Showing posts with label John Heebink. Show all posts
Showing posts with label John Heebink. Show all posts

Saturday, January 23, 2021

#IReadsYou Review: METACOPS #1

METACOPS No. 1
FANTAGRAPHICS BOOKS/Monster Comics

[This review was originally posted on Patreon.]

STORY: Link Yaco
ART: John Heebink
LETTERS: Bill Pearson
COLORS: Mary Woodring
DESIGN: Jim Blanchard
20pp, B&W, $1.95, $2.25 CAN (February 1991)

In late 1990 and early 1991, Fantagraphics Books launched a line of comic books that focused on science fiction and fantasy stories.  The eventual titles were not straight science fiction, but were rather a mixture of esoteric sci-fi, weird fantasy, B-movie horror, and Underground Comix-like concepts.  I don't think that the line lasted much longer than two years, if that.

I tried a few Monster Comics series, but the one that most piqued my interest was MetaCops, a three-issue miniseries created by writer Link Yaco and artist John Heebink.  The series focused on the “Metaphysical Police,” an organization colloquially referred to as the “MetaCops.”  The MetaCops kept the whole universe from falling apart by protecting the “flow of history” from humans, aliens, and other sentient beings that used time-travel to disrupt history.

MetaCops #1 focuses on four particular MetaCops, all of them based on deceased famous figures.  The first is Jayne Mansfield (1933-1967), who was an actress and singer, one of the early Playboy “Playmates,” and one of the original Hollywood “blonde bombshells.”  The next is Delmore Schwartz (1913-1966), a Greenwich Village poet and a short story writer whose most famous story is “In Dreams Begin Responsibilities” (1937).

Then, there is Albert Einstein (1879-1955), the theoretical physicist and writer, who may be the most famous scientist in history.  Finally, there is Leonardo DaVinci (1452-1519), the Italian painter, sculptor, inventor, and engineer, among many things, who may be the most famous artist in the history of the world.

The MetaCops have discovered that a cabal of alien B.E.M.s (bug-eyed monsters) have traveled back in time to stop the fall of Constantinople in 1453 A.D.  Of course, the MetaCops have a plan to stop the B.E.M.s... with the help of Roman legionnaires, AK-47 assault rifles, and werewolves.

Even before I ever read an issue, I thought that I would like MetaCops, and after reading the first issue, I really liked it.  I'm surprised that this series has basically been lost in the annals of comic book history.  Other than this three-issue miniseries, the only other time that the MetaCops appeared in print was in a one-shot special (MetaCops: Special Annual Origin Issue No. 1) that was not published by Fantagraphics.  Considering all the mediocre comic books that have yielded animated television series, MetaCops is certainly a concept that would result in at least an interesting pitch to lob at the geniuses of television decision making.

In fact, MetaCops has a freewheeling spirit and a sense of goofiness that recalls Saturday morning cartoon TV shows.  I will grant that two of the MetaCops, Jayne Mansfield and Delmore Schwartz, have a bit of an edge and are connected to lurid events.  However, there is no particular reason that any other particular historical figure or celebrity of yesteryear could not be a MetaCop.  Imagine John Wayne or Nicole Brown Simpson as a MetaCop.  A fictional version of Martha Washington would work as a MetaCop as well as a fictional Michael Jackson would work as a MetaCop.

The mixture of historical figures, actual historical events, B-movie sci-fi, monsters, and combat animals (based on both extinct and non-extinct species) is what makes MetaCops seem so delightfully inventive.  Link Yaco (a pen name?) offers humor that is crazy, silly, satirical, and edgy all at once or separately when needed.  John Heebink's art and storytelling recalls Wally Wood, Steve Ditko, and MAD Magazine.  These guys make magic.  What's not to like.  Well, I don't like that there is not too much more of this.

[This issues contains a second story, “The Man Who Missed the Hindenberg.”  It is written by Link Yaco; drawn by Charlie Parker (breakdowns) and John Heebink (finishes), and lettered by Clem Robins.]

If the main story is not enough, the back-up story features Jimmy Hendrix, Nikola Tesla, and Boadicea.  That last name may not be familiar to you if you don't remember that Mel Gibson announced plans to make a movie about her, a movie that never materialized.  Boadicea was the queen of the Iceni (a Brittonic tribe) who led the Britons against the Roman Empire in pre-Anglo-Saxon Britain.

This story involves Boadicea going into the past and causing a number of disasters in order to kill a no-name, regular dude who is the ancestor of a neighbor who is annoying her.  The MetaCops move to stop her.  The one thing that I can say about this story is that whatever doubts I had about MetaCops as a viable concept, it vanquished them.

