Trouble with Comics, IDW′s Elder Gods, Young Pups and Old Fogies

IDW′s Elder Gods, Young Pups and Old Fogies

Eternal Descent Vol. 2 #1

My first thought looking at the cover, which features a long-haired rocker holding a glowing red guitar, was that this book was going to be stupid, and might very well have been written by a musician. Sometimes my instincts are right. With a childishly breathless pace, our rocker hero is carried off by a magical guitar to another dimension, where a demon and his bustier-clad demoness pose and sneer while apparently the whole multiverse is in jeopardy from something. It takes two writers, two pencilers, three inkers and two colorists to produce this unreadable mess. I wondered how it even got made, and the secret might be that it′s just a cynical promotional deal, as co-writer Llexi Leon is a guitarist, with ads in the back of the comic featuring him plugging Ovation guitars and DiMarzio pickups. There′s an ad for a guitar pedal on the back, featuring Lyra artwork (I think she′s the slutty demoness but doesn’t have horns on her head here), with tones programmed by Leon. Industrious guy, just not a writer. This all may make a bit more sense to those who read Vol. 1, but there is no attempt to help a new reader out.

Star Trek/Legion of Super-Heroes #1

Chris Roberson and Jeffrey & Philip Moy offer up a meeting of two beloved franchises, and it really should have worked better than it does. Ive read decent work from Roberson, and IDW has done a great job overall with their Star Trek comics, but this one falls flat. Part of it is underwhelming art, especially after the terrific job on Star Trek #1, and part of it is that the entire issue goes by and the two teams haven’t met. Roberson instead is more interested in cutting between both teams being ordinary until they both find themselves on an alternate 33rd Century Earth. Its delivered as a big cliffhanger, a big surprise to both, but any reader would pretty much expect it would take an alternate timeline or some other typical contrivance to get these characters together. The fun part had to be how these characters relate to each other. Spock to Brainiac-5, Kirk to Cosmic Boy and so on. Me, I want the fun part to start in the first issue.

H.P. Lovecrafts The Dunwich Horror #1

Horror runs in the blood of IDW, so it’s a no-brainer that eventually they would start doing some Lovecraft adaptations. I normally like Joe R. Lansdale, though I haven’t read a lot of him, but its fair to say his style is closer to contemporary, good ol ′boy Stephen King than the Gothic stylings of Lovecraft. And indeed, Lansdale dispenses with Lovecraft′s text entirely, offering an adaptation relying heavily on the common speech dialogue of a group of four occult thrill seekers and the visuals of Peter Bergting to convey the horror of rural New England. I don’t have a problem with iPhones in a Lovecraft story, really, but Bergting is just not up to the task. A 40 foot high mound of desiccated animals should look scarier than this. In fact, Bergting curiously deemphasizes the thing, first showing it far away, then in a small panel, and then only the base of it, always in the background while the characters blather and look only mildly unsettled if they have an expression at all. He draws a nice barn, though.

Robert Weinberg and artist menton3 then begin an adaptation of ″The Hound″ with heavily Photoshopped single page images and white cursive text overlaid. Weinberg keeps chunks of Lovecraft′s narration but the static images fail to excite. It just doesn’t feel like comics, you know?

30 Days of Night #1

Steve Niles has now made his popular series-of-miniseries-and-specials into an ongoing monthly. This should be a special event for fans, but it′s only special in the sense that Niles decides to spend only a little time with the human element, vampire investigator Alice Blood, instead focusing on the infighting of  a group of vampires, which I found much less interesting. Not helping matters at all are the chicken scratch letters of Neil Uyetake, with periods and commas so small they′′re almost invisible and the speckled background coloring effect by Jay Fotos that, along with the washed out palette, really dampens the energy of the book. In fact, my first take on Sam Kieth′′s art was that it was some of his laziest ever, but that was after reading the book at night. In daylight, I see that aside from a few flat, needlessly cartoony characters, he does some nice work here, especially on Alice, a trademark Kieth oddball chick. I was pretty underwhelmed by this one, and to be fair, there is so much vampire material around now than when Niles first started the original 30 Days, so the bar has been set higher to do something really different and compelling. Hopefully it will get there.

Cold War #1

Subtitled The Damocles Contract and further subtitled The Michael Swann Dossier, its clear that John Byrne wants to step into the ring with the likes of Ian Fleming, Graham Greene and Robert Ludlum with his own take on a tough, Cold War spy. We meet Michael Swann in East Berlin as he ruthlessly kills a high-ranking Communist and then is chased by soldiers, before he escapes through the checkpoint into democratic Berlin. 

Byrne starts piling on the James Bond similarities from this point, as the recuperating Swann finds time to have sex with an appreciative nurse, and his handlers are of course stuffed shirts. Swann quits, blaming his superiors for leaks leading to his capture and near-death at the hands of his captors. Two years later (it′s never clear exactly what year this takes place in, but probably early 60s), Swann listens to a little exposition from a pretty agent about his next assignment (is he on his own now, still with MI-6, the CIA? Who knows), getting to a rocket scientist before he defects to the Soviets. It′s also not clear if hes supposed to neutralize the guy, secure his secrets or talk him out of it, maybe because Byrne thinks it′s better to end the page with the clear suggestion Swann is eating the agent out. My favorite exchange (this is pre-cunnilingus):

Miss Thorogoode: Subject: Professor Rupert Kemp. 

            Top man down at the QM Rocket Group in Sussex.

            Considered by some to be the most brilliant mind in his field.

Swann:            His field being rockets and missiles. I′ve heard of him, of course.

Dude, she just said he′s the top man at the QM Rocket Group. We can figure out that he′s in charge of rockets and missiles and not changing the watercooler bottles.

All kidding aside, it’s a lovely book to look at. An engaged Byrne can still deliver, with solid storytelling and a good variety of faces, and Ronda Pattison colors it subtly, maybe a little on the cool side but that could be a thematic decision for cold war, or just to emphasize that this is serious, adult Byrne material. Byrne does seem to be enjoying himself, as is usually the case during his IDW tenure, but I do think the book has some flaws. The sex and violence can′t cover up that every scene is something you’ve seen or read before. And as a lead, Swann is very much a cipher, a cold, amoral killer in line with Fleming′s Bond but lacking the charm the character gained in the films. It’s a handsome book, but so far kind of empty. 

—Christopher Allen

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