Hey, everyone. "Moriarty" here with some Rumblings From The Lab.
What the hell kind of vacation was that, Andrew? Guy says he’s going to enjoy some time off, and here is back here already with another batch of reviews from GHMOnline.com. You’re a good egg, Andrew, but you work too damn hard.
I’m sure we all appreciate it.
Hi Gang. Andrew from GHMonline.com here with another batch of recommendations. Short and sweet.
HOWARD THE DUCK #6
Written by Steve Gerber and Illustrated by Phil Winslade
Published by Marvel/MAX Comics
Reviewed by Aaron Weisbrod
Issue #6 of the HOWARD THE DUCK revolves around a conversation between Howard and God, the being who was commissioned to create the Universe.
That’s right: the universe was made as part of a work-for-hire agreement.
In this final issue of this good-more-times-than-it-was-bad mini-series Howard takes a tour of existence with “Yah” (God’s preferred nickname—it’s short for “Yahweh” and reminds him of the rock and roll slogan “Get your yah-yah’s out”) as the true purposes of existence and creation are explained to him by the man who started it all.
Revealing Yah’s comments would ruin reading the issue, but I will say that it’s a witty and thought-provoking diatribe that channels the spirit of PREACHER, the state of the comic book industry, and the song La Bamba(!) all at different points of Howard’s tour. Several interesting points are made, and although some of them have been echoed by other writers who have touched upon this subject, Gerber does so in a way that is fairly original and interesting.
By the end of the issue Howard is once again reverted to his normal form and given the opportunity to chose where he will return to: his homeworld or Earth. Again, without giving anything away I will say that a final resolution is reached and that by the end of the issue Howard (and presumably, Gerber) has found a little bit of the peace he has been seeking for so long.
Recent statements from Marvel have indicated that although sales on the early issues of this mini-series were high, those of the last few issues have barely been “above the red.” As a result, it’s unlikely that we’ll be seeing any more HOWARD THE DUCK issues anytime soon (for the record: it’s my personal opinion that the “Witchblade” parody issue killed the series, not that it matters now). Regardless, I believe that a TPB will be on the way shortly, and anyone who hasn’t been reading this series should try the collected edition once it hits the stores. Although it had a low moment or two, HOWARD THE DUCK has been an entertaining and beautiful read that finally gives the feathered cynical critic some closure after his years of pessimistic tirades. If you liked the original series (THE ESSENTIAL HOWARD THE DUCK is a borderline must-have for any comic reader) or are looking for a book that is refreshing, funny, and thought-provoking, look no further than HOWARD THE DUCK.
HUNTER: THE AGE OF MAGIC #13
Written by Dylan Horrocks and Illustrated by Richard Case & Chris McLoughlin
Published by Vertigo
Reviewed by Elliot Kane
It's not easy being potentially the most powerful mage in existence when you're Tim Hunter. Not only does every magical cult in the world want to either use you or kill you, but most of them have no scruples about who they hurt in order to do so. And, which may just be worse, Molly is back – Tim's first and only true love, who he has not seen for five years. She has moved on with her life, but can he?
Dylan Horrocks continues to build a very impressive supporting cast for Tim: Nick Bearclaw, occult bookshop owner and Tim's friend; Eden the now ex-shop girl who would love to be more than just Tim's friend, but has no idea as yet who and what he actually is; and of course Molly O'Reilly, who we first met in the Books Of Magic ongoing series.
They are all good and likeable characters in their own right, which is always a good sign. I have long believed that any single-character title stands or falls on the quality of the supporting cast, and Tim's are very good indeed. They are believable for who and what they are, and we could imagine knowing them, or people very like them.
This issue continues to build the sense of danger around Tim and his friends and associates, while still taking time to develop their personalities and relationships. There are some genuinely funny moments too, and I found myself laughing out loud more than once. The humour is unforced, arising naturally from realistic situations rather than being tacked on just to get a laugh.
Artistically, Richard Case certainly had a major challenge this time around with the re-introduction of Molly, an old fan-favourite last seen when she was aged around thirteen. Now she is eighteen, and Case has realistically aged her. She is clearly the young woman who was once the girl, and that's not easy to convey.
McLoughlin's part of the issue is impossible to describe without giving away some major plot spoilers, sadly, but he builds atmosphere and draws characters very well. His old people look realistically old, rather than the twenty-somethings with white hair sometimes favoured by other artists.
