The issue opens with an idiotic story about an annoying character called Zoo-Lou. Hedden and McWeeney usually do great work. The art here’s excellent, but the writing is an absolute nightmare. Dark Horse really loves poking fun at themselves… and usually it comes out awful, like Zoo-Lou.
An Accidental Death comes to its conclusion here. No one does this kind of angst and suffering like Brubaker. Everything he does these days is a waste compared to what he could be doing. Brilliant work from Shanower too.
Duffy and Sakamoto have an awful story called Nestrobber. It’s just atrocious.
The Predator story is weird–it’s based on an Andrew Vachss story. Not bad, just too soon to tell.
Campbell’s got a funny Alec, then Russell closes with an Oscar Wilde adaptation. It’s a brilliant piece of work, but it really needs color to make the fairy tale element work.
Zoo-Lou vs. Editor; story, art and lettering by Rich Heddon and Tom McWeeney. An Accidental Death, Part Three; story by Ed Brubaker; art and lettering by Eric Shanower. Nestrobber, Money for Nothing; story by Jo Duffy; art and lettering by Maya Sakamoto. Predator, Race War, Part One; story by Andrew Vachss; adapted by Randy Stradley; pencils by Jordan Raskin; inks by John Beatty; lettering by Clem Robins. Alec, A Pub Far Away; pencils, inks and lettering by Eddie Campbell. The Selfish Giant; story by Oscar Wilde; adaptation, art and lettering by P. Craig Russell. Edited by Randy Stradley.
Posted in Accidental Death, Dark Horse, Nestrobber, Predator, Zoo-Lou
Tagged Ed Brubaker, Eddie Campbell, Eric Shanower, Jo Duffy, John Beatty, Jordan Raskin, Maya Sakamoto, P. Craig Russell, Randy Stradley, Rich Hedden, Sean Tierney, Tom McWeeney
This special is far from an accurate representation of Dark Horse Presents. Everything looks very professional.
The Aerialist and Heartbreakers installments are both long needed establishments of the series’ ground situation.
I even liked the Heartbreakers one (Bennett’s writing is far stronger from the clones’ perspective, versus their creator).
There’s also lots of disposable stuff–Concrete, The American and Black Cross are all weak, though Warner’s art is better on Cross than I’ve ever seen it. Chadwick and Verheiden use their stories to blather about American culture.
Of the two Miller’s–Give Me Liberty and Sin City–I almost prefer Sin City. Liberty‘s a little overbearing, though the Gibbons art is nice.
Prosser and Janson do a great adaptation of an Andrew Vachss. The Roachmill, Aliens and Aliens vs. Predator entries are all fantastic.
I’m a little peeved Bob the Alien is on the cover but not in the issue.
Give Me Liberty, Martha Washington’s War Diary: April 16, 2012; story by Frank Miller; art by Dave Gibbons. Concrete, Objects of Value; story and art by Paul Chadwick; lettering by Bill Spicer. Aliens; story by John Arcudi; art by Simon Bisley. The American; story by Mark Verheiden; pencils by Dougie Braithwaite; inks by Robert Campanella; lettering by Pat Brosseau. Roachmill; story and art by Rich Hedden and Tom McWeeney. Placebo; script by Jerry Prosser, based on a story by Andrew Vachss; art by Klaus Janson; lettering by Michael Heisler. Black Cross; story and art by Chris Warner; lettering by Jim Massara. The Aerialist, Part Three; story and art by Matt Wagner; lettering by Kurt Hathaway. Heartbreakers, The Prologue; story by Anina Bennet; art by Paul Guinan; lettering by Willie Schubert. Aliens vs. Predator; story by Randy Stradley; art by Phill Norwood; lettering by Brosseau. Sin City, Episode One; story and art by Frank Miller. Edited by Stradley.
