Spaceman #3 – Review

By: Brian Azzarello (writer), Eduardo Risso (art), Trish Mulvihill, Clem Robins (letters), Mark Doyle & Will Dennis (editors), Dave Johnson (cover)

The Story: Now that our titular “spaceman” has rescued the little girl, he has to figure out what to do with her.

Five Things: 

1. The nuspeak is very cleverly done. – The nuspeak adds a LOT of flavor to Spaceman.  Not only is it a subtle way to make it clear on every page that THIS world is not OUR world, but it also leaves a lot to the imagination.  For example, the characters often use the phrase “braining” to mean “thinking”.  But, consider how many synonyms we have for “thinking”: considering, concentrating, speculating, etc.  They all mean roughly the same thing, but not exactly the same thing.  So, when Azzarello uses a word like “braining” he creates a mushy spot for our imagination to work and we get to speculate on what precisely he means.  It’s like in a prose novel where you guess what characters look like or sound like.  Lots of creators feel like they need to show/tell us everything, but comics are always better when they invite the reader to use their imagination to fill in some intentional gaps.

2. Seeing another Spaceman gives it an Elephantmen vibe. – Towards the end of this issue, another Spaceman pops up and he’s clearly taken a very different path in life since whatever “event” changed this world.  Our protagonist is POOR and seeks out a living digging up things from sunken downtown areas.  The other Spaceman seems wealthy and willing to use his genetic advantages to his benefit.  Clearly these two characters have a past and it reminds me a LOT of the dynamics among the central characters in the Elephantmen series (which is outstanding).

3. Things look bleak for our protagonist. – Maybe it’s a little telegraphed, but the protagonist’s plan (Hide the kidnapped girl at your home until it’s “safe”) isn’t going to work well.  But, even though it is telegraphed, our protagonist doesn’t seem that intelligent, so you kinda cringe the whole time as he’s making what is surely a big mistake.  “GAH!  The dimwitted spaceman kidnapped the little girl!  Did he touch her!?!”

Spaceman #2 – Review

By: Brian Azzarello (writer), Eduardo Risso (art), Trish Mulvihill, Clem Robins (letters), Mark Doyle & Will Dennis (editors), Dave Johnson (cover)

The Story: Our titular spaceman get’s tangled up in a kidnapping plot while having semi-explanatory flashbacks to the past.

Five Things: 

1. Story is starting to round into shape. – Last issue spent most of its time establishing the basic atmosphere of this semi-dystopian, quasi-post-apocalyptic future world.  Here we start to really get into the meat of the story as Orson, our central “spaceman”, stumbles upon a little girl who has been kidnapped while picking for junk out on the open ocean.  It looks like there’ll be a bit of an odd-couple vibe: Hulking spaceman who is a societal outcast protecting little girl (who will doubtless be kind to him because children aren’t burdened with society’s baggage).  But, this issue will make any 100 Bullets fan feel right at home as the whole fight on the ocean is gritty and grimy: dude laying there with his guts handing out, talking all tough, gunplay, violence, slang language….  It’s like sci-fi 100 Bullets.

2. Still a LOT we don’t know. – Although this issue starts to tease things, we still don’t know what really happened to the world to make it this way.  The creators give just the right amount of teasing to keep us interested in that part of the plot.  You know how it is: When the creators keep ending scenes one panel too soon?  If they’d just keep the scene going for one panel longer we’d understand everything?  Sometimes that can be frustrating, but these guys are doing it very well.

3. Love Risso’s art! – Honestly, a LOT of the attraction to this series is the art of Eduardo Risso.  It isn’t just the drawing, but the overall sense of graphic design that pervades the issue.  He always seems to pick a wonderful angle to illustrate a scene from and Risso is also a master of directing the reader’s eyes across the page in the order he chooses.  A fun thing I like to do with a Risso comic is use your hands to cover up parts of a panel, but leave the “main” part alone.  It’s really cool how you still get the idea behind the story that way, but it makes you appreciate how well he constructed the panel to make it a richer experience.

Spaceman #1 – Review

By: Brian Azzarello (writer), Eduardo Risso (art), Trish Mulvihill & Giulia Brusco (colors), Clem Robins (letters), Mark Doyle & Will Dennis (editors)

The Story: In a dystopian future, a genetically altered man must find a way to live amongst the normal humans.

