The Unwritten 34.5 (April 2012)

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The issue reads a little like “Wilson Taylor: Year One.” Gross and Carey give him a decent origin story, set in the trenches of World War I. Carey concentrates on the soldiers’ experience, hitting all the effective standards, but making them tie into Unwritten.

Actually, the questions he raises about stories, perceptions and reality during war are really interesting ones. He probably could get a decent limited series out of the concepts.

Gary Erskine’s art is good. The battlefields are either obviously frightening or Erskine just infers it. There’s a lot of refocusing but Erskine makes Taylor distinct enough to stand out.

The comic has a haunting quality. Even with all the magic, nothing compares to the lunacy of the war. Carey nicely lets Taylor revolt to jar the reader into paying attention. It’s a very serious issue. I don’t think Carey even goes for a smile. Well, maybe one.

CREDITS

The Whisper Line; writers, Peter Gross and Mike Carey; artist, Gary Erskine; colorist, Lee Loughridge; letterer, Todd Klein; editors, Joe Hughes and Karen Berger; publisher, Vertigo.

The Rocketeer: Hollywood Horror 3 (April 2013)

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Oh, Langridge is just having too much fun now. He reveals the narrator–Groucho Marx. It’s a hilarious little detail; it doesn’t make any sense yet (how he’s omniscient but he’s Groucho so who cares). There also might a slight Return of the Jedi nod as far as Betty’s outfit goes.

It’s a slower issue than normal, as Cliff has to figure things out. He’s not racing after Betty with believable speed–Langridge writes the characters differently. Cliff is a bit of a dunce. Betty’s the smarter one, which makes her constant peril an interesting contradiction.

The hero is the damsel in distress.

Even the villain’s big reveal scene works beautifully. Langridge and Bone work beautifully together.

The film has a lot of the Golden Age Hollywood feel to it. That Hollywood setting permeates throughout; it’s one of Langridge’s finest achievements on the book. He never forcibly includes the details.

CREDITS

In the Soup; writer, Roger Langridge; artist, J. Bone; colorist, Jordie Bellaire; letterer, Tom B. Long; editor, Scott Dunbier; publisher, IDW Publishing.

Swamp Thing 134 (August 1993)

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What’s so funny about this issue is how Collins clearly thinks she’s telling it from Abby’s point of view. Besides the physiologically unlikely scene where Alec cries, most of the comic–the significant bits anyway–follows Abby. And Collins also does have Chester perv on her. Literally a moment after she has a big fight with Alec. No wonder Liz left him.

Oh, and Collins does touch on Abby abandoning TefĂ©. Alec mentions it and Abby tells him not to “throw it in her face” or something to that effect. But she never talks about it. If Collins were telling the story from Abby’s point of view, her decisions would make sense. They might not seem rational, but they would make sense from the character’s viewpoint.

But not here.

It’s a weak issue. Luckily, with Eaton’s hit or miss (mostly miss) art, it almost never reminds of good Swamp Thing.

CREDITS

She’s Leaving Houma; writer, Nancy A. Collins; penciller, Scot Eaton; inker, Kim DeMulder; colorist, Tatjana Wood; letterer, John Costanza; editor, Stuart Moore; publisher, Vertigo.

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