Sci-Spy (2002) #2

This issue initially brings out more of the espionage angle. The protagonists—Starchild and Nile—team up (forced into the situation by their boss) and head off into what sounds like a spy mission. They have to impersonate terrorists and discover what’s going on with these robotic monsters eating the good planets piece by piece.

Two things stand out in this issue. First, the writing is lame. I can’t tell if Moench is padding out the story because he doesn’t have enough or if he’s intentionally writing lame, declarative one-liners. He also changes the issue’s pacing—going from espionage to action at the drop of a hat, like he’s modeling the issue on a James Bond movie (not really, because Bond didn’t have partners) and not the series overall.

Still, the art’s a delight. Gulacy knows how to compose action sci-fi and Palmiotti continues to ink him well.

Sci-Spy (2002) #1

Sci-Spy is kind of confusing. Moench and Gulacy have done sci-fi before, but here they’re sort of suffocating the reader with all the ground situation information. The protagonist has two sidekicks. One is his supervisor, a computer named Motherbank. In addition to being his boss, the computer is also his mother as it found him in space as a frozen embryo. All those details come out in the first three pages. I admire Moench’s brevity, but the expository dialogue exchange is painful.

The second sidekick is an orb following him around; it shoots lasers, it has cameras, it drives the space cars. The orb is slightly less confusing, but only because we never see Motherbank.

Moench comes up with some nice twists towards the end and the art’s good. Palmiotti is a fine inker for Gulacy; Sci-Spy looks lively.

After the wobbly open, it finds its feet.

Ultimate Spider-Man (2000) #29

I’m usually pretty reserved in any Bagley praise—Bagley hands are one of the more frightening things in comics—but he does give Jonah a great expression here. There’s no dialogue and he and Bendis take most of a page to do it and they make this great moment where the reader can tell what Jonah’s thinking from his expression.

The issue’s incredibly frustrating, but in a good way. Gwen moves in (or comes over for a sleepover while her dad’s away) and Mary gets pissed off. Peter’s confused; plus he’s got a Spider-Man impersonator committing crimes. I can’t remember if it’s Ultimate Mysterio.

So after all the buildup—the fight with Mary Jane, the oddness of having Gwen around—then Peter heads off to fight the impostor.

And gets shot by the cops.

And Bendis ends the issue. It’s exceptionally frustrating, but if it weren’t, it wouldn’t work.

Ultimate Spider-Man (2000) #28

Okay, so the Rhino is a Spider-Man villain. I thought he was, but couldn’t remember for sure.

Bendis turns the issue into something of a joke. He introduces Ultimate Rhino, all right, but it’s got very little to do with Spider-Man. In fact, Peter’s inability to escape his daily life to fight Rhino is the entire issue.

Only a little of the issue is actually spent on Peter though. Bendis gives Gwen a nice showcase—though Bendis’s crying sounds, mixed with the Bagley art, made me think she was throwing up and I didn’t remember them making Ultimate Gwen Stacy pregnant (that development was a 616 one, right?).

Once it becomes clear what Bendis is doing, it’s hard to get upset about him wasting an issue on it… because it’s so much fun. Bendis’s ability to waste space but still deliver an enjoyable read is his saving grace.

The Thessaliad (2002) #4

Something’s off with the eyes this issue. It never looks like people are looking where they’re supposed to be looking. Otherwise, McManus and Pepoy do a fine job.

This issue—and the last one—are narration free as Willingham turns Thessaly into the main character (she was the subject in the first issue and shared the spotlight in the second). He has to change things up so he can come up with his multiple surprises this issue.

He does a good job of giving that change in narrative device an organic feel. This issue he takes it even further in regards to pacing. It’s mostly summary. He has characters talking about their actions after the fact, providing brief narration while McManus does a couple panels or a full page spread to work with the words.

Unfortunately, the last page isn’t quite perfect and it needs to be.

Still, great work.

