The Fall of the House of West (2015)

The Fall of the House of West

The Fall of the House of West is heavy stuff. There’s a little bit of comic relief with Aurora’s friend Hoke having a crush on her, but it doesn’t get much attention. Writers Paul Pope and J.T. Petty don’t want to let up on the reader, which is a little surprising.

Maybe the big character development for Aurora at the end of the comic sways things, but–by the end of the book–the reader knows Aurora less well than at the beginning of the comic. Her character arc is huge and Pope and Petty don’t deal with the full ramifications here. There isn’t time for it. Her journey is the point, the reader’s experience of that journey is the point. Plot twists aren’t the point.

Similarly, Pope and Petty leave the MacGuffin unresolved as well. They’re able to get incredible emotional response from the reader only to belay any resolution. It keeps the reader invested. There’s a definite commercial quality to the comic–and Aurora West as a character–but they aren’t chasing a movie deal. They’re chasing the reader. They’re trying to get their readership invested.

David Rubín’s art is decent. Most of the comic takes place at night, which is fine, but Rubín’s got a lot more personality on well-lit subjects. The panel composition is fantastic, though; it really helps the comic be so welcoming.

West demands the reader’s attention, in a very entertaining way. It’s excellent.

CREDITS

Writers, J.T. Petty and Paul Pope; artist, David Rubín; letterer, John Martz; publisher, First Second.

The Rise of Aurora West (2014)

The Rise of Aurora West

The Rise of Aurora West is simultaneously original and not. Paul Pope and J.T. Petty have a derivative adventure for an entirely original character, even though her back story is derivative. Sort of. The details are derivative.

Aurora West is the teenage daughter and sidekick to Haggard West. He’s a science hero. Just like Tom Strong. Except he fights monsters in a way quite similar to Bruce Wayne. So some of Aurora West is really just Batman and his teenage daughter hunting down criminals. Except they’re monsters.

But with a lot of science and Aurora growing up in a world with monsters, there’s just enough difference to let her not be Robin or anything like a Robin. So then some of Aurora West has nothing to do with Batman and his teenage daughter. There’s too much comedy for it to just be a riff. Pope and Petty maneuver Aurora very carefully through the book–the comedy relieves pressure, keeps the pace set, gives the reader a chance to reflect. It’s beautifully constructed.

David Rubín’s art is nice. He’s not as good as Pope but does a decent imitation, with the black and white lending to some of the more Eisner-like imagery.

It’s an extremely ambitious narrative presented easily. Neat comics, as usual, from Pope.

CREDITS

Writers, J.T. Petty and Paul Pope; artist, David Rubín; letterer, John Martz; publisher, First Second.

100% 5 (July 2003)

100% #5

Wow.

I remembered this issue being amazing, just because Pope has such a fantastic closing moment. But he's also got a lot going on throughout the issue with how he handles the narration.

Daisy gets close third, close second, with Pope juxtaposing it against her gastro dancing. She hasn't been a mystery to this point, but she's definitely been closed off. Opening her up in narration comes at just the right time, same with Eloy getting close second person narration. Instead of the established characters getting narration–John and Kimberly–Pope flips it. He flips it and opens up the comic.

Because 100% isn't about the future or the gastro dancing or the international boxing circuit or the hinted at world wars, it's about these people. And Pope figures out an amazing way to tell their story amid all the hubbub and noise. And he visualizes noise this time.

It's peerless comics.

A 

CREDITS

Writer and artist, Paul Pope; colorist, Lee Loughridge; letterer, John Workman; editors, Mariah Huehner and Shelly Bond; publisher, Vertigo.

100% 4 (October 2002)

100% #4

Pope tries so much different stuff with this issue–he's got one scene in here where he seems to be homaging Charles Schulz. Everything he tries is successful; some of it is more wildly successful than the rest, but it all works.

He has his cast set. He has lovers, John and Daisy; he's serious about them, she's not. He has potential lovers, Kim and Eloy–she won't compromise and he needs to decide whether or not he's going to compromise his artwork. Very little thing but Pope makes it hugely consequential, even as he skims over the future society details.

Then there's Strel, who gets a bunch of pages again since her husband is back. The backstory is both confusing and not–Pope has a great way of getting in the exposition.

He's also doing things with narration–flipping flopping who gets first and third–and ambitious panel pacing for scenes.

It's brilliant stuff.