Posted in Aerialist, Aliens, American, Black Cross, Concrete, Dark Horse, Give Me Liberty, Heartbreakers, Predator, Roachmill, Sin City
Tagged Anina Bennett, Chris Warner, Dave Gibbons, Dougie Braithwaite, Frank Miller, Jerry Prosser, John Arcudi, Klaus Janson, Mark Verheiden, Matt Wagner, Paul Chadwick, Paul Guinan, Phill Norwood, Randy Stradley, Rich Hedden, Robert Campanella, Simon Bisley, Tom McWeeney
The Aliens vs. Predator story is most impressive for Norwood’s illustration… but not of aliens or Predators. The story opens on some alien world and it’s just breathtaking. Once the actual story starts (Stradley’s two conversationalists talking about hunting experiences while Predators hunt aliens), it can’t compete with those visuals. Still, for what amounts to shameless self-promotion, these prologues are very successful.
Davis’s Delia & Celia features a number of young women “playing” the two leads. Davis can’t maintain faces for them to the point he must have been photo-referencing. Each panel, they get a new, distinct face. The writing is nearly interesting this time… but Davis fumbles it.
This installment of Heartbreakers kind of makes the clone thing clear–there’s two groups of clones, one tough, one not as tough. But it’s not clear if they’re clones of the same person (just with different haircuts). It’s inoffensively mediocre.
Aliens vs. Predator; story by Randy Stradley; pencils by Phill Norwood; inks by Karl Story; lettering by Pat Brosseau. Heartbreakers, Ceiling Zero; story by Anina Bennett and Paul Guinan; art by Guinan; lettering by Willie Schubert. Delia & Celia, The Great Marsh; story, art and lettering by Gary Davis. Edited by Randy Stradley.
The Predator story opening the comic gets it off to a good start (it’s really just part of the prologue to the first Aliens vs. Predator series). Stradley writes an excellent conversation about social Darwinism between these two pilots, which Norwood then adapts into something featuring Predators fighting for dominance. Well, it was probably the reverse, right? Marvel style?
The first Heartbreakers story is mildly incomprehensible–it’s packed with detail, all about cloning, interoffice politics and the future. I like Guinan’s art, but I can’t tell if the soldiers are all supposed to be identical clones. His visual reference all seems to be Vietnam War, so it’s weird to see it as a future story.
The final story, from Inabinet, is this incredibly dense–there’s almost so much text it could just be prose–fable about the adventures of a Muslim scholar in the Middle Ages. Inabinet does masterful work.
Predator; story by Randy Stradley; pencils by Phill Norwood; inks by Karl Story; lettering by Pat Brosseau. Heartbreakers, Only Angels Have Wings; story by Anina Bennett and Paul Guinan; art by Guinan; lettering by Willie Schubert. A Tough Nut to Crack; story and art by Sam Inabinet; lettering by Karen Casey-Smith. Edited by Randy Stradley.
Race of Scorpions gets even more amazing this issue… Duranona tells the reader what happens to the story’s protagonists in a little text paragraph at the end of the story. The actual story was spent on some supporting cast members. It’s sort of amazing how poorly plotted this story gets. Dark Horse really just didn’t care what they printed. Lots of perspective failures here. Just a dreadful read.
Zone is getting more dramatic–this issue the reporter gets hurt near a fire and Zone saves him, so all the threads are coming together. Unfortunately, Kraiger’s art, which was no great shakes to begin with, is weakening. His faces are poor here and there’s a lot of them because of the talking about the fire. But it’s not terrible.
Stradley and Norwood’s Aliens story is just a conversation over Norwood’s awesome artwork. It’s probably shouldn’t be effective, but it works well.
Aliens; story by Randy Stradley; pencils by Phill Norwood; inks by Karl Story; lettering by Pat Brosseau. Zone; story, art and lettering by Michael Kraiger. Race of Scorpions, By Water and Stone; story and art by Leopoldo Durañona; lettering by Laura Davis. Edited by Randy Stradley.
This issue is a sixty-four page giant–only most of the extra is filler. They could have gotten away with a lot less pages.
The Mr. Monster story is real short (and lame). Gary Davis has a short space alien story showing he’s read some Arthur C. Clarke (it’s long, wordless filler).
