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The Brotherhood #1

Posted: June 1, 2001
By: Christopher Allen

Rating: 3.5 out of 5

Writer: X
Pencils: Essad Ribic
Inks: Kent Williams
Colors: Avalon Studio
Letters: Jon Babcock
Editor: Mark Powers
Published by Marvel Comics

A team of mutant terrorists recruit a teenager just discovering his abilities.

I suppose all the “Writer X” hype was necessary to help sell what is a solid but fairly low-key issue. And by low-key, I don’t mean that nothing happens; there’s some explosions and a bit of non-powered fighting. I mean that it’s not by any means a dazzling book, in art or ideas.

And that’s not meant to be a criticism, at least not a savage one. What “X” and Ribic/Williams do, and do quite well, is to establish a fairly realistic world for these characters. The mutants are more of a street gang, or militia, and since they don’t wear costumes, why hire an artist known for flash? No, Ribic’s a good choice, drawing interesting, realistic faces, and displaying a knack for drawing what a teen like the lead character, Mikey Asher, would wear today, and what his room would look like.

I was somewhat surprised we didn’t get to see Asher manifest his latent powers for the first time, but I guess X is using puberty and the strange feelings and sensations it brings as a substitute for that. In other words, X has, for now, eliminated the metaphor and gone straight to the source, which adds another layer of reality to the story. Who doesn’t remember that feeling of one’s hormones affecting one’s judgement? Remember?! I feel that way right now! Ahem. But more importantly, it’s a good reason to explain how Asher would be so susceptible to what Fagin and Hoffman offer in the Brotherhood.

Yes, I said Fagin, and Hoffman is probably a nod to a different kind of revolutionary, Abbie Hoffman. If one of the Brotherhood is named Gandhi, then I might have to check out of this book, but I can suffer the corny names for now.

The hype, and the oppressive cover by Bill Sienkiewicz, led me to believe this would be a very dark book, and in some ways I suppose that’s true. However, it appears what we’ll be reading in future issues is a traditional good vs. evil battle, as Asher decides whether the murderous ways of the Brotherhood are for him. A solid start to the series; we’ll see where it goes from here.


Thunderbolts: Life Sentences

Posted: June 1, 2001
By: Christopher Allen

Rating: 4 out of 5
Writer: Fabian Nicieza
Artist: Charlie Adlard
Colors: Hi-Fi Design
Letters: RS & Comicraft
Editor: Tom Brevoort
Published by Marvel Comics

In four stories, Hawkeye, Moonstone, Mach-2, and Songbird all make important moral choices.

It’s a shame that while Thunderbolts seems to be getting a decent push from Marvel, with this one-shot and the Citizen V spinoff miniseries, not many people are talking about it. Too bad, because other than an ill-advised return of some Heroes Reborn characters, the book has remained very entertaining.

Anyway, this special is really sort of like two issues of Thunderbolts, only without much in the way of costumed action. It’s, as I mentioned, about moral choices and character development, and more books could use this sort of “breather” issue of reflection and contemplation.

To quickly sum up the four plotlines, Hawkeye has to decide if he can endure his lengthy prison sentence, especially when he’s surrounded by so many supercriminals he put there; Moonstone ponders an offer to join Graviton in a new plan for world domination; Mach-2 wonders if he should rat on his new coworkers and ruin the otherwise satisfying “straight” life he’s found for himself; and Songbird battles her ingrained criminal instincts and join society like Mach-2. Nicieza moves things along expertly, and shows he understands all four characters well. Songbird had previously not appealed to me, but he finally wins me over with his depiction of her here. I should point out that while all four characters come to some sort of decision, not everything is wrapped up in a bow. We need some meat for the ongoing book, after all, and this special is stronger for a bit of ambiguity at the end. Adlard does his usual good work, never flashy or looking like he spent a lot of time on it, but it gets the job done.

It’s hard to say if this is a great jumping-on point for new readers, as these moral choices have far more impact after the years of setup by Busiek and Nicieza. However, I definitely recommend it to regular T-Bolts readers who are wondering if it’s worth the $3.50. It is. Think of it as an Annual that actually means something.


