It's a strange issue. There are a couple big things going on, one with Mike at the LeMonde Christmas party and getting in a fight with Kara. The other one is the more historical story line with the new TV star with a big secret. It's an unexpected secret too; good stuff on that story line.
But the other one… Fraction's pushing it. There's a lot of expository dialogue reminding the reader of previous events and scenes and Fraction only needs them because he's let them go too long. Lots of characters too, all in one place, not really doing anything except moving along this story line. The emphasis on character is gone. It's a shame.
The worst is how Chaykin's got the responsibility of doing visual cues to move big revelations along. Chaykin doesn't differentiate between faces well enough for that responsibility.
It's a surprising stumble of an issue.
B
CREDITS
Cinecittà ; writer, Matt Fraction; artist, Howard Chaykin; letterer, Ken Bruzenak; editor, Thomas K.; publisher, Image Comics.
Of the three stories this issue–the first two are original, the third is a sixties reprint–Man-Thing is the easy winner. The other two aren't any competition.
Fraction's doing less of an arc than a window into Mike–as in the new Satellite Sam–and his descent into obsession. It's funny, but I think Fraction's still trying to get keep the character as likable as possible. He's just over his head, trying to relieve his father's photography fetish.
I may come to regret this statement, but Satellite Sam really is the bee’s knees. It’s serious, thoughtful, never silly. Fraction doesn’t mess around with it. Every scene is beautifully plotted–who knew Howie Chaykin had this kind of work left in him–and perfectly reasoned. It’s not just a consistently good read, it’s a consistently exceptional read.
Fraction and Chaykin go for a rather distinct–and mature audiences–sight gag to repeat through the comic. There’s really some great art from Chaykin, who takes three people through hearing or seeing uncomfortable or unwelcome news and events. The whole thing is in their expressions and he nails every one of them.
For the most part, it’s a strong issue. Chaykin’s gleefully overboard with this idea of Rogers as a twenties American socialist awoken around a bunch of closed-minded future “Americans.” He loves it and it’s impossible not to get wrapped up in his enthusiasm.
Once again, it’s very hard to follow a lot of Satellite Sam. Fraction has a cast list at the open, but it’s not enough. He needs to keep the cast blurbs for when the people show up in the action story instead.
Buck Rogers is surprisingly awesome. It’s like if someone did an exaggeration of Howie Chaykin, only it’s Howie Chaykin doing it himself and doing it really well.