Rick Geary’s got a nice two page story, which is filler but really excellent filler.
Then there’s the start of a Trekker serial. It’s incomprehensible if you haven’t read the Trekker series and probably even if you have.
Doug Potter has an excellent story about homelessness.
Oh, I missed Bob Burden’s Mystery Men and Flaming Carrot two page filler.
Then a real Mask story, which seems to be wrapping up. The narrative’s a little pat dramatically, but I’m not sure Badger cared.
Bob the Alien and Mindwalk have stories. Bob‘s hilarious, Mindwalk‘s weak.
Finally, even more filler.
Mr. Monster, The Thing in Stiff Alley!; story by Chuck Gamble and Michael T. Gilbert; pencils by Gamble, Gilbert and Chuck Wacome; inks by Gilbert; lettering by Ken Bruzenak. Anomaly; story, art and lettering by Gary Davis. A Mother’s Tragedy; story, art and lettering by Rick Geary. Trekker, Vincent’s Share; story and art by Ron Randall; lettering by Ken Bruzenak. The Mystery Men!; story and art by Bob Burden; lettering by Roxanne Starr. The Visit; story, art and lettering by Douglas C. Potter. The Mask; story and art by Mark Badger; lettering by David Jackson. Concrete, Watching a Sunset; story and art by Paul Chadwick; lettering by Bill Spicer. Bob the Alien, Bob, the alien, Goes Birddogging; story, art and lettering by Rich Rice. Mindwalk; story by Randy Stradley; art by Randy Emberlin; lettering by Willie Schubert. Wacky Squirrel, Mixed Results; story, art and lettering by Jim Bradrick. Black Cross; story and art by Chris Warner. Edited by Randy Stradley.
Posted in Black Cross, Bob the Alien, Concrete, Dark Horse, Mask, Mindwalk, Mr. Monster, Trekker, Wacky Squirrel
Tagged Bob Burden, Chris Warner, Chuck Gamble, Chuck Wacome, Douglas C. Potter, Gary Davis, Jim Bradrick, Mark Badger, Michael T. Gilbert, Paul Chadwick, Randy Emberlin, Randy Stradley, Rich Rice, Rick Geary, Ron Randall
I’m so glad they put The Mask in the middle. I’m not sure the issue would have been tolerable if it hadn’t been at the center.
The issue opens with another bad episode of Captain Crusader. The only nice thing I have to say about the story is Martin draws brick walls well. Not people, not figures, not regular backgrounds, just brick walls. The real world superhero gets beat up again.
The issue ends with Babes ‘n Arms, which is slightly better than before thanks to Stradley’s writing. Unfortunately, it’s still completely awful. I can’t believe Dark Horse took the time to have this story illustrated.
The Mask story is confusing and Badger hints at revealing things, but never really does. Badger opens the story with a big discussion of art, but continues using his regular Mask style for the story. It works. The opening is almost cute, but not.
Captain Crusader; writer and artist, Gary Martin; letterer, David Jackson. The Mask; writer and artist, Mark Badger; letterer, Tim Harkins. Babes ‘n Arms; writer, Randy Stradley; artist, Michael Ebert; letterer, David Jackson. Editor, Randy Stradley; publisher, Dark Horse Comics.
Reading Mr. Monster, I thought a lot about how much I love Will Eisner’s Spirit in black and white. Not because Gilbert’s art in any way reminds of Eisner, but because it doesn’t. Because instead of publishing wonderful black and white comics, Dark Horse Presents is publishing Gilbert’s Mr. Monster and it looks like pencils run through the photocopier to darken it. Art aside, it’s still atrocious.
The Concrete story is completely depressing. While visiting his parents’ grave, Concrete contemplates his future. It’s bleak. Chadwick’s art isn’t particularly special here (why is Concrete the one thing he doesn’t draw well), but it’s one heck of a lovely downer.
Badger’s Mask story is just a filler, maybe announcing Badger’s leaving or maybe not. It’s hard to tell.
Nelson has a one page Dinosaur Tales, which is more design than anything else, but still nice.
