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04/07/99
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27 june 1999

GAMBIT #7 - "Pig Pen, part 2: Dirty Troughs"
by Fabian Nicieza, Steve Skroce, Rob Hunter, Rob Stull, Shannon Blanchard and Scott Elmer
WOLVERINE #141 - "Broken Dreams"
by Erik Larsen, Eric Stephenson, Leinil Francis Yu and Dexter Vines
X-MAN #54 - "A Little Piece Of Home"
by Terry Kavanagh, Luke Ross and Bud Larosa
X-MEN 1999 - "Metal Works"
by Alan Davis, Terry Kavanagh, Rick Leonardi and Bob Wiacek
JSA #1 - "Justice Be Done"
by James Robinson, David Goyer, Stephen Sadowski and Michael Bair

Every so often the X-books have a desperately uninspiring week, when they really do live down to their critical reputation. And I may as well be honest from the start - this is one of them. Two utter mediocrities, one story that's slightly above adequate.

Thankfully, there's always GAMBIT if you want reliable entertainment (and not just for the man on the letters page who seems to think his beloved will be willing to accept a proposal of marriage that ranks third after questions including "who decides where the caption boxes go?").

What comes across most strongly here is the Pig's obsession with order and cleanliness. He's an interesting character because his desire to enslave everyone comes as much from a belief that the world will just be cleaner that way as it does from egomania. Now that he has a solo series, Gambit requires a rogue's gallery of his own, and it's good to see characters emerging here who have some real connection with him (as opposed to just warmed over X-Men B-villains).

It's also now apparent that yes, the Mengo Brothers do work. I wasn't convinced by them at first, but their role as ridiculous comic relief henchmen now fits in well with the tone of the series. It would have been easy and perhaps obvious to play Gambit as an angst book, but that would have gone against the character's flippant attitude. Gambit needs comedy characters to play off.

Also pleasant to see is the subplot scene flashing back to the Morlock Massacre which finally clears up the question of what the hell Gambit thought he was playing at by leading the Marauders along. By establishing one of the Marauders (Scalphunter) as a friend of his, Nicieza makes it credible that Gambit could have taken their cover story at face value (something which seemed entirely ridiculous when the only Marauder he knew was Sabretooth).

Skroce's artwork is excellent as usual, although there's a brief resurgence of the "what the hell is happening here" problem that plagued the early issues. Page 12, in fact. I just don't understand why the alarm goes off. But this is relatively minor stuff.

Easily the best X-book this week, and continuing to maintain a solid track record.

A-

Now then.

Erik Larsen's WOLVERINE bemuses me. I just can't understand how the writer whose stories are so enjoyable on other titles can be responsible for some of this. Even allowing for the input of editors and so forth, the problems with this story run pretty deep.

This is the third consecutive issue which has been devoted primarily to a pretty much pointless fight serving to set up a future plot and not much more. Two issues ago Wolverine and Cable fought Arnim Zola to no great end other than to introduce him as a villain. Last issue Wolverine and Nightcrawler fought robots for no good reason other than to introduce a subplot.

And this month (on what looks increasingly like Wolverine Team-Up), Wolverine and Jubilee fight Donald Pierce in a story that seems to serve no purpose other than to introduce a new character called Khyber.

I just can't rouse the faintest excitement for this story. I've tried, believe me. I've done my best to give it a chance. But I just don't care about Wolverine and Jubilee fighting Donald Pierce in a story where the villain doesn't even have a plan. Gateway just shows up and teleports the heroes to his base. Gateway has always been a walking plot device, but rarely as obviously as here.

Although Larsen gets Wolverine and Jubilee pretty well, he sorely misjudges Generation X's guest appearance. If any of the team were to pick a fight with Wolverine, it wouldn't be Synch. This doesn't ring true at all.

As for the art, Leinil Francis Yu hasn't looked the same since Dexter Vines started inking him. There's one page of this issue which Yu inked himself, and the contrast is jarring. The rest of the book is lacking in atmosphere by comparison.

