While Jimmy’s Bastards is only on the third issue, it certainly feels established. Ennis is working on the banter between Jimmy and Nancy–during a shootout–and it seems like it’s going to be Nancy who figures out the plot. Jimmy’s a little too dense for it. Ennis is falling into some familiar characterizations for the villains and his attempts at being anti-politically correct are word balloon fodder, but Bastards is still moving well enough not to trip. Having Braun on the art helps.
While Jimmy’s Bastards is only on the third issue, it certainly feels established. Ennis is working on the banter between Jimmy and Nancy–during a shootout–and it seems like it’s going to be Nancy who figures out the plot. Jimmy’s a little too dense for it. Ennis is falling into some familiar characterizations for the villains and his attempts at being anti-politically correct are word balloon fodder, but Bastards is still moving well enough not to trip. Having Braun on the art helps.
CREDITS
Some Animals Are More Equal Than others; writer, Garth Ennis; artist, Russ Braun; colorist, John Kalisz; letterer, Rob Steen; editor, Mike Marts; publisher, AfterShock Comics.
Ennis retreds more familiar territory this issue–Jimmy’s Bastards really does feel like all his most successful elements set into a new, gimmick-y book, but it sure does work. Especially here. There’s a lot of banter between Jimmy and his female partner and some nice foreground and background humor. Braun’s art is fantastic–the issue opens with a helicopter assault on a golf game, then moves on to investigation and conspiracy. And Idi Amin as a cameo. Because Ennis. It’s perfectly solid, accessible Ennis. This issue’s success suggests he might even be able to keep it going for the whole series.
Ennis retreds more familiar territory this issue–Jimmy’s Bastards really does feel like all his most successful elements set into a new, gimmick-y book, but it sure does work. Especially here. There’s a lot of banter between Jimmy and his female partner and some nice foreground and background humor. Braun’s art is fantastic–the issue opens with a helicopter assault on a golf game, then moves on to investigation and conspiracy. And Idi Amin as a cameo. Because Ennis. It’s perfectly solid, accessible Ennis. This issue’s success suggests he might even be able to keep it going for the whole series.
CREDITS
Ninety-Nine Percent; writer, Garth Ennis; artist, Russ Braun; colorist, John Kalisz; letterer, Rob Steen; editor, Mike Marts; publisher, AfterShock Comics.
What if James Bond had a bunch of bastard children out to destroy him (and, presumably, Mother England)? That concept is the hook for Jimmy’s Bastards, which has got to be some of Garth Ennis’s most accessible work in years. Sure, it’s frequently risque, but it’s still an accessible risque. It’s all for laughs so far. Are they great laughs? Not really. Mostly smiles, the occasional eye-roll actually–Ennis takes some way too easy shots at "safe spaces," for instance–but it’s got gorgeous Russ Braun art. Braun handles the action, the hi-tech, the London setting, and the goofy villains beautifully.
What if James Bond had a bunch of bastard children out to destroy him (and, presumably, Mother England)? That concept is the hook for Jimmy’s Bastards, which has got to be some of Garth Ennis’s most accessible work in years. Sure, it’s frequently risque, but it’s still an accessible risque. It’s all for laughs so far. Are they great laughs? Not really. Mostly smiles, the occasional eye-roll actually–Ennis takes some way too easy shots at "safe spaces," for instance–but it’s got gorgeous Russ Braun art. Braun handles the action, the hi-tech, the London setting, and the goofy villains beautifully.
CREDITS
Get Daddy; writer, Garth Ennis; artist, Russ Braun; colorist, John Kalisz; letterer, Rob Steen; editor, Mike Marts; publisher, AfterShock Comics.
So light. It’s so light. And it’s a sequel to War Is Hell, which I’ve read at least twice and I can’t remember any of it. Not even when there’s a flashback–got to love the Marvel Ennis-verse.
But, even though it’s light, it’s really funny. Ennis is able to run with a joke until it’s funny. He doesn’t wear the reader down by relentlessly hammering it in, he just molds the joke until it’s ready. There’s a maturity to the humor. Even if the joke isn’t particularly high brow.