A 

CREDITS

Writer and artist, Paul Pope; colorist, Lee Loughridge; letterer, John Workman; editors, Mariah Huehner and Shelly Bond; publisher, Vertigo.

100% 3 (October 2002)

100% #3

This issue has three things going on. First is the boxer who's Strel's ex-boyfriend. He gets a couple chapters–Pope splits 100% into chapters and there are a lot of them in this issue. Anyway, the boxer gets a couple chapters. They're mostly for mood and exposition.

But then John and Daisy get to go on their date (after some flirtation earlier on) and John has managed to swipe Daisy's panties from work. Quite innocently, of course. Between this problem and Kimberly's date with Strel's cousin to get sushi, the comic feels like Love and Rockets. Not in the art, but in how Pope presents the little adventures of the cast.

It's sort of meandering. There's a lot of personality and mood, but Pope's muted. And then, out of nowhere, he executes the exceptional sex scene and all of a sudden the issue's the best in the series.

Just crazy good.

A 

CREDITS

Writer and artist, Paul Pope; colorist, Lee Loughridge; letterer, John Workman; editors, Mariah Huehner and Shelly Bond; publisher, Vertigo.

100% 2 (September 2002)

100% #2

Pope introduces a few new characters this issue, including a couple fairly substantial ones. He opens the issue on some guy who's calling Strel; she doesn't want to talk to him. Later on, Pope introduces Strel's cousin, who's interested in Kim. Kim doesn't exactly narrate her scenes–Pope uses close third person, which really brings the character into focus.

For focusing on Strel, on the other hand, Pope uses her home-life. Strel in the club or even hanging out with Kimberly isn't as vibrant as her at home with her family.

But this issue also has Daisy and John and their blossoming mutual interest. John's the other lead–narrating in the first person, explaining gastro dancing to the reader. There's a wonderful disconnect in John's queasy explanation and the beautiful Pope visualization.

Pope plays the medium too–he's especially focused on sound. How to create sound in the comic book panel.

It's awesome.

A 

CREDITS

Writer and artist, Paul Pope; colorist, Lee Loughridge; letterer, John Workman; editors, Mariah Huehner and Shelly Bond; publisher, Vertigo.

100% 1 (August 2002)

100% #1

What's 100% about? It's about this club–the Cat Shack. One of the characters is a dancer there, another is a manager, another is a busboy, another is a prospective dancer. Writer and artist Paul Pope uses the club–which also has a dancer get murdered at the start of the story–as a central location; it's the embodiment of the setting. But Pope gets away from it enough throughout, it never feels forced.

Maybe because the opening scene is away from it. Pope's panel composition and flow are so intricately executed, it would be no surprise if he made sure he kept away from the club just as carefully.

The issue, which introduces the four main characters, has a couple narrators. One is busboy John, the other is dancer Kimberly. They don't intersect, except glancingly. Pope starts the characters deep, then just fills them out to show how deep.

It's phenomenal work.

A 

CREDITS

Writer and artist, Paul Pope; colorist, Lee Loughridge; letterer, John Workman; editors, Mariah Huehner and Shelly Bond; publisher, Vertigo.

Battling Boy (2013)

Battling boy cover

Battling Boy appears to be Paul Pope’s answer to all the young adult Joseph Campbell stuff coming out in the last ten years. Only, of course, since it’s Paul Pope, it’s so much better.

The big thing Pope plays with in Boy, right from the start, is the fear of the unknown. He’s not dealing with these frightening monsters in prose, where he can hint at their hideousness; he’s drawing them, he’s visualizing them for the reader, but still has to make them terrifying in the imagination. The book opens with the Ghoul Gang, who are half dressed as mummies, have with these face covering rag cloaks. They kidnap kids.

Why?

Pope doesn’t go into it. Better left unsaid, especially in a book targeted for the youth market. It also allows Pope to play the monsters for laughs sometimes. There’s a monster bar where they all hang out and it’s a glorious mix of disgusting and hilarious.

The titular Battling Boy is a kid from another universe, sent to Earth to save the world from monsters… kind of like high school. When these kids hit puberty, off they go to some world or another.

There’s a lot of action, a little bit of character development (mostly on a female supporting cast member) and just wonderful artwork. Pope’s so strong, his full page panels showing simple events are still awesome. Boy is another fantastic Pope pairing of storytelling and artwork. They drive one another beautifully.

I’m already impatient for the sequel.

CREDITS

Writer and artist, Paul Pope; colorist, Hilary Sycamore; publisher, First Second.

