The Terrifics (2018) #3

T3

The Terrifics #3 is completely false advertising. There’s nothing terrific in the comic at all. Certainly not the art; Joe Bennett and the three inkers have bad expressions and static figures. Not the characters. Plastic Man’s obnoxious, Mr. Terrific is a jerk, Sapphire Stagg is enabling her megalomaniac father, Simon Stagg is a megalomaniac, Metamorpho is dim; Phantom Girl is all right. The caveman is all right. Otherwise, no. And the writing isn’t terrific.

It’s kind of stunning how fast this book ran out of steam. Apparently all it had going for it was the promise of Tom Strong being integrated into the DCU. That promise isn’t worth sitting through the rest of the material.

The worst thing about the three different inkers–these aren’t terrible inkers either, at least two of the names are people who’ve worked on fine books (and I don’t recognize the third)–is there’s no visual continuity. There’s Bennett’s busy and visually uninviting composition and everyone looks a little bit different every few pages.

Terrifics has gotten to be anything but.

The Terrifics #3 (June 2018)

The Terrifics #3The Terrifics #3 is completely false advertising. There’s nothing terrific in the comic at all. Certainly not the art; Joe Bennett and the three inkers have bad expressions and static figures. Not the characters. Plastic Man’s obnoxious, Mr. Terrific is a jerk, Sapphire Stagg is enabling her megalomaniac father, Simon Stagg is a megalomaniac, Metamorpho is dim; Phantom Girl is all right. The caveman is all right. Otherwise, no. And the writing isn’t terrific.

It’s kind of stunning how fast this book ran out of steam. Apparently all it had going for it was the promise of Tom Strong being integrated into the DCU. That promise isn’t worth sitting through the rest of the material.

The worst thing about the three different inkers–these aren’t terrible inkers either, at least two of the names are people who’ve worked on fine books (and I don’t recognize the third)–is there’s no visual continuity. There’s Bennett’s busy and visually uninviting composition and everyone looks a little bit different every few pages.

Terrifics has gotten to be anything but.

CREDITS

Meet the Terrifics, Part 3 of 3; writer, Jeff Lemire; penciller, Joe Bennett; inkers, Sandra Hope, Jaime Mendoza, and Art Thibert; colorist, Marcelo Maiolo; letterer, Tom Napolitano; editors, Andrew Marino and Paul Kaminski; publisher, DC Comics.

The Multiversity: Ultra Comics 1 (May 2015)

The Multiversity: Ultra Comics #1What’s Grant Morrison doing with Ultra Comics, a Multiversity tie-in issue? Well, he’s giving Doug Mahnke a lot of great stuff to draw. If you ignore all of Morrison’s breaking the fourth wall (but not really–it’s not like it’s a “Choose Your Own Adventure”), the comic just gives Mahnke a chance to realize this quick superhero story in the apocalypse.

What’s caused the apocalypse? A Cthulhu-like monster. It might not come across as a big Alan Moore knock if Ultra–he’s the protagonist of Ultra Comics–if Ultra didn’t look like Miracleman. The issue has a credit to Siegel and Shuster and there’s a Shazam reference; but what isn’t clear is if Morrison likes Miracleman or not.

There’s lame stuff about the reader interacting and generating the life of the comic (and protagonist) and Internet whining. But it’s thoughtless.

Except the Mahnke art makes it all worthwhile.

CREDITS

Ultra Comics Lives!; writer, Grant Morrison; penciller, Doug Mahnke; inkers, Christian Alamy, Mark Irwin, Keith Champagne and Jaime Mendoza; colorists, Gabe Eltaeb and David Baron; letterer, Steve Wands; editor, Rickey Purdin; publisher, DC Comics.

Ultimate Spider-Man Annual 2 (October 2006)

284352Why doesn’t Ultimate Punisher just kill Ultimate Kingpin? I’m so confused. I’m additionally confused over Ultimate Daredevil. He’s just rude? Is there any other difference between him and regular Daredevil?

Mark Brooks is the wrong penciller for this comic, just dreadfully wrong. Bendis is doing–as much as he can in Ultimate Spider-Man–a serious superhero crime book and Brooks draws everything like a cartoon. Maybe it’d work if he were better and his style directly engaged the material and the contraction, but he isn’t better and it doesn’t work.

There’s not a lot going on besides Bendis’s plot construction. He shows the four guys coming together, the villain, the dirty cop. It’s actually the Ultimate version of a famous Spider-Man story but without any of the gravitas. Brooks’s art is incapable of gravitas I’m pretty sure.

The issue reads pretty well, I suppose, but it’s completely disposable.

CREDITS

The Death of Captain Jeanne DeWolfe; writer, Brian Michael Bendis; penciller, Mark Brooks; inker, Jaime Mendoza, Mark Morales, Victor Olazaba and Brooks; colorists, Laura Martin and Larry Molinar; letterer, Cory Petit; editors, John Barber and Ralph Macchio; publisher, Marvel Comics.

Ultimate Spider-Man Annual 1 (October 2005)

284351So if Peter can’t date Mary Jane, who can he date? Kitty Pryde, of course. Kitty Pryde? Why Kitty Pryde? Presumably because she’s age appropriate and is a superhero too.

Bendis opens the issue juxtaposing Kitty and Peter, showing how alone they are… and establishing Kitty has always had a crush on Spider-Man.

It’s silly and forced.

Then they go on a very cute date. Bendis overwrites it. Lots and lots of dialogue and nothing of consequence said. There are a few superfluous action scenes too; Bendis just doesn’t seem to know what to do with so much space.

Mary Jane doesn’t make an appearance, neither does Aunt May or anyone to play off Peter. With the Mark Brooks pencils, it barely even feels like Ultimate Spider-Man. The Flash and Kong cameo isn’t enough.

Bendis had an idea and, after this issue, it seems like a bad one.

CREDITS

The Date; writer, Brian Michael Bendis; penciller, Mark Brooks; inkers, Jaime Mendoza and Scott Hanna; colorist, Dave Stewart; letterer, Chris Eliopoulos; editors, John Barber, Nicole Wiley and Ralph Macchio; publisher, Marvel Comics.