Five Things:

1.  Dystopian Sci-Fi Future.  Is there any other kind of future in fiction these days?  It’s been awhile since I saw any fiction with the future being peaches and cream, but even if we’ve all seen dystopian futures before, it is always fun to try to figure out what happened because these books all feel like they’re from our future.  Compare that to a comic like the Avengers that supposedly happens now (but it clearly isn’t any “now” that we’re familiar with since we don’t really have superheroes), and in addition to enjoying the story of the comic, you also wonder how did we get from “our” 2011 to this.  When is it?  What happened to make it dystopian?  The journey to find these answers can be almost as much fun as the main plot itself.

2. Story is a little unclear right now.  After one issue, I couldn’t really tell you what this story is about.  There’s this main character who was genetically modified for a mission to mars (which seems not to have happened?).  He seems like a big, strong, ox of a guy, but not too bright and he eeks out a living by scavenging metal and artifacts from under the ocean (since the seas have risen due to global warming).  And, there is a kidnapping of some celebrity couple’s kid that seems loosely tied to our main character until the ending.  So, there are lots of niblets of story here, but it isn’t really clear what the main thrust of the story is.  Some of that could be Azzarello and Risso knowing that fans of 100 Bullets will give them a lot of time to develop their story, but it’s also worth keeping in mind that it wasn’t really clear what 100 Bullets was about until around issue #40.  So, I do wonder how the creators will pull off this story in a 9-issue miniseries.

3. Risso’s art is really unique.  If you’re a fan of comic art you’ll know Risso’s name.  Mostly that is due to his work on 100 Bullets (which is “must read” material), but he’s done some other stuff too.  Risso has one of those styles that is immediately recognizable for his page layouts, faces and distinctive use of shadow.  He’s also incredibly gifted at eyes and giving each character unique eye shapes that speaks to who they are and what they’re up to.  The eyeballs he gives the little girl toward the end of the issue are really creepy.  It’s really masterful stuff and I’m really glad to see him back on a book like this.

Dark Horse Presents #2 – Review

By: Paul Chadwick, Robert Love, David Walker, Michelle Davies, Diego Simone, Thomas Mauer, Neal Adams, Moose, Carla Speed McNeil, Jenn Manley Lee, Bill Mudron, Howard Chaykin, Jesus Aburto, Ken Bruzenak, Michael T. Gilbert, Patrick Alexander, Sanford Greene, Chuck Brown, Tyson Hesse, Steve Dutro, Richard Corben, Clem Robins, David Chelsea

The Story: Another round of Dark Horse’s reborn anthology series.

Review: Honestly, this issue was a real slog to get through.  Part of the problem is that there was no singular story that was just electric in this short format.  Some of them might mature into great stories, but anthologies are hard. You have to grab the reader right away!  If the issue starts with 3 stories that fail to capture the attention, the remaining part of the issue might be doomed.

Another problem with this issue was editorial.  By having most of the first half of the issue filled with stories that began in last month’s issue, we got a lot of second chapters.  All told, we got a second chapter of Concrete (Paul Chadwick), Blood (Neal Adams), Finder (Carla Speed McNeil), Marked Man (Howard Chaykin), Mr. Monster (Michael T. Gilbert), Murky World (Richard Corben) & Snow Angel (David Chelsea).  That is just waaaayyyy too many second chapters.  Second chapters don’t have as much novelty, but they also don’t finish stories, so they can be pretty boring.  And this issue was pretty drab.

The few new stories in this issue were the high points.  Robert Love and David Walker give us “Number 13” which is about a post-apocalyptic wasteland, Patrick Alexander gives us The Wraith which is a silly kinda spoof of an evil Batman and Sanford Greene and Chuck Brown trot out Rotten Apple which had an interesting twist on a zombie overrun world.  I really enjoyed all three of these new stories because they were fresh.

Editorial could have helped this issue out a bit by putting the new stories at the front to build some more excitement for the rest of the issue.  It also might be good to stagger the ongoing stories so that we don’t get a whole pile of Chapter 2’s again.

Dark Horse Presents #1 – Review

By: Paul Chadwick, Howard Chaykin, Jesus Alburto, Ken Bruzenak, Neal Adams, Moose, Carla Speed McNeil, Jenn Manley Lee, Bill Mudron, Michael T. Gilbert, Frank Miller, Richard Corben, Clem Robins, Randy Stadley, Paul Gulacy, Michael Bartolo, Michael Heisler, David Chelsea, John Schork (assistant editor), Scott Allie, Rachel Edidin, Sierra Hahn & Diana Schultz (editors)

The Story: A great name in anthology comics comes back with pretty hot list of creators (see above) tossing a few pages each at the effort.

