martinskidmore (![[info]](http://l-stat.livejournal.com/img/userinfo.gif){kind=small} martinskidmore) wrote,@ 2008-04-03 23:43:00 |
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| Entry tags: | bendis, comics, herge, nova, tintin, ultimate, x-men |
Comic Diary: Nova, Ultimate X-Men again, Tintin
Essential Nova by Marv Wolfman, Sal Buscema, Carmine Infantino & others
I wasn't sure how much I would get out of this volume, another bargain in Gosh!'s sale, but I rather enjoyed it. The setup is a blend of familiar elements - the character and school setting is a Peter Parker remix, the source of his power similar to Captain Marvel's, and the origin is straight out of Green Lantern. Nonetheless, it's all handled with skill, and there are a couple of good villains (I am surprised the Sphinx hasn't been used much since), with long-running plots that are well orchestrated. Sal Buscema's art is as effective as always, and Infantino provides some great moments, even though his light, sharp drawing was a poor match with even the superb inker Tom Palmer, and he isn't too great at doing power-packed action. This is nowhere near a great comic, but it's solid '70s Marvel, and I'm always happy to read that.
I wasn't sure how much I would get out of this volume, another bargain in Gosh!'s sale, but I rather enjoyed it. The setup is a blend of familiar elements - the character and school setting is a Peter Parker remix, the source of his power similar to Captain Marvel's, and the origin is straight out of Green Lantern. Nonetheless, it's all handled with skill, and there are a couple of good villains (I am surprised the Sphinx hasn't been used much since), with long-running plots that are well orchestrated. Sal Buscema's art is as effective as always, and Infantino provides some great moments, even though his light, sharp drawing was a poor match with even the superb inker Tom Palmer, and he isn't too great at doing power-packed action. This is nowhere near a great comic, but it's solid '70s Marvel, and I'm always happy to read that.
Ultimate X-Men vol.8: New Mutants by Brian Michael Bendis & David Finch
Issue 42, part of this volume, is extremely impressive. It only has two scenes: a young mutant discovers his powers, then Wolverine visits to talk to him. Both are superbly handled by writer and artist, and given exactly the space they need for maximum effect. It's one of those things that an earlier generation would have handled in maybe four pages, and it makes for a great argument for the decompression for which Bendis is the paradigm. In a modest way, this volume strikes me as a model of excellent modern superhero comics. It does everything very well - introducing new characters, moving the broad narrative forwards, giving us personal conflicts and some dramatic action, dealing with political ideas in theory and in practice, handling a large cast, dealing with emotional impacts. Bendis's dialogue is as excellent as ever, and I've talked about Finch's art before - I have a very high opinion of him by now, indeed I think if I were a comic writer on a mainstream superhero title, he might be the current artist I'd most like to work with.
Issue 42, part of this volume, is extremely impressive. It only has two scenes: a young mutant discovers his powers, then Wolverine visits to talk to him. Both are superbly handled by writer and artist, and given exactly the space they need for maximum effect. It's one of those things that an earlier generation would have handled in maybe four pages, and it makes for a great argument for the decompression for which Bendis is the paradigm. In a modest way, this volume strikes me as a model of excellent modern superhero comics. It does everything very well - introducing new characters, moving the broad narrative forwards, giving us personal conflicts and some dramatic action, dealing with political ideas in theory and in practice, handling a large cast, dealing with emotional impacts. Bendis's dialogue is as excellent as ever, and I've talked about Finch's art before - I have a very high opinion of him by now, indeed I think if I were a comic writer on a mainstream superhero title, he might be the current artist I'd most like to work with.
Tintin: The Red Sea Sharks by Herge
One of the great kids' comics, along with Asterix, Barks' Donald Duck, Tezuka's Astro Boy, Baxendale's Bash Street Kids and a few others. I guess the humorous adventures make Popeye the most obvious forebear - this also has great and memorable characters, quality adventure stories and lots of good humour. It also has the classic, perfectly executed clean-line art that has been so positive an influence on major sections of European comics and beyond. Having said all that, I don't love it as much as those other things I mentioned. Partly it's because I find Tintin too dull a character, too clean in look and mind to believe in or enjoy. There's also the problem with the depictions of other nationalities - it's pointless bemoaning that very much in old comics, and it is also there in some of those others I love, but it does cut into my enjoyment. I think it's the basically realist mode that isn't a part of the others that makes it more troubling for me. I do find it funny here and there, but the central adventure doesn't ever seem terribly exciting. I like Tintin, but I respect it more, whereas I love the others as well as admiring them enormously.
One of the great kids' comics, along with Asterix, Barks' Donald Duck, Tezuka's Astro Boy, Baxendale's Bash Street Kids and a few others. I guess the humorous adventures make Popeye the most obvious forebear - this also has great and memorable characters, quality adventure stories and lots of good humour. It also has the classic, perfectly executed clean-line art that has been so positive an influence on major sections of European comics and beyond. Having said all that, I don't love it as much as those other things I mentioned. Partly it's because I find Tintin too dull a character, too clean in look and mind to believe in or enjoy. There's also the problem with the depictions of other nationalities - it's pointless bemoaning that very much in old comics, and it is also there in some of those others I love, but it does cut into my enjoyment. I think it's the basically realist mode that isn't a part of the others that makes it more troubling for me. I do find it funny here and there, but the central adventure doesn't ever seem terribly exciting. I like Tintin, but I respect it more, whereas I love the others as well as admiring them enormously.
