War Story: J for Jenny (2003)

War Story J for Jenny I meant to read War Stories in order of publication. Unfortunately, I got out of order here with J For Jenny, the second issue in the second volume but the first story in the collection. Because it’s David Lloyd on art again and, unlike the first volume, which ends with its Lloyd-illustrated story, War Stories: Part Two is coming out swinging.

Writer Garth Ennis has had some fantastic collaborations over the years, and even when he isn’t clicking with the artist, he can usually make something work. But he’s never clicked better with an artist than David Lloyd, at least not for a war comic. The visual pacing on Jenny’s extraordinary, even better than their collaboration in the first volume.

The story’s about a British bomber crew. The first officer hates the captain, who takes delight in the bombing runs, wanting payback against the Germans for killing his family in their bombings. The issue opens with a multiple-page monologue from the captain, setting the scene and his backstory. Ennis usually does single-page monologues for the rest of the crew throughout the issue. They inform backwards and forwards—the world still doesn’t know about the Holocaust—so when the first officer speaks up to defend the German people, it’s not the same as it would be later. One of the crewmen’s monologue is about how he wishes the Germans would be doing something really terrible to absolve him of the sins of the bombings. The issue doesn’t have an epilogue, but Ennis manages to bake in that character’s eventual regret at having the thought.

It’s excellent writing, including the “twist” ending and how character relationships build in the backgrounds. The spotlight is on the captain and the first officer, but the texture comes from the rest of the crew around them.

Lloyd illustrates the monologues as montage sequences, the art echoing the text, whether it’s backstory for the captain or daily life for one of the crewmen. Lloyd’s always got the perfect panel to accompany. It’s exquisite.

Since I’m out of order—how did Vertigo not want to get this one out first—I can’t really say War Stories: Volume Two is off to a good start, but Jenny’s the best from either series (so far, I guess, but Lloyd’s not back), so even if the rest of Volume Two’s middling, it’s still a significant bit of work.

It’s a spectacular comic, with Ennis focusing on the conflict between the two men, even as he resists humanizing either. The monologues give Jenny an almost intrusive feel, like we’re eavesdropping, which presents the characters from a deliberate angle. They’re not caricatures, but Ennis controls the reader’s perception of their depth. We only get to see so much before he or Lloyd cut away.

J For Jenny’s spectacular. Ennis and Lloyd are a singular team-up.

War Story: Nightingale (2002)

War Story Nightingale As a Garth Ennis war comic, I’m not sure Nightingale is the best War Story. As a War Story, it’s the best comic. Ennis’s script gets out of the way and lets David Lloyd’s art do its terrible magic. Because Nightingale is a nightmare, not just because it takes place on rough, cold waters in World War II, giving Lloyd all sorts of opportunities for literal stomach-churning art of the water. Ennis also digs in on it with the script, the words making the imagery all the more unsettling.

To get the clarification out of the way—it’s either the best or second best War Story (so far). Ennis’s script is so straightforward it’s almost loose. This story’s narrator is the first officer of a British warship, the Nightingale. She’s on convoy protection duty, and, until now, the ship’s had extraordinary luck. We know the luck will run out because the story opens with the ship at the bottom of the sea, the first officer narrating from beyond the grave.

Now, it’s never a horror comic. There’s never the slightest supernatural hint, but Lloyd’s dark, turgid panels create this disquieting effect, even as the first officer may be narrating a dream, not reality. Ennis doesn’t imply any hopefulness exactly, just potential for a metaphoric sinking. When the first officer returns home on leave, he has a nightmare, for instance. There’s a particularly phenomenal sequence of panels showing downed ship after downed ship cluttering the ocean floor. It is a nightmare, one Lloyd and Ennis do a stunning job conveying.

