Red Herring 2 (November 2009)

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Okay, I forgot to mention the alien conspiracy thing.

Tischman comes up with this great explanation for Area 51 and so on—well, it seems like he’s come up with one (he might have the little green men show up in the last issue anyway). The U.S. government is so stupid, they were duped by big business into believing aliens are real and after us… so give big business trillions of dollars.

It’s probably true, who knows….

Regardless, it’s a great idea and Tischman explores a lot of it this issue. His character names, which I noticed first issue a little, are a lot clearer here with “Penny Candy.” Tischman’s having a lot of fun, the reader’s supposed to being having fun too.

Nice art from Bond and Hahn. Who knew a mall could be so much fun to see rendered?

My only compliant is the issue ends too fast.

CREDITS

There Better Be a Damn Good Reason I Was in Coach; writer, David Tischmann; penciller, Philip Bond; inker, David Hahn; colorist, Guy Major; letterer, Rob Leigh; editors, Kristy Quinn and Scott Peterson; publisher, Wildstorm.

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Red Herring 1 (October 2009)

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It’s hard, from the first issue, to guess where David Tischmann is going with Red Herring. As it turns out—unexpectedly—it appears to be a comedic political thriller, something along the lines of a national Carl Hiaasen novel (instead of just Florida).

Also of note is how little Tischmann seems to care about making the characters likable. He’s got Philip Bond on the art and Bond’s good at making people look amusing. There’s a complete disconnect between tone and art (except when the government witness gets attacked by pigeons) and it works really well for Red Herring. Tischmann makes it impossible to take the issue for granted.

He introduces something in the neighborhood of fourteen characters this issue—though at least five of them are supporting. It’s a nice big conspiracy-sized cast.

The issue’s all setup, so it’s hard to get too involved, but it’s certainly starting well.

CREDITS

Blue Makes Her Look Fat; writer, David Tischmann; penciller, Philip Bond; inker, David Hahn; colorist, Guy Major; letterer, Rob Leigh; editors, Kristy Quinn and Scott Peterson; publisher, Wildstorm.

Nancy in Hell 4 (October 2010)

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For the last issue, Torres decides he needs a twist ending—no spoilers, but it’s the weakest of all possible twist endings. The ending I was hoping for, one setting up an awesome sequel, does not come to pass.

Ryp returns for the final two page spread. It would have been nice to have him the whole time, though I guess the replacements do all right. Once again, Malaka Studio and Antonio Vasquez do about the level of work I’d expect from this kind of thing. This issue has some monsters. I would have loved to see Ryp draw a monster.

Torres’s writing is at times too strong for it and too weak. His plotting is uninspired (the big reveal, like I said, is the weakest of all possible) but his actual writing in scene is quite good. Way too good for Nancy in Hell.

It’s disappointing, but still readable.

CREDITS

Writer, El Torres; artists, Malaka Studio, Antonio Vasquez and Juan Jose Ryp; colorist, Francis Gamboa; letterer, Malaka Studio; editor, C. Edward Sellner; publisher, Image Comics.

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