Tag: Stefano Gaudiano
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So, if the good guys are going to figure out the identity of the bad guy–bad girl, actually–before the issue starts, why bother making it a mystery? In addition to that silly plotting, this issue is the first where Brubaker’s pacing is too hurried. There’s a mission briefing, there’s the mission, then there’s the surprise…
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Wow, the first Terminator story in Presents. I thought they’d gone through all the licenses, but no. It’s not terrible. Grant’s writing is adequate and Teran’s art has an energy to it. He’s a little confusing in action scenes (Grant’s plotting hurts there too) but he’s got some great designs. Martin and Rude’s The Moth…
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So Nazis versus Predator and the best Marz can come up with is a story set in South America? Castellini’s art makes up for some of it—even though he can’t draw the Predator, the rest of it looks good. But Marz’s writing is pretty dumb. Seagle and Gaudiano have another My Vagabond Days, this time…
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The annual opens with Mignola doing a retelling of Hellboy‘s origin. I guess it’s all right. Kind of pointless, but fine. Weissman finally gets a two page Phineas Page and shows why he should have stuck to a page. Van Meter and Ross team for the first comic book appearance of Buffy. The writing is…
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I was trying to remember where I knew Leialoha from… he inks now. He pencils and inks Trypto, which has a superhero dog splash page and then a rather traditional story. It’s about a stolen dog being forced to dogfight. Mumy and Ferrer’s script is fine and Leialoha has some imaginative composition, but his art…
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I was trying to remember where I knew Leialoha from… he inks now. He pencils and inks Trypto, which has a superhero dog splash page and then a rather traditional story. It’s about a stolen dog being forced to dogfight. Mumy and Ferrer’s script is fine and Leialoha has some imaginative composition, but his art…
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I’m tempted to mention Cooper’s one page strip first because it’s a page and I don’t really have anything to say about it. Oops, there I went and did. Brubaker and Gaudiano finish up Here and Now. It’s got a bit of a surprise ending, which makes perfect sense, but for whatever reason (probably a…
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I’m tempted to mention Cooper’s one page strip first because it’s a page and I don’t really have anything to say about it. Oops, there I went and did. Brubaker and Gaudiano finish up Here and Now. It’s got a bit of a surprise ending, which makes perfect sense, but for whatever reason (probably a…
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I wonder what Rennie’s Kabuki Kid scripts look like. This installment has a setup, introduces some villains, then it just goes wild. Langridge has the Kabuki Kid and his sidekick fighting an army of adversaries (though it does get weeded through fast). It’s funny and fast, even better than the first installment. Schutz and Pander…
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I wonder what Rennie’s Kabuki Kid scripts look like. This installment has a setup, introduces some villains, then it just goes wild. Langridge has the Kabuki Kid and his sidekick fighting an army of adversaries (though it does get weeded through fast). It’s funny and fast, even better than the first installment. Schutz and Pander…
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I’m not sure if Presents has ever had such a good issue. They may have… but this one’s rather excellent. Brubaker and Gaudiano’s Here and Now is a detective story, but one with an introspective, lost in his thoughts not his cases detective. Gaudiano’s artwork is fantastic–it’s basically a guy walking around most of the…
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I’m not sure if Presents has ever had such a good issue. They may have… but this one’s rather excellent. Brubaker and Gaudiano’s Here and Now is a detective story, but one with an introspective, lost in his thoughts not his cases detective. Gaudiano’s artwork is fantastic–it’s basically a guy walking around most of the…
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What a stinker. The whole thing plays like a bad Marvel horror comic from the seventies, with a team of mercenaries (they have matching outfits, of course) out to retrieve a spider. It’s not any spider, it’s one of the Bride of Nine Spiders’s spiders. There’s a bit of a continuity break, showing the Bride…
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Could this story be more depressing? Aaron does a decent job on Fat Cobra’s backstory—though he doesn’t go enough into defining Fat Cobra’s Heavenly City. He buys his way back into it at one point and buying one’s way back into a Heavenly City seems a little common. Then there’s all the retconning of Fat…
