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The Monitor Corps are kind of fun. They add that Sci Fi High Fantasy element that is still so unique to comics. But there was a sort of imposed importance of their pressence and the Source wall was not as impressive as I've seen it before.
I'm a little cold on the inclusion of the Monitors, as they take a standard trope (inter[dimensional/planetary] police force) which is already a heavily used one (Green Lantern Corps, Captain Britian Corps), and then they drain it a little of the excitement -- the Monitors look the same rather than (apparently) having diverse costumes, biologies, and histories. The only way I'm expecting to be excited by them is if there's wacky jurisidictional issues with the Green Lanterns.
And no, the Source Wall wasn't too impressive. I think the page layouts contributed to that, too many smaller panels -- the Source Wall actually warrents a splash page, I think, when few other situations really do. The figures on the wall weren't distinctive enough, the sense of scale between the Monitor and the Wall wasn't keenly focused enough (the figures are supposed to be mostly gigantic, yeah?), they didn't seem to be fiirng energy beams from their eyes, and frankly Saiz's pencils are better suited to the gritty street crime / Manhunter milieu rather than the cosmic.
With the art teams rotating, I'm surprised they aren't doing more to plot the story to play to each artist's strengths - ie, hold off on the Monitor appearing before the Source Wall until they've got an issue with an artist better suited to cosmic images.
But that Cliff is one solid artist. I'd like to see him on some higher-profile books.
I highly recommend his Beware the Creeper! revamp for Vertigo, from a few years back. The line work was a lot sketchier (an issue of inkers, I think), but still extremely fluid. The series was good on the whole, being a sort of Vertigo take on the Tangent Comics concept -- it set up a mystery surrounding the main character's identity that was sumptuously Silver Age and pulpy at the same time. |
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