It’s another good issue. Because Barbarella’s always good. It’s so good Carey can get away with spending half (but sort of most) of the issue with the evil prospector family. Mostly the evil prospector, whose dead wife is now digital and lives inside his gun.

So Carey and Yarar are doing that weird side of the story–the futuristic rustic prospecting family–while Barbarella and the scientist dude are stuck in another dimension. Their side of the story is mostly action. When it’s not action, it’s only because the book’s pausing for a big panel establishing shot. Otherwise Yarar’s always keeping it moving.

He’ll do multiple panels of the same scene, from different angles (sometimes the same angle again later), and the story just flows between them. Much like how Carey’s script is nimble enough for humor even when it’s all propelling the plot forward, Yarar’s got the right movement and detail to do the same. It’s so good. Like, the thing about Barbarella is it doesn’t need to be so good but it’s always exceptional. Superior comics creating going on here.

And an amazing cliffhanger. Can’t wait for next issue.

CREDITS

Hard Labor, Part Two: Rust Never Sleeps; writer, Mike Carey; artist, Kenan Yarar; colorist, Mohan; letterer, Crank!; consulting editor, Jean-Marc Lofficier; publisher, IDW Publishing.

Kenan Yarar returns to Barbarella with the start of a new story arc. Barbarella has gotten her ship fixed, taken an unseen shower as the comic never gets piggish with its cheesecake, gotten almost a full night of sleep in a comfortable bed, and received a message from a ghost friend of hers.

Even though Carey goes in depth about the mineral Barbarella goes off to mine, the ghost thing is just a given. There are ghosts.

The ghost tells her to go to mine some R.U.S.T., which turns out to be a space-time mineral. A large amount has been found on some desolate planet. On the planet Barbarella encounters some redneck prospectors and a scientist sidekick. Carey’s got a lot of exposition about the R.U.S.T. for reader edification, which Barbarella’s pet can apparently “hear.” At least when it suits comic effect.

There’s a bunch of good art, a bunch of good writing, and the end of the issue comes way too fast.

Barbarella is a gem.

CREDITS

Hard Labor, Part One: After tge Gold Rush; writer, Mike Carey; artist, Kenan Yarar; colorist, Mohan; letterer, Crank!; consulting editor, Jean-Marc Lofficier; publisher, IDW Publishing.

Carey and Yarar finish the first Barbarella story just right. Barbarella gets half the issue; she’s recovering from the cliffhanger and trying to figure out how to stop the foreign agents from killing all the religious nutjobs’ babies. The other half of the issue is the foreign agents as they execute their plan.

Their scenes create the tension. Barbarella’s scenes create the fun. Starting with her little space Chihuahua. Then she gets a surprise sidekick. Carey has a lot of fun with both.

The Barbarella scenes should nullify the tension–since she’s never deterred or worried–but they don’t. Carey paces the various reveals well and Yarar’s wacky art matches them perfectly. Yarar’s always got a lot of detail, whether it’s in movement or background; it keeps Barbarella distinct without ever slowing the book down. In fact, because of Yarar’s panel transitions, the distinctiveness usually helps the momentum.

And the wrap-up is good. Carey gives the characters time.

Barbarella keeps impressing.

CREDITS

Red Hot Gospel, Part Three: Fire and Sword; writer, Mike Carey; artist, Kenan Yarar; colorist, Mohan; letterer, Crank!; consulting editor, Jean-Marc Lofficier; publisher, IDW Publishing.

This issue of Barbarella is a smooth read. Carey has Barbarella’s newfound, partially cyborg sidekick narrating at the start. It’s kind of nice–a chill reflection on Barbarella. Some exposition. Implications of genetic improvements and whatnot. The narration is calm against the thrilling action.

The book’s only on its second issue, so it’s hard to say what’s the norm. Yarar’s art is phenomenal, blending genres–sci-fi and witch trials; Barbarella is constantly in motion. Carey and Yarar occasionally are maintaining the momentum on their own, but it never slows down. Even when Carey does an aside with a robot terrorist, formerly a robot veternarian.

Barbarella gets a little character work, even though she’s mostly the subject here. Carey keeps a lot of narrative distance. It gives Yarar space to fill in with art, but it also keeps the characters surprising.

The cliffhanger’s a cheat, but its lead-up is well-written and the art is beautifully paced. So Barbarella. Still excellent. How.

CREDITS

Red Hot Gospel, Part Two: The Fall From Grace; writer, Mike Carey; artist, Kenan Yarar; colorist, Mohan; letterer, Crank!; consulting editor, Jean-Marc Lofficier; publisher, IDW Publishing.