#IReadsYou Review: MAN IS VOX: Paingels (Expanded Edition)

MAN IS VOX: PAINGELS (Expanded Edition)
CANDLE LIGHT PRESS – @candlelightpres

[This review was originally posted on Patreon.]

WRITER: John Ira Thomas – @johnirathomas
ARTIST: Carter Allen – @attila71
PENCILS: Carter Allen
INKS: Carter Allen; Jeremy Smith (“Dessert” story)
LETTERS: John Ira Thomas
COVER: Carter Allen
ISBN: 978-0-9895376-9-3; paperback – 7.5 x 0.8 x 9.2 inches dimensions (September 18, 2017)
292pp, B&W and Color $39.95 U.S.

Man is Vox: Paingels is a 2004 original graphic novel published by Candle Light Press (CLP) and created by writer John Ira Thomas and artist Carter Allen.  Last year, CLP released an updated edition of the graphic novel, Man is Vox: Paingels (Expanded Edition).

This is a kind of overview.  Man is Vox: Paingels follows a man who is essentially a killer on the search for a psycho who kills some women.  He abuses in terrible ways those women that he does not kill.  The Fearsome Shade, Mr. Way, the Shotgun Bride, the Husband, Samdy Lockney, The Beacon, Insides, and Dilmus:  they are all on or in the orbit “The Beacon.”

Abortions; many Beacons; clothes make the man, and Sid S, the serial killer of children.  Mr. Way and the Fearsome Shade have to put an end to the Beacon, but who are they really?  Who are Mr. Way and the Fearsome Shade to confront the Beacon for his crimes, especially against Ms. Lockney?

2015 was Candle Light Press' 20th anniversary.  [In fact, there is a book celebrating that anniversary, CLP20: Twenty Years of Candle Light Press (http://candlelightpress.tumblr.com/clp20.htm), a book to which I have contributed a few notes.]  Since then, CLP have been releasing new editions of a few of their early graphic novels, including Man is Vox: Barracudae, the Man is Vox OGN that precedes Paingels.

John Ira Thomas and Carter Allen tell Paingels via a Baskin-Robbins like palette of graphic styles and illustrative mediums (so to speak).  Traditional color comic book art; traditional black and white art; a child's crayon drawings; charcoal; vector art; ink; finger puppet theater; 8-bit video game graphics; cut outs; torn pages; woodblock engraving-like art; and faux family photo album, among many.

When I first read Man is Vox: Paingels, I could not think of many points of references for my subsequent review of it.  Fifteen years later, however, I think I have one.  With surrealism on high and touches of Meshes of the Afternoon, Man is Vox: Paingels (Expanded Edition) is a trippy reading experience.  Much of the narrative deals with what goes on in the human mind – the interior life and the mental experience.  So Paingels makes me think of Noah Hawley's television series, “Legion” (FX).  Paingels simply does not display the self-indulgence and narcissism, nor does it possess the lack of self-control and lack of self-awareness that can be brought on by having the kind of large budget that a major Hollywood studio can gift a “genius” showrunner.

Man is Vox: Paingels (Expanded Edition) is an adventure in original graphic novel reading.  It is not really meant to be read in one sitting, which I certainly did not do.  Some chapters, I read over a period of several weeks.  Other chapters, I read in rapid succession.  I have to be honest; Paingels is not my favorite Candle Light Press book by far.  However, the characters are simply lovely, so much so that I want to engage Paingels just to read about them.

http://candlelightpress.tumblr.com/
https://www.facebook.com/candlelightpres/

7 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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#IReadsYou Review: SUPERMAN: Year One #3

SUPERMAN YEAR ONE #3
DC COMICS/DC Black Label – @DCComics

[This review was originally posted on Patreon.]

STORY: Frank Miller
PENCILS: John Romita, Jr.
INKS: Danny Miki
COLORS: Alex Sinclair
LETTERS: John Workman
EDITOR: Mark Doyle
COVER: John Romita, Jr. and Danny Miki with Alex Sinclair
VARIANT COVER: Frank Miller with Alex Sinclair
64pp, Color, $7.99 U.S. (December 2019)

Mature Readers

Superman created by Jerry Siegel and Joe Shuster

Book Three

Superman: Year One is a three-issue comic book miniseries written by Frank Miller and drawn by John Romita, Jr.  It is being published in an over-sized softcover format (8 1/2 x 10 7/8) and is part of DC Comics' prestige “DC Black Label” imprint.  Superman: Year One is a retelling of the early life of Clark Kent and of his first year as the superhero, Superman.  The rest of the creative team includes inker Danny Miki, colorist Alex Sinclair, and letterer John Workman.

