In this week’s Wednesday Comics column, we look at the new Mad Cave Studios series, Barbarian Behind Bars, a Hellboy comic written by Mike Mignola and Todd Mignola, the latest from Ignition Press, and more! Plus, FOC Watch and The Prog Report!
Barbarian Behind Bars #1
Writer: Elliott Kalan
Illustration: Andrea Mutti
Letters: Taylor Esposito
Publisher: Mad Cave Studios
Review by Clyde Hall
Conceptually, think of it as the upcoming Masters of the Universe movie crossed with the classic What If? #13, entitled “What If… Conan the Barbarian Walked the Earth Today”? Or maybe Barbarian Behind Bars is a film noir combo platter by way of Robert E. Howard and Malcolm Braly. Perhaps with a John Grisham chaser if our barbarian protagonist, Darcor, gets his day in court. Imagine such a concept explored with accurate representation of our modern world colliding against warriors from a mystical fantasy realm. Added bonus, imagine a dream team of creative talents delivering it with a steely-eyed serious tone, foregoing the humor-infused soft landing some cinema fantasy has stooped to.
The primary right choice in making this a successful collision is, in my opinion, Andrea Mutti on art. His work always carries a grounded rawness. The illustrations for both Bunny Mask and Maniac of New York are prime examples of that strength. Seeing him shine in this first issue was like a thematic and style reunion. His are the first, best hands for crafting a sword-and-sorcery-in-stir story, from making both worlds coexist believably to washing out the color as only institutional facilities can. I’ve missed him.
Writer Elliott Kalan gets more wiggle room with the storyline, and there are places it ebbs before resuming its flow. Still, he sets the right pieces on the gameboard with sufficient information for creating interest, too little for telegraphing the direction Darcor’s journey will take.
The plot breakdown for the launch concerns two warriors. One, a noble savage, is pursuing the other, a magic-wielding despot, across different planes of reality in pursuit of justice. Justice Darcor dispenses in appropriately lethal and barbaric fashion once he catches up to the mad king, Torv. It’s where that takes place that is the problem.
Modern day Earth isn’t used to LARP participants, Ren Faire regulars, or cosplayers murdering one another openly. Darcor meets the city guard’s finest and is promptly arrested and jailed. There, the barbarian is provided with a jaded public defender, Irene Chang, who has no idea what language he’s speaking, making their attorney-client meeting less than fruitful. But it provides a brief exposition package for the reader.
A battle flashback and gen pop time with Darcor’s cellmate Lannie are balanced against Irene’s investigation and gang members attempting to recruit the savage swordsman into their brotherhood. And while relics have definitely made the trip across dimensions with Darcor, it appears at least some magic may have also been transported. All said, a fine introductory issue that lands already sprinting, yet slows down enough for breadcrumb drops.
The story shines brightest when the spotlight’s on Irene. She’s a young lawyer but the system (legal, penal, financial) has already backhanded any -isms out of her thinking. Especially optimism or altruism. But her working the case, the approaches she uses trying to represent someone who has no public records, no ID, and who speaks a language she cannot fathom, mirror steps most readers are likely contemplating. Her character gives us pause as we consider how we might defend a client, much less see justice done, in a situation this challenging. And as she’s pulled reluctantly into the mess, we know finding answers is going to become her own justice quest, one rivaling Darcor’s.
For the scripting, this is imperative. It would have been easy foregoing the legal system woes with larger concerns, magic, or other worldly interventions. Kalan doesn’t. Instead, superior numbers and stun guns force the issue, making even a dimension-hopping barbarian submit to the slog of official channels and protocol. Veterans of long DMV visits and small claims court can appreciate the struggle, helping them identify more closely with both Darcor and Irene.
If the grinding wheels of civilization are truly anathema to a barbarian, and by Darcor’s early assessment they are, the title’s allure will be in echoing our own dissatisfaction with the system and sweeping us along as our heroes chart a course without getting crushed. Whether it’s beneath the weight of late-stage capitalism or the privatized prisonscape of an increasingly threadbare republic, or both, it’s a concept that has sinewy enough quadriceps for treading the paper trailed thrones of this Earth beneath its sandaled feet.
The Crown: A Tale of Hell #1
Writer: Mike Mignola and Todd Mignola
Artist: Warwick Johnson-Cadwell
Letterer: Clem Robins
Publisher: Dark Horse Comics
Review by Jared Bird
As Hellboy’s biological brothers rage for control over Pandemonium in this demonic family reunion, their mother returns from her prison for the first time in a century and has plans of her own. Franchise visionary Mike Mignola is joined by his brother Todd Mignola (Hellboy: The Exorcist of Vorsk) and artist Warwick Johnson-Cadwell (Our Encounters with Evil) in this two-issue new Hellboy prequel series.
