A couple fast observations about Star Trek, in general. First off, Johnson has no confidence writing Kirk. A lot of the other characters have a “voice,” except maybe Chekhov who Johnson just uses absurd spellings to show the Russian accent, but at least Spock and McCoy feel like characters. Johnson’s lost his handle on Kirk. He just spouts off when he needs to profound; also, Johnson’s playing him way too reliable. Spock’s the rebel here.

Second… that damn Fajar art. It’s all photo-referenced for the people, then weak space battles between ships with terrible designs. Maybe it’s just the new all Enterprise. It’s made to be visual, not functional (even as a model). Maybe it doesn’t translate. But the static people? Fajar needs to liven things up. Or IDW just needs to get a regular comic book artist.

Still, it’s inoffensive if talky. It’s hollow licensed malarky after all.

C 

CREDITS

The Khitomer Conflict, Part Four; writer, Mike Johnson; artist, Erfan Fajar; colorist, Beny Maulana; letterer, Gilberto Lazcano; editor, Sarah Gaydos; publisher, IDW Publishing.

It’s too bad Fajar is still on the art for this series. Johnson’s writing–and his post-Star Trek 2 plotting–is getting fairly entertaining and the bad art really just kills the issue’s momentum.

There are some rather good parts with Kirk facing off with the bad guys, Spock and McCoy bickering… Even with the idiotic way they spell out Chekhov’s accent, Johnson has made Star Trek feel like it has an actual cast and not just photo-referenced stand-ins. But Johnson also gives Fajar way too much to do.

Not usually making that compliant–a writer giving an artist a lot of chances to do different things. Fajar fumbles all of them. The space battle is terrible, but it’s leagues better than the away team getting into a phaser fight. That last action sequence is just atrocious.

The bad art is holding this series back–nothing else.

CREDITS

The Khitomer Conflict, Part Three; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Chris Mowry; editor, Sarah Gaydos; publisher, IDW Publishing.

If it weren’t for the terrible art from Fajar, this issue might actually be pretty good. Johnson splits the crew–spending Spock off to consult the Federation while everyone on the Enterprise questions him leaving Kirk and Kirk off with the Klingons as a prisoner.

Johnson’s juxtaposition is interesting because Kirk’s the one who has the most faith in Spock; now, will Johnson answer the question of whether Kirk has faith in Spock’s own decision making or does Kirk really have faith the human crew will convince Spock to act. Or will Johnson ignore that plot thread because he’s really more about wowing the reader.

Except Johnson has no ammunition. As a sequel to Into Darkness, this story arc will always have to be muted–it’s a poorly drawn licensed comic after all. Paramount won’t allow anything major.

It’s a fine enough issue, though the hard cliffhanger is spectacularly lame.

CREDITS

The Khitomer Conflict, Part Two; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Tom B. Long; editor, Sarah Gaydos; publisher, IDW Publishing.

There are too many dang people in the main Enterprise cast. Johnson just added Sulu’s sister as a love interest for Chekhov. Why does Chekhov need a love interest? No idea. Johnson’s not doing anything with Carol Marcus and Kirk–probably doesn’t want to step on future movie toes–but come on… When does Scotty get a girlfriend?

The issue opens with a reference to Star Trek VI, which sadly might be the best thing about the issue. Johnson is able to tell original series adaptations–though this arc is apparently more a sequel to Into Darkness–with material established later. Though he could easily go overboard with that practice. Ignore that comment–I’m cringing at the thought of Spock versus the Borg.

Fajar’s art is really bad this time out. If Star Trek isn’t selling enough to pay for a good artist, maybe IDW should just drop it.

CREDITS

The Khitomer Conflict, Part One; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Tom B. Long; editor, Sarah Gaydos; publisher, IDW Publishing.

So Johnson doesn’t reveal the human female who is conspiring with the Romulans. It’s probably that chick Khan hooked up with in Space Seed but who cares. He comes up with a wacky way for Spock to get out of Pon Farr without having to fight Kirk (a sad oversight) or get busy with his Vulcan lady (and upset Uhura).

Chekhov–why’s he such a genius in the new Star Trek again–and Carol Marcus come up with the solution. Only Carol Marcus doesn’t really get any lines. Not sure why they put her on the Enterprise if she’s not going to have anything to do except play second chair to Chekhov, who’s really annoying.

It’s not terrible, though Fajar’s art gets tiring almost immediately. Badly painted comic art doesn’t seem appropriate for Star Trek.

The Romulan and Klingon thing is particularly lame as it doesn’t impact the main story.

CREDITS

After Darkness, Part Three; writer, Mike Johnson; artist, Erfan Fajar; colorists, Ifansyah Noor and Sakti Yuwono; letterer, Neil Uyetake; editor, Scott Dunbier; publisher, IDW Publishing.

Not a particularly special continuation of the story… mostly because there’s so much extra stuff to complicate the “Amok Time” adaptation.

First, there’s no Vulcan anymore so Spock’s on New Vulcan. Turns out there’s a tribe of wild Vulcans running around the planet–in its volcanos, which leads to a terrible action sequence from Fajar, who tries way too hard to be cinematic. So far no big fight with Kirk.

Spock’s Vulcan girlfriend, T’Pring, is the same and Uhura takes it all in stride. Johnson writes some good lines for Bones on all the Pon Farr business, but gives way too many pages to the Romulan conspiracy, the Klingon war machine, Sarek and the new Vulcans… there’s just nothing for the actual cast to do but sit and mope.

Until that misfired action finish and then the crew’s all in environment suits and unrecognizable.

It should’ve been fun and isn’t.

CREDITS

After Darkness, Part Two; writer, Mike Johnson; artist, Erfan Fajar; colorist, Stellar Labs; letterer, Chris Mowry; editor, Scott Dunbier; publisher, IDW Publishing.

Interesting, very interesting.

Well, sort of interesting. This issue, beginning a sequel arc to the Star Trek Into Darkness film, does feature a return to form for Johnson in some ways. He’s enjoying writing the scenes between the crew, not trying to fit in a bunch of silly new history. The worst he does is tie into the movie prequel comic IDW did, but he also recaps that series’s repercussions in decent expository dialogue.

And there’s the interesting twist to the whole thing… it’s actually “Amok Time.” Spock’s going into Pon Farr for the first time (and I also realized Star Trek III has a big continuity gaff in that regard) but things are different. He’s got a girlfriend now. A human one who can’t relieve the Pon Farr stresses.

It’s a great setup, hopefully Johnson can deliver. There’s political intrigue too, but who cares… it’s “Amok Time” time again.

CREDITS

After Darkness, Part One; writer, Mike Johnson; artist, Erfan Fajar; colorist, Stellar Labs; letterer, Chris Mowry; editor, Scott Dunbier; publisher, IDW Publishing.