The two artistic styles are combined well to create a seamless tale that won't cause you to do any sudden double-takes as characters suddenly look very different from one page to the next.
Overall: Hunter is still early in its run, but already developing into a very good series. This is one of the best single issues so far, and should appeal to anyone with an interest in the mystical sides of the DCU or MU.
THE PATH
Written by Ron Marz and Illustrated by Bart Sears
Published by Crossgen Comics
Reviewed by Aaron Weisbrod
When the previous issue of THE PATH came out I began to notice several similarities arising between this book and PREACHER, a series that is one of my favorite books of all time. Both books revolve around a man (Obo-san/Jesse Custer) who, after losing his faith, has been granted a power (a voice that forces all who hear it to obey) that will allow him to seek out the God(s) that forsake them. Both books also have similar supporting casts, including a female warrior (Aiko/Tulip O’Hare), a strong European counterpart (Wulf/Cassidy), and a disfigured general (Ryuichi/Herr Starr). However, in Issue #4 of THE PATH, this book gives strong hints that suggest that the storyline may begin to go in a direction decidedly different from the latter.
With Ryuichi and the evil (possessed?) Emperor Mitsumune’s entire army in tow, Obo-san leads his companions to his former monastery for sanctuary. Shortly after arriving he informs the other monks of both his newfound lack of faith in the gods as well as the dire straits he now finds himself in. Specifically, the Emperor wants the ultra-powerful “Weapon of Heaven” that Obo-san now has in his possession, but Obo-san fears that he will use it to further his now-corrupt agendas.
The monks are accepting of both Obo-san’s lack of faith as well as his fight, and they agree to do everything they can to protect him. They also suggest that Obo-san speak with a visiting monk about his lack of faith, unaware that the monk is not who he claims to be. While in discussion with the “monk” Obo-san is confronted with an unsettling fact: with his newfound power, he could unseat the Emperor and return the kingdom’s stability. Although Obo-san is not interested in political power, he also deeply desires to protect the people of the land… However, before he is given much time to consider this he is informed that Ryuichi’s forces have arrived outside the gate.
A conversation between Obo-san and Ryuichi follows. Although the two were once childhood friends, they now find themselves at irreconcilable odds: Obo-san cannot hand-over the weapon because he fears that the Emperor will use it with evil intent, while Ryuichi cannot leave without the weapon because his Samurai vows make his personal honor and loyalty to the Emperor more important to him than anything else. The result is a classic “Mexican standoff” in which both men’s values will lead them to a battle neither of them wants. Furthermore, unbeknownst to either of them, a third party also has a vested interest in seeing them battle, and the result may be a third unexpected force entering the fray…
If it seems like there’s a lot going on in this issue, well, it should… because there is! Although the lack of big monthly fight sequences in many of Crossgen’s books sometimes make it seem like the books are moving at a seemingly glacial speed, THE PATH #4 is packed with a dramatic story surrounding an inevitable battle that none of the participants want to see happen.
Furthermore, expository dialogue that recaps the most important points of the story thus far are scattered throughout this issue in a way that makes it a perfect jumping-on point for new readers. I oftentimes see people in the talkbacks discussing how they’ve tried one or two of Crossgen’s books but were unable to get into them despite their trying to do so. Well, if you’ve been interesting in trying one of Crossgen’s titles but haven’t been sure where to turn, I give my highest recommendations to trying THE PATH #4. The story is engaging, the art is gorgeous, and the storyline is almost instantly accessible. What more could you possibly want in a new title?
The bottom line: along with RUSE, THE PATH is the Crossgen book everyone should be reading.
RUSE #9
Written by Mark Waid and Illustrated by Butch Guice
Published by CrossGen
Reviewed by Elliot Kane
When one of the local noblemen has a heart attack while he is out hunting, Simon Archard, master detective, suspects murder. Much to the mystification of his able assistant, Emma Bishop, Simon insists on investigating – but shouldn't their primary concern really be to find the elusive Malcolm Lightbourne?
Mark Waid once again displays a firmer grasp of detective fiction than many novelists, throwing twists and turns in at every stage. He doesn't forget to heighten the romantic tension between Simon and Emma either, and Emma's obvious jealousy at even the most unlikely of rivals is interesting to behold – especially when the rival in question may just be as clever as Emma herself...
Butch Guice continues to challenge colourist Laura DePuy with a variety of beautiful multi-layered costumes and richly detailed scenery. The overall effect strongly resembles a series of frames taken from a Merchant-Ivory film. The attention to detail really is that good.
