Category: The Mighty
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Someone thought this issue cut it as a close? I mean, really? For twelve issues–for thirty-six bucks–they thought this cut it? The wife’s back from the dead. No one notices? She and the husband go flying around, no one notices? What about all the other super-powered people in Alpha One’s basement? No mention of them.…
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Ok, I predicted wrong. Instead of doing the pat, traditional ending, the solidly banal one out of a disaster movie, a melodrama, or a BBC show, Tomasi and Champagne instead decide to go with an idiotic all fight issue. I mean, Samnee’s art’s good here, real good, but wow, the writing is just stupid. It’s…
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It’s kind of like an Elseworlds title–instead of Red Son, it could be Superman: Iron Cross or something. Alpha One’s a Nazi, just a … altruistic one. His full origin is revealed here (it’s not really Superman, but it’s close enough) and it finally slows The Mighty down. The reader finally has to pay attention–too…
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Maybe it was a movie script. I can’t think a time DC did one of those before–adapting a movie script into a comic when it wasn’t an adaptation–but Marvel did it with a Dr. Strange series once. It’d really explain The Mighty‘s pacing; the series probably reads great in trade, without the breaks, just because…
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Again with the terrible pacing. It almost seems like Tomasi and Champagne are happy once they’ve got one conversation an issue; everything around it is filler. And this issue is almost entirely a talking heads book (with the exception of Alpha One getting pissed off and doing something really suspicious like bury a ticking nuclear…
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First, someone made a big art decision about this issue and I can’t tell who. It’s Samnee on pencils and inks and John Kalisz coloring; Kalisz has been coloring the whole series, Samnee’s been on for an issue before this one. The coloring of The Mighty is now incredibly lush and vibrant. The story’s also…
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What an issue. The pacing is awful–I’m pretty sure it took me about three minutes to read–because the whole thing is just a conversation. After discovering, Alpha One is nuts or something, protagonist–the first time I’ve ever referred to him as such–Gabe hangs out with Alpha One in space for a really creepy moment. Then…
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For Samnee’s first issue, apparently Tomasi and Champagne aren’t going to beat around the bush. Alpha One goes from being a hero with some quirks to being an intergalactic villain. Well, maybe not intergalactic–the alien things on the last page look a lot like something out of War of the Worlds. Samnee’s art, which is…
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Ok, even if a commenter hadn’t given away the ominousness I’m feeling, this issue would have pretty much done it. There’s a lot of Alpha One being really, really weird here. As far as Snejbjerg’s art and the changing face of Alpha One, I think he’s trying to intimate there’s something else going on but…
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I’m reading The Mighty about as blind as anyone can read anything. I picked it up because of Tomasi and Snejbjerg reuniting after that angel one they did. Well, mostly because of Snejbjerg (so it’s hilarious it’s his contribution I have the most issue with, once again, his faces are way too loose, way too…
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There’s a big moment in the second issue of The Mighty directly informed, at least in the general consciousness, by Superman Returns (I’d heard it’s from an Alex Ross piece, but whatever, I’ve never seen it)–Alpha One, the superhero of the book (the world’s only superhero), is up in the rain listening for trouble. It’s…
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There have been superhero comics where the superheroes aren’t in it (just look at DC’s current Superman output), but I think I mean more like The Boys or something along those lines. These revisionist takes on superheroes, where it’s sometimes more about the reaction. The Mighty takes it a step further. The superhero never says…
The Stop Button 