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PREVIEWS REVIEW:
JULY 2002
For those of you just joining us, this column is meant to act as a guide to Diamond Comics Distributors' PREVIEWS magazine, and is meant to be read along with the magazine (you can find an online text version here, and Westfield Comics' graphical version here). Each month, every comic shop in North America orders their comics books out of PREVIEWS. It's important to note that they're usually ordering about three months ahead of time which is why the May PREVIEWS is for items shipping in July. Unfortunately, due to personal preferences and the sheer volume of comics in the catalogue, some of the best and most interesting comics out there simply aren't ordered for the shelf. Our job is to point out these great books to you, and we encourage you to write down the title, page number, and order code of books that you're interested in, and provide that information to your local shop owner. While there are many great comic stores out there, I don't think any of them are mind readers so it's important to let them know what you want ahead of time. This month, we're running the column over two successive weeks in two parts, simply due to the volume of great books that are being offered. This week, you can read all about the great 'independent' books that are coming your way in July. Next week, look for the offerings from Dark Horse, DC, Image, and Marvel. With that out of
the way, flip your PREVIEWS all the way to the book section, Page 376, and let's
start the review! 
Chris: I had the distinct pleasure of getting to hear Gaiman give a reading for this title at the San Diego Comic Convention in 1999. Since he uttered the last word of his expertly, hauntingly spoken preview, I've waited for this book. It's been a difficult three years. In all seriousness though, this is a brilliant story, hearkening back to the time when scary bed time stories for children were genuinely frightening. Written for his young daughter, CORALINE is dark and creepy and quite excellent. The description of the sewn-on buttons for eyes alone left be feeling vaguely unsettled for weeks… James: I've never really been a fan of Gaiman's prose but I am looking forward to seeing new work from McKean beyond his covers for recent SANDMAN spin-offs. Who knows? Maybe the collaboration will help me see Gaiman's non-comic work in a new light. Chris: Actually, I should point out that this version comes in a regular, relatively inexpensive version, as well as a great big honking 'pretty' version that would be incredibly tempting if it were'nt for the fact that it apperantly has a 'Previews Exclusive' Logo stamped on it somewhere, and quite possibly in foil. At any rate, I didn't really mention my love for Dave McKean, so let me do so now: I love Dave McKean. I love him more in hardcover too, which makes this an essential purchase.
By Junko Mizuno $15.95, Full Colour, 120 Pages, page 350, VIZ, MAY02 2369 PULP V6 #8 By Various $5.95, B&W, 108 pages, Page 346, VIZ, MAY02 2343 Chris: It's a sad day in Muddville, for mighty PULP has struck out. This month marks the final issue of PULP magazine, and I'm really rather saddened about that. PULP is (was) my favorite monthly read, a diverse mix of horror, comedy, sex and action manga, not to mention some of the most interesting and insightful articles on Japanese culture that I've ever read. It's disappearance is going to leave comics that much poorer, that much less diverse. James: But while PULP may be disappearing, Alvin Lu and his crew are still going to be bringing us great manga in the form of new trade paperbacks. The first of such books is CINDERALLA by Junko Mizuno. Think POWERPUFF GIRLS written by John Carpenter. Mizuno takes an adorable drawing style and uses it to illustrate disturbing little tales. This truly twisted material has been my favorite PULP feature since its debut over a year ago and this new collection that brings all of my favorite stories together in full color has me totally jazzed. Chris: I guess you're right, it's more important to focus on the positives. Like new collections of SHORT CUTS, EVEN A MONKEY CAN DRAW MANGA, UZUMAKI, DANCE TIL TOMMOROW, and BANANA FISH before the end of the year. And let's not forget that this month also sees the final collection of BAKUNE YOUNG. And Alvin has stated that there will be future Pulp-style Original Graphic Novels coming out from Viz as well, so while I really am sorry to see this magazine go, I'm happy to hear that the style and attitude of the material it contained will carry forward. James: And who knows? Maybe we'll see more books like TOKYOSCOPE and JAPAN EDGE to fill the gap left by PULP's cultural commentary. Chris: Or maybe a new Japanese culture magazine? Stranger things have happened... [Note: Previews incorrectly lists CINDERALLA as being in black and white, when it is a full-colour original graphic novel, which has been re-worked and re-coloured by the artist.]
