Miracleman 12 (September 1987)

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More hints at what’s to come–both in the bookends and in the present action. Moore’s pretty slick with one of the reveals–so quiet maybe it’s a typo–but the other, revealed on the last page but suggested much earlier… Well, things might just get really dramatic here in a bit.

This issue reveals Miraclewoman’s back story. It involves the evil scientist, of course, which sadly reminds one of Chuck Austen’s terrible conclusion to that story arc. This issue continues with Totleben, who does quite well. He’s really getting the idea of Miracleman as an Adonis, not just a regular superhero.

There are the surprises, some great panels–big and tiny, Moore’s got Totleben doing these practical thumbnails with great composition–and some really odd, nice moments with the supporting cast. The insect people are interesting, but Moore’s clearly saving more for later.

Excellent comic, though it ends abruptly.

A- 

CREDITS

Olympus, Chapter Two: Aphrodite; writer, Alan Moore; artist, John Totleben; colorist, Sam Parsons; letterer, Wayne Truman; editor, Letitia Glozer; publisher, Eclipse.

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Kiss Me, Satan 4 (December 2013)

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I wish Gischler would just take his time. It’s a good issue–lots of nice developments, brisk pace–but in his rush, he leaves out a lot of things he could expand on.

This issue doesn’t just have more information on lead Barnabus Black, it has some comic moments with his angel boss and some funny narration. Gischler overcooks the narration–apparently intentionally to make it feel a little noir–but this time he lets it get humorous. It makes the read much more enjoyable.

And, since one is enjoying him or herself while reading the comic, the reader doesn’t want it to end too soon. Gischler does even worse and skips over to the bad guy and then some other bad guys. He doesn’t focus.

Ferreyra’s art is fine. There are some good moments, some less good. He can’t handle the dramatic scenes as well as the action ones.

B- 

CREDITS

Writer, Victor Gischler; artist, Juan Ferreyra; colorists, Eduardo Ferreyra and Juan Ferreyra; letterer, Nate Piekos; editors, Shantel LaRocque and Daniel Chabon; publisher, Dark Horse Comics.

Detective Comics 556 (November 1985)

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There’s some fantastic art from Colan and Smith this issue. Moench’s still got his weird relationship between Jason and Nocturna, but Colan sure does draw it well. When Batman finally shows up–after discovering Nocturna is a crime boss–and Moench’s script has him inexplicably drawn to her… the art is what sells the scene.

The Nocturna art is just gravy. The best part of the issue is Bullock’s theory about Robin being Nocturna’s son–not Jason Todd, but some other kid. He’s ranting and raving and Colan and Smith draw the whole thing with an Eisner bent. It’s just fantastic; full of energy.

Batman and Robin, however, don’t show up much. Robin’s just there for the setup, Batman’s just there for the finish. Nice Batman fight scene though.

The Green Arrow backup is lame; Cavalieri resolves a lengthy subplot and it’s boring. Nice art from Moore and Patterson though.

B+ 

CREDITS

The Bleeding Night; writer, Doug Moench; penciller, Gene Colan; inker, Bob Smith; colorist, Adrienne Roy; letterer, John Workman. Green Arrow, Zen and the Art of Dying; writer, Joey Cavalieri; penciller, Jerome Moore; inker, Bruce D. Patterson; colorist, Jeanine Casey; letterer, Bob Lappan. Editor, Len Wein; publisher, DC Comics.

Pretty Deadly 3 (December 2013)

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The issue opens with a recap of the previous issues. Only it’s more confusing than anything else–DeConnick has so much going on, what with mixing a Western with the supernatural and all. The recap implies someone might actually be able to follow the comic… and, if one out there is following the story without taking notes, more power to them.

But I tend to think Pretty Deadly works so well because it doesn’t need to make sense necessarily. Not along the way. Along the way, DeConnick writes good scenes and Rios draws good scenes and they all add up to something in the end.

It’s still a Western after all. These guys are doing this thing over here, those guys are looking for the first guys and so on. The rest of it doesn’t matter too much. The details make Deadly different, but it’s a Western; a good one.

B+ 

CREDITS

Writer, Kelly Sue DeConnick; artist, Emma Rios; colorist, Jordie Bellaire; letterer, Clayton Cowles; editor, Sigrid Ellis; publisher, Image Comics.

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