Tag: Chris Sprouse

The Multiversity: The Society of Super-Heroes 1 (November 2014)

The Multiversity: The Society of Super-Heroes #1

Besides the awkward bookends, which writer Grant Morrison seems to be writing as close to pulp as possible, The Society of Super-Heroes is an excellent Multiversity tie-in. Chris Sprouse is the perfect artist for the time period–it’s set in the forties or fifties, with some familiar heroes in newly designed, functional, period appropriate garb.

Morrison is real fast when it comes to establishing the characters–the Al Pratt Atom and Doc Fate get about the most attention–and there’s a mix of pulp sensibility and old science fiction magazine stories. It works out pretty well in the setup, but then Morrison and Sprouse get to the action and nothing else really matters. The comic is fast and entertaining.

There’s some rather nice work in the dialogue too, with Morrison handling the large cast through brief expository dialogue.

Until the really lame, tying to the greater event denouement. Until then, it’s quite good.

B 

CREDITS

Conquerors from the Counter-World; writer, Grant Morrison; penciller, Chris Sprouse; inkers, Karl Story and Walden Wong; colorist, Dave McCaig; letterer, Carlos M. Mangual; editor, Rickey Purdin; publisher, DC Comics.

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Tom Strong 24 (March 2004)

Tom Strong #24

What did I just read? Hogan’s back writing again and he does a decent enough job scripting, but the plotting is a disaster.

It starts okay–Tom Strong’s ex-girlfriend (from the thirties) turns out to be a cryogenically preserved ice person and he’s trying to help her. So he brings her home. One might think it would lead to all sorts of interesting scenes between his wife and the ex-girlfriend, maybe Tesla and the ex-girlfriend but no… nothing. Hogan knows he should be doing that story because he hurries through a scene between Dhalua and the ex.

Instead, he sets up some possible future story. Not an important one, because he also doesn’t show how the ex-girlfriend’s reappearance has affected Tom (other than him trying to help her); there’s simply no weight to the story. It ought to weight six tons.

The art is gorgeous but the story is insincerely executed.

B- 

CREDITS

Snow Queen; writer, Peter Hogan; penciller, Chris Sprouse; inkers, Karl Story and John Dell; colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.

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Tom Strong 23 (January 2004)

Tom Strong #23

Sprouse is back for this fast-paced done-in-one with Tom, Tesla and Val on the moon helping Svetlana find her missing husband. There’s a nice opening with Telsa and Val–he’s still learning English and it’s frustrating her. Even though it’s Peter Hogan writing, he manages to continue Moore’s light comedic touch, but always with some seriousness behind the humor.

But then there’s a kidnapping and a flashback. The flashback offers some insight into new father Tom Strong, something I don’t think Moore’s ever really covered. Hogan gets to show some cracks in the impervious Tom Strong skin and then shows how they get sealed.

The resolution keeps all the humor, not to mention Hogan referencing a nineteenth century newspaper hoax, but it goes further. He shows the depth of the friendship between Tom and Svetlana, as Tom quietly digests a big surprise.

It’s a fantastic, tender outing.

A 

CREDITS

Moonday; writer, Peter Hogan; penciller, Chris Sprouse; inker, Karl Story; colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.

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Tom Strong 19 (April 2003)

Tom Strong #19

This issue, containing three different stories by two writers (Moore on the first and last, daughter Leah on the middle one) and three different art teams (Howard Chaykin on the first, Shawn McManus and Steve Mitchell on the second, regular artists Sprouse and Story on the third), is mostly awesome.

Moore and Chaykin do a domestic adventure for Tom and Dhalau in the first story; Dhalau is kidnapped and Tom has to save the day. Throw in a matriarchal society and Moore gets to explore gender in comics. Chaykin’s exuberant but a tad too loose.

Leah Moore and McManus do a decent enough story with villain Saveen. McManus’s art is excellent but the final twist is too predictable.

The final story is an awesome riff on comic readers and the love of classic comics as objects. It’s funny, smart and mildly disturbing.

It’s a discreetly ambitious commentary on the medium.

A- 

CREDITS

Electric Ladyland!; writer, Alan Moore; artist, Howard Chaykin. Bad to the Bone; writer, Leah Moore; artist, Shawn McManus. The Hero-Hoard of Horatio Hogg!; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story. Colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.

