Each week we take a critical look at some of the best books on the stands, courtesy of Big Guy's Comics (the unofficial comic book store of FanboyPlanet.com). If you publish a book that you want us to be covering, contact us. Or contact Derek. He doesn't have enough to do.

Hey Kids! Comics!

Peter Parker: Spider-Man #43 or 141
Fifteen Minutes of Shame, part two
writer: Zeb Wells, artist: Jim Mahfood

At the risk of sounding like Bill Jemas, this sure felt like a DC book. Not that I have anything against DC, obviously, but the thin disguises laid upon the MTV crowd (and MTV itself) felt no more clever than Young Justice liking Wendy the Werewolf Killer. Wells spun a tale that could have fit just as easily in Mad Magazine, if not for the presence of Spider-Man.

As should surprise no one, the "killer beach" turns out to be a psychically injured Sandman, whose body has been absorbing new minds in order to re-start his own intelligence. While there are some smiles to be had at the consequences of Sandman sharing his subconscious with popstars, the jokes are pretty easy. (Crisqo for Sisqo? Marvel has become a junior high sleepover.) And why it takes Spider-Man so long to figure out that these sand-based disappearances are caused by this particular old enemy is a question best left unexplored.

Usually the work of Mahfood would balance such a weakness out, but other than a slight homage to Tim Burton, he doesn't add much in the way of humor. He does, however, draw a good Marilyn Manson.

Overall, this was fluffy entertainment, easily forgotten. Hmm. Just like the MTV event it parodied. Maybe this is deeper than I thought.

Rating:

Powers #19
writer: Brian Michael Bendis, artist: Michael Avon Oeming

For all that Detective Walker has been through, including the losses of superpower, status, and occasionally standing in the force, it appears that in a strange way, he still had his innocence. He believed in a sense of right and wrong. And now we see that lost. What Walker thought was just a case of superpowers gone bad has turned into a conspiracy larger than he may know how to handle.

We should have seen it coming, if he didn't. At least, some clues had certainly been dropped by Bendis and Oeming in earlier issues. Alarms should have been going off as we saw how many people seemed to know about Walker's former career. But Bendis performed a classic feat of misdirection, making us pay more attention to what characters were saying was happening instead of what was actually happening. (Okay, maybe that's easier to do in a comic…)

As usual, Bendis gets sterling support from Oeming. The third page alone speaks volumes. Someone in Hollywood has their hands on the Powers property. We can assume that it's meant to be live-action, but when you take Oeming's storytelling abilities into account, you'll only want to see it animated.

And I say all that knowing full well that I have brown-nosed these guys enough.

Rating:

Rising Stars #18
Fire and Ash
writer: J. Michael Straczynski, artist: Brent Anderson

The end is near.

After banding together with the single-minded intent of making the world a better place, the specials have made themselves targets. And as this issue proves, easier targets than they thought they'd be.

In some ways, this series covers the same ground that Judd Winick is walking in Green Lantern, but Rising Stars has an immediacy lacking in DC's book. Perhaps because here we've seen the effect of the specials on the common man, and for some time seen some of those used to wielding social power not like it.

The biggest drawback to this title is its infrequency. Top Cow does print a little recap on the inside front cover, but with writing this rich, that recap doesn't really do it justice. Reading each new issue takes time to remember what had actually gone before, and why, in this case, Jerry would make such a tempting test target.

This may be a book best bought in trade paperback form, just to keep the flow going.

Rating:

Supergirl #69
Cashing In Chips
writer: Peter David, artists: Leonard Kirk and Robin Riggs

Let's start a contest: someone write in and tell us who has a stupider superhero name in all of Christendom than CM3. To David's credit, he acknowledges as much. But that also means that a character like CM3 feeds into David's weakness for easy jokes. Yes, what this week's Peter Parker did for MTV, this whole arc has done for Las Vegas, and it isn't pretty. Throughout most of this issue, it isn't particularly funny, either.

Once you get past the cheap shots, though, it's clear that David has a firm grasp on his characters, and respects where other writers had left his guests. The dynamic between Mary and Freddy rings true to where Jerry Ordway left them (which naturally leads to Mary getting rid of CM3 as quickly as possible). And at least Buzz is as confused as to where he stands as most of the readers.

Supergirl remains a solid read, but it is also one steeped in its own (relatively short) continuity. That means that it may not be particularly accessible if you have not been reading for a while. Considering his problems over at Marvel, Mister David might do well to hurry to a good jumping on point for new readers.

Rating:

Superman: The Man of Steel #125
The Big Compromise
writer: Mark Schultz, artists: Yvel Guichet, Dexter Vine, and Sean Parsons

At last, the battle for B13 technology comes to a close. In the process, Natasha has ramped up in power and importance, and Superman resorts to methods that will definitely have an impact on the way he does his business. And more agonizing over using The Aegis ensues.

Just destroy the thing, already. Sheesh.

Schultz uses this story to question, as any Superman writer should, just how The Man of Steel fits into society at large. While Marvel slaps the word "icon" on a dozen mini-series, the Superbooks try to figure out what it really means.

As a story, this arc has moved along at a pretty good clip, without having its characters blur. But that still comes at no thanks to Guichet's inkers, doing a faux Mignola at best.

The Man of Steel deserves to be lighter, airier, and heroic. Not frighteningly dark.

Rating:

For alternate views and more books, check out Daryl Tay's site, Unique Frequencies.

Derek McCaw

 

 

 

All comics were reviewed by Derek McCaw unless otherwise noted.

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