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From JEB D

1The Black Diamond #1 (of 6) (Ait/Planet LAR)

Here's our premise: a more-or-less "ordinary" guy finds out that his wife has been kidnapped, and the only way he can save her is to hop into a vintage muscle car and drive hell-for-leather across the country.

That's right– the final two episodes of Drive are supposed to air next month.

I kid, I kid… given the timing, it's surely a coincidence that Larry Young and Jon Proctor's new comic is so reminiscent of the doomed Nathan Filion-Tim Minear TV series. But it doesn't help make the comic feel particularly fresh, either.

Car-chase comics seem to have become an odd little subgenre lately, what with The Ride and the adaptations of The Hire series of BMV TV ads, and I'm not sure I see a particularly bright future for them, based on the existing evidence. There's nothing particularly wrong with them, but they tend to fall into the crime-comic genre one way or another, and making the "tools of the trade" (i.e., the car) the focus of your crime/heist/suspense story just feels weirdly out of balance. It would be like a series of Stray Bullets that focused on a particular firearm, or expensive dope paraphernalia—you can do this once or twice to vary a book's perspective, but after that it starts to seem like a gimmick.

The Black Diamond is a giant elevated freeway stretching across the near-future United States, originally intended as a place for dangerous drivers to go off and kill themselves or each other without endangering others; gradually, it's grown to become its own overhead "underworld", with its own set of rules, and its own subculture of gangsters and roadside shanty towns. It only becomes a problem for the rest of society when someone comes flying off it and kills an innocent bystander below. That happens often enough, though, that the government is starting to try and clean up this lawless new frontier, much to the displeasure of its denizens.

While I generally try to avoid spoiling the story of an issue I review, that sentence I opened the review with pretty much sums things up: Dr. Don McLaughlin is an orthodontist whose wife has been kidnapped, and he's told that to save her he has to risk The Black Diamond and get from San Francisco to Baltimore as fast as he can, in a '73 Mercury Cougar (I hope he's carrying an extra alternator: those things were notorious for failing). We learn something of the background of The Black Diamond, and how his wife's kidnapping relates to its fate.

The Black Diamond itself is an interesting metaphor for societal solutions that are designed to segregate the troublemakers, leaving the rest of us to get on with our lives. It's a bit clunky in that regard (since not much happens in this issue, you spend your time thinking about the appropriations legislation that would have been necessary for it to happen, and wondering how it could have been completed within the lifetime of anyone who proposed it), but it's more of an "idea" than most comics give us.

There's also an amusing backup feature by writer/artist Dennis Culver, an encounter that takes place on The Black Diamond between small-time drug dealers and super-mechanic Jet Swanson.

I should also make mention of the text "puff piece" at the back of the book. While there's nothing unusual about indie guys like Young  congratulating themselves, and their readers, on being smart enough to read stuff like The Black Diamond instead of all that damn superhero crap, it is funny to see it in an issue that's every bit as "decompressed" as anything DC or Marvel has put out. Not only is this issue nothing but the barest setup for the story, but it seems to be redundant: I didn't see the "issue #0" sampler of this series, but the gushing review in the back of this book (by H Hardie of The Comics Treadmill) informs us that "…the sampler tells us that the initial storyline will involve a straight[sic]-laced orthodontist forced to venture onto the Black Diamond to rescue his kidnapped wife…" Considering that is precisely all that happens in issue #1, I hope they were giving away the sampler for free.

Jon Proctor's art gets the job done this issue (it's somewhat reminiscent of Tony Harris' Ex Machina run through an odd filter), but I'm assuming he was recruited for the job due to some affinity for car chases, and since there haven't been any yet, the jury's still out.

Of course, one thing about such a simple story in the first issue is that there's plenty of room for Young to pull the rug out from under us, to defy convention or expectation in the issues ahead. But I think I'll wait for the trade to find out.

1
TWO AND A HALF OUT OF FIVE VIKINGS

From Graig Kent

2Tank Girl: The Gifting #1 (IDW)

If there's one thing I know, it's that Tank Girl has cred. The hipster crowd loves her, the punk crowd respects her, counter-culturists would still worship her (if she hadn't come generated a sort of culture of her own) and there's a vast and strange cross-section of admirers from across different cliques that all feel pangs of inadequacy looking upon her. Tank Girl is what we call a ball-buster, in that she'll just as quickly kick you in the nuts as she'll tell you a joke. As a boy, you're either drawn to that, or you flee in terror 'cause your mommy told you to stay away from girls like that. If you're a girl, you'll either admire her down and dirty approach to life or you'll wonder why she can't just wear a nice dress and behave.

The last time either of the Tank Girl creators, Alan Martin or Jamie Hewlett, really touched the character was during the scripting process of the film, and their comics work ended well over a decade ago. Hewlett's rolling his dough as a founding father of the avant-garde pop band Gorillaz, while Martin, well, he's been pretty much M.I.A. for some time… but he's back, and he's brought his lady-friend with him.

