I have a hard time telling if I’m supposed to take this seriously. I mean, the volume subtitle is “Fourgy,” and there’s a food truck, apparently a franchised operation, called “Wide Wiener,” with a humorously double-entendre theme song. But it also has a melodramatic comic-book plot, and a more kitchen-sinkly dramatic human story.

So I suspect it’s meant to be just barely serious enough, so that creators Matt Fraction and Chip Zdarsky can continue to make silly sex jokes to their hearts’ content but that the whole thing doesn’t descend into farce. And I guess that’s OK with me: after all, this is the story of two young lovers who discover they can stop time when they orgasm.

(That is a sillier superpower than, say, Spider-Man’s, but of more immediate use to most people’s lives. And not all that much sillier, to be honest.)

So, here we are with the fourth collection of Sex Criminals, which is indeed subtitled Fourgy . We got here, in case you’re unfamiliar and need to brush up, from the unnamed first volume and Two Worlds, One Cop and Three the Hard Way .

Sex Criminals is, at this point, already at least halfway to being a Marvel Max comic — the sex is mostly tasteful and 90% hetero, with no on-panel insertions, and the cast is roughly half superheroes. Just classify orgasm-based metahuman abilities as a mutant power and Bamf! you’re there. Oh, there aren’t any big fight scenes yet, but just wait. Everything in mainstream comics eventually becomes about superheroes, no matter how hard it fights the pull.

Ostensibly, this is the story of Suzie and Jon’s relationship — which goes through some serious ups and downs this time out — but we’re really here because we want to see them finally have it out with Kegelface’s Sex Cops. (Note: her name is not Kegelface and her guys are not actually sex cops.) Sadly, that doesn’t actually happen here — as I said above, the fight scene is still on the way. Given what Sex Criminals is about, it might be more of a fuck scene anyway.

This is goofy and it can be hard to take seriously, even when it wants you to. It’s definitely fun, and it’s a different take on wild talents, I’ll say that much — not quite as different as it could have been, but I already made the superhero/black-hole comparison. If you’ve avoided it so far, I can say that it’s still weird and quirky, and that it is not trying to titillate you. And it is about Sex Criminals, and they are interesting people, with more characterization than usual for either a comic book about sex or one about strange powers.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

“Aw, this is a sequel to somethin’!”
 – Crow T. Robot

I never read Kings in Disguise. On the Ropes is a sequel to Kings in Disguise. So anyone who is looking for a comparison to Kings in Disguise will be disappointed. Anyone wondering how many consecutive sentences I cram Kings in Disguise into, though, may be intrigued.

Kings in Disguise was a comics series by James Vance and Dan E. Burr, published by Kitchen Sink Press over several years in the mid-’80s and eventually collected into book form. Telling the story of plucky Depression orphan Fred Block, Kings in Disguise was critically lauded, winning both the Eisner and Harvey awards. Luckily, we’re not here to talk about Kings in Disguise. Because, as I said, I never read Kings in Disguise.

To repeat: On the Ropes is a sequel to Kings in Disguise, set about five years later. Since — and this will, I hope, be the last time I mention this — I never read Kings in Disguise, I’m not entirely certain which flashbacks in On the Ropes are to the earlier story and which are to things that happened after that story ended. I think Fred lost a leg in a freight-car-hopping accident after Kings in Disguise, but I could be wrong. Anyway, he’s now 17, and it’s 1937, and he’s working as the assistant to an escape artist in a WPA circus traveling the small cities of Illinois. [1]

Fred is also a labor organizer, or at least associated with a group of organizers trying to get together a major strike against steel mills across the Rust Belt (then still moderately shiny, at least for the bosses). In particular, he has a small but vital role in that organizing effort, which will cause him danger and distress.

His boss is Gordon Corey, who I’m afraid is that semi-cliche, the escape artist who yearns to die. Gordon also has secrets in his past, which would-be novelist Fred will ferret out as he tries to ingratiate himself with a female stringer who he thinks can help him with his writing and maybe make some introductions to help him get published.

The narrative also follows, in parallel, two very nasty men — one smaller, smarter, and fond of a knife, the other big and strong but not quite as stupid as you’d expect — who are employed by the usual shadowy rich people to do some union-busting, and who rack up a serious body count along the way. This element feels pretty melodramatic; they kill more people than is plausible for traveling freelancers — they need to be more solidly plugged into a specific power structure to have the cover-ups of multiple murders in multiple places be reasonable, even in a deeply corrupt time and place.

