Showing posts with label creator: teddy kristiansen. Show all posts
Showing posts with label creator: teddy kristiansen. Show all posts

28 September 2016

Faster than a DC Bullet: The Houses of Mystery and Secrets, Part XVIII: House of Secrets Omnibus

Comic hardcover, 733 pages
Published 2013 (contents: 1996-2001)
Borrowed from the library
Read April 2016
House of Secrets Omnibus

Writer: Steven T. Seagle
Artists: Teddy Kristiansen, D'Israeli, Guy Davis, Duncan Fegredo, Christian Højgaard, Dean Ormston, The Pander Bros.
Colorist: Bjarne Hansen
Letterer: Todd Klein

About two years ago, I read Foundation, the collection of the first five issues of the 1990s revival of House of Secrets. At the time, the omnibus of all 25 issues plus assorted extras had recently come out but I was unable to source it via interlibrary loan, but on this pass back through Sandman tie-ins I was able to finally secure it. It's a mammoth work: at 733 pages of story, plus unnumbered behind-the-scenes pages, you could really do damage to someone else with this book. Or to yourself if you carry it around in a backpack.

There's a lot to take in here, so probably this review will spiral out of control; I'll begin by not reviewing the opening arc Foundation again, since I already have. (Click on the link in the first paragraph if you care.) I should note that the issues are reordered from publication order here, apparently hitting some kind of ideal reading order, and I read them in the order they're placed here. As a result, book opens not with Foundation, but with what was originally issue #7, "Blueprint: Elevation A," which chronicles the building of the house that eventually became the House of Secrets, intertwining tales of the architect who designed the house, the actual builder of the house and the owner's wife, the House itself, an Indian tribe who used to own the land it was built on, and the blueprint. As you might imagine if you've ever read a 1990s Vertigo comic, they're all dark stories that end in tragedy, but they entertain in a sort of macabre Twilight Zone fashion.

The story rotates through each story, one half-page panel at a time, each with its own distinctive style of lettering.
from House of Secrets vol. 2 #7 (art by Teddy Kristiansen)

Foundation is followed by The Book of Law, a six-part story that fills in the backstories of the dead souls who make up Rain Harper's fellow members of the Juris, the mysterious court in the House's pantry who judge people for the secrets they hold. These are Digol, a Babylonian warlord-turned-court-official; Ruby, a black woman from the 1960s South who gets involved with a white man; Pfaultz, a Middle Ages charlatan who exploits fears of the plague to get money and sex; NiAn, the wife of a dead Japanese warlord suspected of his murder; Clius, a young Roman who gets sexually involved with the Emperor; and the concept of the number five. I liked most of these stories on their own merits-- each draws a nice, one-issue tragedy, some about sweet characters (Ruby) and some about genuinely awful ones (Pfaultz). Though Teddy Kristiansen drew most issues of House of Secrets, The Book of Law lets some guest artists step in to enhance each story with its own distinctive tone, most successfully, Guy Davis (of Sandman Mystery Theatre fame) on Ruby's story. But it was a little weird for the narrative to swerve into covering five side characters after only five issues of the series's regular characters. I think these would have worked better interspersed throughout the series (like the "Times Past" segments of Starman) as opposed to all at once.

26 March 2014

Faster than a DC Bullet: The Houses of Mystery and Secrets, Part XVII: House of Secrets: Foundation

Comic hardcover, 127 pages
Published 1997 (contents: 1996-97)
Borrowed from the library
Read March 2014
House of Secrets: Foundation
by Steven T. Seagle and Teddy Kristiansen

From 1996 to 1999, DC revived the House of Secrets for 25 issues. I tried to get the House of Secrets Omnibus, but ILL couldn't procure it, so I had to settle for this, which collects just the first five issues. It's a very different House of Secrets than we've seen before (and since); the House is located in Seattle, and it attracts to it those who possess "secrets," who are tried by a group of ancient ghosts. Into all this enters Rain, a damaged, defensive young woman who ends up serving as the court's "witness." What could easily be a cliche character is really quite interesting-- her hard edges feel real, not like stock traits, as she's genuinely hurtful sometimes. The prose and dialogue are great, and this is probably the best artwork of Teddy Kristiansen's (considerable) career. There's something of a self-contained story here, but I'm disappointed I'll never know what happens to these guys next.