The girls behind the cash at my LCS ("local comics shoppe") were agog over the first new Tank Girl comic since Vertigo published some derivative Tank Girl stories (written by either Alan Grant or Pete Milligan, "capitalizing" off the abysmal failure that was the Tank Girl movie) in the mid-90's. They were flipping through the book and their concerns echoed my own: can Tank Girl exist without the aesthetic we've all come to know and love (and fear)? "Modern illustrator" Ashley Wood takes up the art chores, last handled by Martin's cohort Philip Bond, who worked relatively flawlessly as pinch-hitter for Hewlett on the Vertigo books. But Wood's style is about as close to Hewlitt's as a beer store is to the center of the Sahara, the hyper-kinetic movement, the hyperactive detail, the hyper-emotive characters… not really Ashley Wood's thing, and a quick look through The Gifting shows sparse backdrops, a dash of muted color, some zip-a-tone, and a lot of scratchy lines. The LCS girls' reservations met mine for sure… (one stated "Love Tank Girl. Love Ashley Wood. Together… I'm not so sure").

I'm not a fan of Wood's art. I don't hate it, but it doesn't give me the same amount of pleasure as some of the more unconventional comic artists like Mike Mignola or Paul Pope. Wood fits into the mold of Kent Williams, Ted McKeever, Dave McKean, or Bill Sienkiewicz, where there's little obsession over accuracy, and loose lines and splotchy inks sub for detail. There's nothing wrong with the style, some work it better than others, but at the same time I've never felt that Wood has the passion for sequential storytelling from what work of his I've read. But, surprisingly, although he's no Jamie Hewlett when it comes to Tank Girl, his work here actually grew on me.

Since Martin has eschewed, even further than before, direct or cohesive narrative, the loose art style of Wood fits rather nicely. Instead of story, Martin has dropped three short sketches, teetering on the verge of some punk-inspired version of Mad TV as shown on Cinemax and produced by John Waters. Playful and distasteful, there's an essence of Tank Girl here, but it's a more "now" Tank Girl (I was about to say "mature" but that's certainly not correct). Wood has updated the look, and from Martin the attitude of the character has a verging-on-30-last-grasp-at-youth feel to it. It has it's moments but overall it's still empty calories. Without the visual filling that Hewlett (or even Philip Bond) provided, this one basically passes through you like a Taco Bell meal. I can't say I want more of The Gifting right now, but I probably will be tempted again. Fans will be mildly disappointed, and newcomers will be evenly split between awe and repulsion.


TWO AND A HALF OUT OF FIVE VIKINGS

3Six From Sirius tpb (Dynamite Entertainment)

With the introduction of computers to film from digital animation to the advent of blue-come-green screen technology, the science fiction movies and TV programs of the past 30 years are vastly different than what came before. I can't say that we're not better off for it, as the scope and believability of science fiction stories can be exponentially grander, giving us Battlestar Galactica and the Matrix at the top of the heap. But digital special effects and their cost efficiency also have made many studios and producers lazy, with the amount of direct-to-video or syndicated uninspired drivel numbering second only to the numerous star-fuelled wanna-be blockbusters and television copycats that deliver on nothing except special effects, if even then.

What's missing from visual sci-fi entertainment is not always story, not always characterization and not always adventure, but often style. Older films, from Planet of the Apes to Forbidden Planet, and older TV shows, from The Twilight Zone to Space: 1999, they had style… where the technology of the time couldn't meet the demands of the production, they improvised: painted backdrops; miniature dioramas and models; and countless camera tricks that were often as perplexing as they were stunning. Many of the pre-digital sci-fi stories were strictly ideas, fleshed out on screen before it was understood whether it was a good idea or a bad one. Regardless, the techniques used to shoot the stories, the grandstanding actors with their ham-fisted, science-free dialogue, the often gorgeous or at least unique set pieces, and the array of, by today's standards, primitive special effects somehow capture the imagination much better than the bulk of the digitally reliant epics of the past few decades. You may not agree with me. You may prefer The Island to Journey To The Center of the Earth, you may prefer Stargate: Atlantis to The Tomorrow People. That's fine, but then Six From Sirius is probably not for you.

Written by Doug Moench back in 1982 for Marvel's Epic line, Six From Sirius was a throwback, even then, to films and television 20 or 30 years its senior. Like those somewhat pulpy stories which it emulates, the actual story of the book isn't really of consequence. You have heroes speaking their jargon, their vaguely different futuristic English, their overwrought dialogue, while the villains speak in scheming, nefarious, Ming the Merciless tones, while their humanoid "Fax" robots speak in pained robot-speak. The adventure which the six space farers face twists and turns around diplomatic issues, and unlike Star Wars or Star Trek which take pride in the foundations of their universes' politics, here they serve as movement for the characters, not really inciting any sort of devotion into understanding or contemplating the actual repercussions of the actions of the characters. It's truly silly, and occasionally dull sci-fi, but that's just what I like about it.

Like any good vintage sci-fi film or TV program, what I love about Six From Sirius is the visuals, and Paul Gulacy delivers a dream within the pages of this collection. Beautiful women, tough handsome men, completely improbable technology, defiantly silly wardrobes, and some of the most beautiful starfields and alien habitats this side of Barbarella. With color reconstruction by Mike Kelleher at Glasshouse Graphics, this is a stunning visual feast for any sci-fi fan. The soft and lavish, highly detailed aesthetic invites every turn of the page, even when the story seems to drag.

