FirstWave #1 (of 6)
Written by Brian Azzarello
Illustrated by Rags Morales
Colored by Nei Ruffino
Lettered by Clem Robins
Covers by JG Jones or Neal Adams

This series promises to be one of DC’s most interesting and fun projects in a long while.  Perhaps since Brian Azzarello’s Dr. Thirteen serial.  FirstWave is basically a pulp hero mash-up.  It’s like when you were a kid, and you grew bored playing just Transformers or just Star Wars or just GI Joe, so you got out all your toys and invented scenarios in which everything co-existed. (Thankfully, Azzarello doesn’t face the scale problems I had when He-Man had to interact with Luke Skywalker!)  DC took several old properties they possess the license to but didn’t quite know what to do with, and they threw Batman onto the cover for added muscle in the marketplace (he’s not in the issue, anyway…), and they stirred them all together to create something interesting, and really, really fun.

As all of the characters originate in the old pulp magazines, or trace their direct inspirations to the pulp traditions, Azzarello’s able to mix the characters very effectively.  Their milieus aren’t so radically different from one another, so characters like Doc Savage and the Blackhawks exist comfortably in the same world.

This first issue devotes itself to setting the pieces in their places, introducing each and setting up their initial goal.  Consequently, it’s hard to say much about the series’ overall direction or its effectiveness in telling a story; I can tell you that Azzarello gives each character a distinct voice.  He seems to have a handle on the entire cast, and he juggles the page time very effectively, giving each one a chance to shine.  And he understands the violent, fast-paced, offbeat humor of the pulp heroes, giving the narrative a breathless feel.  So the initial returns are very positive.

Azzarello’s properly abetted in his fast-moving adventure yarn by Rags Morales, a veteran artist whose detailed, nuanced illustrations add emotional heft and physical reality to every page.  Morales accomplishes the impressive balancing act of maintaining the traditional imagery of these characters while still making each of them his own – it’s a feat to capture the caricatured aspect of Will Eisner’s Commissioner Dolan and make that feel at home next to the gritty, rain-worn Doc Savage.

FirstWave #1 shows a ton of promise.  It’s a good start, a rollicking fun time with the edge of danger and fun that I personally would’ve eaten up when I was a kid.  And it’s still pretty damn entertaining as an adult, too.

Sparta, U.S.A. #1 (of 6)
Written by David Lapham
Illustrated by Johnny Timmons
Colored by Wildstorm FX
Lettered by Wes Abbott
Covers by Lapham & Johnny Rench or Timmons

It’s because of books like this that I hate writing reviews of serialized comics when I’ve read nothing more than a segment of the writer’s goals for the story.  FirstWave is pulp adventure, all plot, all pacing, all balls.  It’s not too hard to get a feel for that.  Sparta, U.S.A. is something else.  Largely isolated by mountains, the town of Sparta is the ultimate God-fearing, apple pie-eating, football-loving all-American town.  It’s a community that embraces its right to bear arms and proudly touts its American values, and nothing is more important than the local football team.

The mountains, impassible due to the ferocious Yeti living there, prevent anyone from coming or going.  And babies are given to new families at an annual pep rally.  And, well, sordid, violent doings lurk beneath the surface of Sparta, U.S.A.  Now former football hero Godfrey McLaine, who disappeared into the mountains three years ago and has been presumed dead all along, returns to town to set everybody straight.

This debut issue reads slightly choppily, throwing a lot of information and characters at readers, which makes for a hard review.  David Lapham’s always been good at blending violent little people with delusions of self-importance with a healthy dollop of life’s seedy element and a pinch of surreal madness, so Sparta, U.S.A. remains in his wheelhouse in terms of tone and themes.  But he’s also adding a more direct commentary on the illusory “American Dream” and the often self-centered narcissism behind it.  It’s still a vague suggestion as of the first issue’s final page, so it’s hard to say if Lapham’s taking potshots or saying something witty and intelligent about the situation.

Similarly, the shadowy powers-that-be behind Sparta remain mysterious, fitting for the start of the series, and Godfrey McLaine shows only an unlikely skin tone and a flair for the dramatic.  And there’s a monster in there too, and that stuff about the babies.

Lots going on in Sparta, U.S.A. #1, and fortunately plenty of time for Lapham to pull it all together.  He’s done it before; this is his specialty.

Illustrator Johnny Timmons’ style won’t be to everyone’s tastes, but he’s a good match for the story Lapham’s unfurling.  Timmons manages a kinetic mix of loose line work with hyper-detailed renderings.  The characters’ hair flies loose and their faces possess a dream-like sloppiness, a product of Timmons’ inking, while the backgrounds, clothes and details are presented with a pain-staking eye toward creating a palpable and physical reality.

In short, Sparta, U.S.A. #1 is a promising debut.  One hopes that Lapham and Timmons can tie all the elements they’ve introduced together to live up to that potential.

American Vampire #1
Written by Scott Snyder and Stephen King
Illustrated by Rafael Albuquerque
Colored by Dave McCaig
Lettered by Steve Wands
Covers by Albuquerque and Jim Lee

Not being a fan in the slightest of movie monsters, whether they be zombies, lagoon creatures, wolfmen, or even vampires, American Vampire is not a series aimed at me.  Yet I must admit, it’s clever and smartly told, and I’m more than a little intrigued to see what happens next.  And if I like it, somebody who doesn’t think vampires are incredibly lame is likely to flip for this series.

The big draw of American Vampire is Stephen King’s name, and King delivers on his half of the first issue.  Scott Snyder, however, is American Vampire’s mastermind.  The premise, from what this first issue reveals, involves tracing the life and times of a particular vampire through the United States.  The debut issue tracks a young actress, trying to build a career in 1920s Hollywood, and she briefly encounters a mysterious stranger before attending a very dangerous Hollywood party.  The second tale in this issue, written by King, offers the mystery man’s origin, an 1880s Western with a train hold-up, outlaws and violent death.

Snyder’s able to get past the allure of the violence, opting to spend the first issue crafting a smart and strongly dialogued character piece.  Snyder presents our protagonist, Pearl, as a friendly, sexually confident young woman, sure of herself, pursued by several men, appreciative of her friendship with fellow would-be actress Hattie.  The effective character work allows readers to connect with Pearl, building to a climatic final panel that you’ll wish you could prevent.

King’s half of American Vampire #1 isn’t quite as sharp, but it’s a solid genre potboiler, building to an explosive climax.

Rafael Albuquerque handles the artwork for both narratives, and though the Western story could benefit from being inked, each tale breathes and lives on the page.  Albuquerque’s a superb caricaturist, giving each character a lively look that impresses immediately upon the reader something about that person’s nature.  Using cinematic, lively layouts, the characters move around each other in three dimensional space, and Albuquerque’s backgrounds show evidence of research and a willingness to use the page to create ambiance rather than representational reality.

Put it all together, and even for those of us who could not care less about vampires and things that go bump in the night, American Vampire #1 shows the promise of a true winner.

And finally,

Greek Street v.1: Blood Calls for Blood
Written by Peter Milligan
Illustrated by Davide Gianfelice
Colored by Patricia Mulvihill
Lettered by Clem Robins

I posted a longer form review during the upgrade, and it was eaten by the Internets.  Without going into it all again, great high concept – Greek tragedy playing out again in the streets of London – but Milligan’s letting the roles drive the characters, rather than letting the characters define themselves.  The promise is there, but the book’s not hit its stride just yet.

This entry was posted on Friday, March 19th, 2010 at 10:54 am and is filed under DC Comics, Mike's Musings, News & Views, Reviews, Vertigo. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.