Wednesday Comics 11 (16 September 2009)

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Azzarello writes Batman as a rube while Risso tries to ape Sin City as a Batman. Gibbons once again summarizes the action too much on Kamandi. Sook’s barely got anything to do.

Superman is bad. As usual.

Deadman’s okay, Green Lantern’s awful. Ditto, respectively, for Metamorpho and Teen Titans. Hope respectively, in that sense, means Titans is the awful one.

Good (not great) Adam Strange. Poor (not terrible) Supergirl.

For the first time, Garcia-Lopez is too busy on Metal Men. All the large scale action hurts it. And Caldwell breaks out of his little panels for Wonder Woman. It’s a mistake.

Sgt. Rock is okay, The Flash is great. Demon and Catwoman sucks–it’s Simonson’s fault. Stelfreeze just doesn’t have anything good to draw.

Awesome Hawkman–the art’s astounding. Baker really outdoes himself.

Wednesday Comics is wrapping up. Shame most of the creators have no idea how to close.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 9 (2 September 2009)

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The art on Batman’s good. Risso’s aping Frank Miller, but it’s a stylish fight regardless. Kamandi continues to have story problems and poor Sook has nothing active to draw. Crap Superman. Nice Deadman. It might be Comics’s underdog strip.

It’s the best Green Lantern, which says little for the strip. Metamorpho‘s periodic table gimmick is so tired in its second week, Gaiman’s even bored writing it. I think someone told Berganza he was writing a kids’ cartoon for Titans, not a comic strip.

Good Adam Strange. Pope hasn’t topped his Earthbound Adam development so it’s kind of underwhelming.

Lame Supergirl (too wordy), okay Metal Men. Wonder Woman’s fine, Sgt. Rock’s not awful.

Oh, The Flash. Fletcher and Kerschl homage various comic strips. It’s fantastic. Best thing this issue except Baker’s Hawkman versus T-Rex panel.

And The Demon/Catwoman is awful again. Its quality’s plummeted.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 7 (19 August 2009)

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Batman is a little better than usual. Not the art, but at least Azzarello writes two scenes. On the flip, this Kamandi strip is probably the weakest. Still good, but pointless.

Superman’s crap, Deadman’s pretty but slight, the Green Lantern is pointless. The Metamorpho, however, is weird in a good way. Crappy Teen Titans, but amusing–Berganza says Starfire is almost seven feet tall, Galloway draws her shorter than Robin. Great Adam Strange. Pope has really made the strip his own thing. Supergirl–with the Aquaman guest appearance–is weak again.

The Metal Men strip is still charming, but it’s starting to drag on. There’s a bunch of stuff in Wonder Woman but I’m not sure I understand it. Caldwell writes a great Etta.

Sgt. Rock is a little better, The Flash’s interesting again. Demon/Catwoman is lacking.

Baker rips off Jurassic Park but Hawkman’s still wonderful.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 6 (12 August 2009)

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Let’s get started. Batman–Risso’s artwork is weak. It’s loose when it needs to be strong and vice versa. Fun Kamandi but Gibbons isn’t giving Sook enough room for the content. Superman’s the opposite. Too much room, too little content. Deadman’s mediocre, probably its worst strip (it’s a wee trite).

Green Lantern’s continuing to sink too. Busiek’s Hal is an unlikable narrator. Gaiman and Allred cheat on Metamorpho–half the page is a board game. It’s cute, but clearly there’s not much story.

Oh, Berganza’s Teen Titans. He gives Blue Beetle the internal monologue of the Taco Bell chihuahua. It’s offensive in addition to awful.

The Adam Strange is amazing. Bringing him back to Earth, Pope finds a great twist. The Supergirl’s weak (relying on Aquaman jokes). Metal Men’s good, Wonder Woman’s half-amazing, half-incomprehensible. Weak Rock, okay Flash, weak Demon, great Hawkman… Baker’s artwork is absolutely phenomenal here.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 5 (5 August 2009)

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Lame Batman, good Kamandi (Sook does a good Planet of the Apes), lame Superman (though Bermejo’s a little better), okay Deadman (one of the book’s steadiest strips), lame Green Lantern (after always being mediocre before)….

I’m trying something different since these comics usually provide so little to really talk about.

