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Review: ‘Life Sucks’ by Abel, Soria and Pleece

It doesn’t seem a stretch to assume every possible vampire story has been done, from the classics to Anne Rice’s romanticizations to the modern Blade to the self-obsessed Shadow of the Vampire to the Dracula: Dead and Loving It spoof.

I won’t claim that Life Sucks (First Second, $19.95) is jaw-droppingly revolutionary, no. But it does deliver a riff on vampires that hasn’t been seen before.

To put it bluntly, Dave is a loser. He’s a wimpy young guy stuck working a dead-end job at an LA convenience store, and he’s in love with a goth girl who doesn’t know he exists. On top of all that, he’s a vampire, which just makes the life of the former-vegetarian all the more miserable.

The story of Life Sucks began several years ago when co-writers Jessica Abel and Gabe Soria were talking about vampires and wondered what it would be like for a young vampire stuck in the real world. After all, vampires don’t just start out with a big castle and tons of wealth, Soria told me.

Like a typical young adult, Dave is just starting out and trying to establish a life for himself. The vampire angle adds to his difficulties (despite a few cool powers), with the need to hide from sunlight, forage for blood and obey his master, Count Radu, the old vampire who infected him and owns the convenience store where Dave works.

Instead of obsessing with drudgery, the authors craft a simple but effective story of Dave’s pursuit of love, one that becomes expectedly complicated given the indie comics background of Abel. Life Sucks works because it’s a good little yarn about young adulthood, with the vampire angle serving more than anything as extra flavoring.

The art, by Warren Pleece, is appropriately grounded and manages to stay lively even during lulls in action. I interviewed him about his work on the book a little back, which you can read right here.

Confirmed Iron Man Cameo in ‘The Incredible Hulk’

  • News
  • March 25, 2008

One of the things made Marvel Comics stand out from other publishers back in the Silver Age was the concept of a shared universe. Other publishers would have guest stars every now and then, but Stan Lee reasoned that if all these costumed types were all running around New York City, they should be bumping into each other left and right. And fans loved it.

Marvel Studios is taking a cue from its comics roots and is having Iron Man star Robert Downey Jr. cameo as inventor Tony Stark in this summer’s other Marvel superhero movie The Incredible Hulk.

Downey confirmed the rumor in an interview on MTV Movies Blog.

“It happens to be a scene where I basically approach [William Hurt’s character, General Ross], and we may be considering going into some sort of limited partnership together,” Downey stated.

Downey also teased that another unnamed star would appear in the Iron Man credits. Maybe the Samuel L. Jackson as Nick Fury rumor buzz we’ve been hearing? Hmm. We’ll be sure to stay in our seats until the end for both movies this summer.

Dark Horse Offers ‘Making Of’ for ‘Serenity: Better Days’ #1

  • News
  • March 24, 2008

If you’re reading ComicMix, chances are you’re a fan of sci-fi, movies, TV and, of course, you probably read comic books on a regular basis. Being a fan and reader of comics, perhaps you’ve wondered how all the elements from script to art to color to lettering come together to form the finished comic you hold in your hands and read each week?

If you have wondered about this magical process, the folks at Dark Horse Comics have got something for you. At their website, they’ve put up a "How-To" guide which takes you through the steps from script to finished page of their brand-new Serenity: Better Days comic book.

Clicking through the guide you can see the original script pages written by Joss Whedon and Brett Matthews, rough sketches of the panel placement, art and pencils by Will Conrad, colors by Michele Madsen and letters by Michael Heisler — all the elements that go into a finished comic book page.

It’s an interesting look at how things go from normal-looking words on a page to a colorful and exciting final product. Check it out.

Review: ‘Tonoharu: Part One’

In works of fiction, I always appreciate stories that know exactly what they want to be and strive toward that identity. In other words, some books are best served by not aspiring to great pretensions.

In the case of Tonoharu: Part One (Pliant Press, $19.95) I have to eat my words, as it’s a book that perfectly accomplishes what it wants to do and still falls flat.

Creator Lars Martinson gives a fictional account of serving as an English teacher in a small Japanese town, something Martinson actually did. A prologue establishes the central character, Dan Wells, as the man who held Martinson’s post right before him (it never mentions if Dan is a real person).

As the two meet at the book’s start, Martinson describes Dan as having an "ever-present look of defeat on his face." He’s something of a Biff Loman in an international setting.

Dan’s problem is that by coming to Japan, he has cut himself off from the people, culture and language he knows. His job offers no challenges, his social life offers no prospects, so every day becomes a matter of waiting out the clock.

Martinson does a thorough job of creating this cesspool of mundanity through the painfully droll dialogue, the lazing pace of the plot and the two-toned artwork. Martinson inks in an impressive layer of detail, and even that serves to entrench the book more firmly in the boring paraphernalia of everyday life.

