Graffic Traffic

by Ryk McIntyre
illustration by Greg Prindeville

Well, it happened. The second sign of the Comic Apocalypse has appeared with the arrival of Sandman #75, the last issue of the monthly title that revived DC’s reputation for excellence in comic storytelling, and so begat Vertigo, etc, et al. Anyway, it’s here.

And it’s just what writer Neil Gaiman promised: his retelling of Shakespeare’s The Tempest, a glorious finale to one of Comics’ Greatest Stories, 38 pages of Charles Vess doing what he does best because he loves it, and a fine allegorical confession/coded thesis from Neil about Neil (how he writes, what of it is his, what it has brought, and what it may have cost). There may be no way to truly wrap up the Sandman/Endless saga (and not just because of planned mini-series, specials, etc.) and this story doesn’t try to. It offers a plausible theory on how Shakespeare’s writing blossomed from out of the detritus of his early works, and on why Dream of the Endless would commission two plays from a mortal, and for what purpose. Particularly nice is the balance between glorifying the dream and examining the responsibilities to self and others that occur as a result of living it. We see that William and Anne’s marriage is strained to sadness by his having chosen as he has in life, and he even admits as much, but he never apologizes. His hopes for immortality lie with his works more than himself, with the tradition of storytelling; may it continue in a narrative as lively as it is endless…

On the other end of DC’s vast splendor is (and I know you’ll ask, Is this really necessary?) another Batman title. Batman: Black and White is a descriptive anthology of stories with black and white art. As with most such endeavors it is/will be a mixed bag, as not every Bat version suits every taste. The cheesy Jim Lee cover doesn’t help. Why does this great artist draw something (I think it’s a draped cape) that looks like a vestigial elbow protruding from Batman’s chest? And is that a Batarang in his hand, or is he just glad to see me? Of great relief is the Michael Alred pin-up inside the front cover that shows Batman about to pounce on I’ve-Got-Dynamite-Strapped-To-Me!-Man (truly an arch amongst foes!!). Excuse me.

Further inside is a pleasurable place to go. First off is a restrained pain-tale by Ted McKeever, one of comics’ truly singular stylists. It’s a strained detective tale of which we see only a slice through the Batman‘s forensic information gathering. It’s a taste of what such a solitary knight carries inside himself of the people he couldn’t help, but only avenge, and what they leave behind in him after they’ve gone, or until the crime is solved. Pure genius.

So is Bruce Timm’s (of Batman Adventures fame) offering. This, which would have been reduced to mere cliché if left to less talented hands or voice, is a what-if-Twoface-were-cured story that combines him with a set of identical twins who externalize his internal conflict. To whit: one good one, one nasty one that hates the good one. The b/w format capitalizes on the art’s strengths, much as it does on the stories drawn by Howard Chaykin, Jose Munoz, and that Master’s master Joe (everybody owes him) Kubert. It is strength found in a line, a shading, space balanced between positive and negative. Future issues promise us Neil Gaiman, Simon Bisely, Walt Simonson, and Richard Corben, among others. I’ll not only give it a great grade (if you buy only one Bat title…), I’ll even forgive the Jim Lee cover, I mean, nice background, but that third elbow… ick.

Last book this month, another anthology title (and that’s all it has in common with the former offering), is Slave Labor’s fine Action Girl #5 (edited by Sarah Dwyer). The obtuse, myopic comic industry still relegates women creators to the indie sidelines (true, there are some exceptions, but for every one you name, I can name a Lady Death-type character that obscures your view of it) but let’s not dwell on that topic when we have a chance to extol the virtues of this particular title. Patty Leidy gives us the first story, “Godzilla!,” about a little girl’s never-ending love for the three-hundred foot-tall radioactive lizard of her dreams. Near and dear to me. If only I could get Patty to talk to my wife, there would be hope yet in the McIntyre household. All the stories are good (and every issue so far has been too), but particularly, the sad “The Woman Who Was A Bird” by Rebecca Dart, which tells of a man who married a shapechanger – tugged at my heart. Also, this title is a fount of info on other woman books, artists, movies, etc. It even mentions the occasional “Girl Friendly by Guys” selection, proving that women always know better than men: cooperation beats competition all the way.

Also worth looking at (and a sneaky way of introducing two titles I’m going to discuss at length next time, or the time after…) are Starman #19 (DC Comics/James Robinson [writer], Tony Harris/Wade Von Grawbadger [art]). In this stands-on-its-own issue, the current Starman (Jack) travels to the dreamy place to talk with his dead brother, the short-lived previous Starman, the one who actually wanted the job. Serving as a wrap-up to the “Sins of The Father” storyline and a maddeningly hinty intro to upcoming events, this story also serves up some good stuff in the end when David gives Jack, his younger, living brother, a beautiful gift of an hour’s time with his mother (also dead). Yes, it’s mushy. Yes, I like it.

Also please check out (and I know I’ve told you this before) Strangers In Paradise #9 (Abstract Studios/Terry Moore, his own self). SPOILER WARNING: Katchoo isn’t dead. Of course, the fact that issue #10 is already out kinda blunts that news-flash.

Lastly, beware. I hear there’re going to be complications around the terrible, awful, just plain stinky-except-for-the-fight-scenes, (and again, sorry Mr.Lee) The Crow movie. I hear they’re going to make a second one. I hear there’s still some room in Bad Art Hell, which, it turns out, will probably be a good thing.