Metamorpho’s a little better, Teen Titans is a little worse. Great Adam Strange, just featuring Alanna. Pope gives her a nice strip to herself. And Supergirl’s turning into one of the better strips in the series overall. Palmiotti’s tone for it is perfect and Conner’s art is engaging. Another good Metal Men, another interesting and confusing Wonder Woman, another crappy Sgt. Rock. I wonder if Joe Kubert just wasn’t willing to draw very much.

The Flash is fine, ice art from Kerschl. The Demon and Catwoman is completely passable. Hawkman recovers too, great action page.

The quality’s plateaued.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 4 (29 July 2009)

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Baker gets awkwardly jokey on the Hawkman, which is otherwise all right. He’s got a great looking space battle involving the JLA satellite.

Speaking of art, Bermejo’s Superman is particularly awful this issue. He’s apparently incapable of drawing Ma Kent. He draws her for three or four panels, each worse than the last.

Metamorpho makes a slight recovery; at least Gaiman’s got actual panels and something of a narrative. It’s all a tease, but it’s better than it has been.

The most reliable strips are Pope’s Adam Strange, Bullock and Heuck’s Deadman (it’s never great, but always decent), Gibbons and Sook’s Kamandi and some others. Metal Men, by Didio and Garcia-Lopez, continues to impress. Didio really does fit in some good character dialogue, even with all the action.

Berganza and Galloway’s Teen Titans actually manages to be worse, which seems unimaginable.

The issue’s quality’s up. The strips are stabilizing.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 3 (22 July 2009)

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This issue has even less good strips than before. Sgt. Rock in particular falls off, with Joe Kubert’s art getting way too loose. Gaiman and Allred’s Metamorpho doesn’t recover either.

In other words, at issue three, Wednesday Comics is already downhill.

Azzarello and Risso’s Batman manages to be worse, as does Arcudi and Bermejo’s Superman. Kamadi by Gibbons and Sook, however, is awesome. It’s perfect as a comic strip.

Nice Adam Strange by Pope, nice Metal Men by Didio and Garcia-Lopez. Jimmy Palmiotti and Amanda Conner’s Supergirl is rather cute; being well-intentioned and competent compensates for its lack of ambition.

Sadly, Kerschl and Fletcher’s Flash falters. They concentrate on a dramatic cliffhanger instead of an amusing one.

Kyle Baker quizzically turns his Hawkman into an “aliens were behind 9/11” thing. I hope that theme doesn’t stick.

The issue’s tiresome. The standouts don’t make up for the failures.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorists, Jose Villarrubia and Lovern Kindzierski. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Wednesday Comics 2 (15 July 2009)

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So even some of the better ones from the previous issue are losers this week. Specifically Neil Gaiman and Mike Allred’s Metamorpho. They flop on the format.

Still strong are Pope’s Adam Strange, Baker’s Hawkman, Dan Didio and Jose Luís Garcia-Lopez’s Metal Men (no, really) and Catwoman by Walt Simonson and Brian Stelfreeze. Oh, and Kamandi by Dave Gibbons and Ryan Sook. The biggest surprise has got to be The Flash from Brendan Fletcher and Karl Kerschl. They split it between Iris and Barry and have a very unexpected, but fun, twist.

Deadman, from Vinton Heuck and Dave Bullock, is another nice one.

The lousy ones remain lousy (or worse). Azzarello and Risso’s Batman stinks; Risso’s art wastes the large size. Arcudi and Bermejo’s Superman is probably worse, just because it’s so poorly written. Berganza and Galloway’s Teen Titans has to be the worst one overall.

Another mixed bag.

CREDITS

Batman; writer, Brian Azzarello; artist, Eduardo Risso; colorist, Patricia Mulvihill; letterer, Clem Robins. Kamandi; writer, Dave Gibbons; artist, Ryan Sook. Superman; writer, John Arcudi; artist, Lee Bermejo; colorist, Barbara Ciardo; letterer, Ken Lopez. Deadman; writers, Vinton Heuck and Dave Bullock; artist, Bullock; colorist, Dave Stewart; letterer, Jared Fletcher. Green Lantern; writer, Kurt Busiek; artist and colorist, Joe Quinones; letterer, Pat Brosseau. Metamorpho; writer, Neil Gaiman; artist, Mike Allred; colorist, Laura Allred; letterer, Nate Piekos. Teen Titans; writer, Eddie Berganza; artist and colorist, Sean Galloway; letterer, Nick J. Napolitano. Adam Strange; writer, artist and letterer, Paul Pope; colorist, Jose Villarrubia. Supergirl; writer, Jimmy Palmiotti; artist, Amanda Conner; colorist, Paul Mounts; letterer, John J. Hill. Metal Men; writer, Dan DiDio; penciller, Jose Luís Garcia-Lopez; inker, Kevin Nowlan; colorist, Mulvihill; letterer, Lopez. Wonder Woman; writer, artist, colorist and letterer, Ben Caldwell. Sgt. Rock; writer, Adam Kubert; artist, colorist and letterer, Joe Kubert. The Flash; writers, Brendan Fletcher and Karl Kerschl; artist, Kerschl; colorist, Dave McCaig; letterer, Rob Leigh. The Demon and Catwoman; writer, Walt Simonson; artist and colorist, Brian Stelfreeze; letterer, Steve Wands. Hawkman; writer, artist, colorist and letterer, Kyle Baker. Editors, Chris Conroy and Mark Chiarello; publisher, DC Comics.