The realm of Pandemonium in Hell is in utter chaos. Two of Hellboy’s biological brothers, the demons Azzel and Gamon, vie for control, attempting to use their mother Sedara and local lord Lusk in order for both of them to get what they want. Azzael, a machiavellian schemer, is attempting to manipulate his way into power, whilst Gamon, naive and pig-headed, attempts more of a blunt-force approach. An inner look into the workings of Hell, for one of the first times in the entire series, this pseudo-prequel manages to be refreshing even when it’s not entirely attempting anything unexpected just yet.
The story, co-written by franchise creator and supervisor Mike Mignola alongside his brother Todd Mignola, is fascinating and engaging throughout. It sets up the characters incredibly efficiently, and you feel like you understand them and their characteristics in a short timeframe. There’s a lot of mysteries, and not necessarily many answers, giving glimpses at the larger world of Hell without letting loose its secrets just yet. Mainly focused on introducing elements and ideas, it’s not exactly fast-moving, but never wastes a panel or page either.
The artwork, pencilled and colored by Warwick Johnson-Cadwell, is good, tapping into some of the more cartoon-like elements of Mignola’s artwork to great effect. Set deep within the pits of Hell, it’s far more stylised than most Hellboy series, and that’s not going to work for everyone, but it works here for me. It gives a dreamlike and surreal element to the story reminiscent of Jack Kirby’s work, but occasionally it veers into being slightly too stiff and too simple, limiting some of the character expression work.
The Crown: A Tale of Hell, is a solid start to what is shaping up to be a fascinating and potentially game-changing story for the larger Hellboy narrative. Whilst it doesn’t necessarily revolutionise the saga just yet, it gives us a glimpse into one of the most carefully hidden aspects of this legendary world, enticing the reader for more, but doesn’t give up all of its secrets just yet. With great, clean artwork and mysterious, interesting writing, the start of this miniseries is building to something potentially brilliant, even if it’s not there just yet.
Just Brutal #1
Writer: Dennis Hopeless
Artist: Brahm Revel
Colorist: Marissa Louise
Letterer: Brahm Revel
Review by Tim Rooney
It’s a classic story. A teenager from a recently divorced household navigates the resulting confusion and disorientation only to discover that his parents are immortal warriors with magical abilities. We’ve all been there. Jokes aside, Just Brutal from writer Dennis Hopeless and artist Brahm Revel (who also letters the comic) is a unique spin on a coming of age story. We all know what it’s like to have the illusions of our youth shattered by reality. Our parents had lives before us, have wants and ambitions and failings just like anyone else. But our young hero Jordan has to deal with that on a fantastical scale. That’s the fun of genre stories, taking real emotion and everyday challenges and transforming them into external, existential conflicts.
Hopeless and Revel do it all with a sly sense of humor, delighting in the mundanity of suburbia. Hopeless writes Jordan as authentically teen: well-meaning and idealistic but petty and selfish, (mostly at the expense of his hapless would-be stepfather). Imagination and reality intertwine, as the young filmmaker throws himself into a world he can control. Revel’s art is lively and full of expression and emotion. He uses every limb and digit to communicate character in ways both over the top and subtle. The way individuals dress and the shape of their body are thoughtfully designed to tell us something about who they are—or who they present to be. When the fantasy world comes calling, Revel draws some delightfully gruesome creatures. With Revel controlling the full flow of the page, there’s a rhythm as the word balloons and SFX meld seamlessly with the visuals. Marissa Louise’s colors keep things clear and simple, rendering backgrounds with minimal colors, which allows the major focus of each panel to pop. Over the course of the issue, the yellowish hue that dominates the backgrounds like a sunbleached haze is riven by greens and purples that throw Jordan’s world on its head. Every part of the art furthers the narrative.
This is another solid debut for Ignition Press and well worth your time. It sets up an intriguing concept and populates the world with engaging and endearing characters, while looking good doing it. You can’t ask for much more.
The Center Holds #1
Writer: Larry Hama
Artist: M.D. “Doc” Bright
Colorist: Josh Burcham
Letterer: Janice Chiang
Publisher: BOOM! Studios
Review by Jordan Jennings
The Center Holds #1 is the latest new superhero universe to launch in recent months. The story centers around a conceit that in a world with superhero being as ubiquitous as police, superheroes have to join some sort of union to gain liability protections. As with most superhero universes, the book features a large sprawling cast of superhero homages, pastiches, and, in some cases, parody. Veteran comic creator Larry Hama delivers a solid job writing finding voices for this sea of characters but they are largely one note. Not unexpected given the page count and sheer number of characters introduced. Hama leans on simple archetypal characterization along with just visual cues to inform the character’s motivation. It goes to show how challenging it is to build a whole world from scratch right out the gate, even for an industry vet. It is interesting to have Hama launch a superhero universe given that his best work is with GI Joe and characters like Wolverine. Traditional superheroics isn’t exactly synonymous with Larry Hama. This is not to say Hama does a poor job. On the contrary, the world being established is interesting such as subtle clues like Unified Korea being a thing. On top of that, the character beats feel like a throwback to simpler comics with motivations being clear cut on the page. Hama’s strength in pacing and forward momentum is on display in the issue. No one scene drags too long and action beats hit with full force.