This issue wraps up the Phantom Eagle’s adventures in the Savage Land. Does it have anything to do with Secret Wars? No. In fact, it’s just Phantom Eagle in the Savage Land. And the Savage Land part isn’t even particularly important. Ennis and Braun show they can get an issue out of almost any material and they do. It’s good material, sure, but it’s not the most compelling. Most of it is a narrated flashback.
Where Monsters Dwell probably reads better in a sitting, just for how Ennis paces out the jokes. But well done, disposable, excellent amusement.
It’s not deep, it’s not in good taste, it has nothing to do with Marvel Comics, it has nothing to do with Secret Wars, but it’s funny. Where Monsters Dwell is funny. Ennis has a good time–not a great time, because he’s clearly just spinning his wheels to make some smoke and not actually trying anything–and Braun’s art is excellent. Amazons, pygmies, giant sharks, dinosaurs–is Disney aware of this title?
Maybe the only reason Marvel brought Ennis on for Secret Wars was to show they still had some autonomy.
But Monsters Dwell is, four issues in, something of a strange book. The protagonist is a complete jackass, which is Ennis’s point of the character. Only, he’s the protagonist. The comic follows him around, being a jackass. Ennis doesn’t spend any real time with the female lead. She’s joined the Amazons and is off panel most issue.
Seeing how Ennis handles the battle–there’s a battle–one does wish he’d have taken it a little more seriously. I’m sure he would’ve had some great details for the prehistoric warfare.
Instead, it’s just fun.
So light. It’s so light. And it’s a sequel to War Is Hell, which I’ve read at least twice and I can’t remember any of it. Not even when there’s a flashback–got to love the Marvel Ennis-verse.
But, even though it’s light, it’s really funny. Ennis is able to run with a joke until it’s funny. He doesn’t wear the reader down by relentlessly hammering it in, he just molds the joke until it’s ready. There’s a maturity to the humor. Even if the joke isn’t particularly high brow.
This issue wraps up the Phantom Eagle’s adventures in the Savage Land. Does it have anything to do with Secret Wars? No. In fact, it’s just Phantom Eagle in the Savage Land. And the Savage Land part isn’t even particularly important. Ennis and Braun show they can get an issue out of almost any material and they do. It’s good material, sure, but it’s not the most compelling. Most of it is a narrated flashback.
Where Monsters Dwell probably reads better in a sitting, just for how Ennis paces out the jokes. But well done, disposable, excellent amusement.
CREDITS
What Comes of Empire-Building; writer, Garth Ennis; artist, Russ Braun; colorist, Dono Sanchez Almara; letterer, Rob Steen; editors, Jake Thomas and Nick Lowe; publisher, Marvel Comics.
It’s not deep, it’s not in good taste, it has nothing to do with Marvel Comics, it has nothing to do with Secret Wars, but it’s funny. Where Monsters Dwell is funny. Ennis has a good time–not a great time, because he’s clearly just spinning his wheels to make some smoke and not actually trying anything–and Braun’s art is excellent. Amazons, pygmies, giant sharks, dinosaurs–is Disney aware of this title?
Maybe the only reason Marvel brought Ennis on for Secret Wars was to show they still had some autonomy.
But Monsters Dwell is, four issues in, something of a strange book. The protagonist is a complete jackass, which is Ennis’s point of the character. Only, he’s the protagonist. The comic follows him around, being a jackass. Ennis doesn’t spend any real time with the female lead. She’s joined the Amazons and is off panel most issue.
Seeing how Ennis handles the battle–there’s a battle–one does wish he’d have taken it a little more seriously. I’m sure he would’ve had some great details for the prehistoric warfare.
Instead, it’s just fun.
CREDITS
See, the Conqu’ring Hero Comes; writer, Garth Ennis; artist, Russ Braun; colorist, Dono Sanchez Almara; letterer, Rob Steen; editors, Jake Thomas and Nick Lowe; publisher, Marvel Comics.