Miracleman 3 (November 1985)

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It’s a nice issue, sort of finishing out the main questions about Miracleman–how can a fifties-type superhero actually have existed in the modern world Moore operates the series in. The answer is predictable, but Moore’s presentation of the explanation is good.

The setup for the reveal, including a fight with another super-powered individual, cuts between the cast members. Even though Liz doesn’t get any scenes with Mike (or Miracleman), she does get one of the interludes. Moore isn’t forgetting anyone and he’s working to get into as many of the characters’ heads as possible. It’s a nice little moment and a surprise success as the characters aren’t definitively established yet.

Then Moore tells the reveal from the villain’s (narrating) perspective. Moore does raise a couple question he doesn’t answer yet–calling Miracleman a “monster,” for example–but it’s a big success.

Even if Davis is no Leach.

B+ 

CREDITS

Out of the Dark; writer, Alan Moore; artist, Alan Davis; colorist, Ron Courtney; letterer, G. George; editors, Dez Skinn and Cartherine Yronwode; publisher, Eclipse.

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Detective Comics 549 (April 1985)

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It’s a nice issue overall.

The feature has Moench, Broderick and Smith doing a Harvey Bullock issue. Moench plays it mostly for laughs, then goes deeper–showing the “real” Bullock–and then giving him a difficult conflict to resolve.

And manages to get in a big fight scene for him and Batman (teaming up against thugs, not against each other). Moench does well with the regular life stuff in Gotham City. It’s a relief not to have to get through his odd Bruce stuff.

But the real kicker is the Green Arrow backup from “guest” writer Alan Moore. I put “guest” in quotation marks because it doesn’t resemble the Cavalieri stories. Actually, the discussion of regular life calls back to the feature.

It’s just Ollie and Dinah out on patrol, with great art from Klaus Janson, and some setup of the story arc’s villain. Moore comes up with excellent stuff.

B+ 

CREDITS

Doctor Harvey and Mr. Bullock; writer, Doug Moench; penciller, Pat Broderick; inker, Bob Smith; colorist, Adrienne Roy; letterer, Ben Oda. Green Arrow, Night Olympics, Part One; writer, Alan Moore; artist, Klaus Janson; letterer, Todd Klein. Editor, Len Wein; publisher, DC Comics.

Doc Savage 1 (December 2013)

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Chris Roberson seems to love Doc Savage. His enthusiasm for the concept, the thirties setting and the characters makes this issue work. He just doesn’t necessarily write a comic for readers who aren’t just as enthusiastic about Doc Savage. And I imagine it’d be hard to find anyone enthusiastic enough.

There’s nothing new about this series. Roberson manages to make nods toward the characters Savage has influenced but nods aren’t enough for an issue, much less a series.

Bilquis Evely’s art is okay, but it too lacks anything particular. It’s a straightforward rendering of 1933 New York City. It’s occasionally very nice looking (mostly with the buildings, though one or two action panels), but the style is too vanilla. Savage needs some teeth, otherwise it comes off too pat.

Roberson employs a laid back narration, which is interesting and different. Sadly, he’s writing narration of mediocre story. Where’s the beef?

C 

CREDITS

Writer, Chris Roberson; artist, Bilquis Evely; colorist, Daniela Miwa; letterer, Rob Steen; editors, Molly Mahan and Joseph Rybandt; publisher, Dynamite Entertainment.

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