Fairest #20 – Review

By: Sean E. Williams (story), Stephen Sadowski & Meghan Hetrick (pencils), Phil Jimenez & José Marzán (inks), Andrew Dalhouse (colors)

The Story: Prince Charming is relieved to know he can still keep an eye on his love life.

The Review: Reading through this arc has made me realize that Bill Willingham must have a lot of courage to trust others with his toys.  It’s one thing for mainstream writers to loan out their storyline ideas or to pass on their continuity to the writers who come after them; those characters don’t belong to them anyway.  But an indie writer owns not only the premise and characters of his story, but the story’s entire vision; can he really trust others to see the world the way he does?

In hindsight, Willingham probably shouldn’t have entrusted one of his bigger characters to Williams, who has unfortunately proven to lack the skill necessary to meld a personality like Prince Charming with an entirely new mythos in the Fables universe.  It’s possible that Williams was hindered by a mission to revive Charming and figure out a way to return him to Fabletown, but this by itself can’t possibly be the reason why this entire arc has felt so lifeless.

Fairest #19 – Review

By: Sean E. Williams (story), Stephen Sadowski (pencils), Russ Braun (art), Phil Jimenez & Christian Alamy (inks), Andrew Dalhouse (colors)

The Story: Nalayani’s village becomes a victim of serious huffing and puffing.

The Review: Of all the arcs on this series thus far, this one has been the least engaging, embodying all your worst expectations about a spin-off title.  Besides stretching a thin plot well beyond what it can actually sustain, the arc has accomplished shockingly little for it.  Despite Williams’ efforts—I would say “best efforts,” but I would be appalled if these were actually his best efforts—we remain unattached from the characters and the story at large.

I suppose it’s sort of an interesting twist on the usual chauvinistic dynamic in fiction that Prince Charming has turned out to be really a very thin character in this arc, largely defined by his relationship to Nalayani.  His professions of love last issue felt so unconvincing as to make you squeamish, but it looks like Williams won’t be dropping the subject anytime soon.  Through some eye-rolling plot developments, he confirms that Charming has finally experienced “genuine true love” (as opposed to just good ol’ plain true love, presumably), but still can’t manage to offer any evidence of it, or even a good reason why.

Fairest #18 – Review

By: Sean E. Williams (story), Stephen Sadowski (pencils), Andrew Pepoy (inks), Andrew Dalhouse (colors)

The Story: In a country with few men, even a one-handed fellow starts looking pretty good.

The Review: It’s easy to see that the relationship between plot and character is one of mutual dependence, where if one falters, the other must compensate, and each may help with the development of the other.  A powerful plot can challenge weak characters to reveal greater dimensions to themselves, while strong characters can invigorate an otherwise insubstantial plot.  When both essential sides of a story fail, however, then the story can’t help collapsing on itself.

After four whole issues, it’s become pretty clear that Williams doesn’t have much of a plot to offer here.  If he does, he must be saving it all for one heck of a finale because what he’s given us so far has been completely inadequate.  The Dhole have been the only active antagonists thus far, and there’s no sign they’re anything more than smarter-than-average carnivores.  While we know another mastermind is at work, we learn nothing about him or his intentions here.  Kind of makes it hard to generate the necessary enthusiasm in such stake-less circumstances.

Fairest #17 – Review

By: Sean E. Williams (story), Stephen Sadowski (pencils), Phil Jimenez, Andrew Pepoy, Dan Green (inks), Andrew Dalhouse (colors)

The Story: Nalayani and Charming get the sinking feeling that someone is out to get them.

The Review: Longtime readers of this site—specifically, longtime readers of me—probably have noticed that I have a fairly unusual (some might argue unpredictable) grading style.  You can check out this article for some comprehensive explanation behind that, but I can tell you right now what falls under C-material in my mind.  It’s the same things I used to comment on my C students’ work: passing effort, messy, lacks originality, barely functional.

I bring all this up now because this issue of Fairest and this whole arc in general seem to hit all those qualities.  If some find this assessment harsh, I offer as proof Williams’ explanation of Prince Charming’s return from the apparent dead.  It basically boils down to the fact that he’s too popular to die, even after getting blasted apart by an explosion which shattered the gateways to other worlds.  But this is simply the physics of the Fables universe.  What’s really problematic is the unaffected, nonchalant, even dull manner in which this story is recollected.

Fairest #16 – Review

By: Sean E. Williams (story), Stephen Sadowski (pencils), Phil Jimenez & Dan Green (inks), Andrew Dalhouse (colors)

The Story: Prince Charming realizes this is no Bollywood romance he’s stumbled into.

