Runaways #27 — Writer: Joss Whedon; Penciller: Michael Ryan; Inker: Rick Ketcham with Jay Leisten
Here’s why I like Joss Whedon: at the beginning of this episode, the main characters have been transported back to New York City in June, 1907, and they verify this by buying a newspaper off a street kid. Now, a lot of writers would have tried to fake whatever headline the kid is crying out, but Whedon took the time to research just what news event would have been front-page material at that time (the hunt for Typhoid Mary) and so what the kid’s saying, and the headline itself, have the ring of truth. It’s a little thing, but it shows care, and a desire to get things right. That’s the difference between a writer who’s merely smooth and one who’s a pro, and it helps to explain what makes Whedon such a good storyteller.
Marvel Zombies vs. Army of Darkness — Writer: John Layman; Artists: Fabiano Neves, Fernando Blanco and Sean Phillips
It’s hard to tell what else Marvel can possibly do with this concept, but it’s been a fun, mean little mini-series (and the resolution is amusing, as Ash gets the usual object lesson about frying pans and fires). Having three artists listed is seldom a good sign, but with all the dimension-hopping it makes more sense here than it would in most books — and Phillips probably gets the best zombie shots, if you care about that kind of thing.
Punisher #49 — Writer: Garth Ennis; Penciler: Lan Medina; Inker: Bill Reinhold
A grim conclusion to a grim arc, maybe the grimmest in Ennis’s long run on this title (even more so than the Afghanistan story), so be warned. Whether you find it searingly well-written or too over-the-top probably depends on your reaction to lines like “Sated by the life it chose to murder, hell had finally loosened its grip,” but I liked it fine; Ennis is trying to get at something serious about the Punisher’s very particular brand of insanity and obsession here, and he hits the mark memorably.
The Punisher Presents: Barracuda #4 (of 4) — Writer: Garth Ennis; Artist: Gar;an Parlov
Now, this is Ennis when he’s being over the top: transvestite generals, earless dictators, former porn stars, hemophiliac mobsters’ sons, all presided over by the enormously cheerful, enormously destructive force of nature who’s the title character. There’s no serious theme here; the only real lesson is not to hang around Barracuda, since while he’s a survivor (despite all the Bad Things that happen around, and to, him), his acquaintances are seldom quite that lucky — although the reader is.
Thor #1 — Writer: J. Michael Straczynski; Penciler: Oliver Coipel; Inker: Mark Morales
There’s a thin line between portentious and pretentious, and Straczynski keeps hopping over it here; this comic seems to find the idea of whether Thor will come back a lot more fascinating than we readers do, and in the end it’s all prologue, with any real plot movement relegated to next issue. Will anything actually happen? Will we care? Will Thor’s new full-body chain mail chafe? Will Coipel’s art be cosmic enough to be up to the task? Check back in a month; there isn’t enough data yet to tell.
Action Comics #851 — Writers: Geoff Johns and Richard Donner; Artist: Adam Kubert
If we ignore the lateness and fragmented nature of this comic for the last six months, and just focus on the current issue, it’s pretty good — lots of things happen, and the ending sets up an intriguing fight for… well, whenever they manage to publish an annual, since that’s where it’s going to get resolved. It reads just like any decent Johns comic — the strengths are the knowledge of the DC Universe, and how the chesspieces of the characters and plot are arranged — which begs the question of what Donner’s contributing to this, other than saying things like “Hey, it’d be cool if Zod and his friends showed up, like they did in my movie.”
The Astounding Wolf-Man #2 — Writer: Robert Kirkman; Artist: Jason Howard
Kirkman’s abrupt, everything-you-know-is-wrong Big Reveal early on in his Invincible run helped to make that comic’s reputation, and he does something similar (although on a smaller scale) here: the first two issues seem like a fun, all-ages book about a guy learning to deal with cool new powers — right up until this book’s last-page splash, where it suddenly gets deadly serious, and considerably more gory. Hey, all you kids who got a copy of the first issue of this for Free Comic Book Day: you might want to hide this one (and, presumably, the next) under the bed….
All-Star Superman #8 (of 12) — Writer: Grant Morrison; Artist: Frank Quitely
This issue turns the “moody” dial way up, as Superman struggles to get off the Bizarro planet with the help of Zibarro, the only rational being on a world of lunatics and imbeciles. Morrison has a fine hand at tragedy and epic sweep, and is able to make lines like “Super-Bizarro! Am no me to blame you weaker than all and no think so hard it hurt!” sound positively Shakespearean. By now, doesn’t everyone know enough to be reading this book?
Wormwood #5 (of 6?) — Writer: Garth Ennis; Artist: Jacen Burrows
The third Ennis book this month — and the weakest, since it’s looking more and more like outtakes from his early Hellblazer days, with its world-weary main character trying to do the right thing against a smug, resentful Satan and a Divine Creator who’s at least a couple of beats off (Heh. I said “beats off…”). Still, even weak Ennis has its moments, and there’s enough action and cynical cosmic speculation here to keep things moving entertainingly (plus, the rabbit’s still fun, especially in his open-mouthed reaction shots to all the insanity going on around him).
Detective #834 — Writer: Paul Dini; Penciller: Don Kramer; Inker: Wayne Faucher
Second part of Dini’s two-parter with the Joker and Zatanna. Nothing major, but it’s got the J-Man’s psychotic buzz nailed pretty well, and manages to make some needed repairs to the friendship between Batman and Z. Ouy dluohs yub siht cimoc.
Phil Mateer