Deep Cuts (1993-2001)

Onetrickripoff

Deep Cuts opens a lot more experimental than it finishes. The book is a collection of Pope’s work while traveling for many years. When it starts, stories share themes or locations, which eventually stops.

The first couple stories take place in a dust bowl setting, though they don’t seem to take place in the same time period. Pope’s writing–which Deep Cuts shows is integrally integrated into his art–is lyrical and poetic for them.

He then moves into autobiography–starting with a dream recollection–and makes these wonderful (and sublime) observations about life and its fantastical nature. Every story in Deep Cuts deserves serious consideration. I’m word constrained, I apologize.

Then Pope transitions from a side character out of autobiography to a cute romance. It fits a collection perfectly, even though Pope couldn’t have been thinking about it when he was making the comics. There are two of these cute romances before Deep Cuts gets to the biggies.

There are three big stories–there are little moment stories in between, but nothing like the big three. SuperTrouble is the best Love and Rockets knock-off anyone’ll ever do. It’s a sad moment when one realizes there aren’t any more stories of the one.

Night Job is okay. It’s a genre crime story. It’s Pope experimenting with a more traditional narrative (and action). There’s great art. The Scarf is the synthesis. It’s Pope’s slice of life story as a narrative.

Deep Cuts shows Pope’s develop as an artist. It’s amazing.

A+ 

CREDITS

The Triumph of Hunger; colorist, Dominic Regan. The Zhuk; colorist, Regan. The Armadillo; colorist, Regan; letterer, Lorrie Witte. The Visible Man; colorist, Regan. Portrait of a Girl with an Unpronounceable Name; colorist, Regan. Yes; colorist, Regan. Antigone; colorist, Regan; letterer, Michael Neno. The Scythe; colorist, Regan. Super Trouble; colorists, Scott Mou and Jared K. Fletcher; letterer, Fletcher. Four Cats; colorist, Regan. Night Job; colorist and letterer, Fletcher. The Scarf; colorist, Fletcher. Airplanes; colorist, Regan. Writer and artist, Paul Pope; editor, Bob Schreck; publisher, Image Comics.

The One-Trick Rip-Off (1993-96)

Onetrickripoff

The One Trick Rip-Off isn’t a failed heist story. Paul Pope plays a lot with that genre, updating it to Los Angeles street gangs. Pope’s Los Angeles setting is an entirely different subject, one I’ll get out of the way. One Trick’s setting is lush–both in Pope’s lines and the colors–always urban, but still somehow organic. Pope’s use of the stars and the city skyline are both great ways to make it breath, especially the stars. The first star scene has the protagonists talking about constellations. They obviously aren’t visible, but Pope convinces the reader to look anyway.

All right, setting out of the way. Back to the genre. One Trick was originally serialized; some of the chapters are more obvious than others, but it also shows how Pope’s unveiling events. It opens with a classic heist planning scene and then Pope does whatever he can do make that scene impossible in the narrative. He later brings it back, which is something of a genre standard. But then Pope breaks One Trick out of the genre with the finish. It’s like he acknowledges what the genre’s limits and bypasses it.

Pope deftly prepares the protagonists for the transition. He spends a lot of time on his characters; the protagonists are actually the least jazzy. They’ve got a good story, especially with the genre shift, but Pope saves the flash for the supporting cast.

As for the art? It’s concurrently sublime and frantic.

It’s a great book.

CREDITS

Writer and artist, Paul Pope; colorists, Jamie Grant and Dominic Regan; letterer, Michael Neno; editor, Bob Schreck; publisher, Image Comics.

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