Category: Reviews

Review: ‘Ayre Force’

The past few years have seen all sorts of graphic novels hit the market, but here’s a new one: Wealthy owner of online poker site commissions comic adventure starring souped-up incarnations of himself and his employees in a battle against deranged foes hell-bent on torturing animals.

The wealthy owner in this case is Calvin Ayre, founder of Bodog. And [[[Ayre Force]]] ($19.95) is the book, essentially an opportunity for Ayre to unleash his fantasies in illustrated form.

See muscle-bound Calvin battle his enemies, guns a-blazin’. See Calvin outsmart his foes. See Calvin walk around shirtless, showing off his chiseled features. (Ayre’s real-employees-turned-heroes get similar glamourous treatment.)

There’s a point when the villain confronts Calvin and says, “Look who’s talking, living out your fantasies and delusions of self-importance,” and he seems to be speaking as much to the real Calvin as the fictional one.

It’s a preposterous endeavor on its face, but that’s not to say there are no redeeming qualities. Ayre hired a quality crew to work on this book, including former [[[Batman]]] editor Joseph Phillip Illidge and artist Shawn Martinbrough. Their efforts are solid, if not quite enough to transcend the concept.

One seemingly bizarre inclusion is the involvement of the villains in “bear bile farming,” which sounds like something too absurd even for Doctor Evil. Turns out, it’s an actual practice, and bear bile is used for medicinal purposes (to the bear’s great discomfort). Ayre is putting the book’s profit toward ending that farming, so at least the book has good intentions behind it, even if it reads like a celebration of ego.

Review: ‘The Facts in the Case of the Departure of Miss Finch’

finch2-6975608Neil Gaiman has been too busy lately to write much for comics unless it’s an event — like 1602 or his curiously pointless Eternals miniseries — but there’s still an audience for his stories in the direct market. So what’s a poor comics publisher to do? Well, if it’s Dark Horse, what you do is get various folks to adapt Gaiman stories into comics and publish them as slim trade-paperback-sized hardcovers. So far, Michael Zulli did Creatures of the Night, John Bolton adapted Harlequin Valentine, and P. Craig Russell tackled Murder Mysteries. And now Zullis is back again for:

The Facts in the Case of the Departure of Miss Finch
By Neil Gaiman, Michael Zulli, and Todd Klein
Dark Horse Books, May 2008, $13.95

Now, for most writers, “[[[The Facts in the Case of the Departure of Miss Finch]]]” would be by far their longest title ever, but Gaiman is not most writers. He’s also responsible for “[[[Being An Experiment Upon Strictly Scientific Lines Assisted By Unwins LTD, Wine Merchants (Uckfield)]]]” ” [[[Forbidden Brides Of The Faceless Slaves In The Nameless House Of The Night Of Dread Desire]]],” ” [[[I Cthulhu: Or What’s A Tentacle-Faced Thing Like Me Doing In A Sunken City Like This (Latitude 47º 9′ S, Longitude 126º 43′ W)?]]],” and ” [[[Pages From A Journal Found In A Shoebox Left In A Greyhound Bus Somewhere Between Tulsa, Oklahoma, And Louisville, Kentucky]]].” So “[[[Miss Finch]]]” may just be one of Gaiman’s more punchy and terse titles.

According to the Neil Gaiman Visual Bibliography — and why should we mistrust it? — “Miss Finch” is one of Gaiman’s more obscure stories, showing up in the program book for the convention Tropicon XVII and a magazine called Tales of the Unanticipated before turning up in one of his collections — though in a different one depending on which side of the Atlantic you live on.

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Doctor Who in Review: Season Four, Episode #4 – Sontarans Strike Back!

The hit BBC series Doctor Who is now in its fourth season on the Sci-Fi Channel, and since we’re all big fans here at ComicMix, we’ve decided to kick off an episode-by-episode analysis of the reinvigorated science-fiction classic.

Every week, we’ll have our best Who-philes go through the most recent episode with a fine-tooth comb (or whatever the “sonic screwdriver” equivalent might be) and call out all of the continuity checks, names dropped and storyline hints we can find to keep in mind for future episodes. We’ll post our analysis each Monday, so you have ample time to check out the episode once it airs each Friday at 9 PM EST on Sci-Fi Channel before reading our review.