Chris: No, this isn't a completely new series of manga, although I gotta say that I find the re-numbering a little duplicitous. In any event, this is actually CARDCAPTOR SAKURA VOL. 7. Following the events of the last collection where Sakura gathers all the cards and tames everyone and whatnot, the series kicks into it's next 'season' with a much larger foe and new powers and it seems Tokyopop took this opportunity to re-launch with a new first issue. Cardcaptor Sakura follows a pretty standard girl's comic formula, true, but it's engaging and extremely well-drawn and I'm just a big fucking girl when it comes to these books. It'll sit nicely with the first six trades. James: I find a lot of the manga numbering confusing anyway and really wish there was some way to show that this was a good jumping on point without starting over. Aw well. It's still another solid dose of CLAMP goodness, speaking of which...
James: For those who are unfamiliar, CLAMP is a Japanese studio made up entirely of female artists responsible for the monster hit CARDCAPTOR SAKURA as well as several other shoujo or "girls' manga" titles. One such title is WISH, the story of an angel who is saved by a mortal and who must now grant said mortal a single wish. The problem is her savior, Shuichiro, can't think of anything he wants that he couldn't get himself. The angel Amber can't leave his side until he gives in so she moves in. But what's a doctor supposed to do when his angel roommate starts drawing demons and archangels into his home? Needless to say, hilarity ensues. Chris: That actually sounds a lot like the premise for "OH MY GODDESS which actually sounds a lot like the premise for several dozen other shojou manga. The difference being that CLAMP draw real pretty-like. That, and studmiffin and 'big girl' Jamie S. Rich is adapting this work into English. On the manga scale, I'm much more interested in CARDCAPTOR SAKURA and GTO. On the fun scale though, seeing Jamie translate this will crank it to 11 and make it too good to pass up.
Chris: Following up last month's recommendation of J. Torres and Takeshi Miyazawa's SIDEKICKS TPB, we have a new one-shot from that top team, that perfect partnership, those subjects of alliteration, that is sure to surpass even the loftiest expectations. Well, actually, that's mostly just hyperbole (could you tell?), as I haven't read this story yet. Luckily, my partner here has. James: It's great! J. and Tak have a real chemistry that shines on every page. SIDEKICKS is the perfect "gateway" book for readers trying to expand their horizons beyond the superhero mainstream and this one-shot will hook those new readers while giving existing SIDEKICKS fans another dose of superpowered fun! Chris: I wouldn't let the fact that, at it's core, this book has characters with super-powers bias you against it if you're into more "grounded" fare; the costumes and powers are incidental to what is a very well-told series of stories about growing up and fitting in in a school environment. That and Takeshi's artwork is also a perfect 'gateway' between traditional North American comic books and traditional 'manga style' art. It really is a package with a nice balance of style and story, and if you weren't convinced to pick it up from the recent trade paperback, hopefully this low-priced stand-alone introductary issue will be more to your tastes. James: Right, these kids really do have more in common with the teens of BLUE MONDAY than they do with the characters in YOUNG JUSTICE. Chris: Thank God.
Chris: Returning for it's third year in a row, the ONI COLOR SPECIAL (and I think that's missing a 'u' in there somewhere) is Oni's annual pot pourri of top-notch comics from both regular oni contributors as well as folks with work to come from the Big "O". Er… right. Anyhow, this year looks to have a spectacular line-up of work in it. I think that One Plus One, Deep Sleeper, and Warren Ellis' The Operation are going to be the big hits of the book, but personally there's not one story in here that I'm not looking forward to. As difficult as topping your previous efforts with Color Specials may be, I think you guys may have outdone yourselves with this book. James: Interior pages have already started rolling in from the ONE PLUS ONE guys, Warren & Phil, Sabina & Rolston, and Gail & J. Bone and they all look fabulous. It's a great cross-section of Oni stable and a great example of what an anthology can be. Chris: I do have two complaints though. The first, is that I want to re-lodge my complaint at the book not being called the ONI SUPER COLOUR FUN SPECTACULAR again this year. That's a much better name. Secondly, and more seriously, I would really like to have seen the Mike Allred cover in the solicitation, or maybe some interior art. The character sketches are nice, but some people really need to be sold on a project. James: Ideally, yeah, but I think the character sketches really help convey just how varied the talents in this book are. Chris: Are you sure you don't want to mention that most of the creators have work at onipress.com in the comics section? James: Why, yes, Chris, you're right! Most of the creators featured in this year's COLOR SPECIAL do have full-color work on display at http://www.onipress.com/sundaycomics ! Chris: And that's one to grow on!
