This issue might be Lapham’s most difficult to pull off, because he’s not just charting the decline of a previously sympathetic protagonist, he’s charting the decline of new, female character. He’s got to do it very, very carefully.

The story is about a young woman who a couple lousy boyfriends who starts seducing married men (for the rush). The couple lousy boyfriends are really lousy, one even abusive, and Lapham doesn’t handle her reaction sensationally. He does it calmly (when he really could have her start killing her lovers or blackmailing them or something). So it’s depressing. Well, at first it seems like it might not be as depressing, then he clarifies she knows exactly what she’s doing.

Maybe it’s all the build up cop Roger, who’s the only returning character, and the only one to stand up to her.

It probably could be longer, maybe doubled, but it’s good.

A-

CREDITS

Live Nude Girls!; writer, artist, and letterer, David Lapham; editor, Deborah Dragovic; publisher, El Capitán Books.

It’s an odd issue. Lapham does another Amy Racecar story to emphasize how Virginia is uncomfortable around sex, which makes sense since he’s constantly threatening to have someone rape her.

Still, it’s not bad. Lapham does a lengthy Chandler-inspired detective story, convoluting it more and more each panel. By the end it’s impossible to keep track of who killed who and why, but the solution isn’t the point. The joke at the end is the point, since it reveals something about Virginia, only it’s too much. Lapham writes the Amy character well. He doesn’t need to get all fancy with it.

None of the other characters have much presence and Lapham seems to get it so the big solution scene at the end constantly has people being identified by name. But there are ten or twelve of them. A lot of characters for a single issue.

Still, it’s moderately successful.

B 

CREDITS

Sex and Violence (Part 2); writer, artist, and letterer, David Lapham; editor, Deborah Dragovic; publisher, El Capitán Books.

Something is changing in Lapham’s art. His figures and faces are getting more streamlined, less thorough and there are a lot of almost all black panels.

Perhaps he’s rushing. But only on the art.

He’s still working hard on the story. This issue has a woman whose drunk husband comes home, followed by a bunch of acquaintances from the bar looking for money. Most of the issue is this oddly dangerous situation, since the acquaintances are drunk cops.

These characters might tie in to previous issues, but I can’t remember. Lapham gives the married couple a lot of back story; he handles it really well in the dialogue and I’m hoping he doesn’t waste the time doing an issue on it.

As the strange evening progresses, there are plot developments, characters bonding, characters not bonding. It’s a really great issue. The hopefulness even matches the streamlined, rounder faces Lapham draws.

A 

CREDITS

While Ricky Fish Was Sleeping…; writer, artist, and letterer, David Lapham; editor, Deborah Dragovic; publisher, El Capitán Books.

Lapham starts fresh this issue, set a few years before the Virginia and Beth storyline; this time the protagonist is a hen-pecked husband who breaks down and kills someone. The experience proves a boon for his ego and he changes his life. Actually, he mostly starts drinking, sleeping with some other guy’s wife, hangs out at strip clubs, romances a stripper with a heart of gold.

It’s almost really good in a lot of ways, but some of them seem mutually exclusive–at least how Lapham’s structured the narrative. For example, it could be a great story about a cheating husband whose plans fall through, but there’s the murder thing at the open. And the character doesn’t exhibit confidence in any way other than the philandering. Maybe there just needs to be more of it.

Also, Lapham rushes the second half of the issue or so. The first half’s gold though.

B 

CREDITS

Two-Week Vacation; writer, artist, and letterer, David Lapham; editor, Deborah Dragovic; publisher, El Capitán Books.

It’s another great issue. Lapham’s uneven overall, but when he does a great issue, it’s truly great.

No surprise, Virginia is the center of the issue. Lapham sets it a year later than the previous issue with its cliffhanger, with Virginia and Beth living in California. Beth’s trying to make deals, usually with guys, upsetting Virginia. Lapham writes the narration like Virginia’s doing a journal entry, but with lapses in reality.

It’s great.

What’s even better–and where Lapham does make Stray Bullets into a cohesive series–is how Virginia has changed. There’s new depth when she’s bullying some kid, just like she was bullied back in her first appearance. It does sort of make her actions confusing if one hasn’t read it all, but Lapham’s not going for new readers.

Then the second half of the issue or so is a madcap action sequence, funny and disturbing.

Phenomenal issue.

A 

CREDITS

Sex and Violence (Part 1); writer, artist, and letterer, David Lapham; editor, Deborah Dragovic; publisher, El Capitán Books.

