Planet of the Apes: Cataclysm 7 (March 2013)

Prv15539 covIt’s funny how the Zaius subplot is actually where Bechko and Hardman have the most problems, even though it’s mostly a talking heads subplot. They’re keeping the Zaius subplot… well, it’s kind of the soil. It feeds into the other two plots and presumably could make major changes for them when they all collide. But it’s separate; the Zira subplot is separate too, but it won’t affect anything.

And the writers just can’t make it interesting. Zaius is impotent and too proud to listen to his wife, who actually knows what she’s talking about. One has to wonder who made that decision, Bechko or Hardman.

The Zira subplot this issue features a community meeting, not particularly interesting, but there are some really nice character moments. Cataclysm works because of these details from the writers.

The Cornelius subplot is action-packed and exciting. Great visuals from Couicero and Taibo help lots.

B- 

CREDITS

Writers, Corinna Bechko and Gabriel Hardman; penciller, Damian Couceiro; inker, Mariano Taibo; colorist, Darrin Moore; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

Planet of the Apes: Cataclysm 6 (February 2013)

915011As far as expansive mythology goes, Planet of the Apes doesn’t have much. The standards repeat themselves very quickly. But Beckho and Hardman manage to repeat one of those very same standards and hide it all until the final reveal. They raise all sorts of other possibilities–this issue of Cataclysm, almost against itself, has a lot of adventure to it–and then reveal something extremely logical.

The writers keep their three way split. Zaius gets his own subplot (having his wife school him is awesome), Zira gets her own and then Cornelius–with Dr. Milo along–gets a third. There’s also Zaius’s son, who figures into the Cornelius plot; he’s not a lead, but he’s close.

The only real problem is an art one and penciller Damian Couceiro–with Mariano Taibo ably inking–can’t fix. The chimps look alike. I kept confusing Cornelius and Milo.

Otherwise, it’s fine stuff.

CREDITS

Writers, Corinna Bechko and Gabriel Hardman; penciller, Damian Couceiro; inker, Mariano Taibo; colorist, Darrin Moore; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

Planet of the Apes: Cataclysm 5 (January 2013)

915014Bechko and Hardman continue their setup for the first Planet of the Apes movie with… well, I guess it’s kind of a post-disaster story. They’ve introduced all of the primary apes from the first movies, except maybe the nasty gorilla from the second one, and are doing a mundane prequel.

There’s action, sure. There’s a giant mutated bear or some such thing. Couceiro illustrates a fantastic action sequence involving it attacking the apes journeying to a different settlement. There’s a lot of content in this issue–the writers band together this team of explorers and introduce their mission in the first two thirds of the issue, while dealing with some other things, then send them off.

Not all of the writers’ choices are good ones. The food shortage and the greedy gorillas feel forced. But there’s a great scene with Milo the scientist to compensate.

It’s still surprisingly okay.

CREDITS

Writers, Corinna Bechko and Gabriel Hardman; artist, Damian Couceiro; colorist, Darrin Moore; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

Planet of the Apes: Cataclysm 4 (December 2012)

APECAT_04_preview_Page_1.jpg
Are you kidding me? The grand reveal is so obvious I had it figured a page into the sequence.

Bechko and Hardman–and I know I’ve complimented them on their adherence to Apes movie mythology–try way too hard to bring everything together with Cataclysm. They fail, most obviously, because they leave it with it with a cliffhanger for their next series, but they also fail for the lack of imagination.

The point of licensed properties is to expand on the canon. Bechko and Hardman instead wrap it in on itself. They use Cataclysm to tie the first movie to the second and the fifth to the first. Except they use their comic to validate the bad ideas in the movies, not emphasize the good.

Again, the writing’s fine on the scenic level and Couceiro’s art’s fantastic–this issue might even be his best. But the plot’s pointless and contrived.

CREDITS

Writers, Corinna Bechko and Gabriel Hardman; artist, Damian Couceiro; colorist, Darrin Moore; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

Planet of the Apes: Cataclysm 3 (November 2012)

POTACataclysm_03_preview_Page_01.jpg
Boom! needs better editors. Maybe they just didn’t want to piss off Hardman, who’s very high profile even if he is just writing the book, but someone should have–strike that one, needed to–tell he and Bechko not to fake a subplot. The issue opens with the revelation of a great conspiracy. The issue’s big moments all deal with its repercussions and it’s a weak move.

Otherwise, the issue isn’t bad. It’s relatively engaging, with the writers’ disaster situations being compelling enough. They do fail Couceiro, however. They don’t give him time to properly establish the setting. The art looks great, but the ape civilization never feels fully realized.

The series started pretty strong and it’s still very well-done, only it misses the mark a lot. Couceiro deserves a lot better material; Bechko and Hardman definitely take the Apes property seriously, they just need some help with structure.

CREDITS

Writers, Corinna Bechko and Gabriel Hardman; artist, Damian Couceiro; colorist, Darrin Moore; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

Planet of the Apes: Cataclysm 2 (October 2012)

POTACat_02_preview_Page_1.jpg
With Cataclysm‘s second issue, Bechko and Hardman run into a predictable problem. They’re explaining something about a licensed property. In this issue, the reader learns why the ape civilization changes so much in the original Apes movies. So what? They don’t create any memorable characters–even returning cast like Dr. Zaius isn’t used as the protagonist; he’s just part of the disaster movie cast they’ve got going on.

Bechko and Hardman take twenty-two pages to do what they could have in four or five. Couceiro’s art is excellent, but having good art doesn’t excuse the wasted pages. He does come up with some stunning disaster imagery, however, especially as it ties into the familiar Apes visual mythology.

One can’t fault Cataclysm as a piece of licensed property–the team does an outstanding job tying into Apes. Bechko and Hardman just don’t have any story for an actual comic book.

CREDITS

Writers, Corinna Bechko and Gabriel Hardman; artist, Damian Couceiro; colorist, Darrin Moore; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.

Planet of the Apes: Cataclysm 1 (September 2012)

APECAT_01_preview_Page_01.jpg
Corrina Bechko and Gabriel Hardman come up with something unexpected here in Cataclysm. Historically, Planet of the Apes comics have one big problem–there’s not enough material from the movies to translate into a serialized narrative. Bechko and Hardman have a neat solution–a disaster. Not just any disaster, but one tying into the movies’ canon.

Sort of. One could be picky about it, but I was so impressed with where they go, I can’t imagine one would want to be.

Cataclysm is the best kind of licensed property comic. It relies on the source material, relies on the license holder’s comics, and mixes the two with some creativity to encourage the reader’s imagination. Licensed properties have to be unexpected to succeed, otherwise they’re just fanfic. Bechko and Hardman succeed. Cataclysm engages.

Very nice art from Damian Couceiro too. He does well both with the talking heads and the action.

CREDITS

Writers, Corinna Bechko and Gabriel Hardman; artist, Damian Couceiro; colorist, Darrin Moore; letterer, Ed Dukeshire; editor, Dafna Pleban; publisher, Boom! Studios.