War Stories #26 (January 2018)

War Stories #26

War Stories #26 is the last issue. Ennis and Aira go out strong. Most of the issue is a dramatic action sequence. Ennis has to keep it interesting, Aira has to keep it moving. Both succeed. Thanks to the omnipresent narration, Ennis is able to lay groundwork for the finale. Even though there’s still one last reveal.

Or maybe not last reveal but first. This story, “Flower of My Heart,” is some of Ennis’s most saccharine, but most humanistic work. The character study of the protagonist as he watches this foreign country change around him–as Italy goes from being fascist to Allied occupied–and how war changes or doesn’t change him.

Because protagonist Robin is a warmonger. Only he’s not. He’s forever scarred with what he’s seen, but he’s still naive. He only can exist for the one thing. Or can he?

It’s an excellent finish. War Stories has had its ups and downs, but Ennis really brought it together for the last two stories. And, while Aira is rushed with the talking heads here, he’s got the emotions of the characters down. Their faces, rough or not, intensely convey their feelings.

I’m going to miss this comic. Well, War Stories but not so much #26; I resent Ennis when he makes me cry because I know he knows he’s doing it.

CREDITS

The Flower of My Heart, Part Four; writer, Garth Ennis; artist, Tomas Aira; colorist, Digikore Studios; letterer, Kurt Hathaway; publisher, Avatar Press.

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War Stories #25 (October 2017)

War Stories #25

Ennis’s gentle story continues. Robin, the British WWII flier, reflects on his life while flying missions in Italy. Italy’s just capitulated, the Allies have taken Rome, everything’s going fine. Except Robin doesn’t have anything else going on except the flying.

His Italian pal, whose life is fairly destroyed, maintains a more positive outlook. He encourages Robin to try to meet a woman, which Robin does. So a bunch of it is nervous Robin preparing for his date.

Aira’s art is rushed, but he takes the time on the expressions in close-up. There’s a very stylized feel to the talking heads scenes, the characters’ expressions, how much the visuals focus on them and nothing else. Some of it is probably just less backgrounds, but the emphasis works. Ennis is doing a character study, after all.

It’s good. Ennis doing this non-battle oriented War Stories arc has excellent result.

CREDITS

The Flower of My Heart, Part Three; writer, Garth Ennis; artist, Tomas Aira; colorist, Digikore Studios; letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 12 (September 2017)

Cinema Purgatorio #12

Moore and O’Neil open the issue with a story about stunt men. It’s set to It’s a Wonderful Life–like the plot beats–only it’s about how George Bailey’s guardian angel is really a stuntman. It’s rushed, without much content–though some real nice art from O’Neil–and Moore concentrates more on the mysteries of the movie theater. It is, however, past the point it can disappoint. Cinema Purgatorio has long since passed that point.

Ennis and Caceres do a bait and switch on Code Pru. The opening graphic is a lot more intriguing than the actual entry, which ends up riffing on a very popular “monster” movie. There’s some okay art, but the strip is too far gone.

Modded has a lot of nonsense speak from Gillen for the gaming and some nice art from Lopez. Not nice enough art its worth reading the comic, but it’s nice art.

Oh, I forgot A More Perfect Union, which actually manages to be the least thoughtful comic in the whole issue. Everyone else is doing something really complicated–or at least somewhat complicated–Brooks isn’t with Union. He leverages Andrade’s art against his “historically accurate” Civil War against the giant ants.

Yawn.

The Vast has evil Russian(?) kaiju. Who cares. It’s funny, Andrade’s art is perfect in black and white on Union, but it really needs color on The Vast. Or better inks.

It’s Cinema Purgatorio; I’m going to keep reading it, but I’m never hopeful it’s going to come through again.

CREDITS

Cinema Purgatorio, It’s a Breakable Life; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Clever Girl; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

War Stories 24 (June 2017)

War Stories #24

Ennis gets downright poetic with this issue. Well, his protagonist gets downright poetic, but Ennis takes the comic along with him. Aira gets beautiful skies to draw, while the protagonist remembers what his new drinking buddy–an Italian enemy flier turned ally and liasion–talks about. It’s detached from the war, but intricately part of it. I’m getting rather curious where Ennis is going with it; it’s a lovely comic.