Overall: the only predictable thing about Ruse is its five Eisner nominations. Anyone who has any interest in detective fiction or period romances should give this series a try.
SHORT CUTS
by Usamaru Furuya
Published by Viz
Reviewed by Alan David Doane
What is a Ko-Gal? More urgently, as asked on the back cover of this compact new collection, "What is it about this fascination with the Japanese teenage girl?" That phrasing may assume that anyone outside Japan is as obsessed with teenage Japanese girls as this book is, and I suppose the popularity of Manga and Anime over the past few years may even indicate that assumption is accurate, to an extent, but it's interesting to me that a book that spends over 100 pages depicting teenage girls in multiple, often bizarre sexual ways - has a claim by its creator in an interview in the back of the book where he says "I don't really know much about teenage girls."
This, after spending the afore-mentioned 100-plus pages crafting some mind-blowingly strange scenarios, perhaps the most strange of which is a father who is transformed into a Ko-Gal, only to then so turn on his son that the son attempts to rape his dad, the sexy young girl. For the purposes of the collection, the Ko-Gal dialect is translated as Valley Girl speak, but I have no way of knowing how true that is to the source material. There's certainly no way of translating the dad-as-young-girl scenario into something I can find sexy, but hey, maybe I'm just uptight.
These stories - many of them only a page or two in length - originally were serialized in Pulp, a recently-cancelled anthology. The great dichotomy of the collection, which is soaked in cognitive dissonance, is whether it wants to present teenage girls as objectified sex objects (the hundreds of panty-shots and a few more extreme sexual images ensure that), or if it wants to mock the dirty old men who are fascinated by their emerging sexuality. It does both, in virtually every story, serving as both pornography and a refutation of same. It's difficult to imagine what kind of psycho-pathology you'd have to suffer to be able to be sexually gratified by material that constantly humiliates and mocks you for your particular sexual fetish, especially in this case, where it's a fetish that is difficult to classify as healthy in any way I can readily muster.
The sexuality of the book is bizarre and self-punishing in many - most - cases, for example a man is aroused by a Ko-Gal, only to be horrified when she strips and finds her breasts have the faces of horrific old men on them. Then, the breasts fellate the man, to his horror, and to his pleasure. I've always thought the American repression of sexuality was particularly twisted (and it is), but the multiple layers of mind-fuckery to be found in Short Cuts indicates a far more troubling national pathology. It seems like a defeat to throw my hands up and say "I don't get it," but, for the most part, I don't. There it is.
There are some fascinating moments here, nevertheless. One piece's visual shock value, as it posits the question of which mermaid would you want to be stranded with - half-fish on the top or the bottom - is amazing in its impact and creepiness. More interestingly, a few - very few, maybe three - of the stories delve deeper into more genuine emotion to make some profound points. "Cut 82," which begins "We first met under a big tree," in two pages tells one of the saddest tales I've ever read, and 63, 64 and 65 tell a life story of love lost and redeemed that is, finally, worth the price of the book, and even worth wading through all the sexually bizarre material that surrounds it.
Writer/artist Usamaru Furuya, who apropos of nothing has the same birthday as me, says in his bio at the end of the book that "I've heard that 80 percent of America is made up of anthropocentric and passionate Christians who deny the theory of evolution. Could this be a misperception on my part?" An underestimate, to be sure, but Furuya's implicit hope -- that we in America aren't as backwards and ignorant as he has heard -- speaks of a desire to reach across cultural barriers with his work to find a common ground. This strange and often disturbing collection of stories won't build any bridges that I can imagine, but it's an intriguing (if often repulsive) look at how another culture looks at its girls, its desires, and ultimately itself.
STAR WARS INFINITIES: The Empire Strikes Back #1 (of 4)
Written by Dave Land and Illustrated by Davidé Fabbri
Published by Dark Horse Comics
Reviewed by Aaron “Vroom Socko” Button
I’m just a sucker for the “What If?” concept. Everything from the Marvel title of the same name to DC’s Elseworld books (Superman: Speeding Bullets is a particular favorite,) to the Infinities line of Star Wars comics. This title asks an interesting question; what if Han’s Tauntaun had died before he got to Luke? What if, as a result, Luke froze to death?
Compared to the first issue of Infinities: A New Hope, Empire is pretty heavy on the setup. About half the book reads about the same as the movie. Still, the differences are doozies, and the scene where Han hears, or rather mishears, Luke’s dying words has me anticipating the second issue more than I did the finale of the prior Infinities book.
