past Danger 4 (August 2013)

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Big surprise this issue. Mooney’s apparently real good at not painfully foreshadowing.

This issue is exactly how an all action comic should be done. Mooney keeps up a brisk pace and his panel compositions are complicated and sometimes breathtaking. He clearly wanted to do complex action set pieces and figured out how to best convey them. I’ve never been so fulfilled by a comic I spent so little time reading. Maybe because I can go back and appreciate his art pacing.

There’s also the matter of the good guys team structure. The scenes where the guys all fight against the Nazis together have a wonderful flow. It feels like they’ve gotten to know each other, which may be why Mooney spent the time developing their relationships. Makes the action work better.

Great ending too. Not a lot of surprises, but great cliffhanger thrills.

Danger is one heck of a comic.

CREDITS

Curiouser and Curiouser!; writer and artist, Stephen Mooney; colorist, Jordie Bellaire; editors, Christopher Schraff and Chris Ryall; publisher, IDW Publishing.

Lazarus 3 (August 2013)

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Besides the incest twins playing it up like Bond villains, this issue features Rucka’s best writing on Lazarus. It kind of features Lark’s worst art on it–he really doesn’t take a lot of time with the incest twins but who would–but it’s still quite good art as it’s Lark.

The issue even manages to survive Rucka’s negotiation scene, which reminds way too much of Dune. But before that scene, Rucka has an interesting scene with Forever and another family’s Lazarus. Wait, I’ve said it all reminds a little of Dallas too, right?

Anyway, this issue’s actually got talking, thinking adversaries for Forever to interact with, which helps a lot. Rucka’s got all his plots within plots; those don’t do any good for honest scenes. He usually asks the reader to suspect everyone and every scene, not just read the comic.

Lazarus isn’t great, but it’s finally nice reading.

CREDITS

Family, Part Three; writer, Greg Rucka; penciller and letterer, Michael Lark; inkers, Lark, Stefano Gaudiano and Brian Level; colorist, Santiago Arcas; publisher, Image Comics.

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