That Mr. Monster story was really awful.
Concrete, Now is Now; writer and artist, Paul Chadwick; letterer, Bill Spicer. The Mask, Gone Fishing!; writer and artist, Mark Badger; letterer, David Jackson. Mr. Monster, His World; writer and artist, Michael T. Gilbert; letterer, Ken Bruzenak. Dinosaur Tales; writer and artist, Mark A. Nelson. Editor, Randy Stradley; publisher, Dark Horse Comics.
Posted in Concrete, Dark Horse, Dinosaur Tales, Mask, Mr. Monster
Tagged C. Kirkendall, K. Hooper, Mark A. Nelson, Mark Badger, Michael T. Gibert, Mike Richardson, Paul Chadwick, Randy Stradley
This issue Concrete gets into a fight with a bear and nearly loses. In some ways, since Chadwick isn’t going for the saccharine, it works better than any other Concrete story so far. Except it’s basically a reluctant superhero story, so it’s not the traditional Concrete story.
Again, somewhat weak art from Chadwick.
It’s hard to judge Badger’s art on The Mask (spelled Masque here) since it’s supposed to be nuts. The story is only somewhat successful, since nothing happens. It’s an action scene where the bad guys we just met get killed. I guess it’s interesting the bad guys are federal agents, but not really.
The last story, from Stradley and Salmons, is a space alien marooned story. Salmons must like those. The art is, as usual for Salmons, a little too confusing to effectively tell the story. It’s decent enough, but far from spectacular–it’s way too slight.
Concrete, Straight in the Eye; writer and artist, Paul Chadwick; letterer, Bill Spicer. The Mask; writer and artist, Mark Badger; letterer, Tim Harkins. Soul Survivors; writer, Randy Stradley; artist, Tony Salmons; letterer, David Jackson. Editor, Stradley; publisher, Dark Horse Comics.
It’s a real toss-up this issue for worst writing.
Randall’s script for Trekker is laughably bad, but there’s something almost confrontational about Stradley’s Mindwalk script. It’s like he’s punishing the reader for taking the time to read the story, as though he or she isn’t being punished enough by Emberlin’s artwork.
Randall’s Trekker art, on the other hand, isn’t terrible. He’s got some issues with proportions and perspective, but his enthusiasm and persistence are clear. He worked hard illustrating his derivative, atrocious sci-fi story.
The rest of the issue is similarly unimpressive. Sure, Chadwick’s Concrete artwork is amazing, but the story is another one where Concrete spends eight pages doing something then decides to reverse and not tell anyone. So why does the reader have to put up with it, to sympathize for the character? Why should we?
Once again, a moderately cute Boris strip closes the issue.
Trekker; writer and artist, Ron Randall; letterer, David Jackson. Concrete, The Gray Embrace; writer and artist, Paul Chadwick; letterer, Bill Spicer. Mindwalk, Mindwar!, Part Two; story and script, Randy Stradley; story and art, Randy Emberlin; letterer, David Jackson. Boris the Bear, The Boris Chronicles; story and art, James Dean Smith; script, Randy Stradley; letterer, David Jackson. Editor, Randy Stradley; publisher, Dark Horse Comics.
Yay, Warner’s back with Black Cross–featuring a bunch of expository dialogue recapping the first story. With all that useless exposition, one might think Warner would explain the ground situation to the reader. But he doesn’t. It’s confusing and a lot of work thinking about something so dumb sounding.
Stradley and Emberlin’s Mindwalk has its weakest entry so far, with Stradley inexplicably using two narrators here. A mediocre first person narrator is one thing, but then he brings in a female narrator who sounds like a six-year-old. Emberlin’s art is similarly problematic, though he draws Kirby-esque monsters well.
The Concrete story is charming. It’s the adventures of the female scientist (still not clear on Concrete’s origin, which seems to be intentional) trying to move his unconscious body. Chadwick’s art is gorgeous.
The Boris Chronicles strip is cute, with Smith basically converting a newspaper strip to four pages.