The Flash #174

Posted: June 1, 2001
By: Christopher Allen

Rating: 3.5 out of 5

Writer: Geoff Johns
Pencils: Scott Kolins
Inks: Doug Hazlewood
Colors: James Sinclair
Separations: Digital Chameleon
Letters: John Costanza
Editor: Joey Cavalieri
Published by DC Comics

Wally and Linda move in to a new downtown apartment, and new villain Tarpit debuts.

That doesn’t sound like a lot, huh? True, this series hasn’t proven itself to be essential reading under Johns, but it’s been well done. I can’t say I know a whole lot about Wally as a character, though. A good guy, sort of a guy’s guy, I guess. I don’t see the bond with the character that came through under Mark Waid, but he’s all right. Linda barely registers, though, and the supporting cast of cops are mostly just comic relief at this point.

The new villain, Tarpit, is a decent addition. Nothing special, but I’m glad Johns is adding to Flash’s rogues gallery.

Kolins hasn’t put his stamp on the Flash yet, but he’s capable, and draws a wonderful cityscape of Keystone City, maybe the most realistic city I’ve seen in comics in a long time.

A decent issue, and I have no real complaints. However, I’m starting to lose patience for comics which are only decent, and this one is heading towards the bubble.


The Incredible Hulk #28

Posted: June 1, 2001
By: Christopher Allen

Rating: 4.5 out of 5

Writer: Paul Jenkins
Pencils: John Romita, Jr.
Inks: Tom Palmer
Colors: Avalon Studio’s Arsia Rozegar
Letters: John E. Workman, Jr.
Editor: Tom Brevoort
Publisher: Marvel Comics

Bruce Banner’s perfect world unravels.

I thought the last issue was very good, but familiar. We’ve seen these types of stories many times before. However, in this issue, Jenkins avoids most of the cliched devices and makes more out of what is unique about the situation: Banner is essentially fighting himself, not a villain.

The way the evil, monstrous personality—depicted as a loathsome sort of bipedal iguana—creeps into Banner’s delusion was masterfully written and drawn. I must admit, this issue was just a headlong rush for me; I couldn’t put it down. And since I essentially knew where it was going—Bruce has to “wake up” at some point—the fact I was so absorbed in the story is a testament to the skills of Jenkins and Romita, Jr. I really liked Bruce’s final words to the faux-Betty; simple but spot-on.

Besides adding that Jae Lee and Jose Villarubia’s cover was excellent, I don’t have much to say about this issue. It’s not high art, but it worked almost perfectly for me.


Daredevil #18

Posted: June 1, 2001
By: Christopher Allen

Rating: 4.5 out of 5

Writer: Brian Michael Bendis
Artist: David Mack
Letters: RS & Comicraft
Editor: Nanci Dakesian & Stuart Moore
Published by Marvel Comics

Ben Urich’s obsession causes him to miss the big story he’s supposed to be writing, so he has to confront Daredevil directly for answers.

I didn’t think there were any notches higher than what David Mack’s already been doing on this arc, but there he goes and kicks it up another one. The art has already been beautiful, but he adds some darker, richer hues to it, increasing the drama. And I’m a sucker for mixed media stuff like the crocheted frame. See for yourself.

I did think the drama could have been increased a tiny bit on Bendis’ end, though. Urich blowing the Kingpin story is a big deal, and I think Jameson should have fired him for it. Hiring him back later, of course, when the story of Leap Frog’s kid wins Jameson over. Something like that, a little more jeopardy for Urich. Also, it doesn’t help my identification with Urich when he calls Jameson a “piece of garbage,” when it was established so strongly last issue that Jameson does have compassion, but quite rightly has to put the business of publishing a successful newspaper ahead of his own tastes. Bendis gave Jameson some complexity last issue, then takes it away here, if we’re to believe Urich’s assessment.

Other than that complaint, I enjoyed the new details about the boy’s mother, and I’m glad Daredevil is finally getting more involved in the story. It might have been better for Urich to find a way to reach the child, and find the answers that way, but hey, who’s book is this?


