Dark Horse Presents 78 (October 1993)

Yolen and Vess have an absolutely fantastic fairy tale story here. It’s not technically a fairy tale (it’s layered, a nursemaid tells the story to a child, who it directly concerns) but it’s just wonderful. Vess’s art here is superior–he’s able to convey action, antiquity and fear. There’s one moment where it confuses, then it all becomes quite clear. Yolen comes up with a great narrative though. Her writing is the real boon.

Paleolove continues. Davis is on the second of a third part story and there’s no reason for a third part if this one is any indication. Not because it’s bad (it’s not good, but like most Davis, not exactly awful), but because the narrative is already stretched then as this entry closes.

Campbell reveals another character’s backstory in Hermes this installment. It’s so good. The details are indescribable due to imagination and complexity. It’s outstanding work.

CREDITS

King Henry; story by Jane Yolen; art and lettering by Charles Vess. Paleolove, Part Two; story, art and lettering by Gary Davis. Hermes versus the Eyeball Kid, Part Three; story by Eddie Campbell and Wes Kublick; art by Campbell, Peter Mullins and April Post; lettering by Campbell. Edited by Randy Stradley.

Dark Horse Presents 77 (August 1993)

Oh, I finally get it. Paleolove means love in the Paleolithic era. To pay Davis a complement (my first?), he’s never tried so deliberately to tug on the heartstrings until now so I never really gave the title a thought. What amazes me is the artwork. He hasn’t gotten any better with figures since his first Paleolove story, sixty or so issues ago in Presents. At least he’s not getting worse.

Campbell and company don’t explain everything this installment of Hermes and Eyeball. I fact, I don’t think they explain anything other than the Eyeball Kid and the false oracle are in cahoots together. Again, it’s excellent work, very self-aware and very charming–which isn’t easy given the Eyeball Kid. He’s kind of gross looking.

Lang and Lieber’s Nanny Katie story is a lovely little story about an English nanny who can commune with nature. Delicate writing, great art.

CREDITS

Paleolove, Part One; story, art and lettering by Gary Davis. Hermes versus the Eyeball Kid, Part Two; story by Eddie Campbell and Wes Kublick; art by Campbell, Peter Mullins and April Post; lettering by Campbell. Nanny Katie, An Edwardian Nursery; story by Jeffrey Lang; art by Steve Lieber. Edited by Randy Stradley.

Dark Horse Presents (1986) #70

I didn’t know it was possible for me to care about Paleolove and I’m not entirely sure I really do. But I am mad at Davis for the way he ends this story. It seems like the last Paleolove (yay!) but he kills off a side character in the exposition and it’s a really weak move. He’s doing it for effect, to make the story seem poignant… while it would have been poignant if he’d just left it alone.

The story from Jordorowsky and Moebius is all right, nothing more. It’s an academic comedy, with a popular philosophy professor being cuckolded in front of his students. It’s not particularly funny–until the last page, all Jordorowsky’s jokes are fairly common–but I guess it’s painless.

Campbell contributes a number of Alec one pager strips. A couple are successful, the rest are not. It’s the first time I’ve seen Campbell stumble.

Dark Horse Presents (1986) #69

The Predator story keeps getting worse (it turns out it’s just a prologue to some limited series, I love it when Dark Horse uses Presents to advertise their licensed properties). Given Raskin’s worsening artwork and Stradley’s bad writing–he uses a government report as the narrative exposition, he’s used similar devices in the past successfully… here he fails. It’s an awful story; very happy it’s the last installment.

Duffy and Sakamoto have another Nestrobber installment. It’s mean-spirited and lacking in charm. I think it’s supposed to be funny, but I’m completely perplexed with Duffy’s intent. It’s supposed to be manga, but I can’t figure out why anyone would want to read it.

Davis and Paleolove annoy a little. There’s some really pointless writing here. Art’s weak too.

Campbell’s got an amusing slash horrifying anecdote installment of Alec. Only a page, but enough to clear the palate after the rest.

