The movie fan in me resents Moore’s title for the Cinema Purgatorio story–The Time of Our Lives, just because it reminds me of The Best Years of Our Lives and Moore isn’t doing a commentary on that film. Instead, he’s doing a thing about post-WWII culture in America, but more the fifties than the late forties. That caveat aside, it’s a solid entry from he and O’Neill. Nothing too exciting, just solid.

This issue’s Code Pru is similarly okay. Nowhere near as good as the Purgatorio but a not bad possession story. It’s unfortunate because Ennis can’t help but hint at what might be in a better Code Pru book, not just this truncated version of the concept. Decent art from Caceres but nothing too outstanding.

The Modded from Gillen and Calero is simultaneously awful (Gillen rips off Mad Max this time, not Scott Pilgrim) and competently illustrated. It’s a shame Calero doesn’t get better writing.

Ditto the More Perfect Union entry. Though DiPascale does some fantastic art this entry. Brooks barely has a script, but every panel is gorgeous. Maybe the less writing Brooks does, the better chance DiPascale has to turn the strip into something tolerable. Mildly tolerable.

And Gage and Andrade’s Vast is more tolerable than usual as well, just because there’s a little more story in this Pacific Rim rip-off.

I guess this issue of Purgatorio is something of a let down after the last one, but when doesn’t this anthology disappoint. At least there’s solid art. And Modded goes by somewhat quickly. It’s easily the worst of the bunch thanks to Gillen’s writing.

Holy shit, is Gillen’s Modded a GamerGate thing? Are we supposed to hate the women for telling the sweet little dude what to do? I really hope not. I hope it’s just a dumb scene. Gillen’s writing on this story is already so lame, I’d feel even worse if he were actually trying something subtle with political commentary and just failing at it. Fine enough art from Calero as usual.

Way too short Vast from Gage and Andrade. Again, fine art, crap writing. But Gage really doesn’t have any time to do anything. It’s almost not fair to call the weak writing weak.

And then the Max Brooks thing. DiPascale’s greyscale digital art is too flat this entry. It’s a weak script with the giant ant fighting but there should have been more personality to it.

Notice I went through all the weak stories in this issue of Cinema Purgatorio first? Because the good stories are worth their own time and some due respect.

First, Garth Ennis. And Code Pru, the most disappointing thing in Cinema Purgatorio. Ennis and Raulo Caceres started it as its own thing, got to a promising place, flubbed it when they went to this anthology. It’s not a supernatural book anymore, it’s a monster comic. Maybe Ennis is doing a movie tie-in, who knows. It doesn’t come across. What does come across is good writing though and this issue’s entry of Pru has some great Ennis dialogue. It just doesn’t involve Pru or her partner. He’s not interested in them because all they do is exposition. It’s a mess but there’s still some Ennis goodness. Caceres’s art is too dark for black and white though.

Finally, Alan Moore and Kevin O’Neill doing an homage to Willis H. O’Brien and King Kong. It’s lovely and makes me wish Moore and O’Neill could do this book forever. It’s a shame the other stories in the anthology have anything to do with movies. Moore and O’Neill deserve far better co-creators. Great art on it, some wonderful writing from Moore. It has to be seen to be believed. It makes the issue–this somewhat disastrous Avatar anthology–an essential comic book. Moore’s a show-off with Purgatorio. O’Neill less but he’s still very confident, but Moore’s having a great time with reader expectation. They’re doing great work.

Cinema Purgatorio, the comic I want to be able to love–the comic I want to be able to like–and I just can’t. This issue reveals the series’s two major problems. First, the artists (with at least one exception) aren’t doing black and white well. Their art is meant to be colored at some point, not appreciated on its own. Stories in Cinema Purgatorio have what should be great art, but it ends up being incomplete. Second, the pacing. Each of these stories–even the lamest ones–would be fine as a back-up in a decent comic. Not even a great comic. They aren’t installments for an anthology, they’re back-ups. They’d justify an extra buck on the cover price. They don’t justify a comic to themselves.

Starting at the top, Moore and O’Neill’s Cinema Purgatorio “feature.” It’s good, not great, but really good. It’s a serial, the hero keeps turning back time, there’s a lot of precise work from O’Neill. It’s not deep, it’s not musing. The biggest revelation is Purgatorio’s protagonist uses the ladies room. But it’s good. If it were the intro story to a better comic, it’d be great. Still, it’s Moore and O’Neill riffing on pop culture of the forties, one can’t complain.

Then there’s Code Pru, which is the only comic in the anthology with its own story title. I don’t know why, Ennis isn’t doing anything with them. Maybe if the story title somehow tidied up the poorly paced story, but no. It’s just a title. And Code Pru once again feels like if it had another four pages it’d be great. Instead, it’s an Alien rip-off. Ennis doing riffs on famous horror isn’t a bad idea, but it needs its own book and it needs Caceres’s art with color. It’s too busy and not detailed precisely enough for black and white. It’s not even effective as gore.

On the other hand, Calero’s black and white art on Modded is fine. It’s still really tedious to read because Calero’s visual pacing is all wrong, but his black and white line work seems like line work. It’s worth going through the trouble of figuring out what’s going on to appreciate those lines. Gillen’s script is mediocre but inoffensive.

Next up–A More Perfect Union and I’m done being polite. I was polite about DiPascale because I liked his Ennis dog comic but he’s tried my patience. His art for Civil War vs. giant ants–yes, not zombies, ants–is too pedestrian. Writer Brooks is clearly a Civil War buff, if DiPascale is one too, it doesn’t seem to be in the visual elements of the era. Brooks’s script is weak. Again, if it were a back-up, you’d breeze through it. But not in an overfull, undercooked anthology.

Then there’s The Vast. I dig Andrade’s art. He does incomplete black and white better than anyone else in the book (or Caceres and DiPascale–Cinema Purgatorio always seems like there’s a sixth story, maybe because Moore and O’Neill are doing movies in a frame). Gage’s kaiju but not kaiju script is still lame. But inoffensive.

If Cinema Purgatorio were just three dollars cheaper, it’d be great; as an event anthology, it’s kind of a waste. But it’s Alan Moore and Garth Ennis, so you have to read it.