Mindwalk, Mindwar!, Part One; writer, Randy Stradley; artist, Randy Emberlin; letterer, David Jackson. Concrete, The Four-Wheeled Sleeping Pill; writer and artist, Paul Chadwick; letterer, Bill Spicer. Black Cross; writer and artist, Chris Warner; letterer, David Jackson. Boris the Bear, The Boris Chronicles; story and art, James Dean Smith; script, Randy Stradley; letterer, David Jackson. Editor, Randy Stradley; publisher, Dark Horse Comics.
Wow, does Chadwick ever try hard to be cute. His Concrete story this issue is a completely useless, inconsequential diversion… Maybe I’m missing the point. Maybe it’s supposed to be charming, but it just seems like he wastes a lot of energy. The art’s okay, Concrete being a really boring looking character but the desert setting is fine.
I certainly wish Chadwick was on Mindwalk, just because Emberlin is so weak. He’s got the occasionally well-designed panel, but the art tends to be broad or ugly. The broad stuff is fine, it just doesn’t look like he put in work. The ugly stuff… well, he put in work to no good effect. The script’s goofy in an annoying way.
Thankfully, DeMatteis and Badger’s Hellwalk, Inc. is fantastic. It’s this romantically involved detective couple who handle occult cases. DeMatteis grounds it in depressing and hopeful reality. A very nice closer.
Concrete, Under the Desert Stars; writer and artist, Paul Chadwick; letterer, Bill Spicer. Mindwalk, Crystal Vision; writer, Randy Stradley; art by Randy Emberlin; letterer, John Workman. Hellwalk, Inc., Cortege; writer, J.M. DeMatteis; artist and letterer, Mark Badger. Editor, Randy Stradley; publisher, Dark Horse Comics.
You know, I really didn’t expect Dark Horse Presents to open its first issue with a male overcompensation piece like Black Cross. Warner’s art’s amateurish and I guess it shows movie optioning is a comic book tradition (the character looks like Sylvester Stallone). It’s a dismal story.
Chadwick’s two contributions are all right. The Concrete one is charming and at least hints at some kind of social consciousness for the comic (which Black Cross feigns). More impressive, as far as the art goes, is Brighter!, a Vertigo ready story about some young woman who can produce optical illusions. So she’s a mutant (lots of superpowers this issue). But the art’s gorgeous and makes up for the lukewarm writing.
Stradley’s Mindwalk is about another mutant (one with a kind of telepathy). It’s nearly okay, though Emberlin’s art isn’t quite there. Features Nazis and gangsters though.
I wasn’t expecting so many mutants.
Black Cross; writer and artist, Chris Warner; letterer, John Workman. Concrete, Lifestyles of the Rich and Famous; writer and artist, Paul Chadwick; letterer, Bill Spicer. Mindwalk; writer, Randy Stradley; artist, Randy Emberlin; letterer, John Workman. Brighter!; writer and artist, Paul Chadwick; letterer, Bill Spicer. Editor, Randy Stradley; publisher, Dark Horse Comics.
It’s a weak close, partially because Stradley probably needed another issue to fully develop the relationship between the protagonist and the friendly Predator (he also needed space to give it a proper ending), but mostly because Chris Warner is no replacement for Norwood.
Warner kills that beautiful design sense Norwood brings to the book. Instead of the panels being so well-composed it can distract from the narrative, they’re rote. Aliens vs. Predator, between Warner and Campanella, becomes a boring movie tie-in. Norwood made it special.
Even with the action pacing and the lack of narration, Stradley’s able to keep his protagonist strong. Sadly, one of her strongest moments is inferred instead of shown.
Stradley can only do so much. He’s a good writer, he clearly has a decent plot. But he doesn’t have the time to tell the story. He also doesn’t adjust the writing for Warner’s pencils.
Writer, Randy Stradley; penciller, Chris Warner; inker, Robert Campanella; colorist, Monika Livingston; letterer, Pat Brosseau; editor, Diana Schutz; publisher, Dark Horse Comics.