Anthologies: When I read an anthology, I am looking for something very specific: I just want one electric story that grabs me and makes me want to see more material from that creator NOW.  Other than that, I’m just looking for few nice stories, some nice art, etc.  And, I really don’t care that much if a few of the stories suck.  Just turn the page!  I think you score anthologies based on the high points, rather than the average of all the stories combined.

What’s Good: We have a winner!  In a comic that has a lot of pretty strong efforts from some creators who know a thing or two about creating comics, the best short-story is that of Michael T. Gilbert as he gives us a story of his character, Mr. Monster, fighting with a giant tree-alien calling himself Oooak (get it?).  This story has a very retro vibe both in terms of the language and the art, but it is just zany fun as Mr. Monster tries one thing after another to kill Oooak before he finally resorts to throwing a jar of “Acme Termites” at the bad guy.  This is the awesome sauce that made the whole comic worth buying.

There were a few other nice little stories in here too.  Paul Chadwick contributes a very nice story of his character Concrete.  I don’t even know the last time we got a new Concrete story, but this is some vintage stuff as we get to see the protagonist’s humanity filtered through this character that couldn’t look more different if he tried.  Neal Adams also tosses in a teaser for a new concept he has called Blood.  We get a singular image of the anti-hero Blood, but the rest of the story is recounted via a torture scene as some bad guys sweat the details out of one of Blood’s buddies.  It’s a very original way to lay out a story and Adams is on his A-game with the art too.

I’d absolutely like to see more of those three stories either in future editions of DHP or on their own.

What’s Not So Good: Considering the teaser on the cover for “Frank Miller’s Xerxes!”, it might be nice to have gotten more than 4 splash pages of art/story.  What we see is good, but it was a little disappointing when the name “Frank Miller” was one of the large attractions for the issue.  As if to compensate for the lack of story, we are treated to an interview with Mr. Miller.  I don’t know about you, but I have less than zero interest in reading an interview in my comic book.  For one thing, I pretty much don’t read interviews about upcoming projects; I’ll just look at the work when you get it done, thank you.  For another, in the year 2011, there are a bajillion places to find interviews online without having a few pages of a $7.99 comic devoted to them.

Area 10 – Review

By: Christos N. Gage (writer), Chris Samnee (art) and Clem Robins (letters)

The Story: A serial killer is beheading victims in NYC, and people are getting holes drilled in their heads, giving them powers of precognition.

What’s Good: This was a very fast paced hardcover OGN from Vertigo’s Crime series.  Checking in at 180 digest-sized pages, I chewed through it in ~70 minutes over two sittings.  It was a good, fun and fast read.  The well paced story is that of a “hard-boiled detective trying to catch the serial killer” with a kind of X-Files (or Fringe, for the younger readers) twist.  In a lot of ways, I felt like Gage was kind of paying homage to the serial killer/thriller genre because a lot of the cliches of the genre are in here, but when they play out in a predictable fashion it is fun rather than groan-worthy.  I’d compare it to watching a Tarantino movie where he is playing up Western themes in a fun and slightly cheesy way.  On top of that, there were a couple of plot twists toward the end that I didn’t see coming, yet they weren’t plot twists for the sake of plot twists.  I loathe gratuitous plot twists!

The Samnee art is also a joy.  Being B&W and in digest format, it really reminded me of the art in some of the more realistic newspaper strips like Rex Morgan.  That may sound like a slam on a comic artist, but I don’t mean it that way at all.  It’s well done, clear and tells the story without resorting to needless splash pages.

Amazing Spider-Man #627 – Review

by Roger Stern (writer), Lee Weeks (artist), Clem Robins (inks), Jeff Parker (colors)

The Story: Spidey’s dinner with just-friend (or is she?) Carlie Cooper is interrupted by the Juggernaut being thrown across the NYC skyline and crashing down in Central Park, unconscious.  His investigation into what or who could have possibly stopped the Juggernaut eventually brings him face to face with the costumed individual responsible (and it’s a costume Spidey has some history with).

What’s Good: Stern returns to the pages of our Friendly Neighborhood Wall-Crawler with ease, slipping in as if he’d never left.  The scribe even finds time to organically summarize Spidey’s origin in the first-page narration, making the “Previously on Spidey” page before it superfluous.  Before we can even say “webs,” our hero is already knee-deep in intrigue as he discovers the downed Cain Marko.  This issue went so effortlessly from point-of-interest to point-of-interest that it should really be classroom material for any newbie writer who wants to learn how to kick off a story.  I mean, the guy even makes a page-and-a-half recounting of every Spidey/Juggs fight entertaining!  Kudos also to the Marvel-style common sense showcased in Spidey’s thinking.  If you’ve got a Juggernaut problem, who you gonna call?  Ghos -!  Er, I mean, Professor X and Doc Strange, of course.  Sure, he doesn’t actually get a hold of the resident experts on all things Juggy (It is Spidey’s mag, after all) but the effort is appreciated by this reviewer, as is the inclusion of the NYPD’s Code Blue squad.  Of course they’d be called in for something like this.  It’s nice to see continuity addressed and addressed well.