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What a stinker. The whole thing plays like a bad Marvel horror comic from the seventies, with a team of mercenaries (they have matching outfits, of course) out to retrieve a spider. It’s not any spider, it’s one of the Bride of Nine Spiders’s spiders. There’s a bit of a continuity break, showing the Bride…
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Could this story be more depressing? Aaron does a decent job on Fat Cobra’s backstory—though he doesn’t go enough into defining Fat Cobra’s Heavenly City. He buys his way back into it at one point and buying one’s way back into a Heavenly City seems a little common. Then there’s all the retconning of Fat…
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I’m having trouble figuring out the big deal with Sin City. I mean, it looks cool and all, but isn’t Marv on the run from the cops a lot like that issue of “Batman: Year One” with the Batman running from the cops. The narration’s overbearing and all… but it’s fine as a stupid diversion.…
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I’m having trouble figuring out the big deal with Sin City. I mean, it looks cool and all, but isn’t Marv on the run from the cops a lot like that issue of “Batman: Year One” with the Batman running from the cops. The narration’s overbearing and all… but it’s fine as a stupid diversion.…
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Heartbreakers is a little better this issue. Bennett and Guinan still don’t have a good sense of what makes a story interesting. This one implies it had potential to be interesting on the second to last page. Hughes and Story do a few pages, riffing on the idea of pin-up pages. The writing’s far from…
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Geier’s art on the Homicide installment is pretty weak, but Arcudi actually comes up with an interesting case. It is, of course, unfortunate then Arcudi relies on the art for the final panel. I had to read the page three times, staring at it, before I noticed the big reveal. It’s also too bad about…
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Heartbreakers is a little better this issue. Bennett and Guinan still don’t have a good sense of what makes a story interesting. This one implies it had potential to be interesting on the second to last page. Hughes and Story do a few pages, riffing on the idea of pin-up pages. The writing’s far from…
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Geier’s art on the Homicide installment is pretty weak, but Arcudi actually comes up with an interesting case. It is, of course, unfortunate then Arcudi relies on the art for the final panel. I had to read the page three times, staring at it, before I noticed the big reveal. It’s also too bad about…
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Between Gaudiano and Pugh, this issue is just an art feast. Csutoras’s writing on the Gaudiano story, Harlequin, is decent, concerning a European living in the States, his loony acquaintances and some intrigue. Gaudiano makes the protagonist’s monologues atmospheric and the regular action somewhat continental in feel. The narrative is intentionally confusing, which may get…
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Between Gaudiano and Pugh, this issue is just an art feast. Csutoras’s writing on the Gaudiano story, Harlequin, is decent, concerning a European living in the States, his loony acquaintances and some intrigue. Gaudiano makes the protagonist’s monologues atmospheric and the regular action somewhat continental in feel. The narrative is intentionally confusing, which may get…
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This issue basically brings Brubaker and Fraction’s story to its finish (Brubaker leaves after this one, Fraction hangs around for a little coda then is off). It’s an outstanding issue, both fantastic on its own and as a conclusion to the story arc. Brubaker and Fraction have more pages here and the issue shows they…
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Fraction takes on the writing chores here solo but since it’s an Orson Randall story set in the thirties and forties, it’s kind of hard to tell what not having Brubaker around does to it. The majority of the story feels like it takes place in Germany, when Orson shows up at Frankenstein’s castle. I…
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This issue basically brings Brubaker and Fraction’s story to its finish (Brubaker leaves after this one, Fraction hangs around for a little coda then is off). It’s an outstanding issue, both fantastic on its own and as a conclusion to the story arc. Brubaker and Fraction have more pages here and the issue shows they…
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Fraction takes on the writing chores here solo but since it’s an Orson Randall story set in the thirties and forties, it’s kind of hard to tell what not having Brubaker around does to it. The majority of the story feels like it takes place in Germany, when Orson shows up at Frankenstein’s castle. I…
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I guess The Cabal is a comic book. It’s really a zero issue to Siege, with Norman Osborn and Dr. Doom duking it out. There’s some other lead-in stuff going on (it’s nice how Marvel’s crossovers are so simple–it’s never hard to figure out the ground situation). But really, it’s just (for me) an excuse…
The Stop Button 