CREDITS

Flower of My Heart, Part Two; writer, Garth Ennis; artist, Tomas Aira; colorist, Digikore Studios; letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 10 (May 2017)

Cp10

Cinema Purgatorio is getting rather long in the tooth, not just for each of the five stories–The Vast might actually be showing signs of rejuvenation, actually–but as a concept. It was always a loose anthology, but when Garth Ennis is writing a cameo for a Predator in Code Pru, it’s clear exhaustion has long since set in.

The Alan Moore and Kevin O’Neill feature is about some kids in a British kids movie–there’s history related to the British film industry, which restricts interest on its own–and their encounter with a giant hair thing. I think it’s supposed to have gotten on the film itself and they’re interacting with its physical effect on the print, but whatever. O’Neill’s got some nice establishing panels, but Moore’s beyond phoning this one in.

Then there’s the secret origin–with evil, abusive witches–of Code Pru. Caceres works on the art. It’s just so rushed, there’s not much point in that care. And then that Predator cameo… I mean, at this point, maybe Ennis and Caceres should just do a Predator comic. Why not? Pru isn’t going anywhere.

More Perfect Union gets back into the actual Civil War history, which doesn’t help it. Brooks still has some big ideas; they don’t seem likely to translate to comics any better than his last big ideas on the strip. Andrade’s giant ant art is gross and cool.

Lopez’s art continues to help Modded immensely. Gillen’s story is still meandering, albeit with a monster fight this time, but it’s still meandering. Reading Modded is just part of the Cinema Purgatorio experience.

As for the improving Vast, Gage has moved the action to kaiju training. Still abjectly unoriginal and derivative, but at least it’s more amusing. Andrade’s art does well with the sterile conditions. He can concentrate.

I was really hoping this issue of Cinema Purgatorio would be the last, if not for the series itself, than at least for Moore and O’Neill. They’re hacking out the material without much inspiration lately.

CREDITS

Cinema Purgatorio, The Picture Palace Mystery; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Havin’ Me Some Fun Tonight; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

War Stories 23 (April 2017)

War Stories #23

Ennis sticks with British fliers and World War II–and four issue arcs. And it works out. The setting this time is Tunisia and some Brits taking over a previously Italian (and German) camp. It still has some Italian officers as prisoners of war, giving Ennis a chance to develop character relationships between opposing sides. There are some Germans around, of course, and not all the Brits are as civilized as the gentlemen pilot; presumably there will be some drama. Aira continues to do balance the book better between talking heads and illustrated war machinery. He does particularly well in the desolate setting. War Stories’s uptick might not survive the whole arc, but it certainly isn’t showing any signs of failing yet.

CREDITS

Flower of My Heart, Part One; writer, Garth Ennis; artist, Tomas Aira; colorist, Digikore Studios; letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 9 (March 2017)

Cinema Purgatorio #9

If Cinema Purgatorio were “shown” in a marathon, I think we’ve hit the point where even Alan Moore’s asleep. Garth Ennis too. But a couple of the backup guys are doing better. Sort of.

Anyway.

Purgatorio is about Thelma Todd’s death. Sadly Moore’s script for it is really boring. It’s like something didn’t work out. He thought it’d be more interesting but, instead, he’s just got occasional Batman visual cues because Todd’s lover made a movie called The Bat, which supposedly inspired Bob Kane (and, you know, Bill Finger) but whatever. So? I don’t think anyone ever doubted Kevin O’Neill could draw a giant bat.

It’s kind of fine, but in an unambitious sort of way. Moore might have peaked on Purgatorio.

So too might have Ennis. He’s got a lot of content for Code Pru but nothing he’s fixated on. It’s zombies. And not even Crossed, so it’s not even cute. Ew. Crossed and cute. But he’s just churning it out. I think there’s even a reference to the Code Pru “pilot” where she was a witch, which I don’t think he’s done before. Caceres’s art is fine. It’s not on him.

Now, I make that complaint and it usually means Ennis is going to do something really cool next issue. Fingers crossed.

More Perfect Union. Brooks doesn’t have his history text piece anymore, which is great, but his exposition is getting more verbose. Are they connected? I don’t care. It just means it’s a lot more maybe made up, maybe just for Civil War enthusiasts’ information. It’s noise. Really nice art from Andrade. He’s got good detail. It’s sort of impersonal, but the strip is also a parade of boring visual concepts.