Superman: Year One recounts how the baby, Kal-El, rockets from the doomed planet, Krypton.  The rockets carries him to Earth, where it crash lands in the bucolic grain fields of Smallville, Kansas.  Kal-El is rescued by a childless couple, Martha and Jonathan Kent, who adopt him and name him, Clark Kent.  After graduating high school, Clark joins the United States Navy and is stationed at the Naval Station at Great Lakes, Illinois.

The rays of the yellow sun around which Earth orbits has made Clark strong and powerful beyond human imagination.  Even holding back, Clark quickly sets himself apart from the other Navy recruits.  A superior officer notices Clark's abilities, which leads to Clark being discharged from the Navy.  Clark has an extensive adventure in and around the underwater city of Atlantis and also dons the familiar costume that he will wear as the superhero, Superman.

As Superman: Year One #3 opens, “the Superman” rescues reporter Lois Lane and fends off an attack by what is apparently U.S. military special forces.  Clark enrolls at Kansas State University where he studies journalism.  Then, he takes his degree to the “city of tomorrow,” Metropolis, and gets a job at its most famous daily newspaper, The Daily Planet, where Lois Lane works.

Clark proves to be a more than capable reporter, but his life in Metropolis will encompass more than journalism.  Metropolis will discover that it has a savior, of sorts, a hero they call “Superman.”  Metropolis' most infamous citizen, Lex Luthor, takes notice and makes his move to control this new hero.  Meanwhile, over in Gotham City, this crime-ridden city's own hero... or vigilante, “the Batman,” is also watching the Superman of Metropolis.

At some point, DC Comics publicly stated that Superman: Year One would now be Superman's official origin story.  I think Frank Miller, Superman: Year One's writer, said that this comic book is set in the universe of his seminal comic book miniseries, Batman: The Dark Knight Returns.

Superman: Year One is certainly a strange new origin story.  Miller's story and script are off-beat and take weird turns on previously established Superman “mythology.”  Superman: Year One #3 is filled with so much over-the-top, hackneyed dialogue, the kind editors would not accept from comic book writers who are not “fanboy gods” or who are not celebrity or celebrated creators.  Honestly, I don't know what to make of Miller's story or script.  There are good moments, moments that make me cringe as a reader, and moments that fall flat, failing to evoke any feelings in me.

The celebrated creator who delivers the best work in Superman: Year One is pencil artist John Romita, Jr.'s.  Stylish compositions, muscular pencil art, and inventive graphical storytelling, Romita takes advantage of the larger than usual size of this comic book (8 1/2 x 10 7/8) to draw a superhero comic book that does not pretend to be anything other than a superhero comic book.  Yet, Danny Miki's inking of Romita's pencils does make Superman: Year One #3, as well as the previous two issues, special.  That is because Miki is an inker above most comic book inking artists.  Miki can ink the fuck out of pencil art, strengthening and accentuating pencil art without overpowering it

Colorist Alex Sinclair delivers radiant hues.  He makes the art shine on the page, almost as if this is the “color rush” version of comic book coloring.  John Workman is simply a great comic book letterer, and he shows why here, as he does everywhere he letters.  Workman also makes Superman: Year One feel special, evening out Miller's eccentricities.

I was hopeful that this series could be a major, definitive Superman comic book series.  On the illustration and graphics side, Superman: Year One makes me yelp a fanboy “Awesome!”  A Superman origin story, however, deserves something more... super on the story side.

7 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.


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#IReadsYou Review: BLACK LAGOON Volume 11

BLACK LAGOON, VOL. 11
VIZ MEDIA – @VIZMedia

CARTOONIST: Rei Hiroe
ENGLISH ADAPTATION: Joe Yamazaki
LETTERS: John Hunt, Primary Graphix
EDITOR: Mike Montesa
ISBN: 978-1-9747-1119-2; paperback (January 2020); Rated “M” for “Mature”
224pp, B&W, $12.99 U.S., $17.99 CAN, £8.99 U.K.

