Star Trek 3 (June 1980)

Unfortunately, the final issue of Wolfman and Cockrum's Star Trek: The Motion Picture compounds all the problems they had in the second issue. While they're skilled at densely packing scenes with characters and dialogue, Wolfman apparently can't cut back on the events enough to give the issue a good flow.

He really needs another one, especially considering how little science fiction spectacular Cockrum gets to illustrate. Most of the really visual space scenes are restricted to a small panel, something quick before all the talking starts again.

Wolfman does make some big changes to the movie to streamline the story. Some of it is shifting the dialogue around, but there's also a part where he throws Kirk into a scene where he not just isn't in during the movie, but doesn't serve any purpose. It's like William Shatner's ego influenced the comics adaptation.

It's not terrible, but it started stronger.

CREDITS

Evolutions; writer and editor, Marv Wolfman; penciller, Dave Cockrum; inker, Klaus Janson; colorist, Marie Severin; letterer, John Costanza; publisher, Marvel Comics.

Star Trek 2 (May 1980)

There’s a really impressive scene with a lots of dialogue and Cockrum having to fit something around seven people into a small panel. Cockrum and Wolfman occasionally do some masterful adaptation in this issue. It’s nice enough to make up for the bad moments.

The worst moment–there are a handful of shaky ones–has to be when Spock arrives. Wolfman deviates from the movie (perhaps he had a different version of the script) and neither he nor Cockrum give Kirk or McCoy any time. They come off as jerks, with McCoy appearing downright mean-spirited.

Also unfortunate is Cockrum’s handling of the space stuff. There’s the giant cloud in space and every shot is from the rear of the Enterprise. Maybe it was just an easier way to draw it.

The aforementioned impressive scene comes towards the end, which sends the issue out on a high note, but there are clearly problems.

B-

CREDITS

V’ger; writer and editor, Marv Wolfman; penciller, Dave Cockrum; inker, Klaus Janson; colorist, Marie Severin; letterer, John Costanza; publisher, Marvel Comics.

Star Trek 1 (April 1980)

It’s going to be difficult to talk about this one. Not because there’s anything particularly wrong with this first issue of Marvel’s adaptation of Star Trek: The Motion Picture. In fact, there might not be anything wrong with it at all. I suppose the art could be better, but Dave Cockrum and Klaus Janson do all right. Cockrum loves doing some of the space panels.

Then there’s how they draw William Shatner. As opposed to drawing him like it’s really the Kirk of the movie, they draw him more like the Kirk of the TV show. It’s kind of cool.

This issue came out some time after the movie came out and Marv Wolfman’s script almost exclusively uses dialogue from the film itself. It plays less like a promotional material and more like something for a movie fan to take home since sell-through VHS wasn’t around yet.

It’s perfectly fine.

CREDITS

Star Trek: The Motion Picture; writer and editor, Marv Wolfman; penciller, Dave Cockrum; inker, Klaus Janson; colorist, Marie Severin; letterer, John Costanza; publisher, Marvel Comics.

Star Trek 31 (March 2014)

This issue feels very much like a Star Wars approach to Trek. Not storytelling, but franchise stuff. Apparently there's a new character in the Into Darkness movie who has no memorable lines and isn't a familiar actor, but he's got an amazing story and the comic gets to reveal it.

It feels like when you only knew a Return of the Jedi character's story because of the fan club and action figure exclusives.

This new character is a living computer, which will undoubtedly some day make the Abrams continuity Data feel very not special. The issue opens with Johnson writing from his perspective, then moves into a flashback to explain things.

The flashback stuff isn't bad until it becomes clear where the story's going. For about five pages, the comic just feels like a decent "Star Trek" episode.

And I think Fajar's art has improved a little. A little helps.

CREDITS

I, Enterprise, Part One; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Robbie Robbins; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek 30 (February 2014)

Besides Liang’s art problems–she can’t make the photo-referencing look good and the female McCoy is a disaster–and an illogical cameo, this issue of Star Trek has got to be the best in the series so far.

Johnson’s got a lot of easy jokes, except they’re still honest jokes, so he can get away with all of them. He’s also unconcerned with written–though visual ones get through–nods to the original series. The characters, confronted with their gender opposites, are fully defined. I only wish it were the start of an arc where Johnson traded Chekhov for her female counterpart. She’s less annoying.

A lot of the art is fine. Liang still does well with most of the female characters (except regular Uhura, of course) and she has positive, playful vibe to her work.

Johnson writes a bunch of good scenes.

The issue’s a very successful outing.