The Review: Not that every story has to be layered with double meanings and secret symbols, but for a reviewer, the more straightforward a story, the less he naturally has to talk about.  After all, why would you need a critic when a synopsis of the plot would suffice just as much?  Fables, for example, wouldn’t have such lasting power if they weren’t crafted in such a way as to deliver a bigger message beneath the simplicity of their actual substance.

This is all to say that I find it very interesting that Williams’ reinterpretation of Nalayani’s character and journey is in many ways less complex and meaningful than the original.  Admittedly, sequels and spin-offs do tend to end up like this, but Fables isn’t usually your typical sequel or spin-off.  It’s possible that Williams will at a later point reveal how deeply layered his story really is—he’d have to if he wants to make any impact with this arc at all—but for now, his individual issues aren’t particularly engaging.

Fairest #15 – Review

By: Sean E. Williams (story), Stephen Sadowski (pencils), Phil Jimenez (inks), Andrew Dalhouse (colors)

The Story: If you’re a Fable with an appetite for sex, India’s your kind of place.

The Review: As a real latecomer to Fables (my first issue being #104), it’s not surprising that I missed out on quite a lot of the series’ history.  I’m not just talking about major events, like everything to do with the Empire, either.  There are some characters whom I’ve heard of only in name and never actually go to see, as they were long dead by the time I got around to the series: Boy Blue, Goldilocks, and Prince Charming, to name a few.

Still, you’d be amazed how much familiarity and attachment you can develop for a character with a thorough reading of their Wikipedia entry.  So while longtime fans of the series may be far more enthused about the return of Charming (which I don’t consider a spoiler since it is only right there on the cover), I can honestly say I’m quite intrigued, too.  I’ve heard a great deal about the resilience of a Fable, even one that’s killed, so I’m very interested to see it in action.

Warlord of Mars Annual #1 – Review

By: Mark Rahner (writer), Stephen Sadowski (illustrator), Adriano Lucas (colorist), Joseph Rybandt (editor), Edgar Rice Burroughs (creator)

The Story: “Shell Shock”: After some sparring, John Carter and Tars Tarkas, two old warriors who have become best friends, go over a tale from Tars Tarkas’s past, one that took place just before Carter arrived on Barsoom.

The Review: It is very hard to capture the mood of Barsoom with an economy of words. The pulp tradition, born in the baroque written style of the late Victorian, is part of the charm. This was the first thing that struck me in this book. It is a story told by Tars Tarkas, so it marches in his reflective, expository style. At first, being so different from the post-Hemingway, post-Frank Miller styles of writing, it took a bit to switch gears and accustom myself to the different rhythm of story-telling. Once I was there, I was delighted, feeling like I’d immersed myself in an unearthed Burroughs tale. The story intrigued in that we open a window into the notoriously closed Thark Jeddak and see what he and Carter interpret first as a mid-life crisis, but slowly revealed itself as a philosophical angst that laid the emotional groundwork for the friendship the now exists between Carter and Tarkas. The narrative drive is powered by a crime and a mystery, with social tensions, but the heart of the story is emotional and satisfying. The icing on the cake for me was the end of the story, with the moment of laughter between the two good and great friends, one that I got to share in too.

Warlord of Mars #12 – Review

By: Arvid Nelson (writer), Stephen Sadowski (illustrator), Shane Rooks (colors), Joseph Rybandt (editor), Edgar Rice Burroughs (creator)

The Story: Heretics of Mars, Part 3: Using his father’s talent for telepathy, Carthoris has discovered a second amulet of the kind worn by the caretaker of the great atmospheric factory that keeps Mars habitable. When he and tars Tarkas realize where it must have come from, they realize that someone is in great danger and Carthoris must save them.

The Review: I am now totally wrapped up in the intrigue and character of this 3-issue spacer between A Princess of Mars and Gods of Mars. It took me until the second issue to realize that this arc is a story about Carthoris and I love Dynamite’s vision of him. He is not yet the assured young warrior prince man who will later heroically rescue the love of his life, Thuvia of Ptarth. He is in the first blush of independence from his mother, quick with a sword, but controlling his anger and impatience with difficulty. It’s a thin line for a writer to walk to write a teenager well, but Carthoris is heroic and uncertain and unwise, while showing the seeds of the greatness he will eventually grow into. Kudos to Nelson for making such a sympathetic character that we’re still happy to see get slapped around by Tars Tarkas when he needs it. I wasn’t sure how I felt about Sola playing the role of the fool in this story, but I think if the audience Dynamite is aiming for is not necessarily people who have read Barsoom before, it should work. By the same token, after having seen Dejah Thoris in the driver’s seat in Napton’s series, her more standard role as damsel in distress feels a bit underused.