I love the ‘what if?’ concept because it’s just so unpredictable. The last series had Yoda hijacking the Death Star, fer crying out loud. I don’t have a clue what’s going to happen when Han carries out Luke’s dying wish. I’m not sure how Vader will respond to the death of his son. Really, it doesn’t matter. These sorts of books are all about the ride; the destination is unimportant. You really can’t gripe about this kind of book.
Okay, there is one thing to gripe about, the final page. This really isn’t a plot spoiler, so I’ll describe it for you. The image is of an office. Sitting with his feet on the desk is Boba Fett. What’s the big deal? His helmet is sitting on the desk, and his face is exposed to the world. Now, I know that Boba is a direct clone of his old man Jango, and as such they’d end up looking exactly the same. We know what Fett looks like, but do we need to see it? What makes Boba Fett so damn cool is his mystique. This final image is just as bad as opening up a copy of 2000AD and finding Judge Dredd staring back at you with the face of Sylvester Stallone. No, actually that would be worse.
This pit of nitpicking aside, the latest installment of Star Wars: Infinities is a blast, and I’m already eager for the second part.
TOM STRONG #17
Written by Alan Moore and Illustrated by Chris Sprouse
Published by America’s Best Comics
Reviewed by Aaron Weisbrod
Alan Moore gets a lot of shit about TOM STRONG.
Many people question why Moore, one of the most gifted and versatile writers this industry has ever known, “wastes his time” with such a “retro” book that chronicles the adventures of a family that resembles a blend of DOC SAVAGE and the FANTASTIC FOUR. Whenever I see such statements I can’t help but ask myself “I wonder how long ago it’s been since this person has read the book.”
Although the series started strong (no pun intended) with engaging multi-part storylines (featuring such great villains as Ingrid Weiss, Paul Saveen, and The Pangaean), it soon became the vehicle for three short stories per issue. While the short stories were good, they lacked the charm and excitement of the full-length tales.
Well, now that Moore has a quarterly comic titled TOM STRONG’S TERRIFIC TALES that allows him to tell short stories about Tom and his supporting cast, TOM STRONG is once more focusing on grander tales… and the series is much stronger because of it.
Issue #17 continues a storyline dealing with an upcoming invasion of Earth by giant ants from space and Tom’s desperate attempt to launch an offensive strike strong enough to stop them. Accompanying him on his mission are a number of characters that have been introduced throughout both this as well as its sister book TERRIFIC TALES. Joining the Strong family are the Weird Rider (a three-eyed space cowboy), Svetlana X (Tom’s Xena-looking Russian counterpart), “Val” (former leader of a race of lava-people that live near the center of the Earth—picture a fiery version of Namor and you’re right on the money), The Modular Man (a constantly-multiplying sentient computer-like organism now residing on Venus), and the “Strongmen of America” (a group of kids who are the most devoted members of Tom Strong’s official fan-club).
The issue is filled with both humor and action as the makeshift team makes preparations to defend the Earth even though they are admittedly way out of their league against the upcoming assault. Standout moments in the issue include Tom’s continuing tension with Val (after all, he’s sleeping with his daughter) as well as the truly hilarious bickering between the “Strongmen of America” as they ponder whether or not to secretly join the assault on the ants.
While books like PROMETHEA, TOP TEN, and THE LEAGUE OF EXTRAORDINARY GENTLEMEN have all been subject to vocal critical praise, TOM STRONG continues to quietly chug along as the best-kept secret in the ABC line. With the series on the verge of going bi-monthly (thanks to a few upcoming fill-in issues that are being illustrated by Jerry Ordway), now is the perfect time to explore this continuously entertaining book.
Just remember the golden rule: if it’s by Alan Moore, it’s worth checking out.
THE ULTIMATES #5
Written by Mark Millar and Illustrated by Bryan Hitch
Published by Marvel Comics
Reviewed by Aaron Weisbrod
THE ULTIMATES #5 brings us the long awaited battle with the Hulk, the rampaging monster Bruce Banner once again transformed into after injecting himself with an experimental version of the super-serum he was working on in an attempt to re-create the formula that gave Captain America his super-powers. Although Banner claims he did this in order to give his teammates someone to fight (their lack of action has been leading to a low public opinion of the expensive newly formed super-group), the truth of the matter is that he was depressed and angry about the fact that his estranged wife has began dating Freddy Prinze Jr. As a result, the Hulk goes about destroying Manhattan looking for Banner’s wife, and it’s up to Captain America, Giant Man, the Wasp, and Iron Man to try to stop him.