Yes, Six From Sirius can be corny, quite melodramatic and occasionally a little painful to read, but balanced by Gulacy's breathtaking work it's a swirling kaleidoscope of spirited space adventure and pop art.

1
THREE AND A HALF OUT OF FIVE VIKINGS

4The Tick 20th Anniversary Special Edition #1 (New England Comics)

I've heard oft repeated over the past couple years that no new successful superheroes have been created in the past 20 years, and after the Tick celebrates his 20th year, that may be true, but until the Tick's fine china anniversary (wonder if he got a new set of plates from Arthur) is over, we can at least rank him as one success story.

I remember seeing advertisements for The Tick in the comics I bought when I started frequenting a local comics shoppe in 1990. "Ninjas," he said, "I hate ninjas", as he trudged across the panel with a dozen men in black suits about half his size futilely attacking him, Tick obviously feeling none of their attack with his nigh invulnerability. That panel from the ad for NEC's mail-order service has stuck with me to this day, I didn't actually read an issue of The Tick until 2 years later when Chroma Tick #1 came out (reprinting the first issue but in color). I recall enjoying it, and yet, for some reason, that's the only comic starring the Tick I've purchased until now.

I managed to let the cartoon bypass me, having only ever watched a handful of episodes from it's original Fox airings, and it really wasn't until the Patrick Warburton-fueled live-action series that I developed a deep appreciation for it… something the Tick comic lovers and/or cartoon lovers tell me is blasphemy. Within the past year, I've managed to read the first of three three trade paperbacks of the Tick nuzzled comfortably on my girlfriend's bookshelf (the books that is, not me reading them) and watched the DVDs of The Tick vs. Season One. My appreciation for the big blue bug is quite high, yet I still feel like a poseur. Looking at the order form in the back of the 20th Anniversary Special Edition and I've barely tapped an ounce the Tick's comic book repertoire (a solution that must be fixed by at least obtaining Karma Tornado, written by the Venture Brothers co-creator Chris McCulloch).

But here's where I start, with 26 one or two page short stories about the Tick, from a vast variety of industry creators, including classic cartoonists Fred Hembeck and Scott Shaw!, Invincible's Cory Walker, Shi creator Billy Tucci, a brand new strip by creator Ben Edlund and even one by Edlund's dad. The rest of the book is filled out with essays from NEC publisher George Suarez, art director, Bob Polio, and the printers (!) Morgan Printing Inc. There's also a comic con report from San Diego '06 and contributor bios. Even if many of the stories don't feel authentically like The Tick, the overall package is a warm full-color tribute to the beloved mania that The Tick has provided for 20 years. I think some retrospective work, like old NEC newsletter drawings of the Tick or early sketchbook material from Edlund would have made for a fuller experience, but nevertheless, it's a charming book for Tick fans old and new.

5
THREE OUT OF FIVE VIKINGS

5Raided: Madame Mirage #1 (Image/Top Cow)

It's cute that Paul Dini wanted to turn his wife, magician Misty Lee, into a superhero. An attractive woman with a flair for theatrics isn't exactly an unwelcome addition to the world of comic books, but it'll take a lot more than good looks and fancy tricks to stand out amongst a sea of spandex, and the jury is still out, for me at least, on whether Madame Mirage has what it takes to make a dent in the fanboy/girl consciousness. Although Dini has proved himself time and again to be one of the best Batman writers on the planet, his current take on superheroes in Countdown has left many wondering if Batman's all he can write. Even his oversized original graphic novels with Alex Ross, featuring Wonder Woman, Superman, Batman, Captain Marvel and the Justice League, were all somewhat middle-of-the road. Madame Mirage, the character, on the one hand, takes many of her inspirations from similar sources as Batman, namely pulp noir heroes like the Shadow and the Spirit. In this context the character is lively, and with her sister and assistant, Harper, she does have the makings of an entertaining comic book heroine. Madame Mirage, the book, on the other hand takes much of its inspiration from superhero lore, set in a world where high-technology used for vigilantism has been outlawed, and the former super-criminals have formed a cartel operating under a legit front. In this world, Mirage is out to take down the cartel, and it's this setting which actually fails to be interesting. It's lightweight motivation for Mirage, and the world is juvenile in its realization. What Dini has missed out on is subtlety, by making the high-tech a part of the past, it has no wow factor, and by making the world one with superheroes, invulnerable brutes like Dude feel uninspired. Madame Mirage seems to be playing a revenge game, but no background for her character was provided, and so it come out hollow. There should be a throwback air of Dick Tracy or Dave Steven's The Rocketeer to sell this smoky, retro-pastiche character, but in its absence there's a lot of substance trying to fill the void of style. Artist Kenneth Rocafort sells the scummy, the sultry, and the shadows but he's doing superpowers when he should be doing Sam Spade. It's all very underwhelming.

5
TWO AND A HALF OUT OF FIVE VIKINGS