Dancer #1

Nathan Edmondson & Nic Klein


Image Comics have been running hot of late (more so than Marvel and DC combined), with the likes of Saga and The Manhattan Projects, not to mention the cash-cows which were Thief of Thieves and Fatale (stay tuned, I'm getting to it), but Dancer falls somewhat short of the aforementioned titles. Whilst fast paced and action packed, this is all too familiar; man unknown agent/spy, wanted by previous employers/government agencies for reasons (as yet) unknown (Bourne, Tinker Tailor anyone???). The shadowy artwork hampers scant character development and the reveal is contrived. I'd care had interest piqued. Don't believe the hype.


Rating ** (bust)

Prometheus

Ridley Scott

Prometheus proffers questions (rather than the anticipated answers) as well as an unclear and/or unabsorbing plot, ultimately not worth dwelling on - responsibility for which must lie with Lindelof, whose comeuppance must be forthcoming. It may have a central performance by Fassbender (on a par with Henriksen’s criminally underrated Bishop from Aliens, 1986) more akin to a Replicant, but for all Prometheus’ grandeur (and one particularly visceral scene), it’s incredibly vapid. Character motivation is discarded in favour of abstract questions, the answers for which are unlikely to come from the septuagenarian Scott. A severe disappointment, as well as a bore.

Rating ** (bust)

Roadside Picnic

Arkady & Boris Strugatsky

The inspiration for Tarkovsky’s film Stalker (1979), Roadside Picnic eschews the classical sci-fi alien encounter. It tackles the aftermath of an alien visitation – the results of which are “Zones”, where strange and dangerous phenomena occur (“witches’ jelly” anyone?). All of which we learn through Redrick Schuhart’s adventures, collecting alien detritus for human knowledge, profit and weaponry. It’s possibly an allegory for the living conditions of Soviet Russia (where publication was delayed for a number of years). And whilst enticing, Roadside Picnic frustrates and ultimately disappoints; the tone of the conclusion (fairy tale-esque) is at odds with the books’ overall impression.

Rating ** (bust)       

Wonder Woman #1

Brian Azzarello & Cliff Chiang

The roll call of recent creators of the warrior princess reads like a who’s who of modern comics. JMS, Rucka, Jimenez, Perez and Byrne have attempted to raise the stock of Wonder Woman, with varying degrees of success. This creative team only heightened expectations and despite minimal development of the lead character, Wonder Woman is all that is right with the New 52. Steeped in Greek mythology, horror and suspense, this has the potential to be a modern classic, particularly if Chiang and Wilson continue to capture the action so perfectly. Furthermore, it is none of the gratuitousness of Cat(slag)woman.  

Rating *** (stick)

Before Watchmen: Minutemen #1

Darwyn Cooke

Whilst Moore has denounced the project as ‘completely shameless’, presented with Before Watchmen: Minutemen #1, I yielded and forever sullied myself, may he and Glycon - http://goo.gl/QyiV7 - have mercy on my soul. However, it is exceptional. Ignore the existential debate regards its existence and celebrate its quality - the responsibility for which is the polymath Cooke, who we learn (thankfully) is one of the architects’ of Before Watchmen. The damp squib being the two page introduction to Curse of the Crimson Corsair, as it’s rather lacklustre and ill-fitting despite art by original series colourist Higgins, who’s off Moores' Christmas card list. 

Rating **** (stick)

Batman: Detective Comics #1

 
Tony Daniel & Ryan Winn

Such intrigue, however this easily could have been 'Tec Comics #882. The focus appears to be the early years of Batmans' vigilantism (trying to understand The Joker, at odds with Gotham PD and his stunted relationship with Gordon allude to this). It’s reminiscent of Batman: Year One by Miller and Mazzuchelli, Morrison’s run on Batman & Robin and somewhat worryingly The Dark Knight Returns – shouldn’t comics inspire movies rather than the opposite? With a wonderfully dark cliffhanger, this is one of the New 52 I’d recommend – unlike the derivative, exploitative, misogynistic and frankly dull as dishwater Red Hood et al.

Rating *** (twist)