There is conflict, but not of man against man or man against himself. It is Dan against the sheer, painful nothingness of his existence. And that leads to a second conflict: this reviewer against Tonoharu‘s gentle urge toward sleep.

Beware the Underworked!

  • News
  • March 24, 2008

 We have a special treat today from Bo Hampton.  It’s his classic story, Underworked, about a cartoonist and his quest to find love, labor, and a way out of his mother’s basement. If you ever read a comic from the 1990s and wondered how that happened, this story has the answer.

Next week: More Demons of Sherwood

Credits:Bo Hampton (Artist), Bo Hampton (Colorist), Bo Hampton (Writer), Mike Gold (Editor-In-Chief), Tracy Munsey (Letterer)

More: Underworked

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On This Day: Joe Barbera

  • News
  • March 24, 2008

Joseph Roland “Joe” Barbera was born on March 24, 1911 in the Little Italy section of New York City. Though he loved drawing from an early age, Barbera put art aside for a more traditional job as a banker.

When the Great Depression hit, his banking job disappeared, however, and Barbera turned back to his first love. In 1932 he joined the Van Beuren Studio as an animator and scriptwriter. When Van Beuren closed down four years later Barbera moved to MGM. In 1938 he first teamed with William Hanna, and their second joint project, the first Tom & Jerry cartoon, Puss Gets the Boot, was nominated for an Academy Award.

Hanna and Barbera continued to work together, receiving seven Academy Awards over 17 years for Tom & Jerry. In 1955 they took charge of MGM’s animation division—when it closed two years later they founded their own company, H-B Enterprises, which they soon renamed Hanna-Barbera Productions.

Together they produced the Flintstones, the Jetsons, Scooby-Doo, and many other great American cartoons. Barbera died on December 18, 2006 of natural causes. He was 95 years old.

 

Comics and Politics: Secret Election Invasion?

  • News
  • March 24, 2008

 

As the campaigns continue, ComicMix is determined to ask the questions on everyone’s mind this election year:

Which One is the Skrull?

Are you sure it’s just the one? Why can’t more than one be a Skrull?

If your favorite candidate is really a Skrull infiltrator, are you going to vote for them anyway, or are you going to  be racist? What if one’s a Skrull, and the other two are Kodos and Kang?

Give us your opinion in comments, folks — because the electorate must be informed!

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Interview: Scott Allie on Serenity, Buffy and the Joss Whedon Universe

  • Uncategorized
  • March 24, 2008

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Dark Horse Comics editor Scott Allie has an enviable career. As an editor, he’s had the opportunity to work with some of the biggest talents working in comics today. Creators such as Mike Mignola and Joss Whedon are just two of the many superstars he collaborates with on a daily basis.

Over the years,  he’s also found time to write a couple comics himself, including Sick Smiles and The Devil’s Footprints. Most recently, Allie’s been hard at work with Mike Mignola on Hellboy and its spin-offs, editing Buffy: Season Eight and also working on another new miniseries based on a different Joss Whedon creation: Serenity: Better Days.

With issue #1 of Serenity: Better Days hitting comic book stores last Wednesday, ComicMix caught up with Allie to get the latest info on the new comic, what’s happening with Buffy: Season Eight, the fan’s reaction to the recent Season Eight revelation and how he collaborates with creators like Mike Mignola and Joss Whedon

COMICMIX: Scott, thanks for talking with us. How you doing?

SCOTT ALLIE: Good, busy.

CMix: For those who don’t know, tell us a bit about your background? How did you get started in comics and at Dark Horse?

SA: I had a job at a literary magazine that paid really well, and it allowed me to set up a self-publishing project back in 1993 and 1994. I did a horror comic called Sick Smiles, and otherwise jazzed around for a while. 

I was living in Portland, and doing Sick Smiles caused me to run into a lot of the Dark Horse people. I ran out of money right around the time they were looking for a new assistant editor, so I took the job.

CMix: Did you read comics as a kid? If so, what were your favorites?

SA: I didn’t read a lot of comics as a kid. I remember having an issue of Star Wars and an issue of Man-Thing. I came across some horror comics at a young age. 

I loved Spider-man, but purely from the cartoon, the older one with the great theme song. I started writing stories really young, and by fifth grade I’d started drawing stories. 

I’d make little books, 20 pages or so, with one drawing and a couple word balloons per page. That was my first foray into comics, I think. They were monster mashes–a combination of Godzilla and Frankenstein, everything I’d see on the "Creature Double Feature" on Channel 56 out of Boston. 

I wouldn’t start reading comics on a regular basis until I was about thirteen, when a friend gave me a copy of Frank Miller’s Wolverine miniseries.

CMix: When did you realize you wanted to have a career in comics? Or that you could?

