Cluster (2015) #3

This issue of Cluster has a few successes. Most prominently, the cliffhanger revelation is pretty neat. Brisson successfully leads the reader down a garden path before the twist, which is a significant one. Maybe not overall for the series, but definitely for the issue.

And Cluster still operates on a “by issue” basis. Brisson hasn’t, three issues in, implied how long or where the story might be going. It’s moving fast, but recklessly. One hopes Brisson has replacements for the things he gives up in this story; there are quite a few.

Similarly, Couceiro gives up a lot of detail (people’s faces in long shots are consistently left undone) to make time for the detail on the alien settlement. But the alien settlement stuff isn’t important. Couceiro doesn’t even get enough space for the issue’s action scenes.

The issue ends well, but it’s a rocky trip to the last page.

Cluster 3 (April 2015)

The issue ends well, but it’s a rocky trip to the last page.

CREDITS

Writer and letterer, Ed Brisson; artist, Damian Couceiro; colorist, Michael Garland; editors, Cameron Chittock and Eric Harburn; publisher, Boom! Studios.

Cluster (2015) #2

There’s some nice development with Cluster this issue, but Brisson doesn’t have a good close for the issue. He seems to know it’s a problem because he goes into a flashback and shows another scene of the protagonist back when she was a partying socialite and not a prisoner.

Much of that nice development comes from Couceiro’s influence. Brisson gives him some opportunity for good character interactions–and some very complicated ones–and Couceiro runs with it. The personality they give the characters plays out nicely in quiet ways throughout the rest of the issue. Even if the cast isn’t being explained, Brisson and Couceiro are definitely making the reader more comfortable with them.

Brisson doesn’t plot out the action well, however. He rushes; he rushes the characters, he rushes the story, he rushes Couceiro. Cluster is a visually fantastic sci-fi comic without time to focus on the visuals.

Cluster 2 (March 2015)

CREDITS

Writer and letterer, Ed Brisson; artist, Damian Couceiro; colorist, Michael Garland; editors, Cameron Chittock and Eric Harburn; publisher, Boom! Studios.

Sons of Anarchy 18 (February 2015)

It’s an okay flashback issue from Brisson and Bergara. It might have more meaning if one is familiar with the “Sons of Anarchy” television program, not just the comic book. I don’t even remember the protagonist of this issue–Happy–having much to do in the comic overall.

In this issue, set in the eighties, he goes to prison and goes a little crazy and runs off and joins SAMCRO. Brisson does reasonably well making the character sympathetic, but he’s never likable. He’s just surrounded by bigger jerks, not necessarily more dangerous ones. Brisson doesn’t have time to explore that aspect of the story, which is too bad. It’s more interesting than the plot.

Some of that interest problem is because of Bergara. His scenes set in prison come off like Archie In Oz just because the faces are too genial. Works against the mood.

And the ending’s too rushed.

CREDITS

Writer, Ed Brisson; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

Cluster (2015) #1

There’s not much original in Cluster so far. It’s a remix of a lot of sci-fi, popular and not, but writer Ed Brisson manages to coat over all those elements because the story isn’t derivative, the details aren’t homage, they’re just part of the sci-fi language now. Of course there’s something out of BattleTech in Cluster. Why wouldn’t there be?

The first issue introduces the protagonist, who doesn’t have a memorable name, but is a politician’s daughter serving hard time fighting for a colony planet. She makes a sidekick (not friend) and gets into a fight and goes to solitary. Then goes out on a mission.

It doesn’t make a lot of sense at times–the way Brisson paces it–but it doesn’t matter. Because Damian Couceiro’s art is awesome. He goes for big scale sci-fi, but still within the constraints of a comic book.

Cluster‘s solid.

Cluster 1 (February 2015)

Cluster‘s solid.

CREDITS

Writer, Ed Brisson; artist, Damian Couceiro; colorist, Michael Garland; editors, Cameron Chittock and Eric Harburn; publisher, Boom! Studios.

Sons of Anarchy 17 (January 2015)

Every third or fourth issue of Sons of Anarchy, I write something about how it’s amazing what Brisson is doing with this licensed title, especially one about bikers, which doesn’t seem the most natural fit for a comic.

I need to change up that practice as of now.

Sons of Anarchy is the best book people aren’t reading. What Brisson does this issue in terms of narrative plotting–executing a bunch of little twists to turn the book from a talking heads to a montage to an action story–is exceptional. And Bergara’s art is essential too. So much happens and he fits it all in.

Brisson is committed to not let Anarchy be disposable. The issue he and Bergara create here is fun, tough, subtle. And Brisson plots it out as only a comic can be plotted out.

He’s using a licensed comic to advertise the medium’s unique strengths.

CREDITS

Writer, Ed Brisson; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

Sons of Anarchy 16 (December 2014)

It’s a really cute issue. Seriously, it’s cute. Brisson manages to tell a cute, life affirming story with Sons of Anarchy. If there’s the Sons equivalent of a teddy bear, he finds it this issue.

The story has the owner of the pot shop in trouble with an ex; now, said pot shop owner is in business with a biker and he calls the biker for help. So then the biker has this whole investigation thing–the comic really does read like a detective story, but the brute force kind, not the meticulous investigation kind–before he discovers the truth and then there’s go to be the reckoning.

Artist Matías Bergara is not ready for prime time. With some of the action panels, he’s not even close. Occasionally, it does look like he’s got a good talking heads thing going, but the colors mess him up.

It’s an awkward issue.

B-

CREDITS

Writer, Ed Brisson; artist, Matías Bergara; colorist, Paul Little; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.

Sons of Anarchy 15 (November 2015)

It’s once again amazing how much Brisson is able to do with Sons of Anarchy. Especially this issue, which seems to deal a lot with continuity from the television series. Instead of that continuity dragging the issue down, thanks to Brisson’s rather impressive use of expository dialogue, it makes it better. It provides foundation.

The issue has a rather simple plot. Gemma–the den mother of the club (i assume, still haven’t watched the show)–tells Jax (he’s in charge of the club) to go find her stolen car. The comic plays out over four scenes. Brisson has a big reveal at the end of the issue and the way he simultaneously ties that reveal into everything he’s done in the issue while still keeping it entirely separate is phenomenal.

Even with a simple story, Brisson gets Anarchy running beautifully.

Nice art from Matías Bergara too. Moody but still straightforward.

B+

CREDITS

Writer, Ed Brisson; artist, Damian Couceiro; colorist, Michael Spicer; letterer, Ed Dukeshire; editors, Mary Gumport and Dafna Pleban; publisher, Boom! Studios.