Missed a week? Check out our “Doctor Who in Review” archive or check out any of the past editions of this column via the links at the end of this article.

Keep in mind, we’re going to assume readers have already watched the episode when we put fingers to keyboard and come up with our roundup of important plot points. In other words, SPOILER ALERT!

Let’s begin now, shall we?

Season Four, Episode #4: “The Sontaran Strategem”

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Review: ‘The Amazing Remarkable Monsieur Leotard’

leotard-1710289Eddie Campbell has always done comics his way, without worrying about other people’s expectations or preferences — one of his two major series has been a fictionalization of his own life as a comics creator, and the other, a superficially more populist sequence about Greek gods in the modern world, was itself about storytelling more often than not. So it’s no surprise that his latest graphic novel — co-written with Dan Best — is more about telling its story than it is the story being told.

The Amazing Remarkable Monsieur Leotard
By Eddie Campbell and Dan Best
First Second, August 2008, $18.95

[[[Monsieur Leotard]]] will be published by First Second — who published Campbell’s last book, The Black Diamond Detective Agency, and have been putting together an impressive list of graphic novels for adults and younger readers for the past few years — in August, and the first thing to note is that it’s not the story the reader expects.

You see, the famous acrobat Jules Leotard lies dying of smallpox on page 12. So, we think, the book will be a series of flashbacks showing his life? No, he’s dead by the bottom of page 13, and the story moves on. So far, so very Campbell.

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Doctor Who in Review: Season Four, Episode #3 – Ood Get Even

The hit BBC series Doctor Who is now in its fourth season on the Sci-Fi Channel, and since we’re all big fans here at ComicMix, we’ve decided to kick off an episode-by-episode analysis of the reinvigorated science-fiction classic.

Every week, we’ll have our best Who-philes go through the most recent episode with a fine-tooth comb (or whatever the "sonic screwdriver" equivalent might be) and call out all of the continuity checks, names dropped and storyline hints we can find to keep in mind for future episodes. We’ll post our analysis each Monday, so you have ample time to check out the episode once it airs each Friday at 9 PM EST on Sci-Fi Channel before reading our review.

Missed a week? Readers can view past "Doctor Who in Review" features via the links at the end of this article.

Keep in mind, we’re going to assume readers have already watched the episode when we put fingers to keyboard and come up with our roundup of important plot points. In other words, SPOILER ALERT!

Let’s begin now, shall we?

Season Four, Episode #3: "Planet of the Ood" (more…)

Review: ‘Speed Racer’ – Emile Hirsch Gets Behind the Wheel

So here we are, a mere two weeks into the Blockbuster Season and the veil of bedazzlement has already been lifted. If you are a fan of the original [[[Speed Racer]]] franchise, animated films, or even decent films in general, you will more than likely be disappointed with the film that should’ve been more accurately named [[[Speed Raver]]]. From start to finish, this film is very much like what an 8-year-old would do if he were given a crate of Pixie Stix and free run of a CGI studio, with no knowledge whatsoever about pesky details like story structure, character development or any shred of realism.

For those not in the loop, the story of Speed Racer surrounds not just the titular character (played by possibly one of the better actors of his generation, Emile Hirsch), but his über-supportive family. Pops and Mom Racer, played by John Goodman and Susan Sarandon, respectively. Balancing out the cast was Speed’s girlfriend Trixie (Christina Ricci), his obnoxious and extraneous little brother and pet chimp, and by far the MVP of the film, in Matthew Fox as Racer X.

The plot, or at least what one can gather about it after two hours in the theater, takes place in a world where car racing is king and the car-building Racer family takes aim at the allegedly fixed world of professional racing with their prodigal son, Speed. The plot is almost beaten into our heads for the first hour, with cartoonish performances and poorly rendered backdrops aiding along the way.

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Review: ‘Harbinger: The Beginning’ by Jim Shooter and David Lapham

I had forgotten how much superhero comics had changed in the past 15 years when I picked up Valiant’s new Harbinger: The Beginning collection ($24.95), which revives the book’s first issues from 1992.

It’s impossible to evaluate the stories without looking at the context of their era. True, [[[Harbinger]]] never reached the excessive silliness of Liefeld’s [[[X-Force]]], but it’s populated by edgy characters with dated nicknames like “Torque,” who spout even more dated phrases like “buttlick.”

