Monthly Archives: November 2011

review – skullkickers

Though creator Jim Zubkavich will say it’s little more than a tribute to his Dungeons & Dragons nostalgia, I believe his Skullkickers series was created more as a modern classic. Modern in the sense that he’s imagined an uber-messy mélange of happy violence, not dissimilar to the hearty hemorrhage of bloody guts and uneasy fun witnessed in Jesse Bullington’s novel The Sad Tale of the Brothers Grossbart. Classic in that his duo is an immediate and colorful harkening back to the comics like the Asterix & Obelix chronicles, sprinkled with a touch of Dragon’s Lair aesthetic. In truth, Zub succeeds, as Skullkickers is a finely-polished effort providing eager appeal for audiences of comics, graphic novels, and general fun.

Set in a pseudo-feudal fantasy, Skullkickers tells the story of two hardened thugs-for-hire (I’ll label them Baldy and the Dwarf) and pretty much the implosion of everything around them. In Volume one (1000 Opas and a Dead Body) the pair is enlisted to help locate an allegedly injured, uppity chancellor abducted from the infamously unimportant village of Mudwich. Volume two (Five Funerals and a Bucket of Blood) continues  their travels to the more cosmopolitan Urbia, detailing their highfalutin masquerades and encounters with a more fantastical cadre of environmentalists. Each volume details countless hackings, poisonings, corpse kicking and fist pummelings, inflicted upon and from a host of demons, summoned minions and their monstrous grotesqueries. Absorbing the violence itself is a fine read for a rainy weekend, especially cathartic for channeling one’s healthy aggression after a long day at work spent with annoying colleagues.

What sets the work apart, though, is the clever and humorous dialogue and narration. Expectedly, the protagonists are base and gruff, weirdly enlightened, or at the very least enchanting. Aside from the excitement from inflicting their pain-for-hire, they’re less interested in worldly matters other than properly supporting their “jumblies” and the refilled tankard at the local Gizzard. They’re discriminating brutes, not half bad, really. Even the supporting and disposable characters are as amusing as they are impermanent, helplessly ho-humming just before learning their grisly fate. But beyond the amusingly chippy back-and-forth, the narration really stands out in the series. Adding to the more traditional action descriptors one may remember from the Batman television show, the creators get innovative.  Just as much for the artwork, descriptors such as “Disgusting Spray!”, “Misplaced stab!” or my personal favorite, “Butter Knife Trauma!” had me in several bouts of chuckles. The narrative subtitles of various victims added on account of “mashed faced chatter” is a nice touch as well. Unrelentingly brutal though the sketches may be, the humor from these aspects provided a great balance to an otherwise intriguing concept.

My main descriptor of the artwork is that it’s simply vivid. Whatever skullkickery takes place, there is always a movie-tinged coloring to the panels. Especially captivating are the multitudes of lavender and purple depicting nighttime sequences. Combined with heavy uses of bright red and orange, the combined aesthetic action provided from Zub and colleagues Edwin Huang and Misty Coats never stops throughout the work.

Skullkickers is an entertaining read for those looking for a little brutal levity. My only near-criticism is that it seems that after only two volumes collected, the creators have set a high bar of quality that may prove hard to sustain over the long haul of publication. But with the passion Jim Zubkavich places on creator-owned comics and books, he seems the sort to not let such a slide happen. In the meanwhile it should be enjoyed thoroughly.

review – daytripper

Daytripper has to be one of the more wholly representative works of the graphic novel genre. All components imagined, written and sketched by Fabio Moon and Gabriel Ba are so effortlessly, subtly synthesized into a breezy evocation not just of Brasilian life, but life itself. It’s the work of a pair of brothers with nothing to prove beyond simple but effective storytelling. Though by no means slow, it is a story in which everything takes its time to unfold, perhaps one integral trait of South American or Brasilian culture.