And then Modded, which I hate having to enjoy, is once again pretty fun. Gillen’s writing characters. They’re obnoxious and thin, but with the personality from Lopez’s art, it doesn’t matter. There’s still way too much lingo and it feels like a dated post-apocalypse, so I don’t love it or anything, but I almost look forward to it. I don’t mind it, which is something; I used to loathe Modded.

And The Vast is The Vast. Great art from Andrade, little kaiju, big kaiju. Again, not personality but this time because it’s so poorly paced. Gage has somehow set up this comic one wants to like, but just can’t because it’s humorless. There’s nothing fun about it. Gage seems miserable and bored.

Cinema Purgatorio is getting to be a chore; I liked the book before Moore showed he could do awesome and amazing comics with it. I also miss liking Pru. She was really cool there for a while.

CREDITS

Cinema Purgatorio, Revelations of the Bat; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Night Without Dawn, Day Without End; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

Providence 12 (March 2017)

Providence #12

Providence is over. In less than two years, Alan Moore and Jacen Burrows (and Avatar) have gotten out this series. No offense, but none of them are known for being speedy. But it’s finished. It gets to go on a shelf soon, next to the other Alan Moore hardcovers. It’ll make it into bookstores, it’ll make it into libraries; given it has a Lovecraft “hook,” it’ll be discovered and rediscovered through that connection.

But it won’t permeate, which is fine. We don’t live in a world deserving of Alan Moore appreciation.

There’s going to be time to read the comic again, in one sitting. There’s going to be time to read it again in whatever other way Avatar figures out how to package it. Gigantic hard cover. Late, of course.

And there’s going to be more to find, because Moore works in serial narrative to provide a cohesive finite reading experience too. Who knows what kind of panel echoes there will be throughout Providence next time.

So how’s the comic? It may be a little divisive. Moore has a very personable, loose writing style when he wants. Is life but a dream… sadly no. But reading should be. It’ll be interesting to see how that theme echoes through the whole series. Moore doesn’t cheap on the comics for the issue though. He and Burrows deliver a great finish. The art is crazy controlled. Providence has always needed an oversize printing, but this last issue just goes further with it.

Providence probably should be read when wearing a VR headset and each panel filling your field of vision. The detail’s so good, it should be immersive. But it’s the last issue of Providence and one wants to read it, not dwell on every background detail. It’s the end of the world, everyone gather round.

Providence is done. I wonder when the hard cover comes out.

CREDITS

The Book; writer, Alan Moore; artist, Jacen Burrows; colorist, Juan Rodriguez; letterer, Kurt Hathaway; publisher, Avatar Press.

Cinema Purgatorio 8 (February 2017)

Cinema Purgatorio #8

It’s an okay issue, which–for Cinema Purgatorio–usually means there’s something lacking.

First, Alan Moore and Kevin O’Neill’s feature is the history of Felix the Cat “creator” Pat Sullivan, who was a scumbag both professionally and personally. O’Neill does a fine job on the art, but Moore’s script feels like he’s just hitting various details.

Garth Ennis has a similar problem with Code Pru. There’s a long setup involving ghosts for a full page visual gag payoff. Fine art from Raulo Caceres; there’s just no depth.

Gabriel Andrade takes over the art on More Perfect Union. He does all right, though he’s a little too fixated on human character design and not enough on giant ant action. Though the Max Brooks script doesn’t really offer any good giant ant action, just boring giant ant action.

And Modded is a lot less annoying than usual, maybe because Kieron Gillen’s script goes for brevity. Nahuel Lopez’s art is awesome.

Finally, The Vast. Boring, poorly paced, but with excellent art from Andrade. Very different from his Union art; he puts time into Vast. The other was a rush. The Christos Gage script is all right, I suppose, just disposable.

When Cinema Purgatorio doesn’t have a great Moore and O’Neill feature, the whole issue feels a little too rote.

CREDITS

Cinema Purgatorio, And the Blackness Moved; writer, Alan Moore; artist, Kevin O’Neill. Code Pru, Somethin’ Weird, an’ It Don’t Look Good; writer, Garth Ennis; artist, Raulo Caceres. A More Perfect Union; writer, Max Brooks; artist, Gabriel Andrade. Modded; writer, Kieron Gillen; artist, Nahuel Lopez. The Vast; writer, Christos Gage; artist, Andrade. Letterer, Kurt Hathaway; publisher, Avatar Press.

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