Savage Dragon #135

Savage Dragon #135, March 2008, Image Comics
by Erik Larsen
letterer: John Workman

Blogger's note: Entry for Friday, March 28, 2008.

You have to hand it to Erik Larsen. Not only is he the only Image Comics founder still working on the creator-owned series he began fifteen years ago, but he does so even after achieving the title of Image Comics, Inc. Publisher! While his peers all abandoned their titles and returned to mainstream company-owned properties, Larsen managed to accomplish both, juggling the artistic reigns of his native Savage Dragon while at various times handling Marvel's Wolverine and The Defenders and DC's Aquaman. Now, he supervises an entire company's worth of titles, writes articles for Comic Book Resources, frequently touches base with fans on his message board, tours the Con circuit . . . and did I mention toil away at his own comic, Savage Dragon? Yes. I'm a fan.

Then again, you might've already known that, if you read my review of Savage Dragon #0 during A Comic A Day: Year One.

While "Fin-addicts" may not appreciate Savage Dragon's inconsistent schedule over the past few years, the result of Larsen's extensive workload, I actually revel in the series' infrequent release. The irregularity has actually encouraged me to purchase Dragon regularly again. Larsen has adapted his storytelling style to suit a more episodic pace, and though he maintains multi-issues arcs and subplots, they aren't nearly as complicated or micromanaged as they used to be. For instance, anybody can pick up Savage Dragon #135 and within pages know exactly what's going on. Dragon's wife is missing, and since she's recently lost her superpowers, Dragon believes that she's gone to see the Power Broker, a Seattle-based meta-maker. The action ensues when Dragon teams up with local heroes Prism and the Centurions to combat a horde of the Broker's minions.

Yet this issue is much more than the latest installment in Larsen's fifteen-year opus. Savage Dragon #135 reprints Graphic Fantasy #1, the first, self-published appearances of Prism and the Dragon from 1982. Larsen reprints his work on Prism "warts and all," a bold move considering that the comic book industry's contributors have become as popular as its most iconic characters. What I'm saying is, I don't think many artists would be so willing or eager to reprint their earliest, most amateurish work. This is why Erik Larsen is different. Sure, he describes the inclusion as "self-indulgent," but Graphic Fantasy reflects more than just the humble beginnings of his career. Graphic Fantasy reflects the raw enthusiasm of young artists trying to make a contribution, and offers a hope that even fanzines can become more than just arduous late night investments at Kinko's. Think about it -- Savage Dragon, a founding Image title, began in a fanzine published out of a comic shop in Bellingham, Washington! That's one graphic fantasy that came true!

This issue's lead Dragon story is also above average because of Larsen's artistic prowess. Some might say his art has been sloppy of late, as he's attempted to meet his deadlines, and others may say he's simply experimenting with different art styles. Either way, this issue seemed more solid and linear than previous installments, perhaps because of his reverence in reintroducing Prism to the world. Hey, I appreciated the clarity. A prism is an accurate description for it, narrowing a broadband to something narrow and piercing.

One hundred and thirty-five issues later, Erik Larsen does it again. His flagship character may have experienced a few different incarnations over the years, but he has remained Larsen's most prized possession, and like a parent that shows off his child's awkward early grade school photos, he isn't afraid to boast about these earliest appearances. Hey, I'll be the first to say, they aren't perfect . . . but that's what makes them so.

The Sensational She-Hulk #1

The Sensational She-Hulk #1, May 1989, Marvel Comics
writer/penciller: John Byrne
inker: Bob Wiacek
colorist: Glynis Oliver
letterer: John Workman
editor: Bobbie Chase
EIC: Tom DeFalco

Women’s History Month + St. Patrick’s Day + Random Comic Book Reviews = The Sensational She-Hulk! ‘Nuff said, right?

You know She-Hulk doesn’t have to worry about wearing green on St. Patrick’s Day, not that anyone would try to pinch her if she wasn’t. Ironically, in this first issue of her second series, her emerald complexion is obscured by a flesh tone when the Ringmaster and his travelling Circus of Crime brainwash her, disguise her, and commandeer her strength to rob their unsuspecting audiences of their loose change. Their plan? When the Ringmaster stupefies the crowd, She-Hulk picks up the bleachers and shakes loose their valuables like a bully flipping over the local nerd for his lunch money.

“Nearly thirty-seven hundred bucks in cash plus some jewelry . . . pocket watches . . .,” a clown proudly reports to the Ringmaster.

Thirty-seven hundred bucks? You need the She-Hulk for that? Hey, I’ve been to the circus, okay? Between admission, carnival games, the outrageously priced snack bar, and maybe a dollar petting zoo, a regular circus gets away with more highway robbery!

