Booster Gold #1 — Writers: Geoff Johns & Jeff Katz; Layouts: Dan Jurgens; Finishes: Norm Rapmund
It’s interesting how the “feel” of this book is a lot like the early issues of the ’80s version — that’s definitely the influence of Jurgens, who was both writer and artist of that first incarnation. The concept itself, though, has been flipped — instead of the flashy newcomer who uses modern marketing techniques to make himself famous, Booster now works in the shadows; he’s a time cop, charged with protecting the multiverse from evil forces trying to manipulate history. It’s a solid concept for a series, although whether it can attract readers is another matter (see: Chronos, the Linear Men, and even Rip Hunter, who appears here as a mentor, complete with 52-style blackboard with cryptic scribblings). Still, this is an encouraging start. One complaint: Booster’s supposed to stop manipulation of the timeline, right? So why is it OK for him to, say, rescue a kid from a bridge collapse who, according to Skeets’s data, was supposed to die? Isn’t that screwing up time and creating problems, too, just as much as if a bad guy killed someone who was supposed to live? See, this is the disadvantage of time travel stories: after a while, they make your brain hurt….
Killing Girl #1 — Writer: Glen Brunswick; Artist: Frank Espinosa
Speaking of things that make your brain hurt: the plot here is your standard Image fare, involving a prostitute who’s been trained as a contract killer for the mob (um, if they have the resources to train someone like that, why would… no, no, never mind: Logic just screws up stories like this). Worse, the story depends on massive coincidences to move forward (as in: the bodyguard of her newest target just happens to be engaged to the older sister she hasn’t seen since being kidnapped at the age of three. Uh-huh — and the odds of that would be a one followed by how many zeroes?) Never mind all that, though — this is worth the price of admission to admire Espinosa’s art; I’ve never read his Rocketo (although I’ve heard good things about it), and was unprepared for his retro-’50s-style mob caricatures, and especially for his wild, impressionistic use of color, sometimes even as a substitute for inking or linework. Really, it’s cool, and there’s nothing else out there like it (the only other book that’s doing as much with color right now is The Spirit); it more than makes up for the silly plot, and turns this into a book worth checking out.
Flash #231 — Writer: Mark Waid; Artist: Daniel Acuna
Lots better than the Bart Allen series, no question — Waid’s writing, on this set of characters he’s been chronicling for well over a decade, is comfortable, assured and entertaining. Although the plot device that allows Wally and Linda’s kids to be ten-year-olds instead of toddlers is strained, the payoff — they’re old enough to put on costumes, bicker, and solve cases with their dad — gives a nice Invincibles-style flavor to the proceedings, and they really do feel like a family. I’m not sure that Acuna’s that good with the speed stuff yet, but he’s good at people drawing (especially the kids), and his painterly style and layouts deliver some effective storytelling.
Friendly Neighborhood Spider-Man #23 — Writer: Peter David; Penciler: Todd Nauck; Inker: Robert Campanella
Heh — good last line, and a fitting epitaph to David’s run on this title (and the title itself, although there’s one more issue to go before everything converts to just Amazing Spider-Man three times a month). The JJJ-Peter confrontation suffered from inflated expectations (i.e., I was looking forward to, or hoping for, more than it was actually able to deliver), but the rest, from the interactions with Robbie’s family to the real source of JJJ’s two black eyes, was solid, sensible and funny — and that’s a fitting epitaph, too
Justice League of America #12 — Writer: Brad Meltzer; Pencillers: Ed Benes and Eric Wight; Inker: Sandra Hope
Meltzer’s last issue, so it’s a character-driven one-off, as everyone rotates through monitor duty, relationships and future possible plotlines are set up for the next team, and the Big Three observe and comment on all the players — creating a logical bookend to Meltzer’s first issue. Last thoughts on the run: Meltzer’s background as a novelist seemed to help with all the little character bits, which were probably the best thing about the series, even though a few of the players (*cough* Red Tornado *cough*) never seemed quite “right.” The overall plots and battles weren’t that compelling, but I kept coming back for the small moments, and in the almost-50-year history of the JLA, I think we can count this period as at least a modest success.
Ultimate Spider-Man #112 — Writer: Brian Michael Bendis; Penciler: Stuart Immonen; Inker: Wade von Grawbadger
Bendis throws Immonen into a Goblin story for his introductory arc, although we don’t get to see any actual monsters in this first issue. The high-school stuff is good, if a trifle sitcom-inspired (everyone in health class has to pair up to take care of a “baby,” which I swear was the plot for at least one Saved By The Bell episode), but it’s redeemed by Bendis’s very realistic-sounding dialogue and character interaction. After all those Bagley years, some of the characters look a little “off” — Kenny and Kitty, especially, and even Peter — but fortunately one of Immonen’s strengths is the way he communicates facial expressions and body language, so by the end of the issue the differences have been forgotten, and the overall artist transition is a smooth one.
The Brave and the Bold #6 — Writer: Mark Waid; Penciler: George Perez; Inker: Scott Koblish
The conclusion of this series’s first arc (and about time, too — as I’ve been complaining all along, this would have been a perfectly good story at, say, three issues; the only reason for the Fatal Five and Legion subplots was, clearly, to provide enough padding to get it to trade length). The story itself is fine — Waid’s spot-on with character, and with Batman, Adam Strange and Hal Jordan in the mix, it’s fun watching that particular trio’s ability to figure a way out of any jam, however universe-shattering (he also provides a better Supergirl than anyone in her own title has been able to so far). Between that, the special guest stars (who are both surprising and logical, given the Book-of-Destiny plot) and Perez’s art, there’s a lot to like here. Up next issue: a new story begins, starring Wonder Woman and Power Girl (please, Lord, let it not be an Amazons Attack tie-in…).
Captain America #29 — Writer: Ed Brubaker; Artists: Steve Epting & Mike Perkins
Still good, and you still don’t really notice that Cap’s dead; I think Brubaker and Epting could keep this thing motoring along cheerfully for years, with all the supporting characters and plots and subplots providing plenty of entertainment regardless of the title character’s current position in the Choir Invisible.