Chris: I don't actually know almost anything about this book, save for the fact that it's got quite a few big names attached to it. From what I can discern from the solicitation text, it appears to be a sort of "Modern Pulp Treasury", if I can coin that term. Stories of jungle-lords, spacemen, pulp superheroes, and savage barbarians, with a rather impressive line up of artists like Tom Fowler, Phil Hester, Mick Gray, Mike Mignola, Mike Allred, Kevin Knowlan, Steve Purcell and more. I'm not entirely sure what everyone's illustrating, or if it's just the cover art, but the whole project has me intrigued enough that I think I'm going to try out a copy. James: I'm pretty sure those are just the cover artists, but that's still an impressive line-up.
"She's damaged goods, a poor white girl expelled from the orphanage and making her way on the streets. He's a black pimp with an uncertain past, trying to keep one foot out of the grave. Together, THEY COMMIT CRIMES! " Chris: No, I'm being serious. That's really what this book is about, and about %90 of the above was lifted directly from the solicitation text. I have to say, it's the most audacious solicitation I've read in recent memory, and the art and production values are sure to be high (this is a Humanoids book, after all). Along with the repeated promise of "Dark and Violent" content, this just might be worth reading. James: I'm anticipating MISS quite a bit. Most of the genre output of Humanoids really isn't up my alley, but this book looks fabulous. I'm definitely looking out for this one.
James: Amy Racecar is one tough lady. She's robbed banks, evaded law enforcement, and even blown up the planet. In short, she's the most infamous gangster in the history of humankind. Dave Lapham is one helluva of creator. He's redefined crime comics for a new generation of fans, changed the way people approach serial fiction in comics, and now he's collecting some of his most surreal work in a single volume. AMY RACECAR is to crime comics what ATOMIC CITY TALES is to superheroes-- an absurd, take-no-prisoners approach to one of the staple genres of sequential art. Chris: I think the thing I like best about the AMY RACECAR stories is their propensity to simply spiral further and further out of control, becoming more ridiculous and more charming the further it goes. It's almost like a nihlist Warner Brothers cartoon, but with disconcertingly realistic artwork (not to mention Lapham's trademark cinema pacing). Top notch. Chris: Following the trend started by Shanon Wheeler's recent move from comic book to magazine format with TOO MUCH COFFEE MAN, Eddie Campbell provides us with his 'single-creator anthology', EGOMANIA. Part comics (including a brand new Alec serialization), interviews, articles, and art history, all with that unique Eddie Campbell tinge. If you're a fan of his work and interested in the views he expresses through ALEC, you'll probably greatly enjoy this magazine. And if you're not familiar with Campbell's work, well now you really have no excuse not to get aquainted, do you? James: I'm ashamed to say that I was a latecomer to Campbell's work. It really wasn't until I read FROM HELL that I truly came to appreciate his talent. Campbell is such a multifaceted creator. I really can't wait to see this magazine and the diverse material it's sure to contain. Chris: Yeah, I'm a latecomer too. While I still can't manage to get into FROM HELL, his ALEX and BACCHUS stories have been really engaging reads, and it seems the magazine is going to follow in the ALEC footsteps. Should be a lot of fun. James: FROM HELL isn't an easy read but it's really worth the effort. You really should give it another try. Chris: Oh, I know. it mocks me, it's the only trade paperback on my shelf that i haven't read. I'll get into it. Eventually. James: Heh. Anyway, like FROM HELL, Eddie Campbell's solo stuff is also not necessarily "easy" but it's an insightful and personal work worth your attention.