Since the crash of the ’90s, comics have largely moved toward a more serious and realistic tone, and Harbinger (created by Jim Shooter and David Lapham) stands in stark contrast. All the same, in many ways the book holds up, probably no surprise since it once garnered a great number of fans.

What’s especially appreciable about Harbinger is how it strays from the superhero stereotype, something even today’s books struggle to do. The protagonist, Pete, is not a clear-cut hero; instead he’s an immature and often egotistical teen who doesn’t understand the dangers of his powers. The villain, Harada, is no great man, but his central goal is to protect the world from Pete.

As much as anything, Harbinger is about the folly of youth and the lessons to be learned from those mistakes. It falls into cliché and hollow edginess, but more often jumps in surprising directions and offers a new (again, in context) take on heroes.

Review: ‘Mome’ Vol. 11

The image at right isn’t the cover of the latest MOME ($14.99), Fantagraphics’ collection of vignettes from various cartoonists. That’s because the actual cover features full male nudity and a body gushing blood.

As much as that might create a challenge for the volume’s shelf presence, it sets a fitting tone for the stories within, all beautifully illustrated pieces that are in turn harsh, ugly, violent, depressing and hilarious.

The best of the lot is "Einmal Ist Keinmal," a wordless story from French cartoonist Killoffer (that’s his work at right, though not a page from MOME). His two-tone work, reminiscent of Jaime Hernandez’s art, elegantly portrays the life of a woman living in a world where all men literally look the same, featuring the grim, Cro Magnon-ish visage that Killoffer uses to represent himself. It’s a story that begs for repeated readings to decipher the author’s thoughts on the ugly side of masculinity.

The 20 other pieces are an assortment of new chapters in continuing stories, standalone pieces and a lengthy Gary Groth interview with Ray Fenwick (a must read for those interested in typography). Tom Kaczynski crafts a mournful diatribe against new age businesses and Nate Neal weaves a bizarre tapestry of cartoon oddity, among other highlights.

This is one of the more cohesive and consistent volumes of MOME, with a handful of great pieces and no weak links. Recommended reading, at least for those who like their comics with a nasty edge.

Review: ‘Sex and Sensibility’ edited by Liza Donelly

sex1-3981535What do women want? Sigmund Freud thought he knew, but we all know about him. After a few decades of feminism, it’s become clearer that the best way to find out what women want is… to ask them.

Sex and Sensibility
Edited By Liza Donelly
Hachette/Twelve, April 2008, $22.99

Donelly is a noted single-panel cartoonist and the author of Funny Ladies, a history of female cartoonists for The New Yorker. (She also teaches at my alma mater, Vassar College, which instantly inclines me to consider her a world-class expert on whatever she wants to be – we Vassarites have to stick together.)

Donelly collected nine of her colleagues – mostly single-panel magazine cartoonists, with a couple of editorial cartoonists for spice – and asked them to contribute cartoons on women, men, sex, relationships – that whole area. Two hundred cartoons later, [[[Sex and Sensibility]]] emerged. It’s divided into several thematic sections — Sex, Sensibility, Women, Lunacy, and Modern Love — and each cartoonist provided an essay about herself and her work, which are sprinkled throughout.

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Doctor Who in Review: Season Four, Episode #2 – Hot Prophecies

The hit BBC series Doctor Who is now in its fourth season on the Sci-Fi Channel, and since we’re all big fans here at ComicMix, we’ve decided to kick off an episode-by-episode analysis of the reinvigorated science-fiction classic.

Every week, we’ll have our best Who-philes go through the most recent episode with a fine-tooth comb (or whatever the "sonic screwdriver" equivalent might be) and call out all of the continuity checks, names dropped and storyline hints we can find to keep in mind for future episodes. We’ll post our analysis each Monday, so you have ample time to check out the episode once it airs each Friday at 9 PM EST on Sci-Fi Channel before reading our review.

Missed a week? Readers can view past "Doctor Who in Review" features via the links at the end of this article.

Keep in mind, we’re going to assume readers have already watched the episode when we put fingers to keyboard and come up with our roundup of important plot points. In other words, SPOILER ALERT!

Let’s begin now, shall we?

Season Four, Episode #2: "The Fires of Pompeii" (more…)

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