Category: COWL
-
I guess C.O.W.L. is over. I really should be reading back matter, apparently, as I went through the issue with no idea it was wrapping up after just two arcs. Especially since the story’s weighted with an emphasis on the supporting cast and not the big plot. It seems like it’s a setup for whatever…
-
It’s an okay issue of C.O.W.L.. Higgins and Siegel are doing a bridging issue. Most of the issue is either one person being threatened or another person threatening and so on. There’s some nice art from Reis on it, but it all feels very by the numbers. The coolest thing has to be the supervillain…
-
This issue of C.O.W.L. is an excellent bit of work from creators Higgins, Siegel and Reis. First off, Reis’s art really makes the issue. He gets to do talking heads and action, but he has a bunch of variety when it comes to the talking heads. The style fits the conversation and the players beautifully.…
-
There are some definite issues with Reis’s art here. The people don’t look right; he’s maybe trying a new style and it doesn’t take. Or maybe there are just too many people to draw. The issue is a lot of talking heads scenes, no real action besides the introduction of staged supervillains. Higgins and Siegel…
-
The issue starts off a little rocky. Reis gets a big action sequence and it’s all style and no substance. Then Higgins and Siegel gradually ease the substance out of that scene as the rest of the comic progresses. Because they’re now introducing the supervillains, or what goes for a supervillain in C.O.W.L. and things…
-
It’s a gimmick issue, with artist Elsa Charretier filling in. The comic is supposed to be a licensed biography of the Grey Raven from 1962. The best part of the gimmick–conceptually, not in execution–is the sixties advertisements for other modern Image Comics. The ads don’t come off, but the idea is cute. The big problem…
-
It’s a gimmick issue, with artist Elsa Charretier filling in. The comic is supposed to be a licensed biography of the Grey Raven from 1962. The best part of the gimmick–conceptually, not in execution–is the sixties advertisements for other modern Image Comics. The ads don’t come off, but the idea is cute. The big problem…
-
It’s a decent enough issue–with Reis doing a lengthy Sienkiewicz-inspired action sequence–but it’s a little light. C.O.W.L. is a hard-sell, which makes writers Higgins and Siegel’s accomplishments more significant, because it’s a comic book about a labor union and union politics and union negotiating. The superhero aspect of the comic doesn’t come into play much…
-
Stéphane Perger joins Reis on the art this issue; their styles compliment one another, but are still distinct. The art is both more stylized and emotive over all and it helps the issue immensely. As for Higgins and Siegel’s story, it’s phenomenal. They’re apparently comfortable enough in C.O.W.L. to let some subplots rest without getting…
-
There’s a lot going on this issue; Higgins and Siegel move between two big plots–the super-powered guys going up against a common gangster (which is against union rules) and then the boss negotiating the new contract with the city–while there are a couple little things going on. The first little thing ties into the gangster…
-
This issue of C.O.W.L. doesn’t so much have scenes as it has snippets of scenes. The whole thing plays like a movie trailer for itself. Higgins and Siegel open with the two plainclothes guys dropping on of them’s kids off for school. The kid gives his dad crap for not having a costume. Think it…
-
There’s something really neat about C.O.W.L.. Writers Kyle Higgins and Alex Siegel don’t mess around with the setting–it’s early sixties Chicago and there’s a unionized team of superheroes defending the city. But it’s less a superhero comic than a police procedural. For example, there’s not a lot of emphasis on explaining the characters’ powers. Artist…
The Stop Button 