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Tom Strong 18 (December 2002)

Tom Strong #18

I think all of the jokes Moore gives Svetlana X–proud Russian science hero who has an interesting way of saying things (Moore gives her the cursing, only with accurate if misunderstood translation)–just primes for the big finish. He ends the story arc involving the giant space ants with a great cheap joke. There’s a lot of humor throughout, but the finish is an easy, wonderful joke.

Sprouse gets three big moments this issue. He’s an illustrating intergalactic battle and the script builds to each reveal. Sprouse has to make each bigger than the last. Given the first one involves a solar flare from the sun, it’s an accomplishment he’s able to properly amp up the others.

There’s good stuff with the supporting cast and Tom finally gets himself back in joint. He and Svetlana are hilarious together (he’s too polite to correct her).

As usual, Strong is reliable.

B+ 

CREDITS

The Last Roundup; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story; colorist, Dave Stewart; letterer, Todd Klein; editors, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.

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Tom Strong 17 (August 2002)

Tom Strong #17

Moore’s subplot for this issue is Tesla and her fire monster boyfriend, Val. Mostly with her mom trying to keep the progress of their relationship quiet in front of Tom. It never gets a full resolution but Moore foreshadows one nicely.

The main plot is the preparation for the space battle against the giant ants. Giant space ants. Moore is kind of doing fifties sci-fi with the ants, but not exactly–Sprouse gets to mix sci-fi elements. It’s simultaneously retro and mainstream modern. Moore and Sprouse fit a lot into Tom Strong, they never let it get too much into one genre or another.

The only dragging scene is Tom going and visiting the intelligence on Venus or whatever planet. It’s a talking heads scene with a rock. It’s not bad, it’s just pointless.

Great subplot with the Strongmen too. Moore certainly appears to love writing for them.

B+ 

CREDITS

Ant Fugue!; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story; colorist, Alex Sinclair; letterer, Todd Klein; editors, Neal Pozner, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.

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Tom Strong 16 (April 2002)

Tom Strong #16

Moore has a bunch of fun this issue. He enlists the Strongmen of America and they even get to sleepover with the Strong’s. The way he handles the absurdity of these kids getting to sleep over at a superhero’s is great and all, but having Dhalua call their mothers’ to get permission is even better.

And then there’s Tesla’s little fire monster boyfriend who Tom doesn’t like. That subplot’s wonderful because Moore shows it a little from Tom’s perspective–his daughter’s moon-eyed and he doesn’t approve–but Moore’s really showing it from Tesla’s. And she knows what she’s doing.

The main plot has to do with an alien invasion–it’s actually a little Cowboys vs. Aliens (I’m sure Moore was fine not getting credit for that movie) as the guest star is an intergalactic cowboy. Great details from Moore on that back story and some wonderful art.

Outstanding stuff.

B+ 

CREDITS

Some Call Him the Space Cowboy; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story; colorist, Alex Sinclair; letterer, Todd Klein; editors, Neal Pozner, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.

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Tom Strong 15 (March 2002)

Tom Strong #15

Moore plots out the issue precisely, not just how he uses the action, but also how he uses Tesla. The issue is just as much hers as Tom’s… or maybe even a little bit more.

The issue opens with her disappearing under extreme circumstances. Tom, Dhalua and Solomon have to go rescue her. Moore gets his expository dialogue about Tesla’s history exploring volcanos done while he’s talking about the protective suits everyone is wearing. It’s a little thing, but brilliantly executed.

The issue then has some exploration before Moore brings Tesla into it. A lot of the issue is spent with Tom not thinking and Tesla thinking. The characters figure things out–Moore doesn’t pause to let the reader figure them out, the reader’s going to hear about them, Moore needs the characters to do it.

It’s an interesting form of action.

Excellent art from Sprouse and Karl Story too.

B+ 

CREDITS

Ring of Fire!; writer, Alan Moore; penciller, Chris Sprouse; inker, Karl Story; colorist, Matt Hollingsworth; letterer, Todd Klein; editors, Neal Pozner, Kristy Quinn and Scott Dunbier; publisher, America’s Best Comics.

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Tom Strong and the Planet of Peril 6 (February 2014)

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Hogan’s a show-off. He’s great, he does a great job here, but he’s a show-off. After a very tense opening, things gradually calm down and resolve. Sprouse and Story mostly do talking heads for the first third of the comic.

Then comes this sequence with a presidential voiceover. At first it seems tedious–like Hogan’s trying to go for something obvious… but he’s not. It’s sincere and he sells it. Awesome sequence.