Things start going wrong for the ship when they’re ordered to abandon the commercial freighters during a mission. The admiralty has heard a German super-ship is out of port, and the protocol is scattering the convoy will make it harder on the Germans. Except that plan just leads to the Germans picking off the freighters and their civilian crews as the Nightingale’s crew just listens to the distress calls.

The crew then becomes convinced they’re cursed for their dereliction of duty despite it being ordered (and double-ordered) from on high.

Ennis keeps the script very simple; he’s got far more unexplained jargon than usual, with the first officer’s narration at times hurried and erratic. The memories are too rapid, the narration in a race to keep up with Lloyd’s panels as they flash forward; beautiful pacing in the panels, just breathtaking work from Lloyd. He’s the reason Nightingale’s so spectacular; another artist, same script, it’d have been successful, though nowhere near as much. Lloyd’s rough, queasy art makes Ennis’s—not in a bad way—obvious narrative hit harder and, frankly, more viciously. Nightingale’s not mean exactly, but it’s definitely hostile.

And absolutely first-rate war comics. It’s easily the most formally ambitious of the War Story issues, making its success even more accomplished.

Wasteland (1987) #9

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 art–until a way too long fencing match–makes it palatable. It’s lame.

The second story (Ostrander writing solo) is about a guy in the ghetto challenging God to a street fight; it seems a tad racist. I’m sure it’s not, but it’s not in that guilty white liberal “not racist” way. The Simpson art, however, is an absolute joy.

The final story, another one starring Close (co-scripting with Ostrander), is another flop. Messner-Loebs, usually great on art, fumbles here. Without good art, it’s inane filler.

Just like the issue itself.

Wasteland 9 (August 1988)

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.

The final story, another one starring Close (co-scripting with Ostrander), is another flop. Messner-Loebs, usually great on art, fumbles here. Without good art, it’s inane filler.

Just like the issue itself.

CREDITS

Del & Elron; writer, John Ostrander; artist and colorist, David Lloyd; letterer, Dunina Rush. Raoul; writer, Ostrander; artist and letterer, Don Simpson; colorist, Lovern Kindzierski. Subtext Salad; writers, Del Close and Ostrander; artist and letterer, William Messner-Loebs; colorist, Kindzierski. Editor, Mike Gold; publisher, DC Comics.

Wasteland 7 (June 1988)

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 Lloyd–with shouldn’t be doing psychedelic art under any circumstances–is about a guy who trips to go save the world from DNA. There’s a setup for it and all, but it’s really loose work from Ostrander and Close.

I suppose the final story–Ostrander and Close again together, Simpson on art–has the most personality. It’s a genially cold hearted bit about a former circus worker who agrees the pet sit a giraffe. Simpson’s art is perfect for it, but the script confuses funny with mean-spirited.

The issue’s middling, but not bad.

CREDITS

On the Road part 2 or How We Changed the Price of Whiskey at the Butterfly Mine #2 in West Virginia; writer, John Ostrander; artist, George Freeman; colorist, Lovern Kindzierski; letterer, Ron Muns. Secret Lords of the DNA!; writers, Del Close and Ostrander; artist and colorist, David Lloyd; letterer, Steve Craddock. The St. Louis Electric Giraffe Caper!; writers, Close and Ostrander; artist and letterer, Don Simpson; colorist, Kindzierski. Editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 6 (May 1988)

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.

The second story, with Messner-Loebs art, is a “real life” riff on Captain Marvel. It’s genially amusing–with great art–until the finish. Ostrander and Close go for a discreet, implied ending, but never lay the foundation for it. Just because it’s cute doesn’t mean it gets a pass.

The final story is an autobiographical one from Close, but scripted only by Ostrander (with Freeman art). It’s an okay ghost story. It feels a lot like sixties Marvel horror–compelling situation and tone but not a lot of bite.

All together, a fine issue.

