Dark Horse Comics 15 (November 1993)

Well, when Naifeh’s art falls off, The Thing gets a lot less interesting. Martin falls into the same tropes the pervious series did (even though Martin ignores them)—repeating the plot points in the Thing movie, only in a new setting. But Naifeh’s the disappointment here. It doesn’t even look like his work. Barr and Rader finish up The Mark. Barr seems to let Rader just take over and create this homage to a film noir, only in color. It reminds a lot of M. The installment ends on a soft cliffhanger, preparing for a limited series, and it’s unnecessarily confusing. … Continue reading Dark Horse Comics 15 (November 1993)

Dark Horse Comics 14 (October 1993)

I realized, a few pages in to Mike W. Barr and Brad Rader’s Mark story, Rader’s a good artist. He’s at the beginning of his career, but he’s good. He does these Eisner-homage close-ups. Nice stuff. But The Mark looked bad at the start—because the character’s design is ludicrous. It takes place in a pseudo-Nazi Germany or something. The writing’s generally okay, but the comics’s all about those close-ups. Dorkin and Thompson finish their Predator story next and, wow, does Thompson get lazy. Dorkin’s script is dumb—his high humor is a dying guy making dumb jokes about being Ford-tough, but … Continue reading Dark Horse Comics 14 (October 1993)

Dark Horse Presents 135 (September 1998)

Macan and Doherty finish Carson of Venus poorly. Doherty’s artwork this installment is particularly bad and, though Macan seems to be trying, the characters are all weak. Macan’s attempts at humor are a woman getting slapped around by her husband. So it kind of goes well with Brubaker and Lutes’s finish to The Fall, all about a guy who wants to murder women. It’s a good conclusion, but it needs an epilogue. While I can understand why Brubaker finished without resolution, he still needs it. It doesn’t compare to the first few installments though. I was excited to see early … Continue reading Dark Horse Presents 135 (September 1998)