While on a business trip in Southeast Asia, Japanese “salaryman,” Rokuro Okajima, is kidnapped by a band of smugglers.  Abandoned by his company, Rokuro takes on the name, “Rock,” and joins his abductors.  They are Vietnam vet, Dutch the Boss; Benny the Mechanic, who handles the boat’s complicated high tech electronics, and Revy Two Hand, the ultra-lethal, gunslinger.  With Rock, this now-quartet is the baddest band of mercenaries on the high seas of Southeast Asia, sailing aboard the vessel, “the Black Lagoon,” a modified, World War II torpedo boat.  Through Dutch’s company, “Lagoon Traders,” this quartet operates a maritime courier service out of Roanapur, Thailand, a dangerous city that is rotten with military, ex-military, gangsters, drug dealers, and more of the worse people in the world.

As Black Lagoon, Vol. 11 (Chapter 77: “The Wired Red Wild Card”) opens, Rock and Revy are trying to help Feng Yifei, a former spy for the Chinese Liberation Army.  Feng's failures have led to her being disavowed by the government she once served, and now she is being hunted by the Chinese government's hired killers.

Rock and Revy have accompanied Feng to an Internet cafe where she tries to burn data that will help buy her protection (hopefully) from some organization that will want the information she has.  However, a Chinese operative has hired a group of “mixed-race” brothers to assassinate Feng, and they have caught up with her at the cafe.  The ensuing shootout will leave Revy and one of the brothers in police custody, forcing the former salaryman into action.  Now, Rock has to come up with a plan that will both save Revy and appease whoever wants to save Feng from the People's Republic of China.

The Black Lagoon manga was a burning hot property and was eventually adapted into an anime series.  However, after the ninth volume of the graphic novel (tankobon) series was published in North America in 2010, the tenth volume did not appear until 2015.  Creator Rei Hiroe insisted, in an “afterword” published in Vol. 10, that the series had not been on hiatus between the ninth and tenth volumes... no matter what anyone else said.

Black Lagoon Graphic Novel Volume 11 is arriving in North America nearly five years after the arrival of Vol. 10.  I am a big fan of this series, but I had to read one hundred pages into Vol. 11 before I found myself back in the groove of its narrative.  Of course, it was a big shootout scene that reminded me of why I like this high-flying, balls-to-wall, bullet-blasting, adult-action manga.

So my final analysis is that Black Lagoon remains the same.  There are character dynamics, deal-making, and interpersonal relationships involving various kinds of obligation.  But the best of Black Lagoon is still its explosive action, and that is still here.  Hopefully, we will not have to wait another five years for Vol. 12...

B+
7 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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#IReadsYou Review: STAR WARS #108

STAR WARS No. 108
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon. And visit the "Star Wars Central" review page here.]

STORY: Matthew Rosenberg
PENCILS: Giuseppe Camuncoli; Andrea Broccardo; Kerry Gammill; Jan Duursema; Stefano Landini; Luke Ross; Leonard Kirk
INKS: Cam Smith; Andrea Broccardo; Ze Carlos; Jan Duursema; Stefano Landini; Luke Ross; Leonard Kirk
COLORS: Chris Sotomayor
LETTERS: VC's Clayton Cowles
COVER: Walter Simonson with Antonio Fabela
VARIANT COVER ARTISTS: John Tyler Christopher; Michael Golden; Carmine Infantino and Dan Green with Dean White
52pp, Color, $5.99 U.S. (July 2019)

Rated “T”

Marvel Comics is in the middle of celebrating some kind of 80th anniversary or birthday.  Marvel is 80 when you count the debuts of Marvel's “predecessors,” Timely Comics (1939) and Atlas Comics (1951 to 1971).  The declaration, “80 Years,” is currently emblazoned on the Marvel logo.

As part of the celebration, Marvel has been publishing a series of one-shots that act as a brief continuation of odd, off-beat, and forgotten Marvel and Timely comics titles (such as the recent Ziggy Pig - Silly Seal Comics and Gunhawks one-shots).  One of those one-shots, Star Wars No. 108, is a continuation of Marvel's original Star Wars comic book series, which was published from 1977 to 1986 for a total of 107 issues, three annuals, and the Return of the Jedi miniseries, which was a comic book adaptation of the 1983 film.

