Rocketeer Adventures 2 2 (April 2012)

I’m having a hard time buying the Rocketeer as Captain America. The first story, from Tom Taylor and Colin Wilson, sets Cliff up as an official U.S. military superhero. It makes no sense. Especially not fighting giant robots. But the story’s good anyway. Taylor structures it well and Wilson’s art is great. Very effective work. Paul Dini and Bill Morrison’s story is not so effective. It’s actually rather annoying. It’s an unfunny episode of a Rocketeer cartoon–cartoon as a pejorative. Dini writes cheap jokes and weak characterizations. Morrison’s art isn’t terrible, but it’s nothing special. The last story, by Walt … Continue reading Rocketeer Adventures 2 2 (April 2012)

Scalped 12 (February 2008)

For his first issue from Dash’s perspective, Aaron has a guest artist, John Paul Leon. While Leon lacks detail and is overly ambitious, it’s an interesting approach. Aaron has always told Dash’s story in the third person; having him explain himself to the reader… it makes sense to have a different artist. Actually, it even has sense to have Leon’s style for it. The issue moves in and out of dream and could probably be read immediately after the big cliffhanger in the arc before. I think issue five. With this drastic change in voice and art, Aaron has sort … Continue reading Scalped 12 (February 2008)

Black Widow: Deadly Origin 4 (April 2010)

What’s so amusingly sad about the final issue of Deadly Origin is Cornell’s pop psychology to explain the villain’s intentions. I think if Cornell had sat down and watched a bad episode of “Another World,” he would have come off with a deeper understanding of the human condition and how to apply it to the contrived plot he has going here. It’s really a dreadful finish. But the worst part is all the John Paul Leon flashback art is in the first half of the issue. The rest of it is left to Raney and Hanna, who do the same … Continue reading Black Widow: Deadly Origin 4 (April 2010)

Black Widow: Deadly Origin 3 (March 2010)

So all of (well, most of) John Paul Leon’s flashback art this issue is when Black Widow was a superhero in the seventies and eighties. It’s all this fantastic, bright Marvel superhero art, only by Leon. It looks amazing. I wonder if he could sustain it or if just doing a few panels is the limit. The rest of the issue is awful. I love how Raney can’t keep Natasha’s face centered on her head and his Bucky needs to be seen to be believed. Bucky looks like a teenager with some kind of glandular disorder. Cornell’s writing is pretty … Continue reading Black Widow: Deadly Origin 3 (March 2010)

Black Widow: Deadly Origin 2 (February 2010)

I wish I knew who had the idea suggesting Black Widow and Mockingbird were lesbian lovers, Cornell or his editor… Because unless the next issue reveals Natasha’s only into guys for country and it’s girls for self, it’s the lamest writing move I’ve read since Jeph Loeb had a fifteen year-old girl make out with Poison Ivy to please debauched readers. Besides that weak finish, this issue is mildly better than the first. It’s incredibly confusing and a bad story, but it’s better than the first issue. I guess Black Widow is now the Russian equivalent of Captain America only … Continue reading Black Widow: Deadly Origin 2 (February 2010)

Black Widow: Deadly Origin 1 (January 2010)

I thought I liked Paul Cornell. I would have reexamine that affection, or I can just finish reading Deadly Origin and it’ll do it for me. Apparently, Natasha’s really old. Like pre-WWII old. And she’s been artificially de-aged and she used to know Wolverine and Bucky when he was Winter Soldier for the Commies. This might be the stupidest retcon I’ve ever read, but it’s hard to make that kind of final judgment because it’s so bewildering. What’s the point to making Natasha a WWII hero? What’s the point of the Wolverine tie-in? I thought Marvel had stopped tying everyone … Continue reading Black Widow: Deadly Origin 1 (January 2010)

Robocop: Prime Suspect 4 (January 1993)

It’s finally over. I’m sure no one thought, seeing this series, Leon would go on to do anything good. Or draw anything competently. I mean, the art in this issue is the worst so far. It’s absolutely atrocious. I guess Dark Horse was being mindful of Robocop as a children’s property at this time, which might explain the goofy artwork, but some of it’s worse than goofy, it’s just plain bad. For instance, the female sidekick, Leon’s rendition of her is laughable. She might as well have been a trapezoid with a wig. There’s only action in this issue; it’s … Continue reading Robocop: Prime Suspect 4 (January 1993)

Robocop: Prime Suspect 3 (December 1992)

There’s some really awful art this issue. I’m pretty sure the last panel is the silliest panel so far in the series. It’s like a two dimensional … I don’t know what, but something atrocious. The issue really ramps up like it’s going to stop being stupid towards the end–though I do appreciate Arcudi not giving Robocop internal dialogue–but then it just craps out, which shouldn’t surprise me. What’s really stunning about the comic is how poorly paced these issues are getting. Leon wastes panel after panel with his artwork and it’s not like he’s capable of passing time well. … Continue reading Robocop: Prime Suspect 3 (December 1992)

Robocop: Prime Suspect 2 (November 1992)

This issue actually raises some interesting ideas. Well, no, it doesn’t. It made me think of some interesting stuff but it’s not in the issue itself, which is unfortunate. Namely, if Robocop does go bad, why doesn’t the police department have a way to turn him off? Secondly, why is Robocop’s sergeant in charge of him. It doesn’t make any sense. Wouldn’t the department have some kind of Robocop office. A liaison officer or something? It didn’t actually occur to me, after reading the first issue, Leon’s artwork might get worse in the second one, but it really does. I … Continue reading Robocop: Prime Suspect 2 (November 1992)

Robocop: Prime Suspect 1 (October 1992)

What a goofy series. Well, I guess it’s too soon to say the series is goofy, but the first issue is certainly goofy. Maybe it’s John Paul Leon’s artwork. I’ve only seen his more recent work. Prime Suspect looks like Dark Horse hired him to ape Kyle Baker’s most cartoonish style (I’m thinking the Disney Dick Tracy series). Except Leon’s clean, bright style doesn’t fit the story at all. The story’s a little over-cooked anyway, with Arcudi wasting panels with guys at bars having these political conversations using every word off a SAT practice test Arcudi can fit into the … Continue reading Robocop: Prime Suspect 1 (October 1992)