The fundamental problem here, though, is that there is no real reason for the main conflict. Hero and villain are teleported together and have a fight. I just don't care. It's a non-story. This title looked to be improving after the dire outer space storyline, but now it is just developing a whole new set of failings.

D+

And X-MAN is just as bad. As an aside, the cover is the best thing in this issue. It bears no relation to the story inside, of course, but that's a virtue. Anyhow, this is supposedly the same artist who did last week's widely criticised X-Men. This is hard to reconcile. The stylistic differences are enormous.

I wrote about the problems with this storyline last month, but I think it bears complaining about again. What on earth is the point of dragging in Cyclops and Phoenix if you aren't going to do a story about how Nate feels about them? That's the interesting thing about them as far as this title is concerned, but Kavanagh has totally wasted the opportunity to explore it.

So what are we left with? Some art from Luke Ross which is competent but unexceptional. An incursion from the Age of Apocalypse boringly explained away as some malfunctioning machinery (they destroy it, everyone goes home). A badly designed villain called Hatchet-6 who is supposed to look threatening but just looks lopsided and silly.

Again, this is a zero story. Hero fights villain. Villain go boom. Nobody does anything interesting or says anything interesting. Nothing happens that engages my attention in the slightest. It's boring.

Despite repeated rumours, Marvel have yet to announce the cancellation of this title (something we all perhaps ought to bear in mind). Unless Kavanagh gets a handle on things very quickly and drags this flailing title back on track, they really ought to get around to it.

D+

X-MEN 1999, you'll be pleased to hear, isn't as bad as either of the above. Neither is it particularly good. But it's, you know. It's alright.

In many ways this ought to be a good story, in fact. The plot is pretty well worked out, the gratuitous guest stars trailing the M-Tech line are used properly (which in Deathlok's case means he's totally marginalised). The core cast of X-Men are kept to a minimum to avoid too much clutter with all the guest stars. Nick Fury is used pretty well. The main status change at the end of the story is full of potential (the Red Skull marches off with the SHIELD Helicarrier and a load of enslaved SHIELD agents). And it's got art by Rick Leonardi, who's always reliable.

Yup, it's certainly got a lot going for it. But still, it doesn't make me that enthusiastic.

I think the problem lies with the Red Skull. There is a common misconception among many creators that this bozo is in some way interesting. Quite the opposite - he's one dimensional and rather bland. He's just... evil. On rare occasions this sort of character can work when the story really does call for a villain who's just evil. This isn't one of them. Here, he's just a plug-in villain who doesn't need proper motivation because he's just evil.

A story with an interchangeable hero is a bad thing, for reasons we all know. This is a story with an interchangeable antagonist, and that's bad for all the same reasons.

Oh, and it's also got Machine Man in it, which doesn't help. Despite the brave attempts of the creators to persuade us otherwise, the sight of a purple man with telescoping legs is not thrilling. It's camp.

And while it's really just a niggle, I feel obliged to grumble about Kavanagh's tendency to make up dire faux-jargon when plainly normal English would do the job better. "We've been... skyjacked!" No, you've been hijacked. Hijacked. Common word, conventionally applied to airborne vehicles. Skyjacked? Who the hell says skyjacked? These sorts of bungled attempts at street cred are cringeworthy.

[I've since been informed that actually this really is a genuine Americanism. You people really need a better language. --Paul]

Still. This is being churlish. As I say, this is not a bad story, just a flawed one. There's some good material in here, mainly for Douglock. The X-Men come out of it well. It's a decent enough read. But it's not special.

B

I'm always sceptical about demands for more JSA stories. They've never struck me as a particularly interesting bunch. But here they are, given another shot at winning over the audience. And this time it's arch-revisionist James Robinson writing, together with somebody called David Goyer who I've frankly never heard of.

Reassuringly, it's pretty good. Not perfect by any means, but pretty good. The creators have obviously realised that they can't just play the team as if they were an older JLA. JLA's success is based on the big name characters, and thanks to the deletion of most of those characters from wartime continuity, JSA can no longer wheel out the icons in the way it once could.

