Daredevil 4 (November 2011)

Is Martin regular on Daredevil now? If so, it makes sense this issue feels like a soft relaunch, like Waid’s introducing the new artist. If not… well, it makes no sense.

But it’s a successful issue. Waid opens with some amusing action–Daredevil in a lion habitat at the Bronx Zoo–and then moves into this issue’s story. He just does it very slowly, very deliberately. There’s a lot of Daredevil in action, fighting the odd crime, there’s a lot with Matt bantering about not being Daredevil or bickering with Foggy.

There’s none of the flirting, which is okay, since Martin doesn’t draw Matt like a surfer dude.

It’s the kind of issue one would get excited about–it’s even more exciting that the series’s actual first issue–but I’m rather hesitant. Daredevil‘s been fine, but uneven.

The issue’s either another deviant or it’s a sign Waid’s firmly footed.

Daredevil 1 (September 2011)

With Paolo Rivera doing the feature and Marcos Martin doing the back-up, Mark Waid has great art on his Daredevil revamp. But great art can’t do all the lifting. Waid’s take on Matt is a little unexpected, but a lot of fun.

The approach reminds a lot of TV, specifically “Life” and “The Mentalist.” Matt’a had some rough times so he’s going to be upbeat and eat unprocessed sugar and meet girls. As Daredevil, he constantly smiles. It’s like Waid is declaring the approach to the reader.

And it basically succeeds. Waid’s Matt is a likable protagonist. It’s too early to talk about the supporting cast. Waid’s still just introducing them, though hints at more Foggy problems pop up.

Sadly, the back-up, about Matt and Foggy, is stronger than the feature. There’s a point to it, while the feature is too expository.

This comic is a pleasant surprise.

The Mystic Hands of Dr. Strange 1 (May 2010)

This issue is an homage to Marvel’s old black and white magazines, though at the regular, modern comic size. And, with the exception of including a text story (I don’t care who wrote it, why’s it there?), the issue is a complete success.

The feature story, from Kieron Gillen and Frazer Irving, is set in the late seventies and deals with contemporary social issues. It’s a “place in the world” superhero story for Dr. Strange, even though he’s not exactly a superhero. Gillen’s writing is strong and Irving draws a scary Mephisto. With it, the issue’s off to an excellent start.

The next story, from Peter Milligan and Frank Brunner, is also good. Brunner’s artwork lends itself, on a whole, better to the form than Irving’s does. Milligan writes fine dialogue.

Ted McKeever’s action story is really a moody introspective addiction piece.

It’s all great. But why the text story?

CREDITS

The Cure; writer, Kieron Gillen; artist, Frazer Irving. Melancholia; writer, Peter Milligan; artist, Frank Brunner. So This Is How It Feels…; writer and artist, Ted McKeever. Duel In The Dark Dimension; writer, Mike Carey; artist, Marcos Martin. Letterer, Joe Caramagna; editors, John Barber and Jody Leheup; publisher, Marvel Comics.

Doctor Strange: The Oath (2006) #5

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For the finale, Vaughan tries to bring back the charm of the early issues and sort of does. Not enough to really matter, but he’s referencing it.

The last issue is more about Dr. Strange than anything else, with Vaughan looking at the relationship between medicine and magic. Given the villain, it makes for a good conflict for Strange. It’s so good, in fact, when Vaughan calms things down again and reverts back to the charm… there’s something missing. The series, which had a couple unsteady issues, found new ground. Then Vaughan all of a sudden backtracks.

There are a few call-backs to the earlier issues’ details, which makes The Oath feel like something of a relaunch. It’s Vaughan establishing Strange for a new reading audience (unfortunately, it didn’t take).

Martin also changes a little here, using his panel layouts to control reading time.

It’s good, but not great.

Doctor Strange: The Oath (2006) #4

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Vaughan gets back on track this issue (it probably should have been combined with the previous one, of course). There’s not as much palpable charm, but Vaughan makes up for it with the return of Strange’s overconfidence.

It turns out—spoiler alert—the overconfidence is somewhat warranted (though Vaughan does play pretty loose with what Strange can and can not do against the series’s villains) and there are some great scenes. So great, Vaughan has to rely on a particular harsh, hard cliffhanger.

The issue moves so well, it hides the lack of actual content. There’s a little more flirting between Strange and Night Nurse, but not exactly character development. Wong has a handful of lines, but he’s sort just used as a sickly narrative device.

Vaughan does return some of it to Strange’s past, but really just as filler. He doesn’t need it, the issue’s excellent without the retcon.

Doctor Strange: The Oath (2006) #3

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Vaughan is starting to lose a little of his steam. The majority of the action takes place resolving last issue’s cliffhanger. We learn the secret villain, after some red herrings—very short red herrings, almost like Vaughan only half-heartedly included them—and it’s not particularly exciting. It’ll probably be more exciting next issue but this one… is strangely pat.

It’s good and all, but Vaughan additionally reveals the secret villain to be working for drug companies. The last two issues was great chemistry and banter and this issue is evil drug companies? It would have been more revolutionary to have a non-evil drug company. No shit they’re going to stop people from curing cancer. In some ways, Vaughan’s approach is mildly insensitive. It’s a plot point, no more real than if they were curing warp speed sickness. It’s like cancer isn’t really “real.”

Some lovely Martin art too.

Doctor Strange: The Oath (2006) #2

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Dr. Strange and friends head out to discover what’s going on—there’s really not much action, just going to the Bronx, then to a secret base. What Vaughan concentrates on (besides the humor) is the flashbacks to Strange’s past.

Vaughan’s read on the character is a lovable jerk. Wong’s got to know he’s a prick, but Wong still likes him because Dr. Strange is, all in all, a good guy. The flashbacks just show pre-magic, Dr. Strange was a selfish jerk. Post-magic… he’s an altruistic jerk. The best is when he’s whining he knows New York better than Spider-Man.

Wong points out navigating the boroughs still gives him trouble.

Wong shares that observation with Night Nurse, who’s along for the adventure and a great foil for Strange. Intentionally or not, Vaughan has recast Doctor Strange as a Hollywood classic, full of charm and banter.

It’s absolutely wonderful.

Doctor Strange: The Oath (2006) #1

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One has to wonder… if everyone wrote Dr. Strange and Wong as well as Vaughan does here, wouldn’t Doctor Strange be the most popular book on the market? Instead of one without an ongoing, I mean.

Vaughan comes up with a compelling story, sure, but the selling point is his dialogue and the character relationships. The issue opens when Iron Fist and Araña comparing superhero notes, which is hilarious on its own, then the drama of Strange being shot (there’s a shadowy villain too)… but soon it’s all about how much fun it is to spend time with Wong and Strange. Even when Wong’s dying, it’s a lot of fun.

There is, of course, the second layer to The Oath. There’s Marcos Martin’s artwork. Something about his style just makes it all work—the humor, the drama, the magic.

It’s a lovely book (even if the villain’s name is stupid).