SA: I think in college. I was torn between majoring in literature or fine art, and my sort of mentor, this guy named Robert Smart, encouraged me to combine them to create my own major, design my own curriculum, and major in comics. 

That was the first time I started thinking about turning my official focus toward comics. They’d been my passion for a while, but I didn’t see them being remotely practical as far as something to do.

CMix: Once you were working at Dark Horse, what projects did you work on? Was there one in particular that really "made" your career?

SA: Yeah, Hellboy. I got assigned to Hellboy within a couple months of starting, and Mike and I bonded instantly, deeply. 

It remains the most significant relationship in my career. 

CMix: How did your association with Joss Whedon begin?

(more…)

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11 Batman Stories to Read Before Watching ‘The Dark Knight’

  • News
  • March 24, 2008

Batman Begins and its upcoming sequel, The Dark Knight, are both feature films that deal with Bruce Wayne at the beginning of his career as a crime-fighting detective. But some in the movie audience may be curious about how these rookie years unfolded in the continuity of the comics.

So, here at ComicMix, we’ve put together a timeline of the stories you should read (and the order in which to read them) to learn about Batman’s early days. This list is focused on collected storylines from the single issues and one-shot stories rather than individual issues, and includes what is deemed to be currently in continuity within the mainstream DC Universe (so certain stories such as BATMAN: Year Two are not included). If a story’s place in the greater Batman continuity is uncertain, but hasn’t been directly contradicted by other stories, we’re including it.

Please note that this is focusing on Batman’s early solo years and is, as stated above, a timeline. Therefore stories such as Arkham Asylum and The Killing Joke, while famous, aren’t being included here since they take place much later in Batman’s career.

ADDED NOTE: If you like this, be sure to check out our related article, the Top Six Greatest Joker Victories.

Now let’s begin …

batman-yearone-9930894Batman: Year One – It all starts here in this story by Frank Miller (Sin City) and David Mazuchelli (DAREDEVIL: Born Again). After years of learning how to be a detective and training in the martial arts and ninjitsu in the Far East, Bruce Wayne returns to Gotham City to begin his war on crime. Learn how he first met a young Lt. James Gordon (who would later become the famous commissioner of the GCPD) and hot-shot District Attorney Harvey Dent, as they all try to free their city from a corrupt police department and fight against the mobster known as Carmine “The Roman” Falcone.

This comic also features the reason Bruce Wayne chose a bat as his symbol and his first encounter with Catwoman. The end of this story leads directly into another item on our reading list, BATMAN: The Man Who Laughs.

Batman and the Monster Men – In Year One, you might notice a large gap of time that passes between November and December. This story, written and drawn by Grendel’s Matt Wagner, takes place during that gap and reimagines one of Batman’s earliest stories from the Golden Age of Comics. Meet Bruce Wayne’s early girlfriend, Julie Madison, and watch his first encounter with the sociopathic Professor Hugo Strange. This story also introduces the proto-version of the Batmobile.

Batman and the Mad Monk – Another Golden Age story is brought into the modern day by Matt Wagner with this follow-up to Batman and the Monster Men. Following his encounter with the monsters of Hugo Strange, Batman now faces a potentially supernatural enemy and a deadly cult. Batman’s car truly becomes the Batmobile in this story and we also see the developing partnership between him and Jim Gordon. And see just what happened to make the Dark Knight lose the first serious love in his life. (more…)

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‘Doom Patrol: Planet Love’ Review

  • News
  • March 24, 2008

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And so we come to the end. It’s taken DC Comics sixteen years to collect all of Grant Morrison’s classic run on Doom Patrol, but it’s complete now. I don’t know if new readers coming to Morrison’s Doom Patrol in 2008 can understand how different that series was in the early ‘90s – the era of million-copy runs, of the Image founders becoming Marvel superstars and then packing up to become “Image,” the biggest boom that superhero comics have ever seen.

There was bombast in the air, then, on all sides. Superheroes were long past their days of stopping bank robberies and foiling minor criminals. The era of cosmic threats all the time had been inspired by Secret Wars II and the first Crisis, and had grown through Marvel’s summer crossovers and everyone’s monthly gimmicks. You couldn’t swing a cat without hitting a would-be world conqueror, or a megalomaniac with an anti-life formula, or some other unlikely threat to everything.

You have to remember that background when you read Morrison’s Doom Patrol, just as you have to remember the stolid seriousness of ‘80s superheroism when you read his Animal Man of the same era. Morrison wasn’t parodying what everyone else was doing – he’s only very rarely been one to specifically poke fun at other creators – but he was pushing it further, in the direction of his own obsessions and ideas, than anyone else was willing to do. (Take a look at his Arkham Asylum for another example; it’s the epitome of the “crazy Batman” idea that percolated all through that time — the concept that Batman attracted so many damaged and insane villains because he was inherently damaged himself.)

(more…)

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