Wonder Woman #170

Posted: June 1, 2001
By: Christopher Allen

Rating: 5 out of 5
Writers: Phil Jimenez and Joe Kelly
Pencils: Phil Jimenez
Inks: Andy Lanning
Colors: Trish Mulvihill
Separations: Heroic Age
Letters: Comicraft
Editor: Eddie Berganza
Published by DC Comics

Lois Lane follows Wonder Woman around for a day, hoping to find cracks in the armor.

This might be Jimenez’ best issue yet. It’s a great premise that nonetheless could have been mangled under a lesser creator. So many writers can’t write two women characters in an issue without pitting them against each other, or making them go shopping to bond with each other. Lois is in a sort of conflict with Diana, trying to bolster her own self-image by finding flaws in the goddess she perceives as a rival for Clark’s affections. And yet, Jimenez—ably abetted by Kelly, who really gets Lois—doesn’t make Lois a bitch or a petty person. She’s real, and her emotions are quite understandable under the circumstances. Not to mention that she’s just a good reporter, asking the questions a good reporter would.

Diana comes off her not like the perfect woman, but rather like a woman who exemplifies ideals to strive for but who has recognizable human weaknesses. It doesn’t lessen her character; it just makes all the good attributes stand out more sharply. We’re presented with a whirlwind tour of a day in the life of Wonder Woman, and except for the punishing schedule, it comes off like something pretty realistic. Like the late Princess Diana and Mother Teresa, exaggerated just a bit.

Artwise, Jimenez does a great job of fitting in detailed, dynamic artwork amid loads of captions. Lanning is a good inker, and helps Jimenez’ work look not just good, but significantly different from George Perez, with whom so many critics (yeah, me, too) compare his work.


The Incal #1

Posted: June 1, 2001
By: Christopher Allen

Rating: 4 out of 5

Writer: Alexandro Jodorowsky
Artist: Zoran Janjetov
Finishes and Additional Art: Igor Baranko
Colors: Fred Beltran, Thierry Frissen & Dan Brown
Editor: Adrian A. Cruz, after Bruno Lecigne and Philippe Houri
Published by Humanoids Publishing

The saga of John DiFool begins in the City Shaft.

I’m just getting into the Humanoids stuff, having recently devoured Metabarons, so I’m not the best judge of how wild they get. However, I can say that this is pretty wild material. For those who don’t know, Jodorowsky wrote this in 1988, as a sort of prequel of the original Incal stories he’d created with Jean “Moebius” Giraud. The work is now recolored in the darker, more contemporary style of other Humanoids books, and it’s explained that this is not just to take advantage of the latest computer coloring technology, but also to take away the irony the original bright colors gave the series. This irony was thought to be liable to go over the head of an American audience. I’d be insulted if they weren’t right, and if it didn’t look so good!

There are familiar elements here, such as an impossible tall city, with the lowest class of inhabitants living at the bottom. Hawkworld by Timothy Truman dealt with this, but again, this stuff was written in 1988, which I think slightly predates Truman’s work. Not that it matters; the execution couldn’t be more different. Drawn in a somewhat whimsical style, the story is a sort of raucous, satirical kind of Dickens tale. Young John DiFool, an inhabitant of the Red Ring (the lowest part of the city), helps procure johns for his prostitute, drug addict mother. His father is a hapless inventor just getting out of prison for his last scheme. And just when he starts to bond with his father again, the latest scheme fails, and Dad’s off to prison for a thirty year stretch. Then, mom joins the other hopeless inhabitants who jump to their deaths in Acid Lake. It sounds relentlessly grim, but it isn’t. The ebullient art and the quick pace keep the plot from becoming too heavy. One gets the feeling these are just the first chapters in a rags-to-riches (or rebellion) tale, and we shouldn’t take them too much to heart. The story doesn’t have the epic, disturbing grandeur of Metabarons, but it’s still rich and involving.

I also have to make note of the production, which is as fine as you’ll see in a $2.95 comic book. The paper has to be the heaviest available—this thing weighs almost as much as a 48 page one-shot! And there are nice biographies of Jodorowsky, Janjetov, and Moebius, as well as a short essay by cover artist Jose (Inhumans) Ladronn. There’s also a list of the characters in the story, for those confused.