By Adrian Tomie $24.95, B&W, 132 page HC, Page 270, Drawn & Quarterly, MAY02 1982 SUMMER BLONDE POSTER $8.95, Colour, 18" x 24", smooth satin stock finish. James: Adrian Tomine is an enigma to me. When he started out with the short stories that appeared in early issues of OPTIC NERVE I longed for him to tackle something more substantial. Then he slowly transitioned to longer, deeper stories and I started to miss the quick, emotional punch in the face I got from his short-form work. No matter what he does, I never quite feel like the work lives up to Tomine's potential. I'm not sure what it'll take for me to be satisified with his work. Maybe it'll be this collection of 4 longer but unrelated stories. I'm hoping the work will take on a new life for me when placed together. Chris: I think, for me, part of the charm of Adrian Tomine's work is that even at the best of times it feels unfinished. That might just be one of the surest indicators of quality. Tomine seeks to capture in his meticulous details, the day to day grind that makes up life. Generally, life doesn't come to any neat conclusions, there aren't always morals to be learned, and Adrian's work reminds me of that. It doesn't conclude so much as take a little rest at the end of each chapter, and that seems about right to me. James: I think that's kind of a cop out though. I know things don't always wrap up nicely in life, but stories are not life. Tomine's work feels underdeveloped, premature. Like it needs another few weeks in the incubator before it's let out into the world. Tomine is definitely talented I just want something that from him that feels whole. Chris: I think it really comes down to aesthetic differences then. Because as far as I'm concerned, I think the stories feel emotionally whole and complete. Maybe the narrative is stunted, but again I see that as a stylistic choice that's used to similar successful effect in foreign cinema. Does the story revolve? Yes, I think it does. Is it a concrete resolution? No, and I think the stories would be much weaker if it was. Maybe we'll both just wait for the collection before making that decision though? James: Maybe… Chris: Is that all you have to say? James: You know, I don't think this conversation has reached a satisfying conclusion but it's time to move on. ;-) Chris: Well, even if we can't come to terms on the story, I think we both agree hist art is fantastic, and so at the least you can avail yourself of the excellent poster.
By Various 8x $2.95, B&W, 32 page books on page 264. Chris: Geez. I've tried really hard not to bring up something in the previews review just to rag on it, but the colossal mistake that is Curtis Comics's new line just kills me. This month, a brand new company with no in-Previews marketing support is launching eight brand new titles, all of which are translated Korean books (man-wha), all of which have terrible covers, and all of which are 32 page books for $2.95. How many things are wrong with this picture? Too many books to launch with, no marketing, no graphic design skills, no familiar titles, and they're single-issues when the majority of manga publishers are moving firmly towards graphic novel publishing. It's depressing to see them doing so much wrong, when it looks like they're making a concerted effort to release a diverse slate of books. EXTREME seems to be a slice-of-life book about inline skating with nice looking artwork, PSI looks to have some very nice artwork and a fairly creepy horror bent, and MOON sounds like a crackhead interpretation of SAILOR MOON which sounds like a lot of fun. I hope these books last long enough to get collected, and I hope the company learns from their mistakes fairly quickly. With even the largest companies feeling the occasional cash crunch, a brand new one (unless they're startlingly well-funded) is going to have an incredibly rough go of it. James: I have to agree. This launch makes absolutely no sense. The direct market is not the primary audience for this material. Putting so much material out there in a form that won't be carried in book stores is like launching a group of independent films in Osceola, Iowa--the people who care won't see it and the people who'll see it simply won't care. Chris: Asuming that retailers, already grumbling quite heavily about dropping manga 'singles' entirely and waiting to sell only the trade paperbacks, even order these books. I have a sneaking suspiscion that most of them will give it a pass. Oh well. Maybe I'll pre-order the MOON one, it sounds wonderfully stupid (3 baby girls born on the moon grow up and fight to the death over who gets to be queen of the moon! Rock!)
Chris: Far and away the best title that Crossgen publishes, July sees the release of the first RUSE trade paperback. Part gothic fantasy, part Sherlock Holmes, and unfortunately part 'typical' CrossGen, RUSE is an amusing, layered story with gorgeous art and spectacular colours. Simon Archard, the world's greatest detective, and his assistant, excuse me, Partner, have to solve the mystery of the beautiful temptress, come to town. But what if Simon's much vaunted logic encounters something not only improbable, but impossible? Who will solve the puzzle then? James: I don't know whether I'm just turned off by all the sigil stuff or if it's their unapologetic reliance on genre but I just can't get interested in anything CrossGen has offered, even when it sports talent like Mark Waid and Laura DePuy. Still, if you're into this sort of thing, this promises to be the best of what CrossGen has out there.