B+

CREDITS

Parallel Lives, Part Two; writer, Mike Johnson; artist, Yasmin Liang; colorist, Zac Atkinson; letterer, Gilberto Lazcano; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek 29 (January 2014)

All it takes for a great Star Trek is a gimmick. And I don’t want to give away the gimmick, so it’ll be a little difficult to talk about. The gimmick alone makes for a fun comic, but somehow Johnson manages to find all these great insights into the characters through the gimmick.

Some of there insights are slight and for fun, but he’s got one profound one. Loved it. Maybe even teared up a little.

Johnson gets to the story at the end and it’s not bad–running with this gimmick actually would be a better series than the regular one–but it’s disappointing it’s ending soon.

The art helps a lot. Until the likenesses become important, Yasmin Liang’s art is rather strong. It’s somewhat cartoonish, but that tone doesn’t hurt Johnson’s script at all. Liang also pays attention to expressions, which is important.

It’s a shockingly good issue.

B+

CREDITS

Parallel Lives, Part One; writer, Mike Johnson; artist, Yasmin Liang; colorist, Zac Atkinson; letterer, Gilberto Lazcano; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek 28 (December 2013)

A couple fast observations about Star Trek, in general. First off, Johnson has no confidence writing Kirk. A lot of the other characters have a “voice,” except maybe Chekhov who Johnson just uses absurd spellings to show the Russian accent, but at least Spock and McCoy feel like characters. Johnson’s lost his handle on Kirk. He just spouts off when he needs to profound; also, Johnson’s playing him way too reliable. Spock’s the rebel here.

Second… that damn Fajar art. It’s all photo-referenced for the people, then weak space battles between ships with terrible designs. Maybe it’s just the new all Enterprise. It’s made to be visual, not functional (even as a model). Maybe it doesn’t translate. But the static people? Fajar needs to liven things up. Or IDW just needs to get a regular comic book artist.

Still, it’s inoffensive if talky. It’s hollow licensed malarky after all.

CREDITS

The Khitomer Conflict, Part Four; writer, Mike Johnson; artist, Erfan Fajar; colorist, Beny Maulana; letterer, Gilberto Lazcano; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek 27 (November 2013)

It’s too bad Fajar is still on the art for this series. Johnson’s writing–and his post-Star Trek 2 plotting–is getting fairly entertaining and the bad art really just kills the issue’s momentum.

There are some rather good parts with Kirk facing off with the bad guys, Spock and McCoy bickering… Even with the idiotic way they spell out Chekhov’s accent, Johnson has made Star Trek feel like it has an actual cast and not just photo-referenced stand-ins. But Johnson also gives Fajar way too much to do.

Not usually making that compliant–a writer giving an artist a lot of chances to do different things. Fajar fumbles all of them. The space battle is terrible, but it’s leagues better than the away team getting into a phaser fight. That last action sequence is just atrocious.

The bad art is holding this series back–nothing else.

CREDITS

The Khitomer Conflict, Part Three; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Chris Mowry; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek 26 (October 2013)

If it weren’t for the terrible art from Fajar, this issue might actually be pretty good. Johnson splits the crew–spending Spock off to consult the Federation while everyone on the Enterprise questions him leaving Kirk and Kirk off with the Klingons as a prisoner.

Johnson’s juxtaposition is interesting because Kirk’s the one who has the most faith in Spock; now, will Johnson answer the question of whether Kirk has faith in Spock’s own decision making or does Kirk really have faith the human crew will convince Spock to act. Or will Johnson ignore that plot thread because he’s really more about wowing the reader.

Except Johnson has no ammunition. As a sequel to Into Darkness, this story arc will always have to be muted–it’s a poorly drawn licensed comic after all. Paramount won’t allow anything major.

It’s a fine enough issue, though the hard cliffhanger is spectacularly lame.

CREDITS

The Khitomer Conflict, Part Two; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Tom B. Long; editor, Sarah Gaydos; publisher, IDW Publishing.

Star Trek 25 (September 2013)

There are too many dang people in the main Enterprise cast. Johnson just added Sulu’s sister as a love interest for Chekhov. Why does Chekhov need a love interest? No idea. Johnson’s not doing anything with Carol Marcus and Kirk–probably doesn’t want to step on future movie toes–but come on… When does Scotty get a girlfriend?

The issue opens with a reference to Star Trek VI, which sadly might be the best thing about the issue. Johnson is able to tell original series adaptations–though this arc is apparently more a sequel to Into Darkness–with material established later. Though he could easily go overboard with that practice. Ignore that comment–I’m cringing at the thought of Spock versus the Borg.

Fajar’s art is really bad this time out. If Star Trek isn’t selling enough to pay for a good artist, maybe IDW should just drop it.

CREDITS

The Khitomer Conflict, Part One; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Tom B. Long; editor, Sarah Gaydos; publisher, IDW Publishing.