Kinski 1 (May 2013)

Kinski #1

Kinski is a strange comic. The content–a business guy on the road doing a pitch and finding a lost dog–is strange. It’s even stranger given Gabriel Hardman’s stark, realistic black and white art. Hardman’s writing also ignores the quirky nature of the story and goes for realism. The awkwardness of the protagonist, now obsessed with the dog, is both off-putting and tragic.

The comic reads rather fast–besides a montage sequence in the middle of the comic, most of the issue is when the guy finds the dog and then asks other people if they know the dog. That scene ends with animal control setting up and Kinski getting even stranger.

By the end of the comic, Hardman has introduced a few suggestions of danger, some immediate, some just under the surface. But while the protagonist is often difficult to sympathize with, the comic itself isn’t disagreeable.

A 

CREDITS

Writer and artist, Gabriel Hardman; publisher, Monkeybrain Comics.

The Sandman: Master of Dreams 8 (August 1989)

The Sandman: Master of Dreams #8

Either the reader is going to buy into Gaiman’s setup for this issue or the reader is going to reject it. Even before Gaiman gets into the “meat” of the issue, which is basically a lengthy monologue from Dream about the importance of Death. Both as a natural event and as Dream’s sister.

The issue opens with them seeing each other for the first time after Dream’s escape from captivity and his quest. Gaiman goes really far on the self-aware dialogue, using Death to expound on the comic book and on its protagonist.

He also goes with an inanely cheap ending; many of Sandman’s worst moments are just ones cribbed from Alan Moore’s Swamp Thing (without any of the context).

Once again, Gaiman does a montage of regular people who he doesn’t care about. It’s slightly less tedious than the overdone immortal sibling dialogue.

Dringenberg’s art annoys too.

C- 

CREDITS

The Sound of Her Wings; writer, Neil Gaiman; penciller, Mike Dringenberg; inker, Malcolm Jones III; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.

The Sandman: Master of Dreams 7 (July 1989)

The Sandman: Master of Dreams #7

Ah, the big fight issue. Doctor Destiny versus Dream for control of the Dreamworld. Or whatever it’s called. After the two stand-off in the diner, after some glimpses of the world going mad, Doctor Destiny has a trippy dream he’s Caesar and then the big fight. It’s the two of them against a white background. Not the most visceral setting for a comic book fight scene.

Gaiman has a lot of problems trying to make this issue work as a comic. He’s so wrapped up in traditions, he doesn’t just not do anything new, he doesn’t do anything worthwhile. The glimpses to the world gone mad don’t create concern, they create distance.

Dringenberg’s pencils don’t help things. The awkwardly proportioned figures change throughout, without rhyme or reason. Sandman gives the pretense of thoughtfulness and depth, but it’s generic.

There’s no sense of scale or character. Gaiman avoids writing Dream.

C 

CREDITS

Sound and Fury; writer, Neil Gaiman; penciller, Mike Dringenberg; inker, Malcolm Jones III; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.

The Sandman: Master of Dreams 6 (June 1989)

The Sandman: Master of Dreams #6

The issue takes place over a day at a diner. Doctor Destiny is trying to bring about the end of the world and he traps a bunch of people in the diner and slowly drives them mad. Or not slowly.

Gaiman makes the characters distinct, horrific, pitiable. He doesn’t have time to establish them as sympathetic so he doesn’t even try. Some of them he plays for laughs, others for shock value. Dringenberg takes over the pencils; he doesn’t do a particularly good job. There’s no personality to the art, especially not in the horrific scenes. Some of the talking heads stuff is decent.

The issue feels so derivative, so manipulative, it starts to get boring before the halfway point. Gaiman’s using sensational human suffering. Even when he writes a good scene, it’s still just a cheap trick in a bridging issue.

All to avoid giving Doctor Destiny a personality.

C 

CREDITS

24 Hours Diner; writer, Neil Gaiman; penciller, Mike Dringenberg; inker, Malcolm Jones III; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.

The Sandman: Master of Dreams 5 (May 1989)

The Sandman: Master of Dreams #5

Gaiman’s strings show a little too much this issue. The Justice League guest stars–well, just Martian Manhunter and Mister Miracle. Turns out while Dream was away, someone became a supervillain with one of his gadgets. It ties things into the DC universe a little too much. There’s a great bit where Mister Miracle is dreaming of Apokolips and Kieth and Malcolm Jones III do a fantastic Kirby homage.

But most of the issue is this supervillain kidnapping a housewife and having her drive him to the location of this gadget. It’s in Justice League storage, which is just a storage unit somewhere. No security. It’s idiotic, but fits the issue, where Gaiman goes the predictable route every time.

He does have a handle on the humor. And, oddly enough, Dream barely narrates. It’s like Gaiman doesn’t want him to distract from the winks back to previous comics.

Too bad.

C+ 

CREDITS

Passengers; writer, Neil Gaiman; penciller, Sam Kieth; inker, Malcolm Jones III; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.

The Sandman: Master of Dreams 4 (April 1989)

The Sandman: Master of Dreams #4

Dream goes to Hell, which requires the Demon as a guest star. Gaiman doesn’t have anything for him to do, past rhyme a little for the protagonist and cause some mischief. It’s a pointless cameo, though Kieth and Dringenberg do fine on the Demon. They don’t do so well later, when they have to draw every demon in Hell. Actually, they do fine on the demons… they lose their hold on Dream at that point. He feels too out of place.

The issue has maybe the most narration from Dream so far and it gets tedious. He needs to outwit the demons of Hell with riddles and so on. Intentionally or not, Gaiman’s so sincere he doesn’t have any wit. It’s all very heavy and very boring.

Just when things should pick up in the second half, the comic slows, getting more tedious. So far, Dream’s boring as a lead.

C 

CREDITS

A Hope in Hell; writer, Neil Gaiman; pencillers, Sam Kieth and Mike Dringenberg; inker, Dringenberg; colorist, Robbie Busch; letterer, Todd Klein; editors, Art Young and Karen Berger; publisher, DC Comics.

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