Then there are two or three more such sequences–none of these as great as that first one but featuring some excellent art throughout. Finally, after Hogan’s got his reader emotionally enthused, the kicker with Tom and his family’s resolution.

Here’s a comic about a guy flying across the galaxy to a duplicate Earth while accompanied by his fire-man son-in-law and it’s about the family. Hogan, Sprouse and Story do a wonderful job.

A 

CREDITS

The Bells; writer, Peter Hogan; penciller, Chris Sprouse; inker, Karl Story; colorist, Jordie Bellaire; letterer, Todd Klein; editors, Jessica Chen, Kristy Quinn, Ben Abernathy and Shelly Bond; publisher, Vertigo.

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Tom Strong and the Planet of Peril 5 (January 2014)

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Tom Strange finally appears in the issue–which is good, since Hogan’s only got one left. Besides the opening, which features another new (or returning from a previous limited series) character, a lot of the issue is just the Toms talking.

Tom Strange is set up on the moon (not sure why it was such a secret) and Tom Strong offers to help him try to figure out a cure for the plague. Then Hogan introduces the other members of Strange’s team; they’re a hodgepodge to show the smart people of all types banding together to save the species.

It’s a fine enough issue–there is some nice art from Sprouse and Story, particularly the trip to the moon base–but there’s a lack of drama to it. Even though Strong’s on a deadline, Hogan has a leisurely pace. The series’s definitely worth reading, but I’m glad it’s finishing soon.

B 

CREDITS

Sleeping in Flames; writer, Peter Hogan; penciller, Chris Sprouse; inker, Karl Story; colorist, Jordie Bellaire; letterer, Todd Klein; editors, Jessica Chen, Kristy Quinn, Ben Abernathy and Shelly Bond; publisher, Vertigo.

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Tom Strong and the Planet of Peril 4 (December 2013)

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This issue doesn’t really have enough content to be a full issue, except Hogan has decided he wants to do a couple serious things and they’re going to be worth the cover price.

And they are worth that cover price.

Without spoiling, the first thing has to do with Tom Strong, the character. Hogan makes a quiet, direct statement about what makes this comic different. He sort of drops Tom and Val into the middle of The Road Warrior and finds a different result. Why? Because with Tom Strong, anything is possible.

The second thing has to do with heroism and aging. It also relates back to Tom, who both ages and performs acts of heroism, but they’re ingrained into the character, not often discussed. Hogan figures out a way to talk about them a little.

Hogan is enthralled with writing the character, which really does set the comic apart.

A 

CREDITS

The Cavalier’s Attitude; writer, Peter Hogan; penciller, Chris Sprouse; inker, Karl Story; colorist, Jordie Bellaire; letterer, Todd Klein; editors, Jessica Chen, Kristy Quinn, Ben Abernathy and Shelly Bond; publisher, Vertigo.

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Tom Strong and the Planet of Peril 3 (November 2013)

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Hogan continues his leisurely, pleasant pace. Tom Strong might be the one with his name in the title but Hogan’s really having fun doing his Terra Obscura sequel. He introduces the cast from that series again, going through all their changes. He has so much fun with their interplay, the whole plague thing is in the back burner.

There are some action scenes–Val, Tom’s son-in-law, spends the issue getting more and more aggravated, but Hogan’s clearly making him wait. Tom and Val are just explorers on this strange world. A strange world where Hogan and Sprouse have time to make a cute Watchmen reference too.

Anyway, the setting is an Egyptian encampment where two science heroes have become Egyptian gods reincarnated. It sounds weirder than it plays. Hogan and Sprouse do very well with the gradual storytelling.

Peril is so well executed, it doesn’t need forced thrills.

A- 

CREDITS

The New Egyptian Book of the Dead; writer, Peter Hogan; penciller, Chris Sprouse; inker, Karl Story; colorist, Jordie Bellaire; letterer, Todd Klein; editors, Jessica Chen, Kristy Quinn, Ben Abernathy and Shelly Bond; publisher, Vertigo.

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Tom Strong and the Planet of Peril 2 (October 2013)

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Whew, it’s a six issue series, not four. I was wondering what the heck Hogan at the end of the issue if he only had four. It’s a good enough issue–Tom and Val get to Terra Obscura, find it decimated by plague (or something) and hang out with a couple of the world’s science heroes–but it’s all just nicely done exposition.

But Hogan’s got six issues so he’s got plenty of time.