The art by the late M.D. “Doc” Bright is the real star of the show. Bright passed away before the issue’s release making this his final work. Bright’s command of the human form and page composition makes the emotional and action resonate. It has a real superheroics feel in how it evokes the melodrama of the page. While the characters may be fairly thin in character depth, Bright is able to convey their emotions well. The page composition complements Hama’s frantic sense of action. The art design does feel like it belongs in a Wildstorm or Top Cow comic circa 1998, but that is a plus for me. I have a preferred aesthetic and I’m not afraid to admit it.
Overall, The Center Holds #1 is a promising start to a new universe, but there’s a lot more potential left to be tapped. It is worth checking out for some wonderful art from yet another artist gone too soon.
FOC Watch
The following title is currently available for pre-order at your local comic shop!
Tigress Island #1
Writer: Patrick Kindlon
Artist/Letterer: EPHK
Publisher: Image Comics
Release Date: March 11
Review by Zack Quaintance
I’ve been interested in Tigress Island since last fall, when I read artist EPHK’s graphic novel, Harpy (read my review here!). It was excellent, the type of book that made me immediately want to know what the creator was doing next — and the answer was Tigress Island, a five-issue miniseries scripted by Patrick Kindlon, published by Image Comics.
And now I’ve had a chance to read Tigress Island #1, and it’s a strong debut. The book is definitely an excellent showcase for EPHK’s future-looking, kinetic art. It’s billed as exploitation film-esque action-adventure comic, and it’s certainly that. The plot is that a group of women who work as high-end escorts are trafficked from a fancy nightclub in Hong Kong to a mysterious island prison.
We as readers are essentially given a close third-person POV to the kidnapped women, and we don’t really know anything more than they do, which is very little. When one character asks for answers about their situation, the warden of the island tells her that in this place, answers are earned. It’s intriguing, and EPHK’s art is unsurprisingly great. It’s cheesecake-y to be sure, but that fits the nature of the story.
The book is also well-written. The characters are all distinct, and there’s a great visual sequence that gives us just enough of each of their backstories. Kudos are owed all around for that. The book also makes great use of the two-page spread in a way that makes it read fast and feel perfectly-paced.
Tigress Island also is self-aware. It knows it’s playing with exploitation, and while it’s not offensive or insensitive, it’s also not the type of book that really wants to say something Important about international human trafficking. Instead, it uses it as the backdrop to get its characters into a severe predicament.
Overall, I enjoyed this book quite a bit, and I’m excited to see where the story goes, powered as it will be, of course, by EPHK’s fantastic artwork.
Ensign’s Log
Looking for Avery Kaplan’s Ensign’s Log section about Star Trek comics? Well, it’s striking out on its own to bold frontiers…as a standalone column about all things Star Trek (not just comics).
Check out the first edition here!
The Prog Report
2000AD 2469 (Rebellion): The headliner for this week’s mag is the finale of Judge Dredd: Death of a Judge by writer John Wagner, artist Mike Perkins, colorist Chris Blythe, and letterer Annie Parkhouse. Retirements are often malleable things in comics, easily undone when a creator has a great new idea, but it’s out there that this just might be the great John Wagner’s final Dredd story (he put it out there himself, albeit not very strongly). If you’re reading this segment of the column, chances are I do not have to tell you that Wagner co-created Dredd, which makes this a potentially huge deal. Death of a Judge has been a relatively typical Dredd story. Someone is out to assassinate Dredd as Dredd is working with his newly-reauthorized Robot Judge partner. This sixth and final chapter of the story opens with the robot judge saving Dredd from a very close murder attempt, and off we go. My first reaction to the story was, well that played out as I expected it to. But there’s no way it could go otherwise. Dredd isn’t going to be taken out, ever, by even the most motivated perp, and he’s not going have a growth moment where he reflects on his career. Dredd’s inertia is who he is, and this story doubles down on it. He shoots an unarmed man at point blank range, and then a few panels later bemoans how hateful the guy was. He finally begins to appreciate his robot partner, when he sees that the robots programming makes him even more rigidly indebted to the law than Dredd himself. Most interestingly, within this story Dredd encourages the Chief Judge to keep his position, to keep doing what he’s doing. So, with that in mind, maybe we will see more Dredd from Wagner again after all? But if not, this is a fine way to go out, same as it ever was. This week’s cover (above) is by Mike Perkins. As always, you can pick up a digital copy of The Prog here. —Zack Quaintance
Column edited by Zack Quaintance.
Read past entries in the weekly Wednesday Comics reviews series or check-out our other reviews here!
