The Flintstones 3 (November 2016)

The Flintstones #3 Wow. It’s beautiful and all, but, wow, what a downer. I mean, the whole thing is just depressing from page three, especially since Pebbles understands The Flintstones exists in a world without any value whatsoever on human life. It’s not hard to see what kind of commentary Russell is making about our modern world, gorgeous Steve Pugh art or not.

Space aliens visit Bedrock and basically destroy the place with their technology. It’s strange for a third issue because the main cast–even though they have important things to do–don’t have much to do as the main cast. Russell’s not building character relationships, he’s not developing anything. If Betty even shows up, she doesn’t have much in the way of lines. Certainly none memorable. Even Fred’s part in the story is only memorable because of how tragic it gets.

It’s kind of a heavy book. Gorgeous, but heavy. It might be too cynical, in fact. Russell’s writing is fine–I suppose the story’s a little light (it’s basically snippets of disaster)–but it’s fine. It’s just so fatalistic I don’t know why I want to read it. There’s better social commentary out there–the Fox News joke is the most obvious and the weakest–and I’m always onboard for Pugh….

But, come on, give the reader a single smile, right? PTSD group sessions don’t lead to smiles, neither does mass murder.

CREDITS

A Space Oddity; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones (2016) #2

The Flintstones 2

What a weird, wonderful comic book. Entirely unexpectedly–unless you think about Pugh being on the art and then you know at least the art will be amazing–but, otherwise, The Flintstones is a pretty unpredictable place to mine great material. Only Russell does it. There’s something very Afterlife with Archie in all these Hanna Barbera comics but Flintstones is the one where lighting is striking over and over.

Pebbles doesn’t even talk. Bam Bam doesn’t talk either, but Pebbles is in the comic a lot. Russell and Pugh give Pebbles the annoyed teen persona without ever having a scene with her. Okay, I guess I now hope Pebbles is amazing when she does get an issue. Anyway, the way Russell constructs the narrative is this almost reflected approach to adapting “The Flintstones” cartoon in the twenty-first century.

Only Russell isn’t asking deep questions, he’s asking traditional sitcom questions. He’s playing into the plotting of the original cartoon–while also employing a lot of comic book storytelling devices to get the scenes across. When the comic gets to its final, unexpectedly tender reveal, it’s a comic book moment. With a bit of a cartoon vibe. Only less “The Flintstones” than “The Simpsons.”

And the art. There’s so much for Pugh to do in this issue. Not just in terms of realistically realizing some Stone Age gadgetry, but in how he’s conveying the narrative. Pugh’s a storyteller. There’s an inherent pacing to his panels. It’s a perfect storm of timing, intent and talent, which is about the only way to explain this Flintstones book is such a dabba doo time.

The Flintstones 2 (October 2016)

The Flintstones #2 What a weird, wonderful comic book. Entirely unexpectedly–unless you think about Pugh being on the art and then you know at least the art will be amazing–but, otherwise, The Flintstones is a pretty unpredictable place to mine great material. Only Russell does it. There’s something very Afterlife with Archie in all these Hanna Barbera comics but Flintstones is the one where lighting is striking over and over.

CREDITS

Buyer Beware; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

The Flintstones (2016) #1

The Flintstones 1

So, the first issue of The Flintstones seems to be a proof on concept. Can writer Mark Russell use a grim and gritty version of “The Flintstones” socially relevant to today? Sure? Of course? Anyone could. “The Flintstones,” “The Honeymooners,” whichever. A person, their spouse, their friend, their friend’s spouse. Throw in a couple pets and a kid each and you can make just about any social commentary you want.

It’s not a high bar, which is what I think bugs me so much about The Flintstones. It’s bragging about doing a good job at something easy. Steve Pugh’s art is key, no question. It brings a level of significant quality to a rather mercenary concept. Pugh knocks it out of the park on the art. You believe in this idealized sixties version of the past, even though the frame says it’s real, which ties into the social relevancy angle. Russell has a lot of pop culture references and they’re all really, really careful.

