Fantagraphics; 1995; $2.95; 36 pgs; available collected.
It’s an outstanding issue. Los Bros each contribute a story and each story does very different things.
Beto’s first. He’s finally bringing Luba’s daughters into contact with their previously unknown grandmother, while also doing a Gorgo story. There are flashbacks for Gorgo and Maria–including Maria’s (previously unrevealed, I think) involvement in Eduardo’s death (which happened during Poison River). In the present it’s mostly a Doralis story, as she’s meeting her grandmother and Gorgo. She saw Gorgo get shot on the news, so Beto finally irons out that timeline of events. Maricela, Pipo, and Guadalupe all have parts too. As well as Fritzi and Petra. Beto juggles it all beautifully, taking the time to do two almost wordless pages of Maria flashback with a bunch of sci-fi slash good girl art while still making time to do character development on the entire cast. Even Gorgo, though not in the present. He barely speaks in the present.
It’s a fantastic story. Lots of seriousness but a lighter tone than usual. It’s sunnier than Palomar or, most definitely, Poison River.
The end has Luba being brought into it (only just), along with the promise of the “Last Maria/Gorgo Story” next issue. So while Poison River started as a Luba origin story, that phase of Beto’s Love and Rockets has really become the Maria/Gorgo Stories? He’s done amazingly well with it, given how much he’s been doing at once and in extended format. It’s not a single story, it’s threads in a series of stories, something Jaime (initially) did a lot better in the book.
Speaking of Jaime, his story’s excellent too. Though it’s all about the subtle formal exploration he’s doing with it. He’s basically doing a long form Peanuts strip, which he references at the end of the story.
It’s a Maggie (or Perla but really Maggie) story. Danita’s sick and Maggie needs to take her wrestling valet outfit to the evening’s match. Esther’s hanging around the house, around for conversation and to further Maggie’s character development but otherwise mostly inactive. She peaked early.
Simultaneously the prostitute Maggie had problems with at Chester Square gets run out of said strip mall and ends up at an Italian restaurant. After a frustrating adventure of dropping off the outfit at the wrestling match (and having to dodge Gina, who’s still in love with her but also wants to beat her up for the prostitute cutting her), Maggie heads over to the same restaurant. There she’s got to avoid Gina, survive an encounter with the prostitute, all while trying to find out if the masked wrestler Danita works for is handsome under his mask.
And then she runs into an old friend.
It’s light and mostly breezy–though with some real danger at times–and Jaime, of course, avoids the pay-off scene with the old friend. But he doesn’t avoid it too much. He lets it affect Maggie; the story, which is continuous, has some really solid character development for her.
Great art, fantastic visual pacing, all while sticking to that extended form Peanuts riff.
It’s a fantastic issue. Each story has very different ambitions–the enthusiasm is the closest similarity–and both Bros realize them successfully.