Ultimate Marvel Team-Up #4

Posted: June 1, 2001
By: Christopher Allen

Rating: 4.5 out of 5

Writer: Brian Michael Bendis
Artist: Mike Allred
Colors: JC
Letters: RS & Comicraft’s Wes Abbott
Editor: Ralph Macchio
Publisher: Marvel Comics

Spider-Man meets one of his idols, Iron Man Tony Stark.

I’ve liked every issue of the series so far, but this is by far the most successful creatively. Bendis and Allred mesh well on this material, and it’s nice to see Allred’s art colored in a different way for a change, with less of a flat look than Laura Allred gives it. Allred actually draws a fairly conservative Spider-Man, who swings around in quite reasonable poses, without the impossible flexibility one might expect from his anything-goes style.

But there were two things that made the issue great. One, we have in Tony Stark a character Bendis can really sink his teeth into. A really smart guy with a sense of humor, rather than the taciturn Wolverine or the monosyllabic Hulk. And Bendis rises to the challenge, with a scene between Stark and an emissary of Dr. Doom that’s up to the quality of West Wing for intelligence and humor. There was a clunky line somewhere about “one of the most strangling defense strategies ever invented” which could’ve used a polish, but I’ll let it go.

The other great aspect was how Bendis refined Iron Man’s origin, and tied it into Peter Parker’s characterization. It’s a natural: Peter would definitely idolize the self-made billionaire scientist Stark, not just for his money and inventions, but because the guy--through his Irontech and moral choice not to share it with a warlike population—is a great example to Peter of “great power coming with great responsibility.” Great work all around.


The Avengers #42

Posted: June 1, 2001
By: Christopher Allen

Rating: 4.5 out of 5

Writer: Kurt Busiek
Pencils: Alan Davis
Inks: Mark Farmer
Colors: Tom Smith
Letters: RS & Comicraft’s Jason Levine
Editor: Tom Brevoort
Published by Marvel Comics

Kang shows the world the catastrophic timelines which could occur, if he’s not allowed to rule the world.

I could be wrong, but I think Warren Ellis’ work on The Authority has had an influence on both Busiek and Waid. I’m not implying any sort of intellectual theft here at all; I’m just observing that both The Avengers and JLA have shown some darker and more bizarre menaces in the past year. And I think it’s a good thing.

While I’m sure Busiek could spin lighter, more traditional Wrecking Crew and Taskmaster stories for years, I think the well-regarded work of Ellis, Millar and others has maybe caused him to push himself a little harder, and this issue is a great example of the results. Irradiated floating zombies? Bring ‘em on! They’re creepy, and a nice bit of icing on the cake of what was already a dramatic Kang story. Add hordes of Attuma-led Atlantean warriors and Deviant, and you’ve got quite a party.

True, there’s not a lot of room for character moments, and standing around listening to a villain’s master plan is hardly the proactive stance the Avengers were attempting at the beginning of Alan Davis’ run, but when it’s this exciting, who’s complaining?


Hellblazer #162

Posted: June 1, 2001
By: Christopher Allen

Rating: 4 out of 5
Writer: Brian Azzarello
Artist: Guy Davis
Colors: Lee Loughridge
Letters: Clem Robins
Editor: Tony Bedard
Published by Vertigo/DC Comics

A look at John Constantine’s early days as a London punk, and an assignment to steal the fabled clock of Rasputin.

Rasputin? I thought it was Napoleon. And it only sounded like “clock.” Anyway, as per Azz’ usual approach, there’s no magic practiced by Constantine here, but it’s clear that even at this age, he’s pretty well versed in the occult. A girl who fancies him tells Constantine she’s found a book that tells the future of any name one tells it, and he blows her off. It’ll obviously become important later. However, the future is what the man seeks who hires Constantine to find this legendary clock, currently in possession of “the Arab.”

Some have criticized the Cockney dialect Azzarello’s given Constantine, but to my ignorant American eyes, it reads fine. Davis’ style is not my favorite—a bit scratchy—but his storytelling skills are top-notch. Actually, this was another of this week’s books that I really couldn’t put down until I finished. Nothing too deep, but a lot of fun.


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