Again, I didn’t read Kings in Disguise; I can’t compare the two. This is a solidly lefty book about labor agitation in hard times, with a melodramatic plot and a certain stretching for meaning, which I didn’t find entirely convincing. My understanding is that it did not take twenty-five years to create — Kings in Disguise was published as a complete work in 1988 and On the Ropes came out as an original graphic novel in 2013 — but Burr’s art sometimes varies from page to page, making me wonder how long it did take. (He also sometimes draws different characters in slightly different styles in the same panel, which is mildly surprising — I couldn’t figure out if there was a specific artistic purpose there.)

On the Ropes is a solid, historically grounded graphic novel, shining a light on a piece of history a lot of people have forgotten now. (A lot of working people in this country, in particular, have forgotten how much blood people like them shed to get unions, as they run headlong away from them into the cold embrace of corporate generosity.) I don’t think it’s a masterpiece, but it’s worth reading for people interested in the period, the creators, or the subject. And, of course, for anyone looking for comics about actual people in real-world situations, of which there are always fewer than there should be.

[1] Note that this is the first sentence in this review not to mention Kings in Disguise. I could have kept it up, if I wanted. I’m not proud. Or tired.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

The hardest thing, for me, is to write on a book about normal people’s normal lives — without the genre trappings of excitement and violence, without the framework of some standard plot, without being able to do the Hollywood high concept thing of matching a new work with X and Y from the past. When that book is in comics form, and a lot of the heavy lifting of emotion and connection and scene-setting and time passing is done through art, it’s even harder: I’m not artistically trained, and I don’t have a strong vocabulary to talk about those elements.

So, um, Equinoxes is a big, stunning book, sprawling across a whole year and a large chunk of France, with a large cast, not all of whose names we learn. It comes from Cyril Pedrosa, who in that European-comics style is usually credited with just his last name, and whose work I haven’t seen since the heartbreakingly wonderful Three Shadows in 2008.

Pedrosa organizes his book around the four seasons, starting in autumn — and, yes, he is eliding solstices into equinoxes to make the structure work, but let’s not be too much astronomical sticklers right now, OK? Each section begins with a wordless series of small panels about a Mowgli-like hunter-gatherer, somewhere at some time. (We will get other hints about him later.) Then the main action begins, set in France in what I think is the present day. (But everyone has flip phones, so maybe it’s supposed to be about ten years ago, sometime in the mid-aughts.)

There are two main clusters of characters, one centered on the middle-aged divorced orthodontist Vincent and his teenage daughter Pauline and the other on the aged ex-radical Louis. There’s also a photographer, not connected to either of those groups, who wanders through the action, another young woman, a little older than Pauline, trying to find her place in the world and work that will give her meaning. There are two kinds of text interruptions to the flow of comics — one is directly the thoughts of the photographer as she grapples with her life, and the other, I think, is her flow-of-consciousness impression of the person she’s just photographed. She adds another level of art to Equnoxes, which already is about, at heart, the big questions: what gives meaning to life, how should we live, how do we relate to each other, what brings people together and pulls them apart.

This is not a book of plot. It is a book of connections and daily life, of moments that feel small at the moment but maybe aren’t, of what to do with today and tomorrow and tomorrow, of the things that break into your life and shake it all up.

If I were French, I think I’d know where this takes place: it’s somewhere specific, I think, a small city on or near the coast. The places in it are real and solid, and we see a few of them repeatedly from different angles and in different seasons.

The people are equally real: Vincent is a bit of an asshole, but he knows it and fights against it. Louis is worn out from his life and detached from the things others think he should engage in. Pauline is quiet except when she explodes, hiding behind earbuds like so many other teenagers. And there are many more — some of whose names we figure out easily, some who appear once in one context and then loop back doing something else, some who only wander through once.

The cover is appropriate both thematically — two people, in a moment of conversation but entirely separate and not looking at each other — and as an important moment of the story. But I’m afraid it will look cold and distant, and this is not a chilly book. Equinoxes does require time and a willingness to let events flow, like an independent film, but it is lovely and true and has a deep wellspring of humanity in it.

I thought Three Shadows was a masterpiece; Equinoxes is as much of one — big and expansive and gorgeous. (Pedrosa is also doing a lot of things with his art — colors for the season and places and people — that I can point to but not explain in any depth.) I enthusiastically recommend it to anyone who cares about people and their lives…which I hope is all of us.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.