Star Wars #108 is written by Matthew Rosenberg, who divides the story into eight chapters.  The team of Giuseppe Camuncoli and Cam Smith draws the first four pages of Chapter 1, with Andrea Broccardo drawing the rest.  Chapter 2 is drawn by the team of Kerry Gammill and Ze Carlos.  Chapter 3 is drawn by Broccardo.  Chapter 4 is drawn by Jan Duursema (who drew numerous Star Wars comic books for Dark Horse Comics).  Chapter 5 is drawn by Broccardo.  Chapter 6 is drawn by Stefano Landini.  Chapter 7 is drawn by Luke Ross (who has drawn several Star Wars comic books for Marvel).  Chapter 8 is drawn by Leonard Kirk.  The colorist for this comic book is Chris Sotomayor, and the letterer is Clayton Cowles.

Star Wars #108 is a sequel to “The Crimson Forever,” which was published in Star Wars #50 (cover dated: August 1981) and was written by late Archie Goodwin and drawn by the late Al Williamson and Walter Simonson.  The story also features the character Valance the Hunter, a character that originates in Marvel's original Star Wars comic book and not in the Star Wars films.  Valance was created by writer Goodwin and Simonson and first appeared in Star Wars #16 (cover dated: October 1978).  Simonson, with colorist Antonio Fabela, provides the main cover art for Star Wars #108.

Other Star Wars comics-only characters appear in #108.  First, they are the bounty hunters, Jaxxon (a rabbit-like humanoid) and the female, Amaiza Foxtrain, both of whom first appeared in Star Wars #8 (cover dated: February 1978) and who were created by writer Roy Thomas and artist Howard Chaykin.  Another is the lead villain of “The Crimson Forever,” the vengeful Domina Tagge, who first appeared in Star Wars #35 (cover dated: May 1980) and who was created by writer Archie Goodwin and artist Carmine Infantino.

Star Wars #108, entitled “Forever Crimson” opens some time after the events depicted in Return of the Jedi.  The story finds Domina Tagge again seeking to use the mysterious twin red jewels to avenge herself on both the Rebel Alliance (now known as the “Alliance of Free Planets”) and the remnants of the Galactic Empire.  When separated, the jewels create a deadly plague called “the Crimson Forever.”  Now, Luke Skywalker, Princess Leia, Han Solo, Chewbacca, R2-D2, and C-3PO must stop Tagge.  Jaxxon and Amaiza Foxtrain are allies-of-sorts to Luke and company, but they have their own plans.  And Domina's actions have inadvertently served to revive Valance the Hunter, but whose side is he on?

First, let me say that I am disappointed and somewhat upset that Lando Calrissian does not appear in Star Wars #108, especially because he was directly involved in the original story, “The Crimson Forever.”  That aside, this is a really nice way to celebrate and to remember – even honor – Marvel's original Star Wars comic book series.  For many Star Wars fans (myself included, dear readers), Marvel's Star Wars was the only way we got a regular Star Wars fix during the three-year wait between the release of the original Star Wars films.  [No newspaper local to me carried the very good Star Wars newspaper comic strip that ran from 1979 to 1984.]

Writer Matthew Rosenberg was also someone who was a big fan of those early Marvel Star Wars comic books.  His love for them shows up in “Forever Crimson,” which is true in spirit, tone, and storytelling style to those old Star Wars comic books.  We would be so lucky if Rosenberg produced sequels to other Star Wars stories from those bygone days.

The artists turn in excellent work, and Giuseppe Camuncoli and Cam Smith expertly mimic Walt Simonson's graphic style in their four-page retelling of the story of Valance the Hunter.  Luke Ross delivers his usual stellar work, and Leonard Kirk's closing chapter, with its Art Adams and Mike Mignola-like flourishes, gives us award-worthy art.

Superstar colorist Chris Sotomayor displays his wicked skills coloring seven different artists or art teams in bright colors that recall old-school Marvel comic book coloring.  And superstar letterer Clayton Cowles helps to give each chapter its own tone and atmosphere.

I was quite excited when I first heard about Star Wars #108.  It surpasses my expectations, and it makes me anxious to go back and reread those old Star Wars comic books.  That is high praise indeed.

This issue also includes an afterword in which several people who worked on the original Star Wars comic books recount, to editor Mark Paniccia, their experiences working on the title, some taking a paragraph or more to tell their story.  These include Jo Duffy, Ron Frenz, David Michelinie, Tom Palmer, Louise Simonson, and Walter Simonson.

8.5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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BOOM! Studios from Diamond Distributors for January 22, 2020

BOOM! STUDIOS

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DARK HORSE COMICS

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