Steed and Mrs. Peel #4 and #5

Written by Grant Morrison (issue 4) and Ann Caulfield (issue 5)
Art by Ian Gibson
Boom! Studios

In issue four, Steed and Mrs. Peel work together for perhaps the last time to save the life of Steed's new partner Ms. King (not to mention all of England) from a power-mad game enthusiast with a mad-on for Steed.  Continuing on into issue five, Mrs. Peel takes her leave with Mr. Peel in order to retire to a quiet life.  But when some odd cultists with a South American link get involved, her retirement may be very short indeed.  The action never stops as we move closer to the end of this series of reprints of the comic adventures of the iconic British television adventurers.

The ending to the four part Grant Morrison "episode" was absolutely brilliant.  In typical Morrison fashion we get an ending that meets our expectations and yet surprises you at the same time. He does an excellent job of balancing Steed and Mrs. Peel's contributions to the fight, and Steed's resolution to the final game is so spot-on it almost makes me wish they'd resurrect the show with new actors and let Morrison be the lead writer.  (Or at least contact him when they inevitably get around to doing a new movie based on the property.)  His banter among the three agents is as clever as ever and totally in keeping with the show's light-hearted bent despite all the dire situations and insanity.  King doesn't come off very well, but who does next to Diana Rigg's iconic character?

The whole thing would be amazing, except that I just can't get over Gibson's sloppy artwork that really hurts the flow of the story, the timing of Morrison's script, and the likenesses that are anything but.  This might be the worst issue yet, featuring panels where I cannot tell at all what is going on or supposed to be happening. Gipson has a few good moments, such as when he frames things with the gallows or tips the reader to the solution to the puzzle, but overall, the work is below average in my opinion. I really wish this had been done by just about anyone else and I admit my enjoyment was lessened because of the artwork.

Unfortunately, while Morrison bids goodbye after the fourth issue, Gibson continues with new writer Anne Caulfield, who I am completely unfamiliar with.  Picking up where Morrison leaves off, Caulfield opens by possible out-Morrison-ing Morrison with an outrageous link between the missing Mr. Peel and Incan culture.  Before the issue is out, Steed is being asked to look into strange doings and Mrs. Peel is about to start regretting her new career choice as a housewife.

There are some leaps in logic on this one and after awhile, the pretend gylphs began to grate, mostly because Gibson just isn't up to the task asked of him by the script.  I also must admit losing the mystery of Mr. Peel doesn't seem to me to be worth the payoff here.  Still, there's a final issue to go, so we'll see what happens.

I think folks are mostly safe to finish up with the Morrison arc, which was quite good, but I'm in for the last issue because I really dig the characters and am happy to spend some extra time with them.  Your mileage may vary, however.  The series wraps up next month with its six issue.

Frankenstein Alive, Alive! #1

Written by Steve Niles
Illustrated by Bernie Wrightson
IDW

Long thought dead, the Frankenstein's Monster still lives, playing himself in a carnival freak show.  Find out just why this unholy creature still walks the earth and look at history from his massive shoes in this new series from contemporary horror writer Steve Niles and legendary horror artist Bernie Wrightson.

I love horror movies and horror comics, so a horror comic based on the novel that inspired a Hollywood horror icon was something I eagerly awaited as soon as I heard this was coming out from IDW.  And while I felt like I wanted more of the current life of the creature and less of his mental torment at the hands of a ghostly vision of his creator, this issue really delivered in terms of a quality story, a sympathetic monster, and visuals that are just unbelievably good.

In this version of the story, Frankenstein's Monster somehow ends up working at a carnival, dealing with the fact that his story his been corrupted and that the reality does not meet the expectations of the masses.  I wasn't expecting that twist on the idea of a living monster, and Niles deserves a lot of credit for mining what I think is a genuinely new idea out of ground that has been trod on by so many others after Mary Shelly.  It's also a neat idea to have the creature find a home among other outcasts, which I imagine will be taken away from him as tragically as possible at some point in time.