Chris: Available all in the same month, James Owen's STARCHILD collections volumes 3-6 make a much-delayed appearance. STARCHILD, I believe, is the story of a land where stories are outlawed. I haven't really read that much of it to be completely honest, but I've heard a number of wonderful things. Considering the four new volumes, as well as the two previous volumes are solicited here this month, it does make it a good point to jump on board. James: It would seem so. Like you, I've never really sampled Owen's work but this looks like an excellent opportunity to give it a shot. Chris: I just find it unfortunate that Owen released the four newest books at the same time, it's gonna make it hell on retailers to stock shelf copies. I guess the moral is if you're interested, pre-order!
James: Andi Watson is the reason I work in comics. No hyperbole. His work is what led me to Oni and set me on the path I'm still walking down today. Andi has the depth of a Seth or a Jason Lutes but is more prolific than those two combined. He uses simple lines to reveal complex characters that live and breath in the same world we do. SLOW NEWS DAY is the tale of one such character. Katharine Washington is a US reporter working for the the Wheatstone Mercury, the newspaper of a small British town. But is the Mercury ready for an American reporter and is Katharine prepared for the office politics, budgetary concerns, lost hamsters of a small paper headed for extinction? Chris: Having read the first issue, no, no she's not. It's funny, Andi Watson's stories seem to be exactly why you can't seem to appreciate the work of Adrian Tomine. His stories, in description, sound so straightforward, almost simple. But as you said there's a depth to those stories that rivals his more celebrated contemporaries, and his books do tend to come to a fairly concrete resolution. I think that really, Andi Watson is just an incredibly gifted storyteller, and I mean that in the old wandering-town-to-town-telling-stories-for-supper kind of way. Tomine is much more furvitive, and unsteady. Needless to say, they're both brilliant artists and writers, and any chance at a collection of their work is one you should take. James: Agreed.
Chris: And the prize for the best illustrated comic in the entire catalogue goes to… Jose Ladronn for his stunning work on HIP FLASK. Who knew that the origin story of a private detective hippopotamus was so ripe for exploration? Apperantly Richard Starkings. He's been trying to get the project made for quite a while now, and looking at this art I'm glad he had the tenacity that he did. The cover, the interiors, all of it is breathtaking. Ladronn is literally doing the best work of his entire career on this book, and it's almost saddening to know that we'll only get 30-odd pages of it in this book. Suffice to say, you need to buy this one. James: What's even more depressing is that it's HIP FLASK. I mean, why can't we get something new from Casey and Ladron? I know this is going to be beautiful but Hip Flask is a character created to sell fonts. This is roughly the equivalent of a Aaron Sorkin doing a TV show starring Tony the Tiger from Frosted Flakes. Impressive talent on a concept I couldn't give a rat's ass about. Chris: Ah ah ah! It's Aaron Sorkin and John Krikfalusi doing Tony the Tiger, and dammit you _know_ you would watch that you shameless bastard. But yes, it's really upsetting that it's Hip Flask, but hey, pretty pretty art. That's all I, personally, need to know.
Click Here for the next page, including solicitations from Marvel, Image, DC, and Dark Horse. |
NEIL
GAIMAN'S CORALINE
CARDCAPTOR
SAKURA: PASSAGES VOL. 1 GN
WISH
VOLUME 1
SIDEKICKS:
THE SUBSTITUTE #1
ONI
PRESS COLOUR SPECIAL 2002
PAPER
MUSEUM #1
MISS:
BETTER LIVING THROUGH CRIME GN
AMY
RACECAR VOLUME 1 TP
EGOMANIA
MAGAZINE #1
RUSE
VOLUME 1: ENTER THE DETECTIVE TP
ESSENTIAL
STARCHILD VOL. 3-6
SLOW
NEWS DAY TP
HIP
FLASK: UNNATURAL SELECTION
