Category: Wasteland
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For lack of a better word, this issue is dippy. It’s not particularly bad–nowhere near Wasteland‘s worst–but it’s definitely dippy. As usual, the fault tends to lie with the writers. The first story is a Close autobiographical, again scripted by Ostrander. In it, Close goes to L. Ron Hubbard for therapy. The beautiful David Lloyd…
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For lack of a better word, this issue is dippy. It’s not particularly bad–nowhere near Wasteland‘s worst–but it’s definitely dippy. As usual, the fault tends to lie with the writers. The first story is a Close autobiographical, again scripted by Ostrander. In it, Close goes to L. Ron Hubbard for therapy. The beautiful David Lloyd…
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This issue ends on a relative high point, which sort of disguises its otherwise stinky nature. The first story, from Ostrander and Tom Artis, is about a husband suggesting to his wife he’s a serial killer. It’s mostly dialogue and Ostrander’s dialogue isn’t particularly special. Worse, Artis’s art is awful. The guy’s clearly not ready…
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This issue’s a little indistinct. It opens with the conclusion to the theater company having trouble in the South story. It’s all wrap-up and exposition, which doesn’t make for the most interesting story. Freeman’s artwork is fine but not memorable at all. Ostrander inexplicably concentrates on the nostalgic elements. The second story, with art from…
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Thankfully sans politics again, this Wasteland is pretty good. The first story, with Ostrander and Close scripting and Lloyd on art, is a tragic comedy. It follows a brawny actor with a dental condition as he tries to find respect for his craft. The Lloyd art is just fantastic, making up for the tepid finish.…
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Ugh, another political story. This time it’s about U.S. imperialism leading to nuclear armageddon. Ostrander and Close are boring about, no real characters just vague anti-Reagan ramblings. Maybe if Simpson did a better job on the art. He lacks enthusiasm. The second story, more of Close’s autobiographical work, is better. The setup doesn’t work and…
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I’m not sure I’ve ever read a comic as self-important as this issue of Wasteland. I’m not making that statement lightly; it’s just hard to imagine anything more pretentious. For example, Ostrander’s first story–set against a Shakespeare sonnet–is about how the only rational response to Ronald Reagan’s presidency is to kill oneself. Or your loved…
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This issue’s a major disappointment. Okay, maybe not major, but definitely a disappointment. There’s not a single good story in it. The first story is Close and Ostrander riffing a little on Harvey Pekor with “American Squalor.” The Simpson art is good, the visual presentation of the anecdote is okay… it’s just not a particularly…
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Once again, the Messner-Loebs illustrated story is the best in Wasteland. But this time it’s on the somewhat autobiographical Close story. Teenage runaway Close works backstage in a horror show circus; things go dangerously wrong. Close’s dialogue’s fantastic, very smooth transitions, lots of humor. Messner-Loebs excels at the variety too. The second story, with George…
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The strangest thing about Wasteland is how the story about tripping is the least trippy story of the three in this issue. The trippy story is the last one, an ostensibly autobiographic one written by Del Close, recounting a trip through the Chicago sewers. Don Simpson does the art and the art’s great and the…
The Stop Button 