03 July 2011

Faster than a DC Bullet: The Sandman Spin-Offs, Part V: WitchCraft

Comic trade paperback, 133 pages
Published 1996 (contents: 1994)

Borrowed from the library
Read June 2011
WitchCraft

Writer: James Robinson
Artists: Teddy Kristiansen, Peter Snejbjerg, Michael Zulli, Steve Yeowell
Colors: Daniel Vozzo
Lettering: Richard Starkings

This isn't the first Sandman spin-off-- it's predated by the launch of Sandman Mystery Theatre and the first Death miniseries-- but it's kinda the first standalone one. (I say "kinda" because it did garner a sequel, but said sequel was never collected in trade paperback.) Its subject is a little odd, though; I refused to believe that any Sandman fans were clamoring for a return of the Three Fates or the Three Witches or the Three Goddesses or whatever they were. (I mean, they don't even have clear names.) They would just pop up sporadically and be cryptic; I think they had a role in the finale, but maybe the Three Furies were something separate? I don't know and I don't really care.

The story opens with a Pict barbarian coming to Londinium and raping a Roman woman. She's a priestess of the Triple Goddess, though, and lets off a prayer as she dies. Too late to save herself, but the Triple Goddess decide that she will get her revenge: when she and her killer are next reincarnated in the London area, her killer will die. This takes over a millennium, but finally a young maiden is due to marry a guy who turns out to be a rapist. She's secretly a witch, and so is he, and though the Triple Goddess try their best, it doesn't quite come together, everyone dies, and no revenge is had. At this point, I wasn't really into the story either way-- didn't hate it, didn't love it. Did kinda wonder what the point was. (Except that the introduction had told me, but I'll come back to that later.)

So they're left to try again in 1842, where for some reason the priestess has been reincarnated as a man-- and not just any man, but Sir Richard F. Burton (though he's no "sir" yet). What? This just seemed bizarre to me. The killer is actually his mother's lover, and willingly so. Richard Burton is chastised by her for not allowing her her sexual freedom. But he chases the lover anyway and, whoops, the lover rapes Burton. I guess because he's just so evil? Then Burton meets up with gypsies, who teach him sex magic or something (you know gypsies) and then he finds the lover, but doesn't kill him, and goes on to be imperialist bastard we all know and love. And who wrote awful, dull travelogues.

The last bit brings us to the 1990s, when the priestess is now an old lady, and the barbarian is her baby-raping, wife-mind-controlling, priest-killing warlock son-in-law. Because he just wasn't evil enough? It's starting to get over the top at this point. Anyway, the grandma wins, and the Triple Goddess sentences him to be reincarnated throughout the past as the victim of every sex crime ever. Leaving aside the fact that "sex crime" sounds a bit too 20th-century in the mouth of a pagan goddess, it's just what!? I don't even understand what this is supposed to mean. Does it make rape into an empowering act for women? Or is it poetic justice (because raping men is funny maybe)? Or something? God, how bizarre. The book tries to pull back from it by having one of the Goddesses say "I actually started wondering if the matter deserved all the fuss we'd given it," but you know, that ending still exists!

Like Black Orchid (it must be a Vertigo thing), this collection contains a fawning introduction from someone I've never heard of, but I think is supposed to be famous maybe, Penelope Spheeris. Spheeris describes the book as creating "a comic-book world for those who are evolved enough to know that ultimately there is justice in the world." There's nothing evolved about this book! It depicts men as eternal rapists and women as eternal victims, whose best outcome for "justice" is that the men can secretly be the victims of the rapes they commit. She also claims that it shows the power of women as "immeasurably strong and immeasurably subtle," though I feel like being victimized through the millennia is pretty much neither. And lastly, she's quick to claim that men will like this book too even if it is all about female power (really?) because the stories "are sexually titillating without being sexist. They are sometimes erotic, but in an artful, beautiful way... and in a way that allows the WitchCraft women to keep their power and their moral strength." WHAT!? Did we read the same book? Because in the book I read, every sex act bar two is coerced. This book is not remotely titillating-- sex is nasty, brutish, and short, a means to an end for one or both parties in every case. None of the participants are ever drawn attractively. And let's not even talk about the assumption that "boys and men alike" need sex on display to enjoy a story about women anyway...

I freely admit that Penelope Spheeris's introduction is not James Robinson's fault. But it does show the same warped, unpleasant set of values that seems to underly this entire book. Ugh.

19 June 2011

Faster than a DC Bullet: The Sandman Spin-Offs, Part IV: Neil Gaiman's Midnight Days

Comic hardcover, n.pag.
Published 1999 (contents: 1989-99)

Borrowed from the library
Read June 2011
Neil Gaiman's Midnight Days

Writers: Neil Gaiman with Matt Wagner
Artists: Stephen Bissette, John Totleben, Richard Piers Rayner, Mike Hoffman, Kim DeMulder, Mike Mignola, Dave McKean, Teddy Kristiansen
Colorists: Tatjana Wood, Danny Vozzo
Letterers: John Costanza, Tim Harkins, Todd Klein

This book collects much (all?) of Gaiman's non-Sandman Vertigo work, presumably so the dedicated Gaiman-ite doesn't have to sully themselves by buying comics by other people. (Actually, most of the work here had never been collected in trade paperback before, so I'm just being mean.)