A little less effective, at least for me, is the angst that goes on for just a bit too long from the mid-point of the issue. I understand that we need to see the monster's desire for death, but seeing it twice was once more than we needed.  I hope that next issue moves things along just a bit faster.  Victorian pacing is okay for a 19th century novel, but a comic should keep going forward, at least within the bounds of a single issue.

For a lot of people the draw here will be Bernie Wrightson, and that's hard to argue with.  Good as Niles' script is, Wrightson's artwork steals the show.  If anything, he's even better than he was in the 1970s and 1980s, giving the monster a skull-like face that somehow is more expressive than many others who draw the creature with flesh.  The character placements and background settings are pitch-perfect, needing no color to enhance their quality.  There's one panel in particular, where Frankenstein's head bores into the back of the skull of his creation, taunting him visually even as Niles puts the screws on as well with his dialog.  Wrightson is one of the masters of the comic genre, and having him back on a series is magic on the page.

Frankenstein Alive, Alive! is off to a great start, and gets my highest possible recommendation for horror comic fans, but I think even non-horror buffs will like its take on Shelly's mythos.  I am eagerly awaiting issue 2--you should get issue 1 now so you are caught up and ready.

Gen Manga Monday 3

Written and Illustrated by Shige Nakamora, Yu Suzuki, Gunya Mihara, and Karino Arisa
Gen Manga

Welcome back to my periodic feature on Gen Manga, now in its third installment, as I read and review the series until I get myself caught up.  The series are all well underway at this point, so it's time to start making judgments about what is worth reading and what might be safely skipped.

In case anyone is coming into this new, Gen Manga is an anthology series that features indie manga artists--effectively the equivalent of Western artists who write/draw for Oni Press and similar outlets.  They are collected here, Shonen Jump style, telling their story in a serial manner every month.

Naoto's training begins in the third installment of Wolf, the lead story in the anthology.  As his star rises, his father looks on, waiting for the inevitable match up between them.  There's not a lot of plot advancement this time around, other than to show that Naoto can handle himself in the ring with a slate of low-level opponents, and I miss some of the really strong character moments that punctuated the first two chapters, though the scene at the end builds on a theme established last issue relating to Naoto's repetition of his father's sins.  There's also the slight problem that because of boxing body shapes, identifying the fighters was a bit harder than it should have been this time out, though as with past chapters, the overall artwork and pacing from Nakamora is quite good.  I'm still enjoying this series a lot and looking forward to seeing where it goes next.  Hopefully, things will be a bit more character-driven in chapter four.

It's a rough night for the three teens trying to avoid Sakuma's alien pursuers as we return to VS Aliens.  Most of the multi-chapter installment involves Kitaro talking to Sakuma, as they try to make sense out of their predicament and Kitaro thinks about the implications of what they are doing.  The whole point of this sequence is to bring the characters closer, and as such, it succeeds admirably.  However it does fall into the trap of being effectively a entire series of talking heads, as the action is limited until we build to the big reveal at the end, as it looks like perhaps the quest to keep Sakuma safe will end almost before it's begun.  Suzuki has a great eat for realistic dialog, and that continues into the translation.  (I would have credited the translator here, but I cannot find one for this issue.)  This is the most traditional of the series in Gen Manga so far, not that I consider that to be a bad thing.

The darker turn of Kamen continues, as Simba's evil uncle's order to execute 200 prisoners is about to be performed before her very eyes.  We don't get a lot about the strange character in the mask, as most of the focus is on the cruelty of the act, especially in relation to a young girl who is dying.  The masked figure waits as the action plays out and Simba makes a fateful choice that should drive the action in the next chapter.  From a very weak opening chapter, Kamen has become a story I look forward to reading each time out.  Mihara's characters really pop, even in crowd scenes, especially in a panel where the prisoners realize they aren't going to be farm workers, but sacrifices instead.  There's also a lot to be learned just by looking at the faces of Simba and her uncle.  The only artistic issue I have is that for a period piece, there's a strange lack of backgrounds.  I'm really curious to see where this one goes next.