CREDITS

Method Actor; writers, Del Close and John Ostrander; artist and colorist, David Lloyd; letterer, Steve Craddock. Paper Hero; writers, Ostrander and Close; artist and letterer, William Messner-Loebs; colorist, Tom Ziuko. On the Road part 1 or How We Changed the Price of Whiskey at the Butterfly Mine #2 in West Virginia; writer, Ostrander; artist, George Freeman; colorist, Lovern Kindzierski; letterer, Ron Muns. Editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 5 (April 1988)

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 the ending is messy, but it’s definitely better. Though Messner-Loebs’s art is a little too hurried. There’s no rhythm between the art and the story; Close and Ostrander don’t write enough for the artist on it.

The third story’s phenomenal, however. Lloyd’s on the art. The story’s about Close and Ostrander brainstorming. It’s a funny recursive loop on their creative process with good cameos. The Lloyd art makes it a further joy, especially when the writers become stand-ins for DC’s Cain and Abel.

The issue’s a mixed bag, but ends strong.

CREDITS

This Time We Win!; writers, John Ostrander and Del Close; artist and letterer, Don Simpson. Under the Lash; writers, Close and Ostrander; artist and letterer, William Messner-Loebs. Big Crossover Issue; writers, Ostrander and Close; artist, David Lloyd; letterer, Steve Craddock. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 3 (February 1988)

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 good anecdote. It’s easily the best story in the issue.

The second story–Ostrander writing, Lloyd on art–looks fine. World-weary cop navigates the Hellish urban metropolis while questioning faith. It’s predictable and unoriginal. Ostrander never comes up with a single good, fresh moment. Never even approaches one.

He and Close reteam for the final story. It’s a first person serial killer one. Very risqué, if one’s trying to do a cologne ad yuppie as a serial killer. Freeman’s art is highly stylized, but technically competent.

The issue’s a waste of time and talent.

CREDITS

American Squalor; writers, Del Close and John Carpenter; artist and letterer, Don Simpson. Dies Illa; writers, Ostrander and Close; artist, David Lloyd; letterer, Steve Craddock. Lotus Blossom; writers, Ostrander and Close; artist, George Freeman; letterer, Ron Muns. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 2 (January 1988)

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 Freeman art, and Ostrander and Close collaborating on the script, is the issue’s least. It’s still good and funny–Shirley MacLaine inhabits Genghis Khan for a song–but there’s nothing to it. It has a great setup and punchline, but it’s not special.

The final story, with both writers (and Lloyd on art), has an excellent muted payoff. The story’s standout is Lloyd and his visual pacing of a child welfare interview. It’s a strange case, but Lloyd’s meticulous, precise panels would make it compelling even if it weren’t.

Wasteland continues to impress.

CREDITS

That’s Entertainment; writers, Del Close and John Ostrander; artist and letterer, William Messner-Loebs. Ghengis Sings!; writers, Ostrander and Close; artist, George Freeman; letterer, Ron Muns. Warning Signals; writers, Close and Ostrander; artist, David Lloyd; letterer, Steve Craddock. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.

Contemporaneously…

Wasteland 1 (December 1987)

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 writing’s amusing, but it’s cute and the rest of the issue isn’t.

The first story, by John Ostrander and David Lloyd on art, is about a lethal hallucinogen. The art’s disturbing enough to cover some of Ostrander’s weaker “cop” dialogue moments. It’s a decent enough start and not at all upbeat.

The middle story, with Ostrander and Close co-writing, is the stunner. William Messner-Loebs does the art and, even though it’s “real,” it’s rather trippy stuff. It’s an absurdist future story with some really thought-provoking, disturbing “comic” moments. It’s the issue’s best.

CREDITS

Foo Goo; writer, John Ostrander; co-plotter, Del Close; artist, David Lloyd. R.ab.; writers, Ostrander and Close; artist and letterer, William Messner-Loebs. Sewer Rat; writers, Close and Ostrander; artist, Don Simpson. Colorist, Lovern Kindzierski; editor, Mike Gold; publisher, DC Comics.