Fantagraphics; 1995; $2.95; 36 pgs; available collected.
On the inside front cover, there’s an announcement Love and Rockets #49 is the penultimate issue. Both Bros embrace it, but very, very differently.
Beto has this exceedingly disturbing and self-loathing series of short strips, usually starring himself (or an obvious analog). There’s some great art and some rather good storytelling–like the one where he talks about meeting a girl–and some “funny” anecdotes. Like the kid superhero, unidentified by name, he just has a big G on his chest. There’s also a lot about racism and how it exists simultaneous with his art. Like, it’s a lot. Beto digs really, really deep. Or gives the impression of doing so. Given the bad situations the stories recount or imply, one hopes there’s some narrative liberty.
The least depressing story has a guy chopped in the head with a butcher knife who can’t get change to make a phone call. Because maybe all but two of the rest of them have a bunch to do with abuse. Usually with a child suffering. Like, it’s really heavy, all the way through.
Beto’s got some great visual pacing in the stories, great storytelling, especially with the longer pieces (standouts for visual storytelling are the superhero one and one with an alien kid getting in trouble for staying out after school). Oh. And then the adorable Disney one about the dead father.
Running through it all is this undercurrent Beto–the creator–is a failure for the series ending.
It’s almost unbearably heavy.
Jaime does the complete opposite. Sure Maggie’s got to tell everyone she’s not really getting married and she’s got to survive Rena and her cousin getting attacked by would-be kidnappers, but it’s all fun. Rena and her cousin kick ass. The cousin’s the masked wrestler who Danita works for and, we find out, secretly loves. Danita’s convinced Maggie is going to steal him away. Meanwhile Esther feels like Maggie is abandoning her after her telling her to come to Texas. And Hopey is in town on tour and trying to see Maggie.
There’s some wonderful art and great moments from Jaime and he’s really just getting ready to give everyone a nice ending. It’s all romantic confusion and delayed gratification (the Locas way). There’s a cameo from one of Luba’s sisters, which is funny, and then a visual callback to the Izzy story in the very first Love and Rockets. Jaime’s story seems content.
Beto’s stories do not.
It’s a great issue. The clashing styles does make it read a little funny–if Beto went second with all the downers it’d be a very different experience–but Jaime’s pacing makes it work. He seems to have some regret about wasting Esther and Danita’s time, which makes one wonder what the original plan was for the three girls living together.
But it’s an extremely well-executed wrap-up. Jaime’s storytelling is a lot tighter. Even if it does turn Hopey into a cameo in her own book.