It’s a good comic. It’s got beautiful art. But I’m not sure I like it. I’m not sure the point of The Flintstones is to like it. Beyond buying it, which is fine because Pugh’s art is glorious and Russell’s writing is fine–it’s tedious, but it’s fine. It’s worth the time and money to read it, which just seems a little light as far as ambition goes. It’s The Flintstones after all. We all want to have a yabba dabba do time.

The Flintstones 1 (September 2016)

CREDITS

A Clean Slate; writer, Mark Russell; artist, Steve Pugh; colorist, Chris Chuckry; letterer, Dave Sharpe; editors, Brittany Holzherr and Marie Javins; publisher, DC Comics.

Weird War Tales (2010) #1

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Weird War Tales features something I never wanted to see… weak Darwyn Cooke.

His story is idiotic—famous war figures have a party—and his artwork is barely there. It’s a bunch of skeletons and stuff, so maybe it’s the subject, but it’s all so incredibly lame I couldn’t believe it was really Cooke. It’s not even amusing. I can’t figure out why he bothered. Oh, money.

The next story—from Ivan Brandon and Nic Klein—has good art from Klein and terrible writing from Brandon. It’s a sub story. Brandon’s dialogue is weak and his plot is worse. But that art’s quiet good.

For a finale, it’s Jan Strnad and Gabriel Hardman. The story is kind of weak, but Strnad can write the dialogue so it all moves through all right. The Hardman artwork is absolutely fantastic. This one nearly makes the issue worth a look, but not quite.

Hotwire: Deep Cut (2010) #3

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But first, I want to talk about the art a little.

Pugh has some really stunning panels this issue, even better than usual. There’s a lot of action and it’s all very well executed, but there are these occasional, amazing panels. It’s like he knew he didn’t have enough space and used particular panels to slow down the reader’s pace.

Because he doesn’t have enough space, Pugh does something rather annoying. He changes the point of view towards the end of the issue. Alice starts narrating about six pages from the end. It’s understandable why he does it (as the issue progresses, it becomes increasingly clear he needed either another issue or another ten pages) and it’s a solution. It’s not a particularly good one.

Luckily, Alice is such a strong character it’d be hard to go wrong; Pugh doesn’t.

It’s cramped, but lovely.

Dark Horse Presents (1986) #49

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Geier’s art on the Homicide installment is pretty weak, but Arcudi actually comes up with an interesting case. It is, of course, unfortunate then Arcudi relies on the art for the final panel. I had to read the page three times, staring at it, before I noticed the big reveal. It’s also too bad about Arcudi’s lame dialogue.

Edginton writes a regular Downtown here. The holiday special was a lot better. It turns out the protagonist is a zombie private detective and he has all sorts of wacky adventures. The Pugh art is excellent at times, only good at others… but it can’t overcome the script. Too bad, I was looking forward to this one.

Harlequin, on the other hand, reveals itself to be completely excellent here. Csutoras makes excellent use of asides as he sets up this offbeat road trip. Gaudiano paces it well. It’s a very pleasant surprise.

Dark Horse Presents 49 (March 1991)

CREDITS

Homicide, Restless Sleep; story by John Arcudi; art by Earl Geier. Downtown; story by Ian Edginton; inks by Steve Pugh. Harlequin, Act II; story by Stephen Csutoras; art by Stefano Gaudiano. Edited by Randy Stradley.

Dark Horse Presents (1986) #48

Dhp48

Between Gaudiano and Pugh, this issue is just an art feast.

Csutoras’s writing on the Gaudiano story, Harlequin, is decent, concerning a European living in the States, his loony acquaintances and some intrigue. Gaudiano makes the protagonist’s monologues atmospheric and the regular action somewhat continental in feel. The narrative is intentionally confusing, which may get annoying. But for now, it’s a very solid entry.

Pugh and Edginton do Downtown, which is seemingly a British reprint. It’s hard to gauge as a series, since it’s not the first installment. It’s deals a little with the fourth wall and is very funny. They open with a Santa and his gangster reindeer and it just gets stranger from then on.

Arcudi’s Homicide is back, with Geier on art. It’s bad. Arcudi’s villain is an disfigured, abused child grown up since it makes for an easy bad guy.

Plus a nice Geary one pager.