Dark Horse Presents (1986) #11

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Is The Mask supposed to be understandable? Badger’s writing seems straightforward enough–two CIA agents are trying to find a Cuban priest who’s in New York City, but his art makes it completely incomprehensible. And it’s hard to imagine how the titular Mask (Masque) is going to figure into the priest’s story. I also can’t figure out if it’s supposed to be pro-Cuba or anti-Cuba.

West writes a little history lesson about the Battle of the Somme. Moiseiwitsch’s art is more like etchings and the text is set to them and somewhat related. It’s unsuccessful but not ambitious either.

Roma limps to its finish. Some nice art from Workman but the writing’s incredibly weak. He’s also basically only doing closeups now, which is odd since the story’s got a big finish.

The best thing in the issue–by far–are Nelson’s two Dinosaur Tales pages. Absolutely wondrous art.

Dark Horse Presents 11 (October 1987)

Roma limps to its finish. Some nice art from Workman but the writing’s incredibly weak. He’s also basically only doing closeups now, which is odd since the story’s got a big finish.

The best thing in the issue–by far–are Nelson’s two Dinosaur Tales pages. Absolutely wondrous art.

CREDITS

The Mask; writer and artist, Mark Badger; letterer, Tim Harkins. Forgotten; writer, Ross Evan West; artist, Carel Moiseiwitsch. Roma; writer, artist and letterer, John Workman. Dinosaur Tales; writer, artist and letterer, Mark A. Nelson. Editor, Randy Stradley; publisher, Dark Horse Comics.

Dark Horse Presents (1986) #9

Dhp09

I’m trying to think of how much more lame Mattsson’s writing could be on Vitruvian Man. I guess it’s paced well. I mean, it does indeed have a bit of content. Mattsson writes atrocious narration–it’s kind of like if Batman were an egotist moron surfer dude (with a deaf sister–Mattsson loves putting that detail in neon here). Nichols’s indie-minded artwork doesn’t fit the writing, but it isn’t bad art, just rough.

Workman’s apparently totally run out of ideas for Roma, not just in terms of creating Love and Rockets stories of his own, but also in terms of writing. This issue’s story is a conversation and some very poorly conveyed action. Maybe it’s supposed to be experimental, but it’s not getting good results.

Salmons contributes a thoughtful little alien planet story. It’s hard to read because of his art, but the best easily thing in the issue.

Dark Horse Presents (1986) #8

Dhp08

I can’t believe I missed Concrete–well, actually, I can, given Vitruvian Man is in here, but I can’t believe I was “looking forward” to it. This issue’s story is… it’s hard to describe. Chadwick’s writing is kind of like if you took “Seinfeld” and made the characters care about other people’s feelings. This time, Concrete mouths off to some crappy little kids then gets so upset he has to apologize. Big whoop.

Chadwick’s art’s a little lazy here, so there’s not even that benefit.

Vitruvian Man is about an annoying jerk becoming superhuman. It’s of some note because the protagonist’s sister is deaf and Mattsson’s trying to convey that detail without ever specifically saying it. It’s lame, but it moves and the artwork from Badger and Nichols isn’t bad.

Roma, on the other hand, is lame and doesn’t move. Workman’s hit a wall on his Love and Rockets “homage.”

Dark Horse Presents 9 (July 1987)

Salmons contributes a thoughtful little alien planet story. It’s hard to read because of his art, but the best easily thing in the issue.

CREDITS

Gene Shock: The Vitruvian Man, Contact!; writer, Steve Mattsson; artist, Art Nichols; letterer, David Jackson. Roma; writer, artist and letterer, John Workman. Fossil, or Perilous Archeology; writer and artist, Tony Salmons. Editor, Randy Stradley; publisher, Dark Horse Comics.

Dark Horse Presents 8 (June 1987)

Chadwick’s art’s a little lazy here, so there’s not even that benefit.

Roma, on the other hand, is lame and doesn’t move. Workman’s hit a wall on his Love and Rockets “homage.”

CREDITS

Concrete, Water God; writer and artist, Paul Chadwick; letterer, Bill Spicer. Gene Shock: The Vitruvian Man, Growth; writer, Steve Mattsson; artists, Mark Badger and Art Nichols; letterer, David Jackson. Roma; writer, artist and letterer, John Workman. Editor, Randy Stradley; publisher, Dark Horse Comics.

Dark Horse Presents (1986) #6

Dhp06

This issue drags.

It opens with Trekker‘s story line ending. Hopefully Dark Horse just gave Randall his own series so I don’t have to read any more of it. The story nearly gets okay on the last page, but it’s still got Randall’s awful writing to bring it back down. The art’s real lazy too.

Workman’s Roma continues to be a Love and Rockets knock-off, but at least this issue it’s a little more engaging. The strong design sense comes through a lot, creating a nice looking story, but not a particularly good one.

I’d like to say Concrete‘s back on track but only slightly. Chadwick does a Concrete in Hollywood–with hints at Concrete’s real identity (Ron). It’s supposed to be funny and the end is supposed to be funny but it’s really just mediocre.

Then, for the close, Mattsson plagiarizes some of Dune in a weak effort.

Dark Horse Presents (1986) #5

Dhp05

There’s very little to say about this issue’s Concrete story. It’s not a bad story, just another waste of time–though I guess the art is nowhere near as strong as usual. The story’s about this young woman who wants to be an artist and wants Concrete to be her subject. When she meets him, does she overcome her urban withdrawal and talk to him?

No.

Then there’s John Workman’s Roma. Workman–who’s lettered just about everything at one time or another–initially gives the impression of being a really good artist. Then it becomes clear he’s way too design oriented. As far as the writing, I think Los Bros Hernandez should have pursued plagiarism charges. Roma reads almost exactly like early Love and Rockets.

I could barely follow Randall’s writing on Trekker so I’m hoping it passes quietly from my memory.

Smith’s animated animal adventure is, once again, charming.

Dark Horse Presents 6 (April 1987)

This issue drags.

Then, for the close, Mattsson plagiarizes some of Dune in a weak effort.

CREDITS

Trekker; writer and artist, Ron Randall; letterer, David Jackson. Roma; writer, artist and letterer, John Workman. Concrete, Little Pushes; writer and artist, Paul Chadwick; letterer, Bill Spicer. Doc Abstruse, Explains Warp Speed; writer, Steve Mattsson; artist, Tony Salmons; letterer, David Jackson. Editor, Randy Stradley; publisher, Dark Horse Comics.

Dark Horse Presents 5 (February 1987)

No.

I could barely follow Randall’s writing on Trekker so I’m hoping it passes quietly from my memory.

Smith’s animated animal adventure is, once again, charming.

CREDITS

Concrete, Burning Brightly, Brightly…; writer and artist, Paul Chadwick; letterer, Bill Spicer. Roma; writer, artist and letterer, John Workman. Trekker; writer and artist, Ron Randall; letterer, Workman. Pookey, Pickin’ Up Sticks; writer and artist, James Dean Smith; letterer, David Jackson. Editor, Randy Stradley; publisher, Dark Horse Comics.