Fraction and Chaykin go for a rather distinct–and mature audiences–sight gag to repeat through the comic. There’s really some great art from Chaykin, who takes three people through hearing or seeing uncomfortable or unwelcome news and events. The whole thing is in their expressions and he nails every one of them.

It makes up for the second of the visual gags being a little too tacked on. It’s not easy because Fraction and Chaykin go out of their way to make it uncomfortable, but it’s tacked on. With so many subplots, Fraction’s going to have at least one weak one.

As for the main plot, the mystery of Satellite Sam, Fraction isn’t concentrating on it. Oh, sure, there’s investigating this issue, but that investigation has more to do with the investigators than the mystery. It’s fine, just a little drawn-out.

Some beautiful Chaykin cityscapes this issue too.

B+ 

CREDITS

Jobs; writer, Matt Fraction; artist, Howard Chaykin; letterer, Ken Bruzenak; editor, Thomas K.; publisher, Image Comics.

Once again, it’s very hard to follow a lot of Satellite Sam. Fraction has a cast list at the open, but it’s not enough. He needs to keep the cast blurbs for when the people show up in the action story instead.

For example, the issue opens with the lead actress (I think) meeting her crappy mother-in-law for the first time. Then the story moves to something about the broadcasting network, then to some writer getting fired for an indiscretion, then to the other writers (maybe), then to the series’s ostensible lead.

Fraction’s writing is so good, not remembering people doesn’t matter. It always feels like you’re tuning into a great TV show you haven’t been watching with enough attention, but with Chaykin–even though his art on Sam is good–his faces aren’t distinctive.

I love Sam; though it’s clearly meant to be read in a trade.

A- 

CREDITS

Cookiepusher; writer, Matt Fraction; artist, Howard Chaykin; letterer, Ken Bruzenak; editor, Thomas K.; publisher, Image Comics.

Fraction goes all out. It’s also the loosest Chaykin art so far; still looks good, but there’s definitely a hurried “quality” about it.

But the story? Amazing. Fraction’s bringing all the pieces together. He’s got Michael–Satellite Sam’s son–teaming up with Kara–the former squeeze–talking and finding out a bunch of things, making a mystery story all of a sudden.

He’s also running full power with the TV plot and machinations going on. There are the guys fighting about the FCC coming to power–with some tawdriness thrown in, which actually is the closest the issue comes to humor, even it’s sad at the same time.

One of the studio guys gets transfixed on video feedback; that one might be funnier, though it’s a tad disquieting too.

Plus Fraction’s got a flashback of the titular (dead) guy and the girl’s awful trip back from Mexico.

Full, awesome issue.

CREDITS

Percha; writer, Matt Fraction; artist, Howard Chaykin; letterer, Ken Bruzenak; editor, Thomas K.; publisher, Image Comics.

What an action-packed issue. Not really. It’s all about drinking and television politics in the fifties and it’s amazing.

Fraction has a huge cast but he doesn’t exactly bother with names, using their positions instead. The producer, the head writer, the star. Their names don’t matter. Even the church lady is just the church lady.

Behind the scenes television machinations are the A plot. Fraction saves all the drama for the B plot. Except the B plot is really short, mostly just for the cliffhanger. It’s not a bad plotting decision from Fraction–the B plot is sensational one; it’s a far better hook than something going wrong with a television deal.

The comic’s incredibly dense due to the many characters–it’s a talking heads book, which Fraction and Chaykin hide through different locations and the generally fine art. Fraction’s ability to manage it all is his greatest achievement.

CREDITS

The Dirt Nap; writer, Matt Fraction; artist, Howard Chaykin; letterer, Ken Bruzenak; editor, Thomas K.; publisher, Image Comics.

What is Satellite Sam going to be? It’s impossible to say right now. Maybe it’s about some guy who takes pictures of women in lingerie, maybe it’s about that guy’s kid, maybe it’s about live television in the fifties…

It’s impossible to say.

None of the listed elements are clear when this first issue starts. Matt Fraction is having way too much fun running through the insanity of television. Howard Chaykin’s art is occasionally rough–he looks good in black and white–but Chaykin knows how to do this script. He knows how break out the scenes to make it read fast and crazy.

There’s some sense of nostalgia too, but Chaykin never really lays it on. The biggest moment is when the female lead–or not lead–is walking through New York streets. Chaykin works hard on the nostalgia for that sequence.

It’s interesting stuff; maybe Fraction’s got something.

CREDITS

The Big Fade Out; writer, Matt Fraction; artist, Howard Chaykin; letterer, Ken Bruzenak; editor, Thomas K.; publisher, Image Comics.