Dark Horse Presents (1986) #129

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Wow, Kelley Jones likes the phallic symbols doesn’t he? The character’s called The Hammer, but it doesn’t look like a hammer on his head… Anyway, it’s fine. Nice artwork, some decent scenes. The ending flops though.

Stilkskin continues, this issue turning its dwarf protagonist into a porn star. It’s a change from Oakley, who didn’t have a lot of events in the previous two installments, but somehow he makes it work great. Being in the city (set in the late seventies, which leads to some anachronisms) works great for the series. Gives Oakley a lot more to draw. Once again, fantastic.

Then there’s Cooper’s Dan & Larry and it’s slightly less disturbing than last time, but still incredibly strange. Cooper actually doesn’t take it over the edge, which he could have. It’s good… even with a weak last page.

Mahfood’s Zombie Kid is pop culture blather pretending to be a strip.

Dark Horse Presents (1986) #128

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Wow. Dave Cooper’s Dan & Larry might be the most horrifying thing I’ve ever read. Cooper is creating this psychotic, awful version of the standard cartoon buddies. One’s a duck, the other’s a… something or other. And he does awful, awful things. Great art, amazing ideas… it’s awful and strange and wonderful.

Metalfer is a bit better this installment. Manoukian and Roucher spend their pages doing an action scene. The art carries the story and it even gets amusing towards the end. I wish every installment were this good.

Oakley outdoes himself on Stiltskin (once again). This installment covers some more of his protagonist’s formative years. Oakley’s does a lot with just the narration and the story really affects the reader. His art, like before, is solid, good work… but it’s his writing where he’s phenomenal. An excellent installment.

Weissman’s Phineas Page one page strip is great as usual; very funny.

Dark Horse Presents (1986) #127

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The issue opens with Brereton’s finish for The Nocturnals. It’s charming and light, which is totally at odds with the visuals. I guess if I’d known more about it, I would have had an idea where it might go. Some great art.

Metalfer does not get any better this issue—Manoukian and Roucher somehow make their protagonist unlikable, even when he’s being unjustly pursued. But the art is excellent, especially here, where they’re setting big action sequences in a future city.

Then there’s Oakley’s Stiltskin, which reminds a little too much of A Prayer for Owen Meany for it to be original, but it’s still a rather good story. Oakley’s a fine artist, but his writing—especially his first-person narration from the titular character, a dwarf growing up in the sixties—makes the whole thing work beautifully.

A mildly amusing one page Blue Monday from Clugston closes the issue.

Dark Horse Presents (1986) #99

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Campbell finishes Doreen Grey here and it’s an awkward installment. It’s almost like he would have been better not resolving things. He’s got a lot of expositional dialogue here from the Eyeball Kid and it really just doesn’t work. It’s maybe his least successful Presents entry and story (the story gradually getting weaker over time).

Delano and Oakley have a weird, very long supernatural story. It’s convoluted and Delano doesn’t have an ending, even though it initially starts really strong. Oakley tries a lot of stylish stuff, but he never really just sits down and draws a compelling page.

Kabuki Kid finishes here too. Instead of going for humor, Rennie and Langridge go for one joke (the duo unknowingly interrupt a movie shoot) and a lot of action. I didn’t realize the sidekick was female.

Pekar’s one page piece, illustrated by Sacco, is kind of pointless. I mean, who cares?

Dark Horse Presents 99 (June 1995)

Pekar’s one page piece, illustrated by Sacco, is kind of pointless. I mean, who cares?

CREDITS

The Crack; story by Jamie Delano; art by Shane Oakley; lettering by J. Robbins. Kabuki Kid, Part Four, Movie Madness!; story by Gordon Rennie; art by Roger Langridge; edited by Greg Vest. The Eyeball Kid, The Picture of Doreen Gray, Part Five; story and art by Eddie Campbell. My Mentor; story by Harvey Pekar; art and lettering by Joe Sacco. Edited by Bob Schreck and Scott Allie.