It is the story, or perhaps stories, of nothing more than Bras de Oliva Domingos, obituary writer and aspiring novelist. Looking to parallel the literary success of his father, Bras is an ordinary individual striving for some balance apart from Brasil’s numerous sensory distractions, constantly reminded to grasp the importance of living and dying in the moment. To be sure, there are plenty of distractions in Brasil, such as his friendships, family, loves and dreams, but none contemplated without quiet deliberation and perhaps a strong cup of coffee. Such deliberations are shown through a series of vignettes of various time periods in his life, each detailing the circumstances of these spontaneous moments when living and dying get in the way of his daily routine. These momentous accumulations, with a Tarantino-esque flair for anachronism, are caressingly startling. It is here where Ba and Moon confound the reader as to the intersection of reality and our dreams, and the wonder of life and death.

Like fellow Brasilian Rubem Fonseca, Daytripper provides a peek into the culture of passion in Brasilian South America. Despite the instances of death and violence in the work, there is an equal amount of warmth between the characters in their mutual goal of embracing the present. Additionally, the undertones of social and ethnic equality perceived in Brasil, exhibited through Bras and comrade Jorge, is also refreshing. Violence, inevitable as it is everywhere, is simply accepted as a sporadic part of life, a tolerated cost of a naturally unhurried and carefree lifestyle.

The lush coloring from Dave Stewart and sharp sketches from Ba and Moon make Daytripper an achingly quick read. For as much as the story emphasizes a deliberate and dreamlike pondering about life, it’s so engaging one can’t help but devour the atmosphere.

review – chinatown and the mystery of mr. wicker (the goon)

 After learning of Eric Powell at this year’s NY Comic-Con, I’ve been eager to absorb Powell’s highly touted wit and humor. Indeed, Powell’s reputation precedes himself, but interestingly enough this particular work, while a fine representation of The Goon experience, displays a concentrated depth of craftsmanship within an unusually somber though focused graphic novel.

 Upon first glance Chinatown and the Mystery of Mr. Wicker can be wrongly dismissed as a duo of stories slapped together, providing a lengthier dose of unrepentant, whimsical pummeling one typically would expect from a Goon escapade. That expectation is immediately squashed with Powell’s blunt but effective disclaimer on page one: “This Ain’t Funny.” Even for a newcomer like myself, the blank slate this creates gives way to a duo of thoughtful interweaving of chronologically related episodes detailing a pensive depth to Powell’s chronicle of a brute foretold. Committed fans will receive a greater depth to Goon’s history, while new readers will get a firm grasp for the man himself in his quiet monstrosity.

The story dreamily flows back and forth between Goon’s young adulthood and his firm establishment as strongman-in-chief of the eerily invisible boss Labrazio. One half concerns the past circumstances detailing Goon and Franky’s reluctant negotiations of waterfront lebensraum with the entrepreneurial Triads, while the other with a more prickly unseen influence, straining the pair’s grasp on their community’s cash flow. Connecting these instances are the relationships experienced by Goon. His continual heartache with the sultry Mirna is better understood given the lessons learned from his time with Isabella in Chinatown. The resultant maturity Powell bestows upon Goon beyond mere street thuggery is thus the drive behind this story; it is where his scars, both visible and buried are fully revealed.

Which is not to say the tale lacks action in favor of romance. Powell sketches a startling brutality in Goon’s worldview, complete with flying fists, lead pipes and two-by-fours to all locations on the anatomical map. For however many lumps that Goon and Franky give, they receive an equal share, perhaps a reminder that they are admittedly little more than hardened tough guys and certainly no superheroes. Undoubtedly, though they live among countless thieves and slack-jaws, one can sympathize with their basic humanity but probably not much beyond an image of a pouncing Franky shrieking “Knife to the Eye!”

It is an elegantly sketched and colored brutality, though. The artwork emanates an expertly smoothened feel, showing great care attended to each line drawn on the page. The alternating time periods are brilliantly divided into a past colored in smoke-filled, charcoaled sepia, contrasted with a present washed in comfortable, light pastels with cloudy overshadowing of a rundown, quasi-gothic town. It is a strangely electrified and askew milieu, evoking both the squalor and dustiness imagined by John Steinbeck but with a supernatural and inviting charisma.  

Chinatown and The Mystery of Mr. Wicker is not only an excellent introduction to The Goon, it is a meticulous work of art. Hopefully it will introduce new readers to the creativity of Eric Powell but it may also serve an indication for Powell to continue his graphic novel exploration.