Hogan’s got a lot of amusing dialogue and a lot of touching dialogue. He could be foreshadowing big revelations to come later on with the guest stars this issue, he also might just be using them as the best vehicles for the exposition. It never feels forced, which is nice.

There’s also some lovely art from Sprouse and Story. They do plague decimated New York City something special, but the quiet stuff’s great too.

Still Strong.

B+ 

CREDITS

Masks and the Red Death; writer, Peter Hogan; penciller, Chris Sprouse; inker, Karl Story; colorist, Jordie Bellaire; letterer, Todd Klein; editors, Jessica Chen, Kristy Quinn, Ben Abernathy and Shelly Bond; publisher, Vertigo.

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Tom Strong and the Planet of Peril 1 (September 2013)

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So Planet of Peril turns out to be a sequel to the Terra Obscura series Hogan’s done. Those are great so I have high hopes for this one. And so far, Hogan doesn’t disappoint.

He has Chris Sprouse and Karl Story on art so it’s good, but he also comes up with this great meta scene where Tom Strong tries to explain why there haven’t been Terra Obscura comics published in the last few years. It’s hard to tell if it’s a one off meta moment or if Hogan’s going to weave it in and out of the entire series.

There’s also the human element–Tesla’s pregnant with some fiery guy’s baby and it’s putting her in danger. Hogan’s doing the Superman pregnancy storyline hinted at in Mallrats apparently.

Hogan gets in a good amount of humor and action, lots of the touching Strong stuff and great opportunities for Sprouse.

B+ 

CREDITS

The Girl in the Bubble; writer, Peter Hogan; penciller, Chris Sprouse; inker, Karl Story; colorist, Jordie Bellaire; letterer, Todd Klein; editors, Kristy Quinn, Ben Abernathy and Shelly Bond; publisher, Vertigo.

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Rocketeer Adventures 2 3 (May 2012)

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Did IDW run out of people to hire for Rocketeer Adventures? The Kyle Baker story, done a little like a serial episode, is great, but it’s Kyle Baker. He doesn’t just get how to do comic action, he can actually write Betty. And his Shadow cameo is rather fun too.

But besides Baker, this issue’s awful. Chris Sprouse’s art is good on the first story, if a little underwhelming. David Lapham scripts it; it’s a terrible script about Cliff and Betty realizing they don’t want to be a farm family. In short, Sprouse is drawing a lot of farm equipment. Not a good use of him.

Still, anything is better than the last story. Eric Canete’s style seems to be rushed, line heavy and animation influenced. Matt Wagner only writes narration–since it’s a “Jetsons” story–and Canete’s art complements it perfectly. Neither are good.

Baker aside, the issue’s crap.

CREDITS

“Coulda been…”; writer, David Lapham; penciller, Chris Sprouse; inker, Karl Story; colorist, Jordie Bellaire; letterer, Shawn Lee. Butchy Saves Betty; writer, artist, colorist and letterer, Kyle Baker. History Lesson; writer, Matt Wagner; artist, Eric Canete; colorists, Canete and Cassandra Poulson; letterer, Lee. Editor, Scott Dunbier; publisher, IDW Publishing.

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Tom Strong 14 (October 2001)

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Moore has a great time with this issue, featuring Tom Strong and his family on an intergalactic vacation. It also shows how much Moore’s willing to change Strong to keep himself engaged.

The issue is split into three stories, all set during different points in the vacation. The first story, dedicated to a sick Tom McWeeney, has Hilary Barta on art. Tom and the family (Tesla’s still a baby) are on an absurdly hostile planet. It’s Tom as a dumb husband; it’s hilarious.

Sprouse and Gordon take over for the rest of the issue.

The second story is Tom and Dhalua on a planet where their hidden desires are made real. While it’s all fantastical, it shows a lot about the characters (who readers are already seeing forty-five years earlier than usual).

The final story’s an action-packed sci-fi number.

Great issue; Moore’s playful narrative is subtly revelatory.

2

Tom Strong 13 (July 2001)

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While this issue features some incredibly cool writing from Moore (more on it in a bit), it also has amazing art. It’s a five-part story, with Sprouse and Gordon on for the prologue. Then it’s Russ Heath (doing a teenage Tom Strong), Kyle Baker (doing the bunny Tom Strong analogue) and, finally, Pete Poplaski doing the finish. Poplaski makes the whole thing feel very Golden Age and it’s simply a superior visual experience.