I think I've finally given up on Souls, however, as it just isn't getting any better.  The story is plodding, confusing and looks obviously like it was heavily created in Photoshop.  I was giving it some time due to the ghost angle, but sometimes you just have to admit when something isn't work for you, and for me, that is this time.  The plot of the angry, resentful mother and her dealings with a dead daughter continue, but I don't have a desire to find out what happens to them.  I'm looking forward to when this story is concluded and another takes its place.

Overall, Gen Manga continues to be a fun read, and for the only $1.99 an issue, I can deal with having one bad story out of four.  Not everything in an anthology is going to appeal to everyone.  I continue to find this a source of cool manga stories to read, and those who want to look outside the usual sources of Viz, Vertical, and the rest should definitely check it out.

See you next week (I hope!) when we move into the fourth installment of Gen Manga!

A Very Belated MoCCA Report

Just before things started to conspire against me personally, I made arrangements to go to the MoCCA Festival for the first time and take my first-ever trip to New York City.  I only live a few hours away from the Big Apple, so I was excited to make the show.

Two days before the show, I started coming down with my second case of bronchitis in four months.

Now a smart person would have stayed home, eaten the bus ticket, and rested.

I am not very smart.

Excited for the show, knowing staying at home I would have been miserable, and feeling bad that I would let the show down after their courteous extension of a press pass, I medicated the hell out of myself, brought enough hand sanitizer to satisfy even Howard Hughes, and set off against all hopes of sanity.

The trip up was one of the worst of my life, as I had no fluids and coughed constantly.  On top of everything else, I was underdressed for the windy, chilly weather, because I was afraid the con would be too warm.  Walking around the most storied city in America improved my mood, however, and I headed off to the show with high hopes.

MoCCA, as it turns out, is an interesting combination of the Small Press Expo and a zine fest.  The venue itself reminds me of something that a smaller show might use, a very open space that reminded me a lot of a warehouse.  The space is used quite well, with nice, wide aisles that allowed for people to pass each other easily without the usual passel of bumps and pushes that I'm used to at SPX and other shows.  Panels were held in the basement, and the room I visited had excellent sound and visuals.  In addition, the volunteers running the show were numerous, courteous, and kept everything moving efficiently.

The show, from what I experienced, was very well run.  My problem was that, being sick as a dog, it was hard for me to enjoy it.  I left a lot earlier than I expected, and I was almost embarrassed to speak to people, which meant I definitely missed out on some of the things I like best at a show.

In terms of the artists and publishers, MoCCA has a strong overlap with the Small Press Expo and Baltimore Comic-Con, which makes sense given the geographical closeness of the three shows.  (This fact made me feel a little better about not getting to interact the way I normally do, because I will see a lot of the same people in September.)  A few New York publishers who deal more with book books were there with comic wares, and it was interesting to see how they approached it.  My impression was they did a good job, as their booths modeled those of Fantagraphics, Drawn and Quarterly, and others.

One major difference was the strong presence of Scandinavian publishers and creators.  For some, this was a show highlight.  My samplings of comics from that part of Europe don't really grab me, but it's a unique perspective that MoCCA brings to the table, especially given the doubling-up in other areas.

I only attended one panel, mostly because I hate being disruptive when I cough.  It was sponsored by the Comic Book Legal Defense Fund, and was a history of comics censorship.  The panel was quite good, with some contributions by the audience, making for a relaxed atmosphere.

By early afternoon, I wasn't doing so well and I opted to leave the show early, before some of the signings I had hoped to make, such as Michael Kupperman and Jason, along with saying hello to some other creators I follow, such as Chandra Free.  I did get to briefly say hello to Johanna, who wisely kept her distance.  I spent the rest of my time in New York getting semi-lost and seeing the sights, which were awesome.  My trip home was better hydrated, even if I did have a seat-mate who thought it was okay to have his iPhone cord tied tightly over my legs, making it impossible for me to move.

Overall, MoCCA is a cute, small show that's worth making the trip if you are anywhere nearby, perhaps best combined with taking in some of the sights and sounds of what used to be New Amsterdam.  Those going, however, should be aware that there is heavily overlap with the larger Small Press Expo, which might impact on their plans.

