Showing posts with label richard case. Show all posts
Showing posts with label richard case. Show all posts

Friday, October 3, 2008

Needs More Ezquerra

Here's how this works: I finish reading something, and I tell you about it, and I try not to bore you to death. This time, reviews, of sorts, of Preacher: Ancient History (DC/Vertigo, 1998) and Strontium Dog: The Final Solution (Rebellion, 2008).



As I mentioned in Thrillpowered Thursday a few months back, I really don't enjoy Garth Ennis's Preacher and its uncensored, over-the-top brutality and ugliness, despite its wealth of incredible ideas. However, I decided to give a used copy of this a try to get even more Carlos Ezquerra on my shelves. The book compiles a mini-series and two lengthy special editions which tell stories of some of the main title's supporting cast. The mini-series looks at the violent history of the Saint of Killers, the first special gives us the pathetic origin of the tragic Arseface, and the last story recasts the loathsome Jody and T.C. as protagonists in a parody of an action film.

Steve Pugh is not my favorite artist, but he is perfectly suited to the violent western tale of the Saint and the incident that sent him to Hell. Pugh illustrates the first two episodes and they're fantastic, a studied mix of Western tropes and ideas that suggests he and Ennis would be well-matched on Jonah Hex. In episode three, the Saint awakes on the road to Hell. Ezquerra illustrates this episode, and man, does he ever bring his A-game. With the story now shifted from pulp Western to myth and fantasy, Ezquerra turns in some work that's so amazing that when Pugh returns for the final part and the return to the mortal world, it's an unfortunate and unfair disappointment. Still, it is a great story.

Arseface's tale, illustrated by Richard Case, is an oddly affecting parody of mid-90s suburbia, with outcast teens, uncaring parents and rock and roll. I'm not certain whether the story needed to be told, but I really enjoyed reading it, and any chance to see Richard Case at work is worthwhile. Ezquerra returns for Jody and T.C.'s story, and it's played for laughs. You can't call these two monsters "heroes," but the clever recasting of roles lets the superhumanly powerful jerks take control of a spiralling, ridiculous situation while Ennis mocks the tropes of modern action thrillers. If you enjoyed Ennis and Ezquerra's work on Adventures in the Rifle Brigade, you'll probably like this one.

Overall, I ended up preferring these escapades to the one in the main Preacher storyline. The collection is very reasonably priced, and the Saint of Killers story is so darn good that everybody should see it, regardless of your opinion of Preacher. Recommended for mature readers.



The story goes that in the late 80s, as the fight for creators' rights hit British comics, some of 2000 AD's talent and editorial and publishers all began crossing swords over royalties and loyalties, and it was decided that one of the comic's most popular features, Strontium Dog, would be cancelled and its lead character, the bounty hunter Johnny Alpha, killed. It was a traumatic event for many thousands of readers - see episode 2.6 of Spaced - and one which Alpha's artist and co-creator, Carlos Ezquerra, declined to draw, electing instead to work with Pat Mills on Third World War in the new biweekly Crisis. So Johnny's concluding storylines were taken over by writer Alan Grant and up-and-coming artist Simon Harrison.

There is probably a very good story in the mammoth, 28-part "Final Solution," but Harrison's artwork is so incredibly unappealing that we can't swear to that. To his credit, he's a novel and inventive artist, full of energy and the shock of the new. On the other hand, his anatomy and his faces are so poor, and his storytelling so confusing, that what could have been a great tale of Great Britain finding a terrifying solution to "the mutant problem" becomes a chore to decipher. It's a tragic missed opportunity.

At the time, "The Final Solution" was an even greater chore, as Harrison's workload only allowed him sporadic opportunities to complete the art, and his 23 episodes were printed in four chunks over the course of a year. There followed a thirty-week (!) break before the great Colin MacNeil was drafted to complete the story. So the last part of this epic looks remarkably superior to the first 100-odd pages. Rebellion has assembled the story in a very nice package along with three bonus episodes from old annuals and specials, including the incredibly fun story in which Alpha tries to collect a couple of bounties in Mega-City One under Judge Dredd's nose, but while it is nice to have a complete set of the original series in such nice editions, really, the only thing this book proves is that Strontium Dog without Ezquerra is like a day without sunshine. Recommended for completists.

(Originally posted October 03, 2008 at hipsterdad's LJ.)

Wednesday, April 23, 2008

Golgo 13 and Doom Patrol

Here's how this works: I finish reading something, and I tell you about it, and I try not to bore you to death.



NO WAY. And this was first published in 1975?! Here's what I think: the first 150 pages of this book comprise a police procedural that starts with a multiple murder in 1946, moves forward 15 years, and then goes straight to HOLY FUCKING SHIT LAND. There are 26 stories to be found in the 13 volumes of Golgo 13 published by Viz. At least 22 are downright excellent, and then there's "The Serizawa Family Murders." Damn!! THANK YOU CARL HORN for getting these published. Now will SOMEBODY OUT THERE license the rest of these stories? I WANT MORE.



Well, it's a strange day indeed when the final issue of Doom Patrol, arguably one of the finest single issues of anything Grant Morrison has written and the conclusion to one of the two or three best American comics of the 1990s, gets knocked down cold-cocked by a thirty year-old Japanese book, but them's the breaks, Grant. Doom Patrol is sublime, surreal and surprising at every turn, but I think Vertigo really had their work cut out for them, as the last ten issues of the book formed one long continuity and there just wasn't any place to break it without making book five abnormally thin. As a result, this book starts one-third into an apocalyptic scenario without giving new readers a chance to catch up, lacking even a "story so far" page. The series is a work of complete genius and should be read by anybody who likes comics, but Vertigo's production really has been slapdash of late, hasn't it? They don't do the introductory essays and creator credits like they used to anymore. (I know what the great Sean Phillips is up to, but where the heck's Richard Case these days?) I'm willing to forgive any chance to get the final "Empire of Chairs" issue, both heartbreaking and life-affirming in equal measure, into readers' hands again, but they could have done just a little better on these editions, I think.

This book also includes the silly Doom Force Special, a needle-in-the-eye parody of Rob Liefeld's labored X-Men comics of the early 90s, full of intentionally awful anatomy, constipation faces, agonizing soliloquies and villainous ladies who wear next to nothing. Doom Patrol itself is absolutely recommended, but while you could pick up any of the first five books and get hooked, this one is best saved until later.

(Originally posted April 23, 2008 at hipsterdad's LJ.)