As for Moore, he plays a lot with time travel and its effects, but he also comments briefly on the “imaginary story” genre. Tom Strong, it seems, has no imaginary stories. Moore gets a lot of mileage in figuring out how to make this one real.

There’s some great villainy from Saveen, though a lot of the dialogue refers to very distant events.

It’s also a mini-Captain Marvel homage with the “wizard.”

Simply wonderful stuff.

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Tom Strong 12 (June 2001)

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Moore does a really nice job finishing up his Tom Strange two-parter, especially given how much material he brings into it.

The issue opens with the two Toms unfreezing all of Terra Obscura’s heroes and introducing them. They aren’t quite analogs to popular superheroes, but it’s hard not to see Batman in the Terror, who has a kid sidekick and everyone suspects is secretly nutty. Pretty much every other modern superhero analog owes it to Moore and Tom Strong.

Then there’s a brief introduction to the alternate Earth, which is fantastic. Sprouse doesn’t go crazy with it, just straightforwardly illustrating the amazing setting (an inverted city).

And the action-packed finale is exciting and touching. It’s no small feat, since Moore’s got the reader caring about characters he or she only met five pages earlier.

It’s masterful and Moore makes it all seem playful. “Just” a special retro issue.

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Tom Strong 11 (January 2001)

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Moore really brings in the weight this issue. Not emotionally, but in terms of complexity. He introduces Tom Strange and Tom Strange’s whole alternate Earth. The complexity comes in with the explanation it’s not really an alternate Earth but a duplicate one, albeit with some differences, elsewhere in the galaxy.

It’s hard to comprehend, which is good, because it means Moore is able to maintain the fantastical nature of the proposition. But it also means there’s a lot of exposition. The Sprouse art is excellent, but it can’t outdo the endless scientific explanations.

The issue’s a little… pardon the term… strange. Moore opens with a fight scene and an action set piece, then he moves into talking heads, then into the science and sci-fi. There’s almost no movement in the issue, even with a fight scene and intergalactic traveling.

It’s also a two parter. This first part feels incomplete.

1

Tom Strong 10 (November 2000)

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“What about people who don’t read America’s Best Comics?” “They’re just scum.”

Moore closes the issue with a joke ad for the comic line and it overshadows the rest of the issue. It’s just too funny.

Once again, there are three stories. The first, illustrated by Gary Gianni, is sort of a period horror thing. Tom gets on a time machine-like device and travels into the past–into a dimension of the dead. Gianni’s art is sufficiently creepy, illustrating Moore’s prose. It’s a very effective piece, giving real insight into the Tom Strong character.

In the second story–Sprouse and Gordon taking over–Tom visits an alternate universe much like a Disney cartoon. It’s funny, cute and somewhat unexpected from Moore.

Fun’s also the keyword for Tesla’s adventure. She inadvertently brings a much of alternate selfs through a dimensional portal.

The issue’s not deep, but quite a fun read.

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Tom Strong 9 (September 2000)

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The issue’s a family affair, with Tom, Dhalua and Tesla each getting their own story. Paul Chadwick handles the art on Tom’s story. His style mimics Sprouse quite a bit. If I hadn’t seen Chadwick’s name, I’d have no idea.

It’s a nice little story, with Moore mixing jungle adventure with positivist sci-fi. It ends a little fast though.

Dhalua has a good flashback story. Mostly Moore is just filling in her backstory, rounding the character. He does an exceptional job with the character, making her more distinct than Tom. Sprouse and Gordon do well with the constrained setting.

They also do the art on Telsa’s story, which Moore models on DC backups, like a Supergirl one. It’s a lot of fun, with more great art from Sprouse and Gordon. It’s got the most humor. Moore succeeds at making his observation on comics traditions while writing a great character.

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Tom Strong 8 (July 2000)

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There’s no feature this issue, just three short stories. The first, with art by Alan Weiss, is a throwback to “The Twilight Zone” as Tom and Solomon find themselves in the Old West. All the residents have three eyes, eat weird things and no longer identify colors with the same words.

It’s a fast little story, with a nice resolution, but Moore really doesn’t explore all the implications. I guess that lack is the drawback–Moore’s ideas, even little ones, are just too strong.

The second story is an adventure for some of the Strongmen of America, with Chris Sprouse and Al Gordon on art. It’s a fun little amusement with a psycho principal out to make kids work harder in school.

The final story, again with Sprouse and Gordon, is nearly sublime. It’s a Tesla adventure and Moore ends it on a joke. It’s still almost sublime.

Great stuff.

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