Warlord of Mars #11 – Review

By: Arvid Nelson (writer), Stephen Sadowski (artist), Shane Rooks (colors), Joseph Rybandt (editor), Edgar Rice Burroughs (creator)

The Story: Carthoris and Tars Tarkas are in it deep as they are shot down by the Warhoon. And Dejah Thoris is trying to puzzle through the mystery of who framed John Carter while navigating the intrigue between the Jeddak of Zodanga and the Hekkador of the Therns.

What’s Good: OK, by the second part of this three-part arc, I’m really digging the story. I like the mystery of the planted amulet, the steward’s death, the murder of the atmosphere plant worker, the madness of the other, and the slow, suggestive reveal of the Therns and Zodangans. I get that this is a set-up arc, to bridge the last few months of that ten years while Carter is back on Earth, and I’m good with that. I love seeing both Dejah and Carthoris in action, especially the son. He’s a character with obvious growth to do, and a lot to prove and that’s fun. I also loved the telepathy he’s got. Quite cool.

Artwise, I’m enjoying Sadowski’s work on the Tharks, the thoats, the atmosphere factory, the mad keeper, and Tars Tarkas. Sadowski’s Tharks are much larger than Lui Antonio’s and match more closely Roberto Castro’s (which themselves are closer to the green men Burroughs described as engines of destruction). I also enjoyed the newer designs of the Heliumite fliers, complete with stirrups, but my favorite visuals were Carthoris. Sadowski’s young, driven, conflicted hero works for me.

Warlord of Mars #10 – Review

By: Arvid Nelson (writer), Stephen Sadowski (artist), Shane Rooks (colors), Joseph Rybandt (editor), Edgar Rice Burroughs (creator)

The Story: In the time since John Carter has gone back to Earth, Barsoom mourns his loss and a son has been born to him. The Zodangans and the Therns seem to be hanging about with Dejah Thoris on their minds, when an assassin tries to kill her.

What’s Good: However much I loved Dynamite’s Princess of Mars adaptation (the first nine issues of this series), I’m pleased that it is done so that I can be transported to places and situations on Barsoom that I have not seen before (as Nelson and Napton are taking us). The new Zodangans (ever the rascally enemies of Helium) and the religion of the Therns are such situations. The plotting and counter-plotting has my interest and this issue did what a starting book in an arc should do, which is launch a story with enough momentum to get the reader to want to follow the arc. Artwise, Sadowski brought some different visions to the series. His pyramids and the lair of the Therns were intriguing, as was the hurtling flight of Carthoris and Tars Tarkas across the Martian wastes.

What’s Not So Good: I miss Lui Antonio. We really got spoiled by his beautiful art. Sadowski is certainly a competent artist, but the style change for the series feels drastic. The style is darker and scratchier and more realistic (as opposed to heroic and grand). Dejah Thoris is not the woman whose beauty has started wars, but is simply a woman. Tardos Mors does not seem to be the commanding figure that has ruled the twin cities for five centuries, but simply a man. Even the Zodangans, so beautifully portrayed in previous issues with heroic figures and short brush cuts are now lanky, long-haired figures whose postures seem sniveling compared to those admirable warriors who committed suicide to signal surrender to Heliumite forces. Additionally, whereas I felt that Antonio cleaved pretty closely to Burroughs’ original vision of a largely nudist society, Sadowski through more clothing onto the figures, which seems to me stylistically closer the later stories in Burroughs’ Mars series. I don’t mind which style Dynamite picks (the pulp covers always went with clothed figures), but the sum of the stylistic differences in the art was jarring.

Conclusion: As a hard-core Barsoom fan, I’m going to continue with the series, but the art switch really got me down. Hopefully, Sadowski grows on me. Or they bring back Antonio. Recommended for people like me.

Grade: C

-DS Arsenault

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Warlord of Mars #2 – Review

By: Arvid Nelson (writer), Stephen Sadowski (illustrator), Adriano Lucas (colorist), Joe Rybandt (editor), based on the stories by Edgar Rice Burroughs

The Story: A Tale of Two Planets, Part Two: John Carter’s friend Powell is captured by Apache warriors in Arizona. Tars, a nameless, unproven Thark on Mars, is challenged by Tarkas, an ambitious green warrior eager to make a kill and gain honor.

