Stray Bullets 1 (March 1995)

Stray Bullets #1With a very strange sense of humor, you could call the first issue of Stray Bullets a comedy of errors. Two guys working for a crime boss (it’s never too clear, which is nice) have a simple task. They have to dispose of a body. Unfortunately, they have a flat.

Then it turns out one of the guys isn’t all there, mentally. David Lapham takes the story from bad to worse, dragging the reader not just into the world view of the mentally disabled guy, but into the distorted world view of his partner. And once Lapham has the reader in that mindset, he doesn’t let up until the end. He controls the reader through a lengthy, packed story–lots of panels on lots of pages.

The ending’s a bit of a letdown as Lapham lets everyone breath. It’s like he pauses to admire his craftsmanship a little much.

But still….

A- 

CREDITS

The Look of Love; writer, artist, and letterer, David Lapham; editor, Deborah Purcell; publisher, El Capitán Books.

Juice Squeezers 4 (April 2014)

Juice Squeezers #4So how does Lapham end the first Juice Squeezers series? Well, but with too much of an eye on the future. He opens up two new story lines in this issue–one out of the blue–and confirms another one will continue.

Otherwise, the issue is good. Well, except when Lapham tugs on the heart strings. He leaves something else open I forgot about. Spending the last two-thirds of this issue setting up for the next series is rather disappointing. The scenes are still well-written, the characters are still strong. The art is phenomenal, particularly a talking heads sequence where one of the kids confronts the teacher who's in charge of the group.

And the first third is awesome. Lapham somehow puts the kids in danger from giant bugs, but the bugs never seem too dangerous. Real death in the comic is unthinkable, something the cast believes too.

The issue mostly works out.

B 

CREDITS

The Great Bug Elevator, Part Four: Bug City; writer and artist, David Lapham; colorist, Lee Loughridge; letterer, Nate Piekos; editor, Jim Gibbons; publisher, Dark Horse Comics.

Stray Bullets: Killers 1 (March 2014)

298209 20140312105955 largeWith this first issue of Stray Bullets: The Killers, David Lapham reminds everyone why they should feel bad about themselves for not missing Stray Bullets more. It's a new story, but it hits all the best beats the series used to hit and nothing else has hit since.

It opens with a stunning sequence with preteen boys talking about women. Fantastic dialogue, fantastic balancing of dark and not. Then Lapham gets into the protagonist's screwed up home life–deadbeat salesman dad who heads to the strip club while the mom works. The protagonist tags along, hidden in the back of the station wagon.

At the strip club, the kid forms a bond with one of the bouncers. Lapham gets in small town suffocation, the father's levels of guilt, the bouncer's personal morality, the kid's inability to understand any of it.

It's a phenomenal issue. I should've been missing Bullets daily.

A 

CREDITS

No Take-Backs; writer, artist and letterer, David Lapham; editors, Karen Hoyt and Maria Lapham; publisher, Image Comics.

Juice Squeezers 3 (March 2014)

297646 20140305123327 largeLapham sets up a perfectly good–by perfectly good, I mean predictable–cliffhanger and doesn’t use it. He doesn’t even use it when he’s building up to the cliffhanger. Instead, he goes with a logical choice. It’s not the most dramatic he could, it’s just the right one to do.

All of Juice Squeezers plays out similarly. Lapham never goes for the big money shot or the most drama. He’s patient with it, patient with how he develops the character relationships and the subplots. He’s restrained. It’s never cheap. Not once.

This issue has huge developments with a new member joining the team, some investigation into gossip about the teacher and one of the kid’s moms, not to mention the romance subplot actually taking off. And Lapham puts all these behind the giant bug plot, which also has some new developments.

Juice Squeezers’s fabulous. Great vibe to the art too.

A 

CREDITS

The Great Bug Elevator, Part Three: Going Down; writer and artist, David Lapham; colorist, Lee Loughridge; letterer, Nate Piekos; editor, Jim Gibbons; publisher, Dark Horse Comics.

Juice Squeezers 2 (February 2014)

295420 20140207111915 largeOh, look, Lapham includes a cast list with pictures for Juice Squeezers. What an idea, actually giving your readers a reference when you have a lot of characters.

Lapham borrows from Love and Rockets as far dealing with a large cast of similar looking characters. He makes their actions defining, not their appearance, and frequently uses their names to get the reader familiar.

This issue has the team trying to save the old farm–giving the comic a very Hardy Boys retro detail–but the kid on the farm finds them and then finds one of the bugs. Interesting too is how Lapham doesn’t make the bugs scary or evil. It’s all from the team’s perspective, so they don’t scare.

There are the beginnings of a love triangle too and a rather amusing C plot about one of the kid’s paternal heritage.

Finished establishing up the ground situation, Lapham excels.

A 

CREDITS

The Great Bug Elevator, Part Two: The Bug Who Came in from the Cold; writer and artist, David Lapham; colorist, Lee Loughridge; letterer, Nate Piekos; editor, Jim Gibbons; publisher, Dark Horse Comics.

Juice Squeezers 1 (January 2014)

292256 20140101105941 largeCute David Lapham. Who knew.

For what he doesn’t do originally in Juice Squeezers–and a lot is original, he just has problems with the teenage banter scenes–he mimics. What does he mimic? Love and Rockets. And Lapham does handle the whole teenage romantic comedy angst thing well himself.

