Author: Andrew Wheeler

Some people stay in the same place their entire lives: joining the family business, marrying their childhood sweethearts, growing old in the bosom of their loved ones underneath the spreading chestnut tree their grandfathers planted. But they’re boring, so there aren’t many manga about them.

People who go different places and do new things, on the other hand, are much more popular…

Cirque Du Freak, Vol. 1
By Darren Shan; Art by Takahiro Arai
Yen Press, June 2009, $10.99

Let’s get a couple of notes out of the way – first, this book calls itself just Cirque du Freak everywhere on the actual volume, but online stores think it’s named Cirque du Freak: The Manga. (Probably because there’s a long series of books for young readers under the “Cirque du Freak” umbrella title, of which this volume adapts the beginning of the first book, A Living Nightmare.) Secondly, “Darren Shan” is a pseudonym, and I know that definitively, because this is the story of a young boy named…

Darren Shan – who loves soccer and spiders, is inseparable from his best friend Steve, and goes to a uniform-requiring elementary school in some unspecified place. But then one day the circus – the strange, mysterious, dangerous, secret circus – comes to town, and Darren and Steve get tickets. The show is creepy and surprising, mesmerizing and faintly evil, in the way of a thousand fictional circuses since Dr. Lao and Something Wicked This Way Comes.

Steve is sure that one particular performer, a Mr. Crepsley, is more than he seems, and sneaks off to beg to be allowed to run away with the circus. That doesn’t work out, but Darren soon has an unexpected transformation from the same source. By the end of the book, Darren’s been torn away from everything he ever knew (and so on; you know the drill), given dangerous and ill-defined new powers, and made a mortal enemy out of Steve.

Cirque du Freak shows its origins as a mildly creepy story for grade-schoolers in everything from the I-am-telling-you-my-true-story bunkum of the author credit to dumb names like “Vur Horston, the Vampire” to the moral simplicity of the choices that the characters make. Arai has an energetic but clean-lined shonen style, full of close-ups of distressed faces and overly-dynamic bodies, but that can only go so far – this is essentially a story for ten-year-olds, and so those of us substantially older than that will inevitably find it thin gruel.

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The League of Extraordinary Gentlemen, Vol. III: Century #1
: “1910”
By Alan Moore and Kevin O’Neill
Top Shelf, April 2009, $7.95
 

The usual rule in comics is that nothing with two or more colons in its title – not to mention two or more separate numbering schemes – is nothing but rubbishy hackwork, and should be avoided. In this, as in so much else, Alan Moore is the Great Exception, as his newest miniseries comes with a jaw-breaker of a title that sounds like a piece of summer crossover from a stranger and much more literary world than our own.

This volume begins the third major “[[[League of Extraordinary Gentlemen]]]” story – last year’s [[[Black Dossier]]] doesn’t quite count, for complicated Moorian reasons – and it continues with the survivors of the team from the first two stories (Mina Harker and a rejuvenated Alan Quatermain posing as his own son), augmented by several more fictional characters (Orlando, Raffles, Carnacki) to continue their work preserving England from obscure horrors, reporting in to the secret group headed by Mycroft Holmes.

There will be two more volumes in this story – each set in, and titled after, a different and widely spaced year in the last century – so 1910 is mostly set-up. Moore re-introduces the League and sets them to squabbling, since superteams must always fight among themselves. The battling is less ominous this time around: none of the team are as immediately dangerous as Mr. Hyde, nor as sneakily obnoxious as the invisible Mr.Griffin. (So we get Raffles’s sniffing attempts to maintain his requisite stiff upper lip in circumstances he never expected and Orlando engaging in high-quality mincing whenever the slightest opportunity arises, along with Mina’s usual Serious Girl act and very little from the increasingly colorless Alan.)

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Showcase Presents: Ambush Bug Vol. 1
Plot & Pencils by Keith Giffen, Script by Robert Loren Fleming, Inks by Bob Oksner (for most of the stories)
DC Comics, March 2009, $16.99

We all have to look back at the comics of our youth once in a while. It’s not always a pleasant experience, particularly when we’re reminded of what no-taste cretins we once were. But, once in a while, it’s possible to look back and discover that our taste wasn’t that bad, that something we remember as funny was actually clever and inventive as well. Even then, though, we might have to wade in pretty far before we get to the good stuff.

Ambush Bug started off as a random villain in a minor issue of a minor DC comic in late 1982 – DC Comics Presents #52, at that time the [[[Superman]]] team-up book – written by Paul Kupperberg, though the Bug was created by penciller Keith Giffen. He was there purely as an additional complication, as the A story in that issue saw a rampaging Negative Woman (from the then-new incarnation of the Doom Patrol) trashing Metropolis while Supes and her teammates tried to stop her. (And that issue is very of its time, with acres and acres of tedious explanatory dialogue like “The name’s Joshua Clay – Tempest to you, Superman. The lady calls herself Arani, or Celsius, take your pick! Put us together an’ you get the Doom Patrol” and similar decaying-Silver-Age tediousness.)

The Bug came back to DC Comics Presents slightly wackier, but still vaguely villainous, seven issues later, with Giffen taking over plotting as well and getting Paul Levitz to write an ostensible Superman-Legion of Super-Heroes team-up. It turned into a chase-the-wacky-villain around plot, something like a minor ‘50s Joker story. Kupperberg grabbed the Bug another six months later and made him wackier still for an issue of [[[Supergirl]]].

