Okay, not really, but I am late. Too many other things to take care of that are much more of a priority. Things are very hectic for me now. So the books I look at in this latest column are slightly less than current. They are also books that I can review in a somewhat more succinct manner. At the very least, this means my ramblings won't be quite as long-winded this time.
I also think my reviewing style has been rather dry, perhaps too serious. So, I tried to liven things up a bit with the last review in this column. Hopefully I didn't fail too miserably!
Dreadstar: Plan M trade paperback, $16.95 US, published by Slave Labor Graphics
Writer & Artist: Jim Starlin
Rating: 4 out of 5 stars
Plan M is the third trade paperback released by SLG reprinting Jim Starlin's Dreadstar stories. The first reprinted "The Metamorphosis Odyssey," and the second reprinted "The Price" one-shot and the Dreadstar graphic novel published by Marvel Comics. Plan M represents the first six issues of the ongoing Dreadstar series that was published by Marvel's Epic Comics imprint in the mid-1980s.
Prior to the release of these trade paperbacks, I had only read a handful of the Dreadstar stories. Nevertheless, I had found them to be magnificently written and drawn works of science fiction adventure. SLG's release of these trade paperbacks has finally enabled me to read the entire saga from its beginning, in order.
The basic premise of Starlin's series was that Vanth Dreadstar, the last survivor of the destroyed Milky Way galaxy, found himself transported the Empirical Galaxy, where he was recruited by the unscrupulous sorcerer Syzygy Darklock to help bring an end to a two hundred year old war. The Empirical Galaxy was split in half, divided between the corrupt Monarchy and the fanatical Instrumentality. The Monarchy's rulers sought to perpetuate the two century old conflict, as its economy had become entirely dependent on the war, and it simply could not afford to return to peacetime. The Instrumentality, however, desired to achieve victory in order to instigate a galaxy-wide Inquisition, to forcibly convert or execute the "heretics" of the Monarchy. Either course, a continued perpetuation of the war or a victory by the Instrumentality, would inevitably lead to the loss of billions of innocent lives. It became the mission of Dreadstar, Darklock, and a small band of followers, to find a third alternative, to end the war without allowing the Instrumentality to achieve victory.
Starlin's work on Dreadstar was a sharp commentary on a number of contemporary societal and political issues: the mentality that led to the Vietnam War, the excesses of unrestrained capitalism, the dangers of fanaticism, and the abuse of religious authority to cultivate power. And it was told within a series of exciting stories that entertained while effectively driving home their underlying messages without being preachy.
If there is one major drawback to these collected editions, it is that they have been printed in black & white. I fully understand the economics behind this decision. However, these have been reprinted not from Starlin's original black & white artwork, but from the color pages of the actual issues themselves. The result is an unfortunate loss in the clarity and detail of the art. I happen to own copies of issues 3 and 4 of Dreadstar, and comparing them to these reprints, I can see that much of Starlin's sharp detail has been obscured. For example, in issue #4 there is a character known as Z who wears monochromatic armor & cloak that is a dark red. In the reprint of #4 in this trade paperback, Z appears a dark blob, with features that are difficult to discern. It is unfortunate that Starlin's original artwork for these issues could not be used for the reprints. But I suspect that Starlin probably sold the art years ago, meaning that reprinting from the printed issues themselves was the only alternative.
It's regrettable that the problems of reproducing color work in black & white cropped up, because the trade paperback is an otherwise impressive package. The book has high production values, with high-quality paper and a distinctive cover design. In fact, I hope that my reservations about the clarity of certain parts of the artwork don't paint a negative picture. I definitely think it is a worthy endeavor of SLG to collect these issues together in one handy volume. Starlin's work is of a high quality, and it deserves to once more be widely available to newer comic readers. It's a more ideal solution than routing around searching through back issue bins at comic shops and conventions in the hopes of assembling a run of the early issues of Dreadstar. And, given the choice between a somewhat flawed collection and no collection at all, I gladly choose the former.
Expo 2000 graphic novel, $6.95 US, published by SPX
Writer & Artist: Various; Front cover: Charles Burns; Back cover: Jeff Smith
Rating: 3.5 out of 5 stars
The Small Press Expo is an annual convention to promote small press and independently published comic books & their creators. For the past several years, SPX has published a companion volume to coincide with the convention. Expo 2000 is the sixth such volume, and was released at the SPX gathering held last September. (I did tell you I'd be reviewing some less-than-current books!)
Expo 2000 is an eclectic collection, featuring short stories by over six dozen creators. The material runs the gamut from the humorous to the contemplative to the totally mind-boggling. A brief overview of the book's contents would be impossible. Suffice to say, there is a lot of stuff here.
For someone such as myself, who is always on the lookout for new series to check out, this is an ideal publication. It serves as a sampler, the perfect introduction to the styles of a plethora of creators. As with other anthologies, I expect this will end up pointing me in the direction of at least a few titles out there that I would otherwise not have come across.
There are also several interviews and articles in Expo 2000 that delve into various aspects of sequential illustration, and what is being done with the medium. It's interesting reading for anyone who wants to see the art form find other venues besides the traditional twenty-two page monthly serial format. Unfortunately, whoever designed the text layout for these features didn't take into account the page margins. Or, rather, the lack thereof. The text runs right into the spine of the book, making parts of it impossible to read. Unless, of course, you don't mind bending back the book spine about 180 degrees. But that would probably cause some significant damage to the book. Not exactly an ideal solution, is it?