A lot of stuff comes to a head this issue, which is double-sized, and even has some backstory on how the characters ended up in Seaside. Maybe it was during that first party issue. At least it seems to be the result of it. I think. If it’s so important, Lapham should have included CliffsNotes.

Otherwise, besides the issue being way too full, it’s pretty good. It’s definitely exciting as about half of it is a chase sequence. Orson, the current male lead, is on the run from the bad guys from the early issues. Beth and Virginia don’t get much to do. Too bad as they’re the best characters. Except Lapham does give Rose a lot for her cameo, revealing far more depth than expected.

The Seaside supporting cast figures in a lot, not very well. They’re backseat to the returning guest stars.

Rushed art too.

But okay.

B- 

CREDITS

You’ve Come A Long Way, Baby; writer, artist, and letterer, David Lapham; editor, Deborah Purcell; publisher, El Capitán Books.

Lapham does integrate Virginia (who called her Ginny, I can't remember) into the Seaside cast. And all of a sudden, if it weren't for the meth heads or whatever they are trying to rape a thirteen year-old girl (they're the comic relief, actually), Stray Bullets would be almost a sitcom. A quirky one, sure, but a sitcom nonetheless.

While there's still the aforementioned actual danger, Lapham's very upbeat about life in this one. Virginia bonds with Nina, Beth's friend who somehow got them all in trouble. Then there's lovable Nick. And darn if Orson and Beth aren't the cutest odd couple.

But it works too. Lapham pretty much pulls it off. He makes a good comic, even though he's got Virginia writing in her diary as the exposition and his story behind the Seaside town makes everything sillier. Against the odds, it works.

Lapham's just forcing the quirky too much.

B 

CREDITS

Farewell, Fair Cow!; writer, artist, and letterer, David Lapham; editor, Deborah Purcell; publisher, El Capitán Books.

Ginny finally gets to Seaside and truly meets the cast there. Havoc ensues. Madcap havoc. There’s violence and there’s a little bit of evil, but Lapham plays it all for humor. Not even surreal humor. He’s got a cast of supporting characters he mocks and mock them he does.

The evil comes in the form of the local sheriff. He presents what seems to be a serious threat, what with him willing to attack kids in front of hundreds of witnesses. He also has his gun out and shoots at lots of things. Between him and the comically creepy guys patrolling the fair for girls, Lapham lets Bullets become farce.

It’s not bad as farce. Lapham still has enough good will on Beth for her to get through the issue all right and Ginny introducing herself as “Amy” is worth a smile. The story’s just a little too slight overall.

B 

CREDITS

Hugs, Not Drugs or Hugs on Drugs; writer, artist, and letterer, David Lapham; editor, Deborah Purcell; publisher, El Capitán Books.

It’s back to reality, but Lapham keeps his new formula for figuring in interconnected exposition. Maybe Beth and her friend are the girls from the night of the first party. I kind of hope not, because it makes her meeting Orson–who thankfully doesn’t appear this issue–way too contrived.

The issue has Beth and the friend out swimming, only they end up fighting because they’re both going crazy on the run. Then Beth has this crazy adventure with a movie star and her odd entourage. The end brings everything together with devastating result. It’s like Lapham took a while to figure out what stories to do–and how uncomfortable to make things. He’s got a great balance this story.

He’s finally turning Beth into a decent character. She was one note as Orson’s angry girlfriend but Lapham hasn’t given her room to stretch until now. It works out well.

B+ 

CREDITS

The Supportive Friend; writer, artist, and letterer, David Lapham; editor, Deborah Purcell; publisher, El Capitán Books.

It’s the best issue of Stray Bullets so far and it’s an Amy Racecar issue. I’ll pause for a moment and let that situation sink in. The fictional character of one of Lapham’s fictional characters has the best issue in ten.

Okay, here we go. Amy, or little Ginny, ends up in Seaside. Seaside is that truck stop-centered place from the last issue. Luckily, none of the regular cast appears–for a few pages, I was worried Lapham was having Ginny project Amy Racecar around her–except Spanish Scott. Of course, he’s called something else because Ginny never found out his name. This issue is her still disturbed from what she witnessed–and all the crazy stuff following it (and predating it, turns out her mom’s always been a nutter).

There’s action, there’s comedy, there’s great writing and great art. Lapham keeps piling it on and he keeps on selling it through.

Phenomenal.

A+ 

CREDITS

Here Comes the Circus; writer, artist, and letterer, David Lapham; editor, Deborah Purcell; publisher, El Capitán Books.