Story: Jemas / Watson
Art: Olliffe / Livesay / Brown
back and forth
with every issue of this series so far, but with this latest
issue I'm forced to face the fact that it's been the art that's
kept me hooked until now.
team that takes over this time around does panel composition
that moves, but I'll take the previous static tableau
style over #7's competent but lifeless approach any day. The
first six issues art, full of curves and bright light
and saturated colors, not only ideally suited the marine geographical
setting but also the early-20th-century chronological setting.
it looked distinctive, inviting, and attractive.
look isn't horrible, but its nothing special.
The Atlanteans look really different and are harder to tell
apart now. The humans are more detailed but somehow less sympathetic
just in the way they're drawn. Everyone looks pretty stiff
and kind of dingy. Even the water is drab, and not just around
the oil well.
As a result
I can't tell whether Im just terminally bored by this
issue because of its content, or if I've been cutting the
series a lot of slack all along because I was so into its
look. I can say that it's structured just like the last few:
the humans chat about money on dry land, then dive down and
parley with the Atlanteans, meeting varying degrees of welcome.
even tell that this was the start of a new story arc; seven
issues in we should be seeing more drama than this. Im
going to stop subscribing for a while and just peek at the
next few issues. Wake me up if anything happens.
Story: Brian Azzarello
Art: Eduardo Risso
never been a big fan of comics with high testosterone levels.
It took me a long time to warm to Wolverine as a character,
and I even had trouble getting into Preacher because
of the what it means to be a
man content. So when I first encountered Brian Azzarellos
writing in Hellblazer, I was initially skeptical, because
Azzarello appears to write about nothing but men.
read some of it and realized that he isnt writing about
men but males, and this makes all the difference. Capital-M
Men are a cultural ideal. Lowercase-m males are a sociological
fact, and theyre infinitely more diverse and interesting
because theyre real.
know how real the males in 100 Bullets are, and since
theyre all usually lowlifes of some variety, theyre
not super diverse, but they are interesting. The four introduced
in this issue, part 1 of a new story arc, are not the sharpest
needles in the haystack (contrast with the previous story
arc, the clash of some of the most cunning minds and deadly
bodies in the penitentiary).
a loopy smack addict with a Boston accent; his cousin, the
trailer-dwelling proprietor of a dubious wild animal
park; an enterprising state trooper; and a hulking brooding
tough packing the hundred bullets this time around. We have
just enough time to get to know our quartet and establish
the setting before the hulk decides to get up close and personal
with one of the parks wild animals. Its either
incredibly stupid, or its the central theme of this
story arc. Or both.
is terrific as usual, tight and believable and pitch-perfect,
funny and dramatic in all the right places. Rissos art
is great too, shadowy and expressive and full of character.
comes together so well and with such assurance that I dont
even care where its going. Yet.