Since this is a first issue, and John Byrne is at the reigns, an origin sequence is inevitable, for which I’m actually grateful since I know little of She-Hulk beside the fact that she’s Bruce Banner’s cousin. Of course, Byrne manages to mention this twice, which was three less times than I expected, what with his reputation for, uhm, thorough storytelling. I also vaguely remembered reading somewhere that She-Hulk frequently broke the fourth wall and talked to the reader, a phenomenon I dismissed as a psychologically-angled subplot until I actually experienced it here. When She-Hulk realizes that her abduction by the Circus of Crime was actually one part in a mysterious master mind’s grander scheme, she muses, “I know how these things work! It’ll be at least my third issue before I find out who it is! Although you readers will probably find out on the next page . . .” This gimmick takes the concept of the classic Marvel caption that addresses its audience (or “True Believers,” as we were frequently called) to a wholly different level. Those captions were third person, uninvolved narrative elements -- proverbial Shakespearean muses that established mood or plot. In this case, as much as the idea is meant to pull the reader into the story, sharing that private joke with She-Hulk, it took me out of the tale, as I wondered if John Byrne really sought to experiment with his narrative, or just had an inordinate amount of space to fill. I don’t know if She-Hulk enjoys being watched, but I felt a little violated, and . . .

Sigh. I was reading this issue on the toilet, okay? The last thing I need is a hot superhero barging in on me in my own Fortress of Solitude, okay?

I might be the only comic book fanboy that actually straddles the fence about John Byrne. You either love him or you hate him, plain and simple. (My friend Aaron at Geek in the City boasts the latter category, but admittedly I haven’t thoroughly examined his undoubtedly well thought out opinion in favor of separating the art from the artist. I’m afraid that if I examined the lives or perspectives of my favorite -- or even casually appreciated -- comic book contributors I’d end up burning half of my collection in protest! ) I find Byrne’s superhero storytelling techniques a little dated and formulaic, and his artwork so consistent it’s almost redundant, but his issues aren’t not entertaining. They retain a certain camp-factor that most writers and artists abandoned a long time ago; yes, Byrne suffers from “reliable dog syndrome,” as introduced to pop culture (or at least my mentality) by this season of American Idol. Still, She-Hulk herself confesses on page three of this very issue that she’s capable of bench-pressing seventy-five tons, and Byrne exhibits this strength by having her lift a couple of elephants, then punching out a runaway circus cart. What’s really so “sensational” about that?

So, despite my seemingly foolproof equation at the beginning of this review, The Sensational She-Hulk #1 does little for the cause of St. Patrick’s Day or Women’s History Month. For half of this issue, She-Hulk isn’t even green! Further, and more importantly, any viability she might have had as a remarkable female figure in comicdom is vanquished by her inability to exhibit any real strength, both physically and mentally against the Ringmaster’s attack. Emotionally, heck, she can barely endure one adventure without mentioning her more famous cousin, and, in the end, that whole talking-to-the-audience thing just makes her look a little nuts. You’d think women would be green with envy toward a powerhouse like She-Hulk, but if this issue was their only impression of the character, they’d just walk away jaded.

Beware the Creeper #2

Beware the Creeper #2, July 2003, Vertigo/DC Comics
writer: Jason Hall
artist: Cliff Chiang
colorist: Dave Stewart
letterer: John Workman
assistant editor: Zachary Rau
editor: Will Dennis

Blogger's note: Entry for Friday, March 14, 2008.

I’ve come to the conclusion that I’ll read anything Cliff Chiang draws. I became a fan during his run on Vertigo’s The Human Target, which was already then and still is today at the top of my favorite series. In The Human Target, Chiang (and fellow rotating artist Javier Pulido) were challenged to balance protagonist Christopher Chance’s internal struggles of identity with his external adventures of sociopolitical intrigue and espionage. Needless to say, both artists rose to the challenge, but while Pulido’s art was a bit more minimalist, Chiang’s work was very substantial and down to earth. I’ve managed to acquire some of his contributions to the Batman books since then, and his brushstroke consistently captures the grace of the superhuman form with the solidity of their respective environments. Chance’s Los Angeles, Batman’s Gotham -- in under Chiang’s pen, they’re viable characters as much as the real characters are.

So, you can imagine how I’d feel about the cover on Beware the Creeper #2. On it, a new, feminine Creeper stands tall over the Paris skyline. I don’t know much about the Creeper, nor have I ever been to Paris, but both are now inviting thanks to this absolute visual interpretation.