The setup’s mind-boggling. Teenagers who hunt down the giant insects plaguing a rural California valley. So it’s a fifties sci-fi movie mixed with Tremors, only too young for the drive-in crowd. Wait a second… Squeezers might even be targeted for young teens. David Lapham doing a comic for twelve year-olds. Man’s got to eat.

There’s a lot of fun, a lot of good characterizations. He never draws the bugs too gross (or even too dangerous) and he generates a very positive vibe. There’s a nice mix of light and dark visuals too. It’s a good comic.

B 

CREDITS

The Great Bug Elevator, Part One: Welcome to the Neighborhood; writer and artist, David Lapham; colorist, Lee Loughridge; letterer, Nate Piekos; editor, Jim Gibbons; publisher, Dark Horse Comics.

Detective Comics 800 (January 2005)

201569Gabrych writes and writes and writes and writes. His Batman narration goes on forever, hitting the same beats again and again. Batman’s alone–everyone left him, the cops hate him, it’s just like when he started out, only he’s older. On and on it goes. Gabrych got the job of summarizing all the “War Games” fallout. It’s a thankless task.

There’s a regular story too. Heroin has hit the streets again and Batman has to investigate. The investigation proves confusing because Gotham’s crime world has restructured, setting up Black Mask as the big villain. Gabrych sort of tells the issue in vignettes, but not enough. Batman keeps losing his train of thought.

The ending’s a little too weak, too forced. Gabrych tries to make Batman make sense and he can’t.

The backup is a depressing bit from David Lapham. It’s mean and nasty and rather well-done, if entirely unpleasant.

CREDITS

Alone At Night; writer, Andersen Gabrych; penciller, Pete Woods; inkers, Cam Smith and Drew Geraci. In the Dark; writer and artist, David Lapham. Colorist, Jason Wright; letterer, Phil Balsman; editors, Michael Wright and Bob Schreck; publisher, DC Comics.

Rocketeer Adventures 2 3 (May 2012)

868090Did IDW run out of people to hire for Rocketeer Adventures? The Kyle Baker story, done a little like a serial episode, is great, but it’s Kyle Baker. He doesn’t just get how to do comic action, he can actually write Betty. And his Shadow cameo is rather fun too.

But besides Baker, this issue’s awful. Chris Sprouse’s art is good on the first story, if a little underwhelming. David Lapham scripts it; it’s a terrible script about Cliff and Betty realizing they don’t want to be a farm family. In short, Sprouse is drawing a lot of farm equipment. Not a good use of him.

Still, anything is better than the last story. Eric Canete’s style seems to be rushed, line heavy and animation influenced. Matt Wagner only writes narration–since it’s a “Jetsons” story–and Canete’s art complements it perfectly. Neither are good.

Baker aside, the issue’s crap.

CREDITS

“Coulda been…”; writer, David Lapham; penciller, Chris Sprouse; inker, Karl Story; colorist, Jordie Bellaire; letterer, Shawn Lee. Butchy Saves Betty; writer, artist, colorist and letterer, Kyle Baker. History Lesson; writer, Matt Wagner; artist, Eric Canete; colorists, Canete and Cassandra Poulson; letterer, Lee. Editor, Scott Dunbier; publisher, IDW Publishing.

Immortal Weapons (2009) #5

Iw05

You know who David Lapham can’t write? Danny Rand. You know who he has as his de facto protagonist? Danny Rand.

John Aman—the Prince of Orphans—is secondary to his own issue. Lapham even writes an adventure for Danny and Luke with a wacky miniature villain. I guess Aman gets the opening scene but….

Worse, it’s like Lapham never even read Brubaker and Fraction’s Immortal Iron Fist issues with Aman and Danny to get the relationship down. He just makes Danny a pest—it’s like he’s writing Spider-Man as Danny Rand.

I guess it’s an okay story for not being any good and Lozzi’s art is lovely.

This whole Immortal Weapons series is a waste of time.

And the Swierczynski Iron Fist backup, which started so nice, is a waste. Swierczynski lost hold of the narrative—it’s obvious. And Diaz’s artwork is even worse than before. He’s awful.

Immortal Weapons 5 (January 2010)

650163.jpg
You know who David Lapham can’t write? Danny Rand. You know who he has as his de facto protagonist? Danny Rand.

John Aman—the Prince of Orphans—is secondary to his own issue. Lapham even writes an adventure for Danny and Luke with a wacky miniature villain. I guess Aman gets the opening scene but….

Worse, it’s like Lapham never even read Brubaker and Fraction’s Immortal Iron Fist issues with Aman and Danny to get the relationship down. He just makes Danny a pest—it’s like he’s writing Spider-Man as Danny Rand.

I guess it’s an okay story for not being any good and Lozzi’s art is lovely.

This whole Immortal Weapons series is a waste of time.

And the Swierczynski Iron Fist backup, which started so nice, is a waste. Swierczynski lost hold of the narrative—it’s obvious. And Diaz’s artwork is even worse than before. He’s awful.

CREDITS

Prince of Orphans: The Loyal Ten Thousand Dead; writer, David Lapham; artist, Arturo Lozzi; colorist, June Chung. The Caretakers, Conclusion; writer, Duane Swierczynski; artist, Hatuey Diaz; colorist, June Chung. Letterer, Nate Piekos; editors, Alejandro Arbona and Warren Simons; publisher, Marvel Comics.