Retcon 2 (October 2017)

Retcon #2

Cypress’s art almost makes Retcon worth it. Almost. I’m not entirely sure if I’m done or not, but if I come back, it’s going to be for Cypress. Without him, it’s just this jumbled narrative with the guy from the last issue in trouble with NYPD–they’re going to kill him (they think he’s a terrorist) for 9/11 payback. Except they can’t kill him at the station so they dress him up like an infectious hazard and take him somewhere else?

I think it’s supposed to be dramatic, but since Nixon does so little work on the characters, it’s hard to get invested. The dialogue’s all functional, the characters are all thin; is the protagonist really in danger or is it just Nixon spinning wheels.

It’s spinning wheels. All of it. All of this issue is setup for the next issue (and maybe issues beyond that one). It’s not a bridging issue, it’s an epilogue to the previous issue. One without anything happening.

CREDITS

Shadow-Run; writer, Matt Nixon; artist, Toby Cypress; letterer, Matt Krotzer; publisher, Image Comics.

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Jimmy’s Bastards 4 (October 2017)

Jimmy's Bastards #4

Well. I’m not sure what to think of Jimmy’s Bastards right now. Ennis goes broad with the humor, giving Braun what becomes a litany of sight gags involving the villains’ mass disaster plan. And the usually careful dialogue gives way to a bunch of inferences and interrupted thoughts. Ennis returns to his undercooked (still bleeding) “attack” on social justice and basically just fills pages with it until the mass disaster strikes. Then it’s time for Braun’s art fest, then it’s off to the cliffhanger setup.

Take

It’s technically all right–mostly Braun’s art–but Ennis isn’t putting Jimmy’s Bastards is a good spot for a strong finish. More like he’s hobbling it and reducing its ambition.

CREDITS

Takeable-Pissable; writer, Garth Ennis; artist, Russ Braun; colorist, John Kalisz; letterer, Rob Steen; editor, Mike Marts; publisher, AfterShock Comics.

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