Bodies 1 (September 2014)

Bodies #1 Some time during the first part–of four–of Bodies, I realized it didn’t have much media exploitation potential. The gimmick is simple–a similarly mutilated body is found in London at different times in history (and the future) and the police investigate. Writer Si Spencer shows his hand as far as interest–with the present and the nineteenth century getting the most emphasis. Both these periods drive the narrative, with the future and the WWII eras sort of garnish.

There are different artists for each period. Meghan Hetrick for the present, Dean Ormston for the 1800s, Tula Lotay for the future, Phil Winslade for the World War II. All the art is decent and appropriate for its period; Lotay is the least successful.

Spencer tries to establish his characters quickly, but through flash not substance.

It’s a competent comic, but there’s nothing compelling about the mystery or the characters.

CREDITS

Writer, Si Spencer; artists, Meghan Hetrick, Dean Ormston, Tula Lotay and Phil Winslade; colorist, Lee Loughridge; letterers, Dezi Sienty and Taylor Esposito; editors, Sara Miller and Shelly Bond; publisher, Vertigo.

Men of War 3 (January 2012)

Vankin defines Men of War‘s target audience this issue in his backup. It’s pro-war, bigoted twits who are too stupid to ask questions. And Vankin makes it very, very clear. I’m not sure if he’s happily appealing to that audience or if it’s a joke. I don’t care either. His writing is awful.

Also terrible is Brandon this issue. Brandon’s front story–with Derenick’s art cramping a lame story’s style even more–is a rip off of the Iron Man “Five Nightmares” arc. People are weaponized and blow up.

But here, the good guys manage to take out the Muslim bad guys. In the new DC, I wonder if the big summer crossover will be about Lex Luthor’s secret Muslim heritage.

But I didn’t hate the comic. It’s DC doing ad work for the Army. The creators should be proud of doing such a soulless, artless piece of crap.

CREDITS

Last Clip; writer, Ivan Brandon; artist, Tom Derenick; colorist, Matt Wilson. Human Shields, Part Three of Three; writer, Jonathan Vankin; artist, Phil Winslade; colorist, Thomas Chu. Letterer, Rob Leigh; editors, Kate Stewart and Joey Cavalieri; publisher, DC Comics.

Men of War 2 (December 2011)

I wouldn’t say I enjoy reading Brandon’s comics—he’s not a good writer—but at least there’s always something funny to say about his writing. Some snide remark, whatever. But not this issue of Men of War. I think it’s goofy he’s got Sgt. Rock Jr. Jr. meeting up with a Greek goddess (Circe), but Derenick draws the heck out of the scene.

But the reason I’m not mocking Brandon isn’t just because he had the better artist this issue, but because Jonathan Vankin’s scripting on the backup story is laughable. It’s unbelievable an editor let this kind of dialogue pass in 2011. Vankin’s truly incompetent. It’s hard to describe; someone should sit down and study how not to write dialogue. And Winslade’s artwork is weak on the backup too but it’s not like good artwork would make a difference.

Still, I’m mildly impressed at Brandon’s atypically not terrible script.

CREDITS

Above the Air; writer, Ivan Brandon; artist, Tom Derenick; colorist, Matt Wilson. Human Shields, Part Two of Three; writer, Jonathan Vankin; artist, Phil Winslade; colorist, Thomas Chu. Letterer, Rob Leigh; editors, Kate Stewart and Joey Cavalieri; publisher, DC Comics.

Men of War 1 (November 2011)

I realize DC’s got to have something to sell to their pro-war readers, but come on… they couldn’t do any better than Men of War?

First up is Sgt. Rock’s grandson. Now, it’s iffy on the years when people are born and all, because Sgt. Rock III isn’t fighting in Iraq or Afghanistan, he’s cleaning up after superhuman Army agents. But that aspect isn’t the silliest. Or even Ivan Brandon introducing first person narration halfway through.

It’s just a stupid character. Brandon’s got a stereotype handbook and he uses it step by step—smarter than the West Point guys, but no formal education, check… invalid mother, check. It’s painfully unoriginal.

Tom Derenick’s art isn’t good, but he does spend time on it.

Jonathan Vankin and Phil Winslade’s backup suggests again the U.S. is paying DC to produce pro-war propaganda. It doesn’t go any deeper.

Men of War stinks.

CREDITS

Joseph Rock; writer, Ivan Brandon; artist, Tom Derenick; colorist, Matt Wilson. Human Shields, Part One of Three; writer, Jonathan Vankin; artist, Phil Winslade; colorist, Thomas Chu. Letterer, Rob Leigh; editors, Kate Stewart and Joey Cavalieri; publisher, DC Comics.

G.I. Combat (2010) #1

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While I do love me some Phil Winslade, he doesn’t draw distinct enough faces for a war comic where the tank crews all wear around headgear. I mean, he’s got this scene where its two tank crews standing around and it’s absolutely impossible to tell who’s who. Even from the dialogue, it’s confusing….

Otherwise, it’s a lovely comic. Winslade draws some great scenery and his action is all very strong. I suppose his expressions—regardless of being the faces being too indistinct to reveal identities—are good too.

Matthew Sturges’s script is pretty good. It’s just a Haunted Tank story—an apolitical one, which I do take some issue with in this day and age—and Sturges introduces the idea of another Haunted Tank-type situation. It’s cute and a little out of place.

But the rest—the tank crew procedural—is all solid.

It’s a fine enough war comic.