Rather, the plan seems to be to play up the idea of superhero dynasties, a theme Robinson apparently also explored in Starman (I wouldn't know - I bought one issue, didn't like it, and never came back). The cast is a mixture of descendents and successors of wartime heroes together with the superannuated originals. Hence we have the original Wildcat and Green Lantern thrown in with the current Starman and Star-Spangled Kid.

The opening storyline seems to revolve a series of attacks on other Golden Age characters or their modern equivalents, and the search for expendable yet recognisable cannon fodder leads to a surprisingly swift exit for the current version of Fate and poor old Kid Eternity. More bizarre by far is the appearance of Scarab, whose series was by all accounts the sort of thing DC would prefer to forget about. The creators presumably either have some wonderful spin on the Scarab idea, capable of reviving this widely despised hero, or they're looking for more cannon fodder.

Albeit that I'm far from familiar with this area of DC continuity, I did enjoy the way this community of heroes was established. On the other hand, I have to wonder whether the creators are assuming an unrealistic level of knowledge of DC continuity - we're apparently meant to recognise Scarab, for example, and you don't get much more obscure than him.

The artwork is generally good, with some nice clean fight scenes. Bright colours, pleasant on the eye. Reminds me strangely of Alan Davis at times, although the more I look at it, the less I can see why I think that.

The flaws of this story are mainly in the details. A lengthy introduction of the cast is done in the form of two characters talking to one another throughout the eulogy at a close friend's funeral, which seems spectacularly wrong. The inclusion of the Star-Spangled Kid also seems odd, as she has no apparent reason to attend this funeral, and her presence doesn't add much (beyond a couple of one-liners).

A promising start, considering that these aren't characters I have ever felt any great affinity for. If nothing else, I'm convinced to stick around to see how the first storyline turns out.

A-

Also this week:

ASTRO CITY #18 - Kurt Busiek begins to pull together the threads of the current extended storyline (which has seemed even more unstructured because of the eccentric and delayed publishing schedule). Can't say I'll greatly miss the Mock Turtle, though.

B+

AUTHORITY #4 - More spectacularly over the top superheroics from the JLA for cynics. The Authority don't really win but manage a respectable draw, Bryan Hitch gets to show off with astonishing action scenes, and the ending plays up some rather sinister undertones to the whole team. Excellent.

A+

FLINCH #3 - Worth buying for an excellent story about a paralysed woman and her murderous companion, which is thoroughly good reading. Garth Ennis's storyline is a throwaway (though it does feature some magnificent artwork from Kieron Dwyer). The opening story about a kid who's afraid of the dark is kind of obvious, but Kelley Jones's artwork more or less pulls it off. Worth a look.

A-

HELLBLAZER #140 - Frank Teran draws the issue, which is a decided improvement on the Haunted arc, if you ask me. After the previous story droned on at least three months too long, a single issue is a pleasant change of pace, although it remains some way off Warren Ellis's best. The basic idea is, to be honest, something of a cliche.

B+

IRON MAN 1999 - This annual ties up the (too) long running subplot in Iron Man about who was trying to kill him, and ties in some other subplots to boot. Well, it's Count Nefaria, who I've at least heard of, but the story assumes far too much knowledge of mega-obscure Marvel continuity. Why, for example, does Charlie Gray come under the heading of characters with ionic powers? Who is he? Who is Therak? Who in the name of Christ are the Crazy 8? Although it's logical that Nefaria would pursue low-rent villains and supporting characters for the energy he needs, a proper explanation of who these people are is desperately needed.

B

WEBSPINNERS: TALES OF SPIDER-MAN #8 - Joe Kelly's amusing sitcom continues in traditional fashion as Peter finds himself going to the prom with three different girls. Not earth shattering, but thoroughly entertaining and a million miles ahead of the two core Spider-Man titles.

A-

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