Exiles #84
Marvel Comics
Writer: Tony Bedard
Artist: Jim Calafiore
The Exiles team has been hanging back in the tall grass a bit these last two issues. That’s understandable considering the team completed its longest mission ever (World Tour) with the corruption of one of its oldest members and a heapin’ helpin’ of burnout for the whole squad. This issue doesn’t really involve a mission or downtime so much as it destabilizes the resting posture of the book and tumbles it into the next weird phase of the title. The insectoid caretakers of the Crystal Palace (home, teleportation origin, and HQ to the team) seem to be making a play for either power or control over how many missions the displaced heroes attempt and how soon. The pink-slipping of the leads seems a last page shocker that will be withdrawn in short order, but then this book has always had a really high turnover and nothing can be really taken for granted. The issue’s lack of a plot is buoyed by Calafiore’s excellent art. Without it, the rating would have been much lower.
Score: C
52 Week Thirteen
DC Comics
Writers: Johns, Rucka, Morrison, Waid
Artists: Giffen/Nauck
It seems almost impossible that this experiment has reached its first quarter turn. It feels only weeks ago (twelve of them, har-de-har-har) that the whole multi-plot narrative started, but it’s been over three months already! This week’s installment focuses on Ralph Dibny’s plight as a grieving widower for the most part, with a side of Black Adam and Isis for contrast. It’s a wise paring, the descent into desperation of a lonely mortal man played against the renewed hope of a cynical god-like figure. It really works thematically, but the plot point-by-point seems by turns either overly harsh or too fuzzy. The infiltration of the secret resurrection ceremony can be believed, just barely, considering the Cult of Kon seems to recruit any and all, with a major following of young (read naive) people. They might not notice/question the taller/stronger looking robed figures in their midst. That the JLA’ers attending the rite didn’t really evaluate it on anything but a superficial level, despite their own brushes with mortality as well as the presence of Wonder Girl, seems ridiculous. It would’ve taken Hal or Rex a mere moment to dope out the presence of true extraterrestrial elements, just as Zauriel could have lent spiritual insight to the whole proceeding, if they’d only observed it a bit instead of jumping the gun. So there’s a bit of shoehorning happening to advance the story, and fans of certain characters’ established personas might get justifiably riled about it. And Elongated Man buffs may honestly despise the wringer the stretchy sleuth is being rolled through. It seems overkill in many ways. Likewise, Teth Adam fans might think he’s warming up to Isis far too quickly or acting imprudently in becoming the worldwide shepherd/liberator of child slaves. His country’s resources can’t automatically adjust to that many new dependents, and if that angle isn’t followed up further down the line, many readers should cry foul. Despite the many logical reservations this segment creates, no one can argue it is anything but bold storytelling.
Score: B
B.P.R.D. The Universal Machine #5
Dark Horse Comics
Writer: Mike Mignola
Artist: John Arcudi/Mike Mignola
Well, if logical conclusions and sensible developments were the preferred reader experience, this would be an issue exemplifying both. The resolution of the trapped scholar plot as well as the poignant and straightforward answer to the mortality of Roger the Homunculus seem perfectly reasoned and not a bit contrived. It’s not really a cheerful ending except for perhaps the Mignola art interlude that concludes this tale. But everything feels just so; it’s an impressive denouement well-rendered. I can’t recommend this not-exactly-regular series for fans of dark fantasy enough. This final chapter just gives readers all the meat without the flash and it’s still great.
Score: A
OMAC #2 (Small Image Optional)
DC Comics
Writer: Bruce Jones
Artist: Renato Guedes
This title is still trying to find its feet. The lead, identified in the first issue, is still almost clueless as to what’s going on. The abrupt change of scene from Gotham to Vegas seemed willy-nilly last month, but given the carnage and destruction of the sophomore issue, fits well. The art gels, mixing a sort of accentuated humanity with an odd eye for detail and muted sandy color scheme. This issue has a noir vibe that would be fun on a regular basis. The OMAC/host dynamic better get worked out soon, or this origin arc will just lose all momentum. To quote Denis Lehane this segment was enjoyable in major part, “because stuff blows up, and everyone loves to see that.” Once (if?) this book gets a clear direction, more criticism will be possible but right now it’s obviously a beautiful if somewhat vapid work in progress.
Score: C
