The Auteur: Sister Bambi 5 (December 2015)

The Auteur: Sister Bambi #5

I don’t know. I’m not sure what other response one should have to Sister Bambi’s conclusion, just because—well, first off, it has almost nothing to do with this series and instead serves to close off the entire Auteur franchise (unfortunately)—but because the comic is so strange.

Spears splits the (double-sized) issue between a script for what seems more like the final issue of Sister Bambi and regular comic story. The regular comic story has Rex battling it out with what seems to be his creator (only Spears only writes the book, so maybe it’s supposed to be Callahan). Is it a reflection on the state of the creator and the creation? Of the artist’s place in the twenty-first century? Or is it just Spears and Callahan being gross?

The comic works, to some degree, on all three levels, but never all the way. Even though Callahan puts a lot of work into the art, the story isn’t particularly engaging. Especially not when juxtaposed against Spears’s other script, which one can easily imagine visualized and it would be rather funny.

So, in the end, Sister Bambi’s conclusion seems to be a mercy killing, which is odd, because if readers made it through ten issues… they might want something better for Rex and company.

Spears and Callahan achieve irreverent and absurd; hopefully they weren’t going profound and sublime. Either way, it’s one heck of a way to end a comic.


None of Us Get Out of Here Alive; writer and letterer, Rick Spears; artist, James Callahan; colorist, Luigi Anderson; editor, Charlie Chu; publisher, Oni Press.


The Auteur: Sister Bambi 4 (September 2015)

The Auteur: Sister Bambi #4

I enjoyed this issue of Sister Bambi. The soft cliffhanger, especially considering the comic opens with a comedic bookend, is annoying but in a pointless kind of way. Spears is still chasing something with the series, even though once you bring in zombie triceratops, you’ve sort of given up.

Spears is no longer bothering trying to find absurd humor in Hollywood movie-making. He’s barely trying to find humor. He’s certainly not sensationalizing the reader anymore. Instead, he’s just running amuck on Bambi, which is fine, because it gives Callahan stuff to do. Unfortunately, even though the book’s best as an example of Callahan’s skill and inventiveness, the script forces Callahan to be too inventive. Spears doesn’t give him enough room for all the lunacy. So there are these battles between the serial killer guy and the zombie lions, tigers, and bears, and Callahan has to do them in these little panels. They’re great little panels. But I’ll bet he’d have done better not illustrating them on postage stamp scale.

Let’s see if I missed anything–some lame one-liners, lots of crazy action, a too obvious subplot–nope, I got it all. Sister Bambi has gotten to the point I don’t remember much between issues, which is good; I’d also remember when the series was a lot better.


Live in the Moment; writer and letterer, Rick Spears; artist, James Callahan; colorist, Luigi Anderson; editor, Charlie Chu; publisher, Oni Press.

The Auteur: Sister Bambi 3 (July 2015)

The Auteur: Sister Bambi #3



There’s some good stuff in this issue. Rex pleading with Coconut to understand his position–he had to take the financing from the Nazis in order to get his picture made–all while the serial killer guy watches and comments on his failures. As serial killer guy eats a shark raw. Or something like a shark.

But Spears’s big reveal for the second half of the issue–when Rex tries to wrestle back creative control–is weak. Spears goes for a zeitgeist topic while commenting on going for a zeitgeist topic. At first, it seems like it’s going to be offensive. But then it just ends up being a little lame. He’s trying way too hard on it.

Callahan’s got some good art but his pacing is all off. The first third is too condescended, the rest isn’t condescended enough.

It’s closer to flopping than it should be.


Shock-umentary; writer and letterer, Rick Spears; artist, James Callahan; colorist, Luigi Anderson; editor, Charlie Chu; publisher, Oni Press.

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