And then Giffen took the Bug back for good, putting him in three short stories for [[[Action Comics]]], where the core Bug team – Giffen on plots and pencils, Robert Loren Fleming providing script, and Bob Oksner on inks – came together. Giffen’s panels shoved into each other, eliminating gutters most of the time, and his Munoz-influenced period, all big noses, tight close-ups and odd angles, began – all of which gave the Bug’s stories a dark, cluttered, deeply nonheroic look. Oksner chipped in by dropped pots on ink on every page to fill Giffen’s blacks. And Fleming brought a light touch to the prose that made the stories funny and not just amusing.

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The theme is more random than ever this week, because – let’s be honest – it would be difficult to find four manga series that aren’t about teenagers. But these three books offer exceptionally varied takes on the eternal problems of adolescence, and that’s good enough for me!

Wolverine: Prodigal Son, Vol. 1
Story by Antony Johnson; Art by Wilson Tortosa
Del Rey Manga, April 2009, $12.99

Yes, that the X-Men Wolverine; the one whose big movie opens a week from today. But here he’s ripped out of the Marvel Universe and dropped into a manga-fied version of his life, where he’s a sullen teenager attending an all-martial-arts all-the-time high school somewhere in darkest Canada. And he’s not yet the best at what he does, though what he does, as ever, is not pretty. (Or nice, if you subscribe to Eastern Orthodox Wolverineism.) He’s also a lot whinier than you’d expect from Wolverine, with a host of insecurity issues.

That’s what makes it manga-style I suppose: the school setting, the bizarre hair, the complicated school projects-cum-training-sessions, the teenage protagonist who thinks no one likes him. The extended fight scenes and ninjas, though, were in Wolverine stories almost from the beginning, so any manga influence is buried under Claremont and Miller and Wein.

So Wolverine is tormented and misunderstood, having mysteriously appeared at this school with no knowledge of his past, and he coasts through his all-hitting school work by being really really good at martial arts. He’s got an almost-love affair going with Tamara, the daughter of the school’s head, and he’s in regular conflict with some other, more stereotyped members of the class.

But then the boss of the school takes him to New York as a treat, and things get really bad. The aforementioned ninjas show up, and…well, the back half of this volume is pretty much wall-to-wall fight scenes, with short breaks for emoting and monologing. There will be more, of course – there’s never a “volume one” without a two – and the last few pages have some higher-up villains cackling and wringing their hands as a preview of what’s in for Logan in that volume.

Prodigal Son is a serviceable mash-up of X-Men and shonen, but it’s also entirely disposable and has no real reason to exist besides pure brand extension. I guess it’s really for kids who might like to read stories about Marvel Mutants, but will only read comics if they’re drawn manga-style. (more…)

These three books don’t represent the comics community of the Philippines: I know almost nothing about that community and I’m sure of that. Extrapolating from these three stories – from the three comics stories I happen to have – is futile and silly and I’m going to try not to do it. Drawing any conclusions about the larger Philippine comics market would be like reading [[[Iron Fist]]],[[[ Scott Pilgrim]]], and [[[Fun Home]]] and from them alone creating a unified theory of North American comics.

So all I really want to say up front is this: these may be some of the best Philippine comics. But I seriously doubt that they’re all of the best. There’s probably even some projects even better than these. It’s a big world out there. (I also want to thank Charles Tan, who sent me a big box of Philippine comics and SF late last year, and without whom I wouldn’t have heard of any of these books.)

Elmer (issues #1-4)
By Gerry Alanguilan
Komikero Publishing; May and Oct 2006, Nov 2007, Nov 2008; 50 Philippine pesos ea.

There’s something about the comics form that attracts really unlikely premises – flying men, teenagers who want to do their homework, retellings of operas without music, and whatever[[[Alice in Sunderland]]] is. [[[Elmer]]] is another in that proud and odd lineage: it’s a serious contemporary story set in a world where chickens suddenly became intelligent in 1979.

Yes, chickens. The protagonist is a young chicken named Jake, who comes back from his dead-end life in Manila to the rural farm where he grew up, because his father, Elmer, has had a stroke and isn’t expected to last long. He rejoins his sister May (a nurse) and brother Francis (a movie star) there, and stays there after his father’s death. Except for the chicken thing, the plot set-up is very like an indy movie, some Philippine [[[Garden State]]]. (more…)

I Saw You…: Comics Inspired by Real-Life Missed Connections
Edited by Julia Wertz
Random House/Three Rivers Press; February 2009; $12.95

Everyone’s looking for something: money, fame, recognition, wonder, love. For most of those things, you’re on your own. But, for the last one, there’s always the personal ads. Blatantly advertising for love can feel very needy and desperate, though – but what if the love is already there (or, at least, you hope it is) and just needs to be coaxed out? That’s the place for the missed connection – I saw you, you winked at me, the subway doors closed, and so on and on. A missed connection, if you’re inclined to think that way, if someone you should have really met and clicked with, but didn’t, quite, because of external circumstances.

Julia Wertz, the cartoonist of the webcomic [[[The Fart Party]]], is one of many people obsessed with missed connections, either checking incessantly to see if someone “missed” them, or just amazed at what some people think a “connection” is. She found herself checking Craigslist several times a day, and then decided to make a minicomic out of missed connection ads. She got many more submissions than she’d expected, and that minicomic anthology eventually blossomed into this book – a collection of comics by nearly a hundred contributors, all illustrating actual missed connections ad, imagining their own missed connections, or just inspired by the idea.

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