What’s Good: Sadowksi and Lucas again make this visual experience come alive. From the opening splash page staring into an Arizona canyon, to the splash page at the end with one green warrior standing over another, the dynamism of the movements and the emotions on the faces are there. Nelson is really lucky to have an artist like Sadowski who can transmit nuanced emotion so Nelson’s words don’t have to. Fear, rage, pride, cunning, disdain and confusion are all there, without any need for words or dialogue. Carter’s supplication to Mars, that red point of light in the sky, is close to religious, and is narrated in silent body language. Carter’s expressions throughout the book would have fit on the poster of any old western. And, while I don’t usually give a thumbs up to gratuitous sensuality, Campbell’s jaw-dropping cover reminds me of why boys and men love Dejah Thoris. No wonder I wanted to be John Carter.

On the plotting side, Nelson’s obviously got a roadmap to follow, and I have read the Princess of Mars so many times that even the slightest deviation is noticeable. That being said, where Nelson does deviate, I like what he’s doing. All of Tars’ story is new and intriguing. Carter’s exploration of the cave and the pictures on the wall tie later events more closely together, without the coincidence that Burroughs so often resorted to. Nelson did the same thing last issue by giving the Apache warriors a motive to hunt the white men.

Warlord of Mars #1 – Review

By: Arvid Nelson (writer), Stephen Sadowski (illustrator), Adriano Lucas (colorist), Troy Peteri (letterer), Joseph Rybandt (editor), created by Edgar Rice Burroughs

The Story: John Carter, former confederate cavalry officer, is in Arizona, trying to prospect for gold, but he gets caught up in a tangle with some US cavalry types who have an axe to grind with ex-rebels. On Mars, a green warrior, Tars, the future friend of John Carter, is introduced in pitched battle with the white apes of Mars.

What’s Good: This book really hit all the right buttons for me. From the opening lines (pulled pretty much from A Princess of Mars) to the narrative, and dialogue, Arvid Nelson caught the mood and flavor of Edgar Rice Burroughs. So despite the new scenes, Nelson’s vision was faithful to the original. Did Nelson find some cool moments? Hell, yeah! I’d love to talk about what was cool for me, but we have a no spoilers policy at WCBR, so I’m kind of stuck. Just buy the book…oh, wait. I just spoiled my review!

Artwise, I’m really, really surprised by the quality on the page. Dynamite has been putting some great art to paper for some time now, but I guess I had in my head my fond memories of the old 31-issue John Carter of Mars series as my default. The art there was quite good, but other than Rudy Nebres, had a pretty super-hero feel to it. You could tell it was out of Marvel. Not so with Sadowski and his art team. The realism of 1866 Arizona, the evocativeness of the clothing (the suspenders!), the texture on the riding gloves, the subtle touches like the antlers on the wooden walls, all made frontier Arizona come alive. Sadowski made me feel the same way on the opening scene on Mars. The crumbling rock palace, abandoned under a lurid red sky, was haunting. The savagery of the white apes and the muscled menace of the green men were awesome. But you know what most hit me visually about the book? John Carter’s face. From his first cross-ways look at the cavalry types, full of disdain and irritation, to his straining expression in the fight, to his smile as he leaves, I felt that John Carter had finally been drawn in the way Burroughs had imagined. I’ve seen the Michael Whelan covers. I’ve seen Gil Kane, Rudy Nebres and Carline Infantino draw Carter as well. But they never captured the warmth and wry humor of the eternal fighter who always seems to be thirty years old. I then realized that I’m really going to enjoy Sadowski’s John Carter.

Project Superpowers #0 – Review

By: Jim Krueger (Writer), Alex Ross (Art Direction, Cover), Stephen Sadowski (Art)

This week’s new releases have been nothing but great read after read. I thought something had to give. Usually when I pay $1.00 for a comic book (these days), I expect to get maybe five pages of story, some dossier files and some character sketches. Not this time!

Project Superpowers caught me completely off guard. I expected some Golden Age silliness and mayhem, but what I got was a well crafted story and a character in the form of the Fighting Yank who is probably more fleshed out than his original character of yesteryear. It’s an explosive tale that centers around World War II where it’s believed that Hitler and his obsession with the occult has uncovered Pandora’s Box. Now, I’m not going to go on about the rest of the story, but it’s a really good read and the ghost that haunts the modern Fighting Yank (now in his old age), makes you wonder if he was delusional or if he was doing the right thing.

Like Marvel’s new series, The Twelve, Project Superpowers shines a new light on old characters, giving them a more dark and interesting modern spin. Shame on me for underestimating Alex Ross and Jim Krueger. Don’t be fooled by the price tag on this book, you get a full 20+ pages of fantastic story and beautiful art. Easily the most bang you’ll get for your buck this week. (Grade: A)