I will almost certainly be going back next year, if only to see how much better I can enjoy the show when I'm not medicated and afraid to shake anyone's hand.

NOTE:  A special thanks and apology to the organizers of MoCCA for the long delay in this write-up.  Your patience is appreciated and congratulations on putting together such a well-run show!

Bender Says It Best

After a particularly bad run of getting sick, work duties, and finishing up a Master's Degree (that is hopefully all finished, but the issues in that regard have been part of the problem), I am ready to get Panel Patter back up and running.  I should be hard at work making up for lost time, so get ready to hear what I have to think on a lot of comics that came out in May and some other things I've been reading!

New content will start tomorrow!

Rob

Back in Action Shortly

Hi All,

So unfortunately, I kinda got hit with the busy stick the past few weeks, which dovetailed nicely with also getting my second round of bronchitis in less than six months.

As a result, I haven't had a lot of time to post things, especially since a lot of what I had to do involved tight deadlines, including keeping up as best I could with my Newsarama duties.

Things are finally slowing down, so I anticipate getting back to regular posting here too, including a return to Gen Manga Mondays, my weekly Boom Previews, and a special I wanted to do for the Viz Signature Manga Movable Feast that just wasn't practical at the time.

Looking forward to talking comics again, so be well and be ready!  I should be able to post here and there starting this week and getting fully up to speed by June. See you then!

Space Ducks: An Infinite Comic Book of Musical Greatness

Written and Illustrated by Daniel Johnston
BOOM! Studios

On a routine space flight, the pill-popping General Duck is approached by a friendly stranger warning him of an alien plot to take over the Earth, and only the fighting power of anthropomorphic ducks can save us. The general teams up with more ducks as they embark on an Inglourious Basterds-style rampage against Satan and his minions on the aptly named "Satan's Planet." Will the ducks manage to beat back the forces of evil? And could this all just be a medication-induced fever dream?

For those of you who aren't aware of Daniel Johnston's life story (and I can't imagine anyone seeking out this comic who isn't already a fan of his), he's a musician and artist with bipolar disorder whose works combine a childish naivete with a dark ominousness and awareness of supernatural and satanic forces dwelling in the mundane. I'm a huge fan of Daniel Johnston's music, and as fans of his know, all of his albums feature cover art by him. In recent years, he's been more successful as an artist than a musician, with some of his Magic Marker drawings fetching prices up into the thousands. As the moving documentary The Devil and Daniel Johnston makes clear, Johnston is severely mentally ill, and without the fame and money his art and music have bought him, he might well be dead or institutionalized, which would have been a terrible loss both for him, and for his thousands of fans.

Being honest, though, Space Ducks succeeds more as an art book than as a comic book, and a little bit of Johnston's art goes a long way. Rob compared it to Shia LaBeouf's recent minicomics, which isn't that far-fetched a descriptor... except that Johnston isn't being ironic here which makes all the difference. But just as with his music, this book is clearly something he needed to get out, and there are flashes of genius: a duck yelling "I'm from Texas!" while brandishing a shotgun, the fact that the ducks' spaceship has an eye bank on the bridge (eyeballs being a Johnston-art staple), the author being painfully aware of his terrible spelling. Even though the art is primitive, some of the facial expressions he manages to convey (which, to be honest, are largely confined to "rage" and "glee" at disembowling devils) could only have come from a raw, mostly untrained talent. Nothing here is muted, especially the color scheme.

The Kickstarter also came with a free download of the Space Ducks soundtrack, which is half Johnston new original material, and half by his friends. I hadn't heard of any of the other bands/artists, and frankly I wasn't wowed by the non-Johnston tracks. But his songs are quite good and if you like Johnston's music, you'll want to pick these tracks up (tracks can be bought individually at the Yip Eye Tunes store).

Ultimately I don't see Space Ducks winning over any new Daniel Johnston converts, and I still prefer his music to his art. But Space Ducks is a glimpse into one of our most idiosyncratic minds, and something that fans will want to check out. Don't miss the cut-out action figures on the back flap!