Swamp Thing: "Jack in the Green"
This story is about a Swamp Thing from the Middle Ages. It's the second comic Gaiman ever wrote. It's okay, I guess. Nothing really happens.

Swamp Thing: "Brothers"
In this story, Brother Power the Geek comes back to the Earth. He's a character who hadn't appeared for years before this and no one cared about him. I'm not sure why anyone should after reading this. I guess that's kinda the point-- he's the hippie who can't let go. I did enjoy the two side characters, though, one of which who actually was a hippie who couldn't let go. The evil government agent (who was also an ex-hippie) was a pretty cool character. The Claw or whatever his name was, not so much. Oh, and Batman is in it.

Swamp Thing: "Shaggy God Stories"
what is this I don't even

John Constantine, Hellblazer: "Hold Me"
I've never read a John Constantine story before. This was pretty good. The resolution makes little sense on a plot level, but is nice emotionally. Poor Constantine, keeps the world at bay, and even when he lets it in... it doesn't actually like him. The art is amazing. McKean and Gaiman showed they made a good team in Black Orchid, but this is even better from an artistic standpoint.

Sandman Midnight Theatre
I've read this story before, on its own, and it takes up half the book! Why not throw in the Poison Ivy story that Gaiman mentions instead; I want to read that, since he did such an intriguing Ivy in Black Orchid. Sandman Midnight Theatre belongs in a collection, sure... but in a Sandman Mystery Theatre one instead, where it's an important part of an ongoing narrative. It was nice to read it again, though, and Gaiman's introduction to the story provides some nice insight into the way it was written. (Gaiman and Wagner worked out a plot in a hotel room, Wagner wrote detailed breakdowns, Kristiansen drew the art following these, Gaiman wrote the dialogue to match the pictures.) Other than that, I have nothing to say that I didn't say last time.

The collection as a whole is a bit of a jumble, really. Nice to have it all collected, but none of it really stands out or impresses on its own, except for maybe "Hold Me."

08 March 2011

Faster than a DC Bullet: Sandman Mystery Theatre, Part VIII: Sandman Midnight Theatre

Perfect-bound comic, n.pag.
Published 1995

Borrowed from the library
Read February 2011
Sandman Midnight Theatre

Written by Neil Gaiman
Plotted by Matt Wagner
Story by Wagner and Gaiman
Painted by Teddy Kristiansen
Lettered by Todd Klein

There was a time when Neil Gaiman's The Sandman and Wagner and Seagle's Sandman Mystery Theatre were running alongside one another, so it must have seemed logical to cross the two series over. But despite an appearance by Dream (one of many mainstream DCU appearances in SMT of late), this is definitely a Sandman Mystery Theatre tale, albeit one filtered through a Neil Gaiman style. With Dian gone to England to find herself, Wesley eventually pursues a mystery there, and the two have a number of confrontations while solving a mystery and then reconciling. The mystery is a bit thin, and the reconciliation comes out of nowhere, but I enjoyed the story all the same. It just oozed atmosphere, partially because of Gaiman's dreamlike writing, but mostly because of Teddy Kristiansen's amazing artwork. He's the first artist who's not Guy Davis to do successful work on Sandman Mystery Theatre, and I really liked the story as a result. He is the only other person to get Wesley's dashing-but-awkward, young-but-pudgy appearance just right, and the way he does Wesley's glasses was especially great. Sometimes Wesley was as impenetrable as his disguise.

What really bothered me, though, was the Wesley referred to "the Sandman" as a different person throughout the story. Which is a neat idea, but Dian claims it's something he always does-- when he's never done it in Sandman Mystery Theatre ever! Nor does he do it again, to my knowledge. A weird little inconsistency.

24 October 2010

Faster than a DC Bullet: The Sandman, Part IV: The Absolute Sandman, Volume Four

Comic hardcover, 608 pages
Published 2008 (contents: 1993-96)

Borrowed from the library
Read October 2010
The Absolute Sandman, Volume Four

Writer: Neil Gaiman
Artists: Marc Hempel, Michael Zulli, D'Israeli, Richard Case, Charles Vess, Teddy Kristiansen, John J Muth, Kevin Nowlan, Dean Ormston, Glyn Dillon
Colorists: Daniel Vozzo, John J Muth
Letterers: Todd Klein, Kevin Nowlan

With this volume, The Sandman storyline hurtles to its inevitable conclusion. I had this spoiled for me ages ago, but it still totally works, and