The resulting conflict is both dynamic and exciting as Hulk single-handedly defeats each team member one after another (including latecomer Thor, who agrees to lend his services only after President Bush agrees to double the USA’s international aid budget). Hitch draws some great action sequences while depicting the combat (the ones with Cap and Thor are especially noteworthy) as well as an awe-inspiring full-page panel of Giant Man as he attempts to trap Hulk against the side of a building.
Millar also succeeded where many writers fail in making Hulk scary. In this issue Hulk is a vehicle of death and destruction that threatens to eat, crush, or fornicate(!) with everything in his path… including The Ultimates themselves! Oddly enough, although I wasn’t initially very fond of this “Ultimate” incarnation of Hulk, it finally dawned on me that I wasn’t supposed to like this version of Hulk. After all, he’s not being portrayed as a hero here, but rather as Banner’s unbridled id juiced-up to unstoppable and uncontrollable proportions (much like Dr. Jekyll’s monstrous alter-ego Mr. Hyde in Alan Moore’s THE LEAUGE OF EXTRAORDINARY GENTLEMAN). Ultimately I found this an oddly refreshing take on Hulk that simultaneously mirrors the original incarnation of the character… excepting for the part about wanting to eat and/or fornicate with civilians, that is.
My main point of contention with this book is the fact that it, like the other Ultimate titles, is supposed to be focused towards kids and younger readers. Well, this is NOT a kid’s book, and I would actually have serious reservations about giving it to any of my younger grade-school age cousins. I can just see it now: “Hey, mom, what does the Hulk mean when he says he’s ‘horny’?” ULTIMATE SPIDER-MAN would be fine the youngsters, but I wouldn’t recommend THE ULTIMATES for anyone below the junior high level.
Other than that, the book is pretty solid read. I’m not a really big fan of super-hero books (especially team books), so I’m probably not even the target audience for this book in the first place. However, it’s a moderately interesting story with great artwork, and these two factors have continued to allow me to justify buying THE ULTIMATES throughout this story-arc. With one more chapter left in this introductory tale, I’ll have to wait and see what the next story involves to determine whether or not I’m in for the long haul
Y: THE LAST MAN
By Brian K. Vaughan, Pia Guerra and Jose Marzan
Published by DC/Vertigo
Reviewed by Alan David Doane
Here's a dizzying debut issue packed with story from the first panel to the very last. The horrifying suicide on page one isn't explained until the end of the issue, but that explanation opens up a small universe of questions that beg to be answered.
Brian K. Vaughan's unusual pacing of this issue -- which holds your attention and whips the reader through the pages like no other comic book I've read -- complements a dense, planet-spanning story about a young man named Yorick Brown and his politician mother and some other intriguing characters (and a monkey, of course); issues as diverse as Middle Eastern conflict and cloning are introduced, but not in a heavy-handed or artificial manner. Vaughan's story seems organic and natural, even as this issue's story hands us more and more unexpected elements. The characters are all fully realized in both story and art, and those that survive promise a fascinating ride as we discover the circumstances that lead to someone becoming "The Last Man." That might be spoiler material, but hey -- it's in the title, all right?
What we're headed for has the potential to be a groundbreaking series that examines the nature, potential and innate will to power of women (a class of humans about which volumes still need to be written), and the role males have played in their story. It seems Vaughan intends to do just that, with a series featuring one single man left alive in a world of women. It's a premise both sublime and ridiculous, and the end result will assuredly depend on what goes on in Vaughan's head. He has given himself a marvelous tapestry upon which to tell an amazing story, and this first issue suggests he may just be up to the awesome task he has laid out for himself.
I've never been inclined to pay much attention to Vertigo. I discovered The Sandman only after the entire series was collected in TPB form, and stuff like Hellblazer bores me, more often than not. Lately, though, they've produced some very, very good reads. Y: The Last Man is certainly one of them, with a fascinating premise, a solid script with good characterization, and clean, clear artwork that holds suggestions of Dave Gibbons and Charlie Adlard and doesn't get in the way of the star of the show, Vaughan's script.
DC calls this the beginning of "The next generation of Vertigo," and for many readers, that's a tall order. Looks to me like Vaughan, Guerra and Marzan are up to the task with this excellent first issue.
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