Tag: Jason Martin

Star Trek: Deep Space Nine – N-Vector (2000) #4

Ds9n4

Jeter runs out of space here a little. He’s got an exciting conclusion, but then he’s also got a big special effects conclusion (Cypress is disastrous as rendering it, unfortunately) and some more talking heads stuff.

Also–and here’s why I was confused last issue. He’s got the station commander–Major Kira (you can’t refer to “Deep Space Nine” characters and expect non-Star Trek aficionados to know them)–using the exact same dialogue the evil guy used when he was possessing people. But it’s apparently not done to raise suspicion. It’s like Jeter copied and pasted dialogue and didn’t think about the context. The editor should have caught it.

This issue is probably the least successful for the above pacing and art reasons. It also ends on a humorous note, mimicking how a television episode would end. But it doesn’t work because it’s way too slight.

The series should have run five issues.

Star Trek: Deep Space Nine – N-Vector (2000) #3

Ds9n3

This issue is the all action issue. Or close to it.

I think N-Vector is most useful–not to discount its success as an episode of “Star Trek: Deep Space Nine,” it’s a fine episode of that television program–as an example of how television pacing can be adapted to comic books. The problem, of course, is the length and pricing. It takes four issues to get a single episode. All together, it would have been ten dollars for, basically, something one watches for free on television.

Also, this issue requires the reader be familiar with the show and the relationships between its principal characters. I couldn’t tell if people were acting out of character or if I’d missed something since I hadn’t seen the show or if the evil space entity had possessed them.

Jeter’s good at plotting out the dramatic moments; still a fine licensed comic read.

Star Trek: Deep Space Nine – N-Vector (2000) #2

Ds9n2

Did Wildstorm not get the likenesses in their “Star Trek” license or something? At first I thought it was just Cypress’s style, bringing a scratchy indie feel to a completely mainstream release, but now I’m wondering if it’s just because he couldn’t draw the actors. His artwork is a little static at times, especially for this issue, which is mostly talking heads. Then there’s the problem with him not being able to show important details–I don’t know if Quark found a dead Ferengi or Ferengi costume or a Ferengi blow-up doll.

As far as writing, this issue’s a little better than the first, as Jeter is getting into the actual situation. Even if someone isn’t familiar with the characters or ground situation, the drama’s been introduced and Jeter’s got a good A plot and a good B plot (no doubt they’ll tie together nicely).

A fine, mediocre comic.

Star Trek: Deep Space Nine – N-Vector (2000) #1

Ds9n1

So this series is a continuation of “Star Trek: Deep Space Nine.” I guess I’m glad I don’t care about the ending of the series being spoiled for me.

I decided to read it because of Jeter, who’s a science fiction novelist of good repute, and because I didn’t realize–on seeing it in his bibliography–N-Vector was a Star Trek comic book.

Jeter does a fine job writing the characters and matching their personalities to the show (as far as I can tell, having mostly seen the first couple seasons), but there’s zero subtext. It’s more of a television episode than a comic book. The issue breaks are the commercials.

The art is the most interesting element–for a licensed comic book, it looks nearly nothing like the norm. Cypress isn’t interested in likenesses, he’s using the art to convey emotion.

It’ll probably turn out a pointless read, but I’m on board.

Star Trek: Deep Space Nine – N-Vector 4 (November 2000)

61801.jpg
Jeter runs out of space here a little. He’s got an exciting conclusion, but then he’s also got a big special effects conclusion (Cypress is disastrous as rendering it, unfortunately) and some more talking heads stuff.

Also–and here’s why I was confused last issue. He’s got the station commander–Major Kira (you can’t refer to “Deep Space Nine” characters and expect non-Star Trek aficionados to know them)–using the exact same dialogue the evil guy used when he was possessing people. But it’s apparently not done to raise suspicion. It’s like Jeter copied and pasted dialogue and didn’t think about the context. The editor should have caught it.

This issue is probably the least successful for the above pacing and art reasons. It also ends on a humorous note, mimicking how a television episode would end. But it doesn’t work because it’s way too slight.

The series should have run five issues.

CREDITS

Writer, K.W. Jeter; penciller, Toby Cypress; inker, Jason Martin and Mark Irwin; colorist, Bad @ss ; letterer, Naghmeh Zand; editor, Jeff Mariotte; publisher, Wildstorm.

Star Trek: Deep Space Nine – N-Vector 3 (October 2000)

61800.jpg
This issue is the all action issue. Or close to it.

I think N-Vector is most useful–not to discount its success as an episode of “Star Trek: Deep Space Nine,” it’s a fine episode of that television program–as an example of how television pacing can be adapted to comic books. The problem, of course, is the length and pricing. It takes four issues to get a single episode. All together, it would have been ten dollars for, basically, something one watches for free on television.

Also, this issue requires the reader be familiar with the show and the relationships between its principal characters. I couldn’t tell if people were acting out of character or if I’d missed something since I hadn’t seen the show or if the evil space entity had possessed them.

Jeter’s good at plotting out the dramatic moments; still a fine licensed comic read.

CREDITS

Writer, K.W. Jeter; penciller, Toby Cypress; inker, Jason Martin and Mark Irwin; colorist, Bad @ss ; letterer, Naghmeh Zand; editor, Jeff Mariotte; publisher, Wildstorm.

Star Trek: Deep Space Nine – N-Vector 2 (September 2000)

61799.jpg
Did Wildstorm not get the likenesses in their “Star Trek” license or something? At first I thought it was just Cypress’s style, bringing a scratchy indie feel to a completely mainstream release, but now I’m wondering if it’s just because he couldn’t draw the actors. His artwork is a little static at times, especially for this issue, which is mostly talking heads. Then there’s the problem with him not being able to show important details–I don’t know if Quark found a dead Ferengi or Ferengi costume or a Ferengi blow-up doll.

As far as writing, this issue’s a little better than the first, as Jeter is getting into the actual situation. Even if someone isn’t familiar with the characters or ground situation, the drama’s been introduced and Jeter’s got a good A plot and a good B plot (no doubt they’ll tie together nicely).

A fine, mediocre comic.

CREDITS

Writer, K.W. Jeter; penciller, Toby Cypress; inker, Jason Martin and Mark Irwin; colorist, Bad @ss; letterer, Naghmeh Zand; editor, Jeff Mariotte; publisher, Wildstorm.

Star Trek: Deep Space Nine – N-Vector 1 (August 2000)

61798.jpg
So this series is a continuation of “Star Trek: Deep Space Nine.” I guess I’m glad I don’t care about the ending of the series being spoiled for me.

I decided to read it because of Jeter, who’s a science fiction novelist of good repute, and because I didn’t realize–on seeing it in his bibliography–N-Vector was a Star Trek comic book.

Jeter does a fine job writing the characters and matching their personalities to the show (as far as I can tell, having mostly seen the first couple seasons), but there’s zero subtext. It’s more of a television episode than a comic book. The issue breaks are the commercials.

The art is the most interesting element–for a licensed comic book, it looks nearly nothing like the norm. Cypress isn’t interested in likenesses, he’s using the art to convey emotion.

It’ll probably turn out a pointless read, but I’m on board.

CREDITS

Writer, K.W. Jeter; penciller, Toby Cypress; inker, Jason Martin and Mark Irwin; colorists, Dan Brown, Bad @ss and Wildstorm FX; letterer, Naghmeh Zand; editor, Jeff Mariotte; publisher, Wildstorm.