The Thessaliad (2002) #3

Willingham does a good twist and cliffhanger this issue. It’s especially funny since he sort of mocks any reader—like me—who fell for it in the dialogue. It’s nice how he can work on both layers.

I sort of remember this one—when Barry Allen guest stars in a great panel. But definitely not the end.

Pepoy’s back on inks and he and McManus do another lovely job. The second and third page are a double-page spread of a garden and seeing McManus’s work on such a big scale… he really does have a great touch for scenery too.

The issue’s smart and funnier than usual. There’s a sequence where Thessaly takes the reader (and her sidekick) through all the clues. Some the reader might have gotten, others probably not. It’s a nice layer for Willingham and McManus to incorporate.

It’s an excellent little series, pleasant and intelligent.

The Thessaliad (2002) #2

Willingham is still writing a little fast. This issue’s better, but it’s really just four conversations—three of them involving the same two people (protagonists Thessaly and Fetch). The conversations are good and amusing but they only sort of move the story along. Willingham has this idea of a question, with guardians. Moving past a guardian moves the story along. Thessaly gets passed two this issue (so, just like before, it’s hard to imagine how Willingham has enough story for three issues).

The issue also opens weird. Willingham has two layers—one with the action, then another with Fetch’s narration (actually, it appears to be Fetch talking, Thessaly just isn’t responding). It takes maybe three pages for it to start syncing and working and the scene’s over by the fourth or fifth page.

So, a little bumpy, but still charming.

McManus is still great (Pepoy does slightly change the art).

The Thessaliad (2002) #1

I do so enjoy Shawn McManus art. His work on this issue of Thessaliad is nice and finished. The way he mixes styles, inviting, almost comic strip-ready art with grotesque (hell hounds losing their flesh but still eating people) is just lovely.

I think as a kid I didn’t appreciate him. I was a dumb kid.

The issue’s fine, though Willingham’s pacing is too fast. He has a likable, jocular narrator and that tone, along with the art, make the read enjoyable… but a little light. We don’t even meet the main characters until the last couple pages. In fact, Willingham baits and switches characters. It’s a nice move and it does pay off to some degree, but he’s pretty much wasted a quarter of his limited series doing some tricks.

Still, it’s hard to complain. McManus’s people art, his scenery, it makes it all worthwhile. Especially the people.

Ultimate Spider-Man (2000) #27

Bendis finishes the arc putting a gulf between Peter and Mary. They end the issue with them sitting with this big space between them, Peter too upset to talk to her. Ultimate Nick Fury just told him he had until eighteen before Fury would control him.

Oh, and Peter might be upset over Harry losing it again. And Mary might be upset because Peter won’t tell her about Harry except to hint at it.

Here’s the problem. It doesn’t feel right at all.

Bendis has a great setup here, but the scene lacks any drama. It’s paint by numbers, with Bendis wanting to get Peter and Mary Jane estranged for the next issue. He doesn’t take the time.

The guy spent an entire issue on a conversation and now he’s not willing to take the time.

It’s amazing how much Bendis infuriates, even though he’s what makes the comic excellent.

Ultimate Spider-Man (2000) #26

Whew, Mary Jane recovered immediately. What drama.

Whose idea was it to turn the Green Goblin into an evil Hulk?

Anyway, I suppose this issue is all right. It seems like Bendis has good intentions, with Peter trying to showdown with the Goblin (a couple times) only to discover anger might not be enough to beat him.

I think I just summed up the entire issue, dramatically. Oh, wait, I forgot about Harry. Harry apparently has these encoded keywords to make him do stuff. So far, following this issue, it’s clear Norman can make him pass out. What’s not clear is if Ultimate Hobgoblin is in the mix or not.

But Bagley. It seems like I’m frequently hard on Bagley, but he makes this issue. He makes it move with all the action, all the different settings, all the different pacing.

When Bendis’s writing is lazy, Bagley makes the comic.