Dark Horse Presents (1986) #68

The Predator story continues and its problems become real clear. Stradley’s trying to take a “real” approach to certain elements–gang members, serial killers–and it just comes off as silly with the Predator running around. Raskin’s art suggests he’s unprepared for such a big assignment (and Wiacek seems to have been brought in to correct things via the inks). Then there’s the inexplicable cliffhanger. So far, very unimpressive.

Campbell’s got two Alec strips. One is really cute, the other is just a nice example of a one page narrative.

Davis is back with Paleolove. The story is longwinded and the art is still primarily concentrated on the scenery. Davis objectifies his female protagonists in the last panel, which sums up all of Davis’s work.

Duffy and Sakamoto have a story with a bunch of kids and their guardian angel, a hit man. It’s well intentioned, but not any good.

Dark Horse Presents 70 (February 1993)

Campbell contributes a number of Alec one pager strips. A couple are successful, the rest are not. It’s the first time I’ve seen Campbell stumble.

CREDITS

The Madwoman of the Sacred Heart, Part One; script by Alexandro Jordorowsky; art by Moebius; lettering by Dave Cooper. Alec, This is Your Lunch, William Tell, The Great Booby Outrage, Remorse and Position Vacant; pencils, inks and lettering by Eddie Campbell. Paleolove, Part Three; story, art and lettering by Gary Davis. Edited by Randy Stradley.

Dark Horse Presents 69 (February 1993)

Davis and Paleolove annoy a little. There’s some really pointless writing here. Art’s weak too.

Campbell’s got an amusing slash horrifying anecdote installment of Alec. Only a page, but enough to clear the palate after the rest.

CREDITS

Predator, Race War, Part Three; story by Andrew Vachss; adapted by Randy Stradley; pencils by Jordan Raskin; inks by Bob Wiacek; lettering by Clem Robins. Nestrobber, Survival Skills; story by Jo Duffy; art and lettering by Maya Sakamoto. Paleolove, Part Two; story, art and lettering by Gary Davis. Alec, An Old Australian Yarn; pencils, inks and lettering by Eddie Campbell. Edited by Randy Stradley.

Dark Horse Presents 68 (December 1992)

Campbell’s got two Alec strips. One is really cute, the other is just a nice example of a one page narrative.

Duffy and Sakamoto have a story with a bunch of kids and their guardian angel, a hit man. It’s well intentioned, but not any good.

CREDITS

Predator, Race War, Part Two; story by Andrew Vachss; adapted by Randy Stradley; pencils by Jordan Raskin; inks by Bob Wiacek; lettering by Clem Robins. Alec, The Remarkable History of the Nullarbor Nymph and Ah Kids, Don’t Ya Just Love ‘Em; pencils, inks and lettering by Eddie Campbell. Paleolove, Part One; story, art and lettering by Gary Davis. Nestrobber, Swimming Lessons; story by Jo Duffy; art and lettering by Maya Sakamoto. Edited by Randy Stradley.

Dark Horse Presents (1986) #43

Guinan’s Aliens finish is incredibly weak, featuring not just an Alien reference but some guy in the future running around in an Indiana Jones outfit. The plotting is so weak, it might be construed as a spoof… But I think Guinan’s serious. He’s got some very profound-sounding exposition.

Davis does a one page riff on 2001. It’s the best work of his I’ve seen.

Inabinet has a great retelling of a fable. The writing and art are fantastic. But even better is his opening, where he does a bunch of humor in a traditional–very traditional–setting. Inabinet makes the issue, him and that one page Davis strip.

Zick painfully finishes his Argosy story. Apparently, it’s all a setup for a sequel, but hopefully I’ll be spared. Zick somehow manages to find even more characters to introduce in the final installment. Important ones. At least it’s over (for now).

Dark Horse Presents 43 (August 1990)

Davis does a one page riff on 2001. It’s the best work of his I’ve seen.

CREDITS

Aliens, Terminus; story and art by Paul Guinan; lettering by Willie Schubert. The Dawn of Angst; story and art by Gary Davis. The Tale of Yakub and the Vulture; story and art by Sam Inabinet. The Argosy; story and art by Bruce Zick; lettering by Pat Brosseau. Edited by Randy Stradley.