Miracleman 6 (February 1986)

7951 20051127175441 large And here we have the first appearance of Chuck Austen on the art. And wow. Wow. I complained about Alan Davis–who does the first chapter–I complained about his work on faces. But he got the mythic quality of the story. He got how people, even if they aren’t beautifully drawn, do look different.

Austen doesn’t get anything. It’s bad. It’s worse than I… it’s bad.

The story’s good though. Moore neatly ties all the jungle scenery to the finale (or the cliffhanger). Austen butchers it. It should be great stuff but nope. It looks like a crappy eighties cartoon.

Anyway, there are some other really good moments in the modern day story. The art’s not good, but there are good moments.

Then there’s Young Miracleman story with Ridgeway art. It’s more cute than anything else, but it’s good. Moore shows some whimsy, which the main feature doesn’t have.

B-

CREDITS

…And Every Dog Its Day!; writer, Alan Moore; artists, Alan Davis, Chuck Austen and John Ridgway; colorist, Ron Courtney; letterer, Wayne Truman; editors, Dez Skinn and Cartherine Yronwode; publisher, Eclipse.

Miracleman 5 (January 1986)

7935 20051127175425 large Really, the art’s Alan Davis? Mostly, I mean–John Ridgeway’s back to finish the flashback story–but Davis does the art on most of the issue. And it’s not good. It’s really rushed, really loose with detail. There’s definitely some decent composition, but I just thought whoever came on the art had good composition and not good detail ability.

The story mostly concerns Gargunza revealing Miracleman’s past to Liz. It’s during these parts Davis fails the script the most–Moore clearly wants Liz to have gravitas (even when she doesn’t have any real lines), but Davis doesn’t sell it. It’s too bad.

The writing gets it through. Moore’s a lot more successful with the Gargunza and Liz scenes than with Evelyn Cream. Cream’s supposed to offer a human take on Miracleman (who doesn’t do anything this issue) but Moore’s trying too hard.

It’s a bridging issue. The awesome’s just subdued.

CREDITS

The Approaching Light; writer, Alan Moore; artists, Alan Davis and John Ridgway; colorist, Ron Courtney; letterer, G. George; editors, Dez Skinn and Cartherine Yronwode; publisher, Eclipse.

Miracleman 4 (December 1985)

7932 20051127175406 large And here’s the first mention of Miracleman as a superhero. He’s hanging out in a park, runs across a kid who’s terrified of a nuclear attack, they bond. Great scene from Moore.

Alan Davis does most of the art this issue. It’s very well composed at times, but his figures feel a little two dimensional. John Ridgeway does one of the chapters (these are still Warrior reprints) and it’s a little more effective. It might just be the content–giant magical kingdoms and vampire legions and so on.

The story moves forward a little, but Moore seems a lot more concentrated on the chapter form. Mike Moran only shows up long enough to change into Miracleman. Even Liz has more scenes without Miracleman (or Mike) than with.

It’s still fantastic stuff. It’s just Moore’s writer fingerprints are showing up. He’s artificial with the plotting and pacing. It isn’t organically growing.

A-

CREDITS

Catgames; writer, Alan Moore; artists, Alan Davis and John Ridgway; colorist, Ron Courtney; letterer, G. George; editors, Dez Skinn and Cartherine Yronwode; publisher, Eclipse.

Miracleman 3 (November 1985)

37097 It’s a nice issue, sort of finishing out the main questions about Miracleman–how can a fifties-type superhero actually have existed in the modern world Moore operates the series in. The answer is predictable, but Moore’s presentation of the explanation is good.

The setup for the reveal, including a fight with another super-powered individual, cuts between the cast members. Even though Liz doesn’t get any scenes with Mike (or Miracleman), she does get one of the interludes. Moore isn’t forgetting anyone and he’s working to get into as many of the characters’ heads as possible. It’s a nice little moment and a surprise success as the characters aren’t definitively established yet.

Then Moore tells the reveal from the villain’s (narrating) perspective. Moore does raise a couple question he doesn’t answer yet–calling Miracleman a “monster,” for example–but it’s a big success.

Even if Davis is no Leach.

B+

CREDITS

Out of the Dark; writer, Alan Moore; artist, Alan Davis; colorist, Ron Courtney; letterer, G. George; editors, Dez Skinn and Cartherine Yronwode; publisher, Eclipse.

Miracleman 2 (October 1985)

37096 And here’s a great cliffhanger. Again, Moore’s not plotting these stories for a full issue, but it shakes out very nicely this issue.

Miracleman is an odd comic. Moore runs headstrong into the relationship problems between Mike and Liz, he deals with Mike’s strange duality with Miracleman–the way Mike’s able to talk about Miracleman’s rather purple narration is fantastic. Moore presents the tropes of superhero comic books and then integrate a discussion of them into the comic.

There’s also the villain this issue. I can’t remember his name, but he’s a big black guy with funny sapphire teeth–Evelyn Cream (thanks, Internet). Leave it to Moore to make a bad Bond henchman into a great comic book villain.