Lee Weeks.  Ah, what can I say that isn’t perfectly obvious any time someone reads something you’ve penciled?  Should I mention that you’re a consummate draftsman that knows how to tell a story clearly and dynamically?  How about that you’re solidly dependable, always showing up on a title and never affecting the quality, except in the positive?  Shall I tell the readers that your Juggernaut, even unconscious as he is most of the issue, looks incredibly imposing?  The villain as drawn by you really looks like he weighs half-a-ton.  And your Spidey?  As lithe and heroic as ever.  You know, Lee, I’m at a loss at where to begin.

Hellboy: The Crooked Man #3 – Review

By Mike Mignola (writer) Richard Corben (art) Dave Stewart (colors) Clem Robins (letters)

I can’t say enough about Mike Mignola’s work. Not only are his characters among the best in comics today, but the world they live in is so rich, and deep. Something that always impresses me about Mignola’s writing is his word-choice. The characters’ dialogue sound unique, and their words reflect their personality, showcasing the kind of writing that executes character development at its finest. Furthermore, Mignola’s storytelling is solid as usual, as he provides a lot of really engaging history that many can easily love.

With such unique writing to follow, the art is required to deliver just as well. Richard Corben proves once again, without a doubt that he’s up to the task. It’s a treat to see his work since he and Mignola compliment each other so well. Each panel shines, slick with detail,the Crooked Man in particular. He’s a man of a thousand faces, and Corben does a good job showing that by providing a different look for each phase of his temptation. When appealing to fairness, he looks sympathetic, hiding his nastier features. When making a point or threat, you see every awful detail. He’s always thinking, and changing his approach physically and verbally.

It’s rare in comics to have an arc maintain such high quality from start to finish. Initially, I was expecting more of a direct confrontation with Hellboy, Tom and The Crooked Man. I’m glad I didn’t get it, this isn’t that kind of story, and that is enough reason to pick this up.(Grade: A)

– Ben Berger

Hellboy The Crooked Man #2 – Review

By Mike Mignola (writer), Richard Corben (art), Dave Stewart (colors), Clem Robins (letters)

It’s almost a shock to go from the Hellboy movies to the comics. It’s not that it’s bad or anything, just different. At the core, he’s the same character, but it’s the little frills that make it different. The Crooked Man has been great so far, and truth be told, I’m really bummed that it’s ending so soon.

Mike Mignola is brilliant, we all know this, but it’s nice to get a reminder now and then. I love The Crooked Man. The idea of a guy who’s “crooked” because he was hung hundreds of years ago and is now working for the devil is a pretty scary thought. I’d love to get more detail on him which will hopefully happen in the next issue. My only complaint about the issue is that it feels a little light on story details. The Crooked Man is the best part and he’s not seen till the end. Even so, I’d like to know more about the witches and the history for the area, which is a credit to the world Mignola’s setup. Instead of getting backstory it’s more of Tom’s trip to bury his Pa.

Richard Corben’s art is amazing. Every panel has just the right mix of horror, fantasy, and mythology. There’s a very clear difference in the pencils between those who are good (or alive) and those who are evil (and dead). This sounds like something easy to do, but Corben renders the evil in a more subtle way than most. At one point Cora refers to the witches as “a special kinda evil” and that’s how each villain is drawn, special. The Crooked Man is the best example of this. He’s that perfect mix of clown creepy, crazy homeless man, and a touch of warped Jim Henson.

Hellboy and his world are amongst the most rich of any comic universe. I’m always left wanting more in a good way. I know Mignola has a long term plan for the character, and I know it’s selfish for me to never want him to get there. If you’re a Hellboy fan, or ever wanted to be, this is a must have book. (Grade: A)

-Ben Berger

A Second Opinion

The second chapter of The Crooked Man continues telling the story of Tom Ferrell’s creepy, supernatural homecoming. It picks up with Hellboy, Tom (carrying his dead father), and Cora making their way to a church so Tom’s father can be put to rest within holy grounds, safe from witchcraft and other dark things. The journey is (as expected) far from smooth as Cora tells of a mining legend that turns out to be not only true, but quite deadly! They eventually make it to the church and the stage is set for Tom to confront The Crooked Man, whether he wants to or not!

