Dark Horse Presents 64 (July 1992)

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Seriously, they thought this issue was good enough?

The opening is a terrible bit of corporate synergy–a prologue to the Dr. Giggles movie from screenwriter Coto, who’s just as awful writing comics as he is writing movies. It’s a mean, gory eight pages of crap. Though Burrows’s art isn’t bad.

Then there’s a Boris the Bear, which is funny if you like Richardson making fun of Dark Horse. It’s weak, except for Smith’s artwork, which brings a certain amount of charm.

The Creep ends on a very depressing note. It’s one of the finest things Dark Horse Presents has published in the last twenty or so issues… just amazing work from Arcudi and Eaglesham.

The closing story is this writing workshop collaboration. Though Rubio’s art looks like a Disney movie, it’s all an obnoxious blind guy who’s mean to his dog. Definitely problematic, but it has a great finish.

CREDITS

Dr. Giggles, Part One; story by Manny Coto; art by Alan J. Burrows; lettering by Bill Spicer. Boris the Bear; story by Mike Richardson; art and lettering by James Dean Smith. The Creep; story by John Arcudi; art by Dale Eaglesham; lettering by Pat Brosseau. Scraps; story by William C. Herrel, Douglas Miers, Eric Dinehart, LaDonne Lynn, Matt Hammond, Doselle Young, Jeff Camp, John Clapp, Jason A. Turner, Steve Kaiser, Mike Kerr and Janine Goldfarb; pencils by Bobby Rubio; inks by Jorge Pacheco; lettering by Karen Casey-Smith. Edited by Randy Stradley.

Dark Horse Presents 63 (June 1992)

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Well, the Moebius story is pretty but I’m not sure it’s got much in the way of narrative. It’s a fine little diversion–I think it’s my first Moebius short story–but it’s got zero heft. No idea why they opened the issue with it.

The Creep gets near its finish with more great art and a rather big surprise in the narrative. Arcudi doesn’t just deserve credit for the concept, but the execution as well. While Eaglesham makes the series look perfect, Arcudi really does do excellent work here. It’s not just well-written in scene, he really does come up with some great plot developments.

Wheeler and Hoffman’s story about a boy being emotionally abused by his mother and grandmother brings the issue to a depressing close. Wheeler’s writing–specifically the boy talking to himself throughout–is somewhat problematic. Hoffman’s artwork is fantastic. The story is quietly devastating.

CREDITS

Marie Dakar; story and art by Moebius; lettering by Karen Casey-Smith; translated by Randy Lofficier and Jean-Marc Lofficier. The Creep; story by John Arcudi; art by Dale Eaglesham; lettering by Pat Brosseau. Abandonment Games; story by Doug Wheeler; art and lettering by Mike Hoffman. Edited by Randy Stradley.

Dark Horse Presents 62 (May 1992)

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Maybe what Miller needs for Sin City is a full issue.

This issue, dedicated to Marv finishing up all the villains–I wonder if Miller intentionally gave his psychotic cannibal a harmless name like Kevin or if there’s some backstory to it–and getting executed, is nearly reasonable.

The opening is a disaster, with lots of the Miller narration, but there’s actual humor in the issue, like when Marv crawls into bed with the girl. Miller has some extra lazy moments with art here, though no more than usual.

The issue works because of Marv’s likability. It’s all contrived and really stupid, but he’s genuinely likable. Not too sure it’s believable he’s a virgin until this point.

The conclusion also requires Marv to be unreasonably stupid (to leave his mom in danger, unbelievable)….

But it’s not as bad as I would’ve assumed a full issue of Sin City to be.

CREDITS

Sin City, Episode Thirteen; story, art and lettering by Frank Miller. Edited by Randy Stradley.

Dark Horse Presents 61 (April 1992)

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Sin City has gotten useless to the point I’m not even sure I should talk about it. It’s sort of interesting in regards to Miller’s terrible plotting. One might think he’d adapt Chandler or even Hammett, just amping it up, but he doesn’t. He figures out his own “hard boiled” structure and it’s awful. I guess he draws a little bit more this entry than usual. Not much though.

It’s the longest Earth Boys story so far and the extra pages don’t help the writing. But Story’s back inking Johnson, so it definitely looks a lot better.

The Creep is a continued delight. Eaglesham gets in some more street scenes, which look great, and Arcudi has a few surprise developments. It’s just a fantastic series.

Not fantastic is O’Barr’s Frame. He seems to think making his subject as horrendously awful means I should read it. Actual writing doesn’t matter. Boo.

CREDITS

Sin City, Episode Twelve; story, art and lettering by Frank Miller. Earth Boys, Homeward Bound; story by Cliff Biggers and Brett Brooks; pencils by Dave Johnson; inks by Karl Story; lettering by Mike Heisler. The Creep; story by John Arcudi; art by Dale Eaglesham; lettering by Pat Brosseau. Frame 137; story, art and lettering by James O’Barr. Edited by Randy Stradley.

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