Star Trek 12 (March 1981)

Star Trek #12

Penciller Luke McDonnell–along with Tom Palmer on inks–does a lot of photo referencing this issue. But he’s only partially successful. Kirk looks spot-on, but Spock doesn’t. And Janice Rand returns this issue; she’s not spot on either. At least she’s not problematic. The work on Spock is downright bad.

The issue references the first episode of the television show, the disappearance of Rand in the first season and then a lot from the movie. There are a few visual cues straight from The Motion Picture.

Pasko’s script moves fast and doesn’t stop for the absurdity speed bumps. There’s a big crisis and the entire thing should have been avoided. Pasko seems to realize it and skips even trying.

He also does a feeble characterization of Rand. She’s an entirely new character from her time on the show; Pasko can’t connect to her.

It’s a well-intentioned misfire.

C 

CREDITS

Eclipse of Reason; writers, Alan Brennert and Martin Pasko; pencillers, Luke McDonnell and Tom Palmer; inker, Palmer; colorist, Carl Gafford; letterer, Joe Rosen; editor, Louise Jones; publisher, Marvel Comics.

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Star Trek 34 (June 2014)

Star Trek #34

There's a goofy aspect to this issue because there's got to be, given Johnson's storyline. It's a rip-off of some other things, with a couple odd Jurassic Park homages thrown in, but it's not a terrible story. Johnson gives Kirk a lot to do.

But Corroney's art doesn't help things. He does fine with the flashbacks to the 1970s. The art on that single page flashback is good. But then, once in Star Trek time, he falls apart. He spends too much time referencing photos of the actors playing the cast–which is hilarious for Bones, who Johnson writes wonderfully like the original series–and not enough time coming up with a style.

There's an alien monster involved with the story and Corroney turns it into a goofy purple thing. It's not scary or impressive or anything, it's just goofy.

It's nice to see Johnson trying for an original (if derivative) story.

C 

CREDITS

Lost Apollo, Part Two; writer, Mike Johnson; penciller, Joe Corroney; inkers, Corroney, Victor Moya and Rob Doan; colorist, Sakti Yuwono; letterer, Neil Uyetake; editor, Sarah Gaydos; publisher, IDW Publishing.

Firestorm, The Nuclear Man 2 (April 1978)

Firestorm, The Nuclear Man #2

I don’t want to spend time griping about Milgrom’s pencils. If his composition were better, I might even let it pass, but the composition–and how he handles the costumed stuff–is a real problem. Conway gets in a lot of scenes and Milgrom handles the transitions awkwardly. His figures in superhero motion are really awkward, especially the flying. Superman guest stars too so lots of flying.

This issue picks up the day after the previous issue with more superhero stunts from Firestorm. He gets a villain–Multiplex–and Conway works a little bit on the character stuff too. Conway succeeds at making teenage Ronnie Raymond simultaneously a star athlete and a kid with low self-esteem. Right now, it’s all in broad strokes. Conway’s hinting there’s more depth.

As for Professor Stein, the other half of Firestorm, Conway doesn’t give him much space.

The issue’s likable, but very problematic.

B- 

CREDITS

Danger Doubled Is Death; writer, Gerry Conway; penciller, Al Milgrom; inker, Bob McLeod; colorist, Adrienne Roy; letterer, Ben Oda; editor, Jack C. Harris; publisher, DC Comics.

Infinity Man and the Forever People 1 (August 2014)

Infinity Man and the Forever People #1

It’s hard to get excited about Infinity Man and the Forever People because there’s only so much enthusiasm from creators Dan Didio and Keith Giffen. Giffen does a thoroughly competent job with the artwork; it looks and feels like a Kirby homage should look and feel. Didio even gets away with a blatant Kirby homage, just because it’s a readable “New 52” comic and deserves a lot of slack.

But it’s just The Forever People. Even if Didio’s apparently mixing it with “Melrose Place.” He doesn’t actually have any great ideas or even excited, problematic ones. It’s a safe comic.

About the most engaging thing is the lead-up to the cliffhanger just because things are moving. Equating the Highfather to Hitler isn’t moving, it’s exposition and boringly expressed. Didio does better other places, once the New Gods’ Earth guide shows up.

It’s a likable, but undercooked proposition so far.

B- 

CREDITS

Planet of the Humans; writers, Keith Giffen and Dan Didio; penciller, Giffen; inker, Scott Koblish; colorist, Hi-Fi; letterer, Travis Lanham; editors, Kyle Andrukiewicz and Joey Cavalieri; publisher, DC Comics.

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