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By Marc Mason

September 21, 2004

I’m tired and I’m stupid.

For well over a month now, I’ve been doubling the size of this column, and that’s a bit of an understatement. It used to be that I brought three, maybe four books to you every week. As of late, it’s been nine or ten. And the good news is that by next week, with any luck, I will have cleared the backlog of books I picked up at Comic-Con International. It’s been a long damned road that will have taken two and a half months, but soon, my dining room table is mine again. But I tell you: it’s been tiring. Obviously, no one has pointed a gun to my head and forced me to review so many books a week, but on the other hand, well, I really wanted my dining room table back.

And as for stupid… last week’s column had two books that easily lent themselves to the SIBAM treatment. Each had very strong film possibilities. If I had half a brain (and wasn’t so tired) I would have held one over to this week. But I didn’t. And frankly, none of this week’s books are particularly other-media friendly. So, I’m going to veer off format a bit, but the good news is: ten more books for your reviewing pleasure. So without further ado: it’s post time!

HOW LOATHESOME
Written by Tristan Crane and Ted Naifeh and Drawn by Ted Naifeh
Published by NBM Publishing

LOATHESOME is a fascinating look inside cultures that decry labels. Digging into the San Francisco underground, we are introduced to Catherine Gore, an explorer in the fluid world of gender. Spending time with friends who define themselves only as persons, not men or women, she finds herself on a rocky journey of discovery, whether it’s self-discovery, or discovering a purpose in helping others try and get their shit together. Catherine also discovers, much to her chagrin, that even people who try and define themselves in a non-conventional manner can be just as hypocritical and short-sighted as the everyday civilian riding the BART to the office in the morning. Naifeh’s art does an amazing job of finding androgyny in every place it looks, even in the story’s main character. In fact, while the back cover refers to Catherine as “she,” the story is never quite so blunt, and a smart reading leaves you unsure. Which, in case you don’t figure it out as you go, is the whole point. Let the definitions leave your head and enjoy the ride. Grade: B+

DAISY KUTTER: THE LAST TRAIN #1
Written and Drawn by Kazu Kibuishi
Published by Viper Comics

DAISY works on two different levels, and does so quite well. The story finds shopkeeper Daisy trying to put her past as a kick-ass bandit behind her. She’s like nothing more than to relax, play some poker, and run her store. But, as in all traditional “retired gunfighter” tales, it’s never that easy. Daisy is approached about doing one last job, and she turns it down. But how long can that refusal last after a strange man comes to town, wipes her out in a game of poker, and takes her shop?

Clearly not set in the old west, as there are robots present in this dusty frontier town, DAISY KUTTER is a sly, witty, and well-drawn book that won me over with its copious charm. Kibuishi’s art is deceptive in its simplicity. It isn’t until you really concentrate on the panels that you really appreciate his use of shading and tone. Oh, and that second level I mentioned above? DAISY contains a full-explanation of how to play Texas Hold ‘Em poker, a mystery that has had me stumped for quite some time now as poker has become a television fad. Thanks, Kazu. Grade: B+

A1: BIG ISSUE 0
Written and Drawn by Various
Published by Atomeka Press

Longtime readers of this column know how I feel about anthologies: they’re a hit and miss affair at best, usually with a couple of decent stores offsetting some really awful work. B-level stuff at best. A1, however, defies those odds in a way that’s damned near unheard of. Featuring work from Alan Moore and Steve Parkhouse; Steve Dillon; Bob Burden and Garry Leach; Dave Gibbons and Ted McKeever; and Ron Shusett and Steve Pugh, A1 is pretty much a winner from page one to end. Shusett and Pugh’s “Shark-Man” is the only story that didn’t grab me and shove my face into a wall, and even then, it has enough going for it to recommend taking a read. Plus, seeing new “Flaming Carrot” material from Bob Burden is about as close to Christmas as it gets. I’ve been a fan for a lonnnnnng time. If this is the kind of material Atomeka will be presenting on a regular basis in A1, I’m definitely in for a penny and a pound. Grade: A

HORNS OF HATTIN
Written by Shane Amaya and Drawn by Bruno D’Angelo
Published by Terra Major

HATTIN is a fascinating exercise in historical presentation from the same small press outlet that adapted The Song Of Roland into ROLAND: DAYS OF WRATH a few years ago. Once again, Shane Amaya has taken to his research and produced an epic, sweeping graphic novel, this time turning his gaze to a pivotal battle of the Crusades.

Amaya also explores the tale of “Everyman,” a crusader who has fallen from his faith and the way of the Lord as he is paid a visit from Death. Death announces that he will return to take Everyman very soon, and that leaves the lost soldier with very little time to clear his soul of his sins. His tale is played out against the backdrop of the conquering of Jerusalem by Saladin, King Of Babylon. Reading Amaya’s bibliography at the front of the book, it is clear that this was an intense labor of love, and one that is both entertaining and educational at the same time. D’Angelo’s art is interesting in that it appears as though he used very little ink in finishing the pages. Instead, there is a sketchy quality to much of the panel structure and backgrounds that I am guessing was an artistic nod to the crude methods that art were produced in eight hundred years ago. It’s an audacious experiment, if not wholly successful. HATTIN, either way, is a book that holds easy appeal for those who might not normally consider reading a graphic novel. Grade: A-

THE MONON STREET POWER COLLECTIVE
Written and Drawn by Various Published by Welsh El Dorado Press

