Dark Horse Presents (1986) #130

Dhp130

Wow, so Presents dropped Shane Oakley’s Stiltskin, one of the best things it’d published, before it finished? Swell.

For a replacement, we get the endless Wanted Man, from McEown. McEown is a good cartoonist, though his writing is self-indulgent and seems only to serve putting topless little cartoon girls in his story. It’s a waste of time.

Cooper’s Dan & Larry this installment expands the story’s world, which is cool. It’s not as disturbing as usual, just vaguely creepy at times. There’s still a lot of solid humor and Cooper’s art is excellent.

Murray and Gregory’s do a biography of Mary Walker, who was a Civil War surgeon. It’s okay… Gregory’s art is nearly up to par. Murray’s script concentrates on the Army’s misogyny, so it comes off poorly at times. Weak (non-factual too) ending.

Weissman’s Phineas Page is rather amusing (crossing over with the Marquis de Sade’s Justine).

Dark Horse Presents (1986) #100-2

Dhp100 2

The opening Hellboy story has, just on the surface, one major problem. Hellboy wrote Abe a letter, the text of that letter is the story’s narration. Hellboy writes letters where he sounds like an expository narrator. How uninteresting. Then it turns out the story’s actually Hellboy’s secret origin (he’s the son of a demon and a nun). Should be interesting. Isn’t. It’s not bad, it just doesn’t have any dramatic oomph.

Campbell’s got a sort of creepy, sort of not Alec story. It’s well-done if somewhat pointless.

Apparently Dark Horse thought they needed some cartoonists in Presents so they get three. Pollock’s Devil Chef is stupid (being vulgar doesn’t make a comic strip good). Neither does ripping off Ed the Happy Clown like Musgrove does in Fat Dog Mendoza. Gregory’s Bitchy Bitch art isn’t good, but the writing works.

The issue ends on a sublime, lovely note with Pope.

Dark Horse Presents 100 2 (August 1995)

35913.jpg
The opening Hellboy story has, just on the surface, one major problem. Hellboy wrote Abe a letter, the text of that letter is the story’s narration. Hellboy writes letters where he sounds like an expository narrator. How uninteresting. Then it turns out the story’s actually Hellboy’s secret origin (he’s the son of a demon and a nun). Should be interesting. Isn’t. It’s not bad, it just doesn’t have any dramatic oomph.

Campbell’s got a sort of creepy, sort of not Alec story. It’s well-done if somewhat pointless.

Apparently Dark Horse thought they needed some cartoonists in Presents so they get three. Pollock’s Devil Chef is stupid (being vulgar doesn’t make a comic strip good). Neither does ripping off Ed the Happy Clown like Musgrove does in Fat Dog Mendoza. Gregory’s Bitchy Bitch art isn’t good, but the writing works.

The issue ends on a sublime, lovely note with Pope.

CREDITS

Hellboy, The Chained Coffin; story and art by Mike Mignola; lettering by Pat Brosseau. Alec, The Snooter; story and art by Eddie Campbell. Devil Chef, The Shining; story and art by Jack Pollock. Fat Dog Mendoza, The Secret Life of Leftovers; story and art by Scott Musgrove. Bitchy Bitch, Dream On; story and art by Roberta Gregory. Yes; story and art by Paul Pope. Edited by Bob Schreck and Scott Allie.