Simply put, I’m loving this Hellboy story. The writing and artwork come together to tell a tale of rural horror that is simply top notch. Mignola’s storytelling is extremely tight and his dialogue oozes personality and Appalachian flavor. As for the artwork, Corben and Stewart create some grotesquely beautiful visuals that make a great story even better.

If you are a fan of Hellboy, horror, or just good storytelling (written or visual) make sure to check out Hellboy: The Crooked Man. (Grade: A)

-Kyle Posluszny

B.P.R.D.: The Ectoplastic Man (One Shot) – Review

By Mike Mignola & John Arcadi (Writers), Ben Stenbeck (Artist), and Clem Robins (Letters)

B.P.R.D.: The Ectoplastic Man is the one-shot origin of the BPRD’s best bodiless agent: Johann Kraus, The Ectoplasmic Man.  Kraus was an experienced medium before becoming permanently departed from his body during a séance that obviously went very wrong.  When a massive ethereal disaster in Chengdou, China, reverberates through the astral plane all the way to Germany, the séance party is seemingly killed save for Kraus who remains connected to the living world as a ghost.  Although he doesn’t initially accept the offer to join the Bureau of Paranormal Research and Defense, he eventually realizes that the BPRD can offer him not only the ability to remain in the world without dissipating forever, but the opportunity to stop future paranormal catastrophes.

Mignola and Arcudi’s story of this high-minded medium is satisfactory and at moments thrilling, but rushed. The entire comic feels as if it had been edited out of another HellBoy title, stretched to fit 24 pages and sold at 3 bucks a pop.  After being discovered by the BPRD in the astral disaster aftermath, the idealistic Kraus heads to the cemetery to answer the cries of another wayward ghost. They are met by a nefarious demon that seeks to deceive the wayward ghost into his home and eat him. The scene works thematically to give Kraus purpose in joining the BPRD and helping fellow physically challenged phantasms being lured by other traps. Yet, Kraus’s transformation into the Ectoplasmic Man seems to told be out of necessity rather than feeling. We see the building of the suit that will hold in this world, him using the suit once, and then “The End.” The endeavor, which could have stronger and more meaningful, took less than three pages.

As for Stenbeck’s art, he is a natural fit for the HellBoy universe, though more on the whimsical side than realistic. Nonetheless, he tells the story with vivid and moody atmosphere, in particular, the descent of Kraus from the sky to the German village. Stenbeck draws Kraus as a wisp of gray cloud fighting against the hard winds similar to billowing smoke of chimneys. This provides a nice visualization of Kraus’s struggle as a ghost.

If you like Hellboy or simply like paranormal adventures, pick this accessible book, but don’t expect too much depth. (Grade: B-)

-Steven M. Bari

A Second Opinion

This is a good example of a book that can be picked up and enjoyed easily. Sure, it helps to be familiar with the world, but Mignola and Arcadi do a good job of simplifying things. As far as origin stories go, this is one that’s both tragic and engaging.

I’m glad it’s not the standard “my (insert loved one here) is dead and now I’m going after the criminal element” story. It’s refreshing to read about a hero without the standard origin. We learn about Johann Kraus and how he became The Ectoplasmic Man. When a routine seance goes wrong, Kraus is the only one left tied to our world. Having trouble coming to grips with his fate, he’s drawn to a nearby cemetery at the call of a recently deceased man. This ultimately leads him to The Bureau where he can continue to fight the good fight against demons and monsters. One of the things I like so much about this book is the script. Mignola and Arcadi do such an excellent job of differentiating the characters. A lot of characters these days sound the same so, it’s nice to have such a clear line drawn between them.

At first glance the art looks simple. If you look closer, you’ll find an amazing amount of detail, especially in the backgrounds. Wieland Lorst is an excellent villain for a number of reasons. The first being how he’s drawn by Stenbeck. Sure, he’s ugly but for me he wasn’t someone who wouldn’t appear to be a villain. Lorst looks creepy, but not necessarily evil. His showdown with Kraus is my favorite part of the book. Seeing Lorst’s demon form, how he taunts Kraus, and his limitations as a ghost make for a really great climax.

I really enjoyed this book. The fact that Johann’s origin isn’t the norm is a definite plus. Admittedly, I have a love-hate reaction to the last panel of the book. It’s an awesome ending on one hand because you don’t see that fight, but its disappointing at the same time since I wanted to see it. (Grade: B)

-Ben Berger