I also need to say that some of the material in Expo 2000 was not my cup of tea. Several creators' styles of narration and layout were difficult to comprehend, if not impenetrable. A few items were, dare I say it, pretentious? As with all art forms, there are inevitably going to be a certain percentage of creators who end up trying so hard to make a work deep and meaningful that the end product is something of a convoluted jumble.
Nevertheless, for anyone with an interest in the small press niche of the comic book industry, this is a recommended book. If you keep an open mind, you're bound to find something you like. In fact, probably a good deal to like. And, hey, at 352 pages for only $6.95, it's a damn good value!
Robin #87, $2.25 US, published by DC Comics
Writer: Chuck Dixon; Pencils: Pete Woods; Inks: Andrew Pepoy
Rating: 4 out of 5 stars
I haven't read too many Batman-related books in the last several years. There have been varying reasons for this: the horrid overuse of villains such as the Joker and Two-Face, the succession of overblown crossovers, and the annoying post-Zero Hour rewrites that Batman never caught his parent's killer *and* is regarded as an urban legend by the general public. But worst of all is the fact that, in the last decade, Batman has often been portrayed as a neurotic, arrogant, antisocial s.o.b. who is always right, regards Gotham City as his personal turf, has zero tolerance for super-powered heroes, and is surrounded by a crew of hand-picked crimefighters who seemingly think he can do no wrong. So I just had to pick up Robin #87, because Batman totally, completely blows it, and in the process manages to piss off his closest ally.
Batman's ally/sidekick Robin, aka Tim Drake, has apparently gone missing. In actuality, after recent hectic events in Gotham, Tim, upon returning to Brentwood Academy (the school he attends) crashes on the dorm roof and sleeps an entire day away. Now Batman, being the World's Greatest Detective ™, ought to have been able to find Robin easily enough. Problem is, Batman recently had a major falling out with his confident and former manservant, Alfred Pennyworth. Guess who nowadays is staying at Brentwood, working as Robin's aide de camp? If you answered "Alfred," go to the head of the class. If you didn't, then go sit in the corner and put on that dunce cap.
So Batman is not at all eager to go to Brentwood to look for Robin, on the off chance that he might run into Alfred. What's a bat-clad vigilante to do? Batman decides to turn to one of Robin's friends and get them to do his dirty work.
The friend in question is the Spoiler, aka Stephanie Brown. The Spoiler is a part-time crimefighter who initially took up the identity because her father was a costumed criminal named the Cluemaster (a sort of second-rate Riddler). Stephanie continued in the role of the Spoiler because she enjoyed it. From the word "go," her path kept crossing with Robin's. They gradually became friends, and eventually started to date. There was just one catch. Robin knew the Spoiler was Stephanie. But Stephanie had absolutely no idea that Robin was Tim Drake. Sworn to secrecy by the importance of Batman's war on crime, Tim felt it would be incredibly irresponsible, and a betrayal of Batman's trust, if he told Stephanie who he really was. Understandably, Stephanie was more than a little annoyed that she didn't know her boyfriend's real name, much less had never actually seen him without his mask. They had something of a tense relationship.
But now Batman comes to Stephanie, asking her to find Robin for him. And, in order for her to do that, Batman has to tell her that Robin is actually Tim Drake. Now, bear in mind this is the very same Batman who, when asked by Robin if he could reveal his identity to his teammates in Young Justice, was told "no." Now, a few scant months later, Batman himself is giving Robin's identity away. Why the change? Because now it suits Batman's purposes. Can you say "hypocrite," class? Very good, those of you who can. Those who can't, go join the kid in the corner with the dunce cap.
Anyway, Stephanie searches out Tim, and soon finds him. Tim is utterly shocked. "My worlds collide," he thinks in panic. He rushes off to Batman and blows his top, letting Bats know exactly how he feels about this betrayal. "You had no right to reveal my secret. I've kept your secret. Sometimes at the risk of my life. You sent her here alone because you were afraid you'd run into Alfred!" Chuck Dixon's dialogue is spot-on in this scene. He captures the raw anger and betrayal that Robin is feeling. It's a powerful scene because this is the same Robin who has followed Batman unquestioningly over the years, who he has idolized. Between Dixon's dialogue and the art by Woods & Pepoy, the emotion of the scene comes across crystal clear.
The characterization of the Spoiler is also top-notch. Her awe at Batman is realistically portrayed. Later, after she reveals she knows who Robin is, and Robin rushes to find Batman, the Spoiler is hot on his heels. "We can be together now," she tells Robin. In that one sentence, Dixon brings across all the frustration the Spoiler has had with this relationship, and all the joy she now feels now that the major obstacle to their intimacy has been removed. But after Robin stalks of angrily, the Spoiler is left feeling guilt, as well as uncertainty for the future. She believed this would bring her closer to Robin, but instead it may very well have driven them apart.
There's some other stuff going on in this issue revolving around some mysteries in Brentwood, and how apparently half the student body seems to have skeletons in the closet. But, not having picked up an issue of Robin in several years, it didn't hold my interest. Nevertheless, after the falling out Robin had with both the Spoiler and Batman, I'm curious to see what happens next. Oh, I have no doubt that, somehow or another, Robin and Batman will achieve a reconciliation. After all, that status quo is bound to be restored. I'm much more interested in what happens next with Tim and Stephanie. It may be worth picking up future issues to see where the two of them go from here.
Okay, class dismissed. All you kids sitting in the corner can take off those dunce caps and go home now.