Unfortunately, this is one of those wildly uneven anthologies. There’s some good work to be found here, particularly the first story, “Impotence,” the hilarious “The Life and Times of Vito Laparski” (which has the best bit moment in the book when Vito introduces the woman with him to a group of admiring children: “This is Bev. She’s a prostitute. We were about to go have sex over in those reeds.”), and editor Nye Wright’s own “Vengeance.” But some of the other stuff in this book is a chore to stumble through. The book’s contributors are mostly small press creators and professional animators, so it isn’t like there’s a lack of talent at play. Unfortunately, it just isn’t focused as well as it needs to be. Wright is an up and coming guy, but I’d rather see him focus on his own work. Grade: C

YOU CAN’T GET THERE FROM HERE
Written and Drawn by Jason
Published by Fantagraphics Books

There are many cognoscenti in the comics world who are deeply into the work of the Norwegian comics creator known simply as Jason. They speak of his talent, his passion, the emotional depth of his stories, and his deceptively simple art. I read his last book, TELL ME SOMETHING, as my first Jason experience, and frankly… I didn’t get it.

So with that behind me, I cracked open this one, read it, and felt that same sense of “Whatever.” It was nice. The art really was good. But story-wise, it didn’t do much for me, and the absence of dialogue throughout most of the story left me puzzled at a couple of junctures. I tossed it aside, said “fuck it” and moved on. But for whatever reason, I threw my hands up a couple of days later and decided to give it another read. And much to my surprise, I liked it a lot more than I had on first read.

I think what had me aggravated my first go around was some nagging feelings about time and pace in the story. There were moments where I was trying to piece together if what was happening was a flashback; it was confusing. But upon a second read, I was able to piece together the flow of the story a bit better, and it held together for me. I’m not saying I was blown away, but I was entertained, and I enjoyed it. And, now, I think I have a much better idea for the future in how to read Jason’s work. Grade: B

THE KID FIRECHIEF
Written and Drawn by Steve Weissman
Published by Fantagraphics Books

This, on the other hand, knocked me out. Weissman has put together a deceptively simple set of stories featuring, yes, a young child who is a fire chief. He’s just the latest in a long line of chiefs from his family, and he has the reins now that he has been orphaned, his folks lost in the line of duty. That poignant origin, accompanied by a powerful sense of whimsy, helps KID FIRECHIEF rise above what sounds like a silly premise into an engaging and powerful tale of childhood and responsibility. But even with the praise I can heap upon it, I can’t begin to describe the absolutely stunning and emotional climax to the final story in the book. Weissman may have drawn a story about kids that reads well for kids, but he delivers a powerful and tear-jerking message to adults in the end. The book is also printed in a color scheme of shades of red and orange to match the book’s motif. It’s a winner. Grade: A

JACK STAFF #6
Written and Drawn by Paul Grist
Published by Image Comics

In JACK STAFF, Paul Grist is telling a multi-layered set of stories across the decades. This issue, he focuses not only on JACK, a British superhero from the 40s who battles alongside an homage to THE INVADERS, but on his best modern day character, Becky Burdock, Vampire Reporter. No, she doesn’t report about vampires; she is one, thanks to the events in the first JACK STAFF trade paperback (buy it- it’s good). Grist also catches up with his paranormal investigators in “Section Q” and presents the reader with a “Jack Staff Collectible Card Game.” Grist is one of those folks who busts his rear to get as much value into the monthly pamphlet format as he can, not just content to string folks along until the inevitable trade paperback release. Grist is also one of the more unique artists working today; no one else looks quite like him. Grade: B

WALKING DEAD #11
Written by Robert Kirkman and Drawn by Charlie Adlard
Published by Image Comics

Hot on the heels of issue ten, number eleven hits stores as Kirkman gets this excellent book back on schedule. Issue eleven deals with the fallout of last issue’s cliffhanger: the farmer who has extended his generosity and allowed our heroes to stay on his land is keeping every zombie he finds locked up in his barn rather than killing them.

Gee, ya think that’s a bad idea?

Actually, it isn’t as insane as it sounds. In fact, the brilliance of Kirkman’s work on this book is that the farmer’s explanation sort of makes sense. Sort of. It’s still a very bad idea, but the farmer’s reasoning asks questions that had never even occurred to me, and that made me admire this book even more than I already did. I wish all comics were this smart. Plus, it has fantastic Charlie Adlard art. I think Adlard, when turned loose in black and white, is one of the best artists working today. He’s one of those folks, like Steve Lieber, who never looks quite right in color. Grade: A-

DAWN: 15TH ANNIVERSARY POSTERBOOK
Art by Joseph Michael Linsner
Published by Image Comics

Not much I can say about this one. It has a short interview with Linsner about the conceptualization of the character and Linsner’s future plans on the front cover, and after that… well, you have to take out the staples, because this really is just what it says. It’s a posterbook. Linsner paints very pretty fantasy art, featuring his lovely redhead. If you like that sort of thing, or if you’re just a fan of Linsner’s work, this book is for you. If you’re neither, move along… nothing to see here. Either way, it could have used some more extras to give it added value and that “DVD” sort of feel. Grade: B

I’m going to pass out now. See you in seven.

E-mail me from the link provided. Review materials may be sent to: Marc Mason, P.O. Box 26732, Tempe, AZ, 85285. You can also find me at The Comics Waiting Room and Happy Nonsense.

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