There’s a lot in each story, the composition, the newly fertile relationship between Mike and the world… it’s a crazy good comic. And these were just shorts when originally published; incredible.

CREDITS

When Gods Cry War…; writer, Alan Moore; artists, Garry Leach and Alan Davis; colorist, Ron Courtney; letterer, G. George; editors, Dez Skinn and Cartherine Yronwode; publisher, Eclipse.

Miracleman 1 (August 1985)

7920 20060127151316 large There’s something magnificent about the way Alan Moore starts Miracleman. Of course, given the issue is a compilation of shorts from Warrior, it must have been even better to read them in that series.

He opens with a retro superhero comic strip, full of fifties silliness and plays it through to the end of the adventure. Gleeful superheroing. When he comes back to it later, with Mike Moran telling his disbelieving wife about it, Moore’s got the reader buying into it. Moran gets full understanding and sympathy because the reader’s been there.

Nicely, Alan Davis does the retro story fifties style and Garry Leach’s art for the modern day is done hyper-realistic. Even the lettering’s nearly type.

Besides an outstanding action sequence–Leach and Moore do a lot in these stories–there’s the quiet scenes with the wife. It’s an awesome issue. Even if the cliffhanger’s too artificial.

CREDITS

Rebirth; writer, Alan Moore; pencillers, Alan Davis and Garry Leach; inker, Leach; colorist, Ron Courtney; letterer, G. George; editors, Dez Skinn and Cartherine Yronwode; publisher, Eclipse.

The Maze Agency Special (1990) #1

It’s a busy day for Gabe and Jennifer in this Special issue. What makes it special–besides the three interconnected stories, the reprint of Barr’s ashcan for Maze Agency and the extra pages–is the art. Each story has incredibly different artwork.

The first has Joe Staton (inked by Rick Magyar). Shockingly, it works out well. His story looks very fifties or sixties crime comic. His detail isn’t great, but it’s all consistent. Never thought I’d be so impressed.

Magyar takes over the art himself on the second story. He has a beautiful, moody style. It’s a shame he usually just inks the book.

Then the Pander Brothers do the last one. They’re wonderfully crazy. Seeing a straight mystery comic in their style is awesome.

And Alan Davis does the ashcan. His art’s the least impressive, which is a surprise.

The mysteries are fine but the art’s the thing here.

The Maze Agency Special 1 (1990)

340993 It’s a busy day for Gabe and Jennifer in this Special issue. What makes it special–besides the three interconnected stories, the reprint of Barr’s ashcan for Maze Agency and the extra pages–is the art. Each story has incredibly different artwork.

Magyar takes over the art himself on the second story. He has a beautiful, moody style. It’s a shame he usually just inks the book.

Then the Pander Brothers do the last one. They’re wonderfully crazy. Seeing a straight mystery comic in their style is awesome.

And Alan Davis does the ashcan. His art’s the least impressive, which is a surprise.

The mysteries are fine but the art’s the thing here.

CREDITS

Morning: What Goes Up…; penciller, Joe Staton; inker, Rick Magyar; colorist, Scott Rockwell; letterer, Vickie Williams. Afternoon: Murder by a Hair; artist, Magyar; colorist, Rockwell; letterer, Williams. Evening: The Dog That Bit Back…; artists, Arnold Pander and Jacob Pander; colorist, Alicia Basil; colorist, Williams. The Mile-High Corpse!; artist, Alan Davis; letterer, Todd Klein. Writer, Mike W. Barr; editor, David Campiti; publisher, Innovation Publishing.

Avengers Prime (2010) #5

I think this issue must be Bendis’s best-paced ever. Lots happens here…

Let’s see, very big battle scene, followed by a fight scene. Before the battle scene there was some stuff, including Steve and his elf girl. Really wish Brubaker would bring her into the regular title (or whoever’s writing it once Steve’s Cap again around movie time)—Bendis gave him a decent romance here. I guess Bendis is actually good at those things.

There’s also the constant banter between the Enchantress and Thor—she really hates him, just desperately, but gosh darn, don’t they have a lot of chemistry. Only Tony gets through the issue without flirtations, unless you count Fanfir.

But then Bendis still has time for the wrap up, where Steve and Tony resolve their problems or at least decide they’re going to. It’s a bit easy, but the last page from Davis makes it work.

Avengers Prime (2010) #4

Does the Twilight Sword Hela kills Enchantress with—oops, did I spoil that? I’m sure she’ll be okay—have anything to do with the Twilight movies or is it established in Thor canon? Why does every Thor comic need footnotes and never have them?

This issue has a full-on Bendis conversation where we discover Thor bedded Hellcat. It’s a fun scene with Tony, Thor and Steve bonding (or rediscovering their bonds). Very nice moment, even if Bendis starts using his parenthetical dialogue asides on the previous page for Tony’s whining.

The problem with the series is Bendis’s inability to stay focused on the plot. This issue, the plot revolves around Hela and Enchantress… so why are those the lamest scenes?

Bendis has Davis—Davis can draw anything (he does talking heads, action and monsters here)—and the book’s beautiful. Bendis underutilizes him.

Bad final page, but a good issue.