If only the story were as easy to behold. This issue is the second of a five issue miniseries, and I must have missed the fluid introduction of its significant players, because this chapter proceeds full throttle. The opening act is entertaining enough, as the Creeper creeps into a museum and steals the Arbogast family jewels, only to toss them in the river. What follows is a multi-scene diatribe about the Arbogasts’ terrible reign over Paris, a veritable anarchist discourse about class warfare and everyman vigilantism. The Creeper is perceived as one part terrorist, one part performance artist, praised by the likes of Andre Breton and Tsuguharu Foujita. (Ernest Hemingway, Pablo Picasso, and Gertrude Stein also make cameo appearances, all in good measure.) If writer Jason Hall’s intent was to establish the Creeper’s legacy as a kooky monkey wrench in historical, global affairs, I consider his mission accomplished.

The real mystery seems to be in who the Creeper actually is; since I don’t know if her secret identity was established in the first issue, I’m torn here between one of two sisters (of course each boasting an opposing side of the political argument, thus each boasting their own legitimate motives for vigilantism) and a little girl with a fascination for the creepy heroine. The little girl has the same reddish hair as this new Creeper, so I’m wondering if the artists intended this as a red herring (pardon the pun) or a genuine clue. Either way, through this re-establishment of the Creeper’s character, she has inadvertently become a thrilling and capable heroine. Her body is totally garbed, and her figure isn’t cookie-cut by comics’ usually outrageous proportions. What I’m saying is, she isn’t overtly sexual, and the allure isn’t about who she is, but what she’s about -- a message I wish more stories about heroines emphasized.

So, yes, I would dare say you should beware the Creeper. The fact that I can’t tell which of the prominent female figures she really is in this issue implies that every woman has a little Creeper inside of them. Further, if all of them were as eye-catching as this version by Cliff Chiang, you’d never see the danger coming. I guess that’s what creeping is all about.

The Gray Area #2

The Gray Area #2, July 2004, Image Comics
writer: Glen Brunswick
penciller: John Romita, Jr.
inker: Klaus Janson
letterer: John Workman
colorist: Bill Crabtree

Blogger's note: Entry for Tuesday, February 26, 2008.

If the afterlife was simply an extension of your earthly existence, would you be so afraid of death? As much as you might hate your job, isn't an eternity of working a familiar relief compared to the other more disturbed condemnations mankind has imagined over the years? Yet what if this shallow echo of your terrestrial life was really just a test to determine whether or not you should advance to heaven or be condemned to hell? Would you be able to find joy in those mundane moments at work? Would you be able to conjure compassion in place of contempt for your fellow man?

Welcome to the Gray Area.

Of course, my hypothetical introduction assumes that you hate your job. If you don't, you wouldn't end up in the Gray Area in the first place, so forget I even mentioned it. For the rest of you, consider Rudy Chance, this series' protagonist, your guide to "Living a Successful Afterlife." Chance, a corrupt cop killed in the line of duty, is pulled into this peculiar purgatory, and, thanks to his law enforcement skills and street smarts, is recruited by the Gray Watch to protect his fellow meandering souls. Among them exists an army locked in perpetual combat, and the victims of a riot actually trapped in a purgatory for the purgatory, if you can believe that. Chance initially declines the offer, but when his spirit guide Jordan reveals the painful alternative, Rudy accepts his fate -- which takes almost half of this issue! Chance is definitely a glutton for punishment, but his greatest nemesis is himself, as struggles with finding the compassion he needs to exhibit the cosmic powers available to him in the afterlife.

Indeed, The Gray Area has a very tangible message: kindness and compassion are empowering characteristics, even when you're dead.

Like I said, a good half of this issue is dedicated to Chance accepting Jordan's offer, and while his episodic torture becomes a bit repetitive, these scenes give artist John Romita, Jr. a chance to stretch his supernatural legs, as I suggested in my review of The Gray Area #1 a year or so ago. This three issue miniseries is an excellent vehicle for Romita's strengths, as this afterlife retains distinctive urban traits usually typical to Romita's native superhero fare, yet we readers get to experience this existential aspect to his art, as well, a very visually rewarding return for this issue's four dollar cover price. A solid 32-pages, The Gray Area #2 is a hefty, engrossing read that actually stands on its own as an introspective look at personal integrity and death. Rudy is always a like able character -- and, therefore, is extremely realistic.

So, like The Craptacular B-Sides, I'm two issues deep in a three issue miniseries, and I actually care about how it ends. Here's to hoping I find The Gray Area #3 in another quarter bin! Does that mean I'll have to extend A Comic A Day for another year, just give you some closure?! Arg, maybe I'm already in hell!