I am not going to lie and say that this is a great work of the comics medium.  What I will say is that MetaCops is great fun to read, and some supreme works of the comics medium fail to be that.

A-

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


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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Tuesday, September 10, 2019

Review: SUCKER: Book One: Living After Midnight

SUCKER: BOOK ONE: LIVING AFTER MIDNIGHT
COMIXOLOGY/Polite Strangers

Kickstarter campaign to support Sucker is here.

[This review was originally posted on Patreon.]

PLOT: Jason McNamara and Tony Talbert
SCRIPT: Jason McNamara
PENCILS: Tony Talbert
INKS: John Heebink
COLORS: Paul Little
LETTERS: Jason McNamara
EDITOR: John Heebink
MISC. ART: Brian Wood (logo); Tony Talbert with Stephen Buell; Justin Greenwood with Paul Little; Greg Hinkle; Tony Talbert and John Heebink with Paul Little
ISBN: 978-1-5323-8060-0; paperback (July 2018)
66pp., Color, $9.95

Age: 17+ Only / Mature Readers

Sucker is a vampire comic book series published by comiXology as part of its “comiXology Originals.”  Sucker: Book One is written by Jason McNamara (plot/script) and Tony Talbert (plot); drawn by Talbert and John Heebink (inks); colored by Paul Little; and lettered by McNamara.  The series follows a band of vampire hunters forced to suddenly reunite when a powerful, ass-kicking vampire reawakens.

Sucker: Book One – Living After Midnight opens on the upper east side of Manhattan.  Two clownish thieves accidentally awaken a slumbering vampire, Douglas Jacobs, once upon a time a successful stock trader in the 1980s.  He had not been seen since 1988, but now he is back for a mysterious reason bigger than his own wants.

Enter hard-ass vampire hunter, Clyde Benton, and fellow vampire slayer, the brass knuckle-wielding priest, Father Harrison.  They have been called back into service by “Frontier Innovations” and its taciturn Director Sullivan to take down Jacobs.  This time, however, this hugely successful vampire-smashing unit faces a monster that is (1) most resourceful and (2) very hard to kill.

Don't think of Sucker: Book One as some kind of small press, indie, or self-published comic book.  Think of it as what it is – highly-polished, high-octane genre entertainment.  Its script is probably of better quality than any Syfy original horror films, and is as good or even better in some cases than the writing on straight-to-DVD, VOD, and streaming horror entertainment.

In the case of Jason McNamara's script, I can trot out many of the slang declarations used to describe exciting action movies:  hellraisin', rip-snortin', balls-to-the-wall, etc.  When it comes to the story's internal mythology, McNamara drops it here and there throughout this first book in a way that both teases and intrigues.  However, the action is so frenetic that the reader will have other things to occupy his attention.

That artist Tony Talbert co-plots this first issue shows in the page-by-page and panel-by-panel flow of the explosive action scenes, which are thrilling to behold and bracing to read.  Talbert's graphical storytelling and graphic design of individual pages are advanced enough to make me wonder why he has not produced more work for the bigger publishers.  John Heebink's precision inking seems to streamline some of the wildness in Talbert's storytelling, while directing its power right at the reader.  For instance, the characters' emotions are wild and aggressive, but it reads as being genuine rather than as being over the top.  Heebink's inking also sharpens the inventiveness in Talbert's illustrations.  There are some exceptionally visually striking images in Sucker: Book One (especially those involving the vampire's “union” with vermin).  They are clear, rather than impressionistic.

It would be a sin to not acknowledge the coloring by Paul Little, which is often spectacular in this first book.  Sometimes, it is muted and reminds me of the coloring in DC Comics' 1970's horror comics, (House of Mystery, Swamp Thing).  Other times, Little's hues have the rich and vibrant quality that a talented artist can get using modern coloring techniques.

I must admit that I only sought out Sucker: Book One because I am a fan of inker John Heebink's work going back to Metacops! (Fantagraphics Books), an odd, sci-fi comic book he drew back in the early 1990s.  My fanboy inclinations were rewarded, as I am shocked by how much I like Sucker: Book One.  I practically tore through it once I started reading.  It is one of the best of the recent vampire comic books, along with Jonathan Maberry and Tyler Crook's Bad Blood (Dark Horse Comics).

I recommend Sucker: Book One – Living After Midnight without reservation to fans of horror comic books, especially to fans of vampire comics and fiction.  One might even say I now have a blood lust for Sucker: Book Two.

9 out of 10

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

http://jason-mcnamara.com/
John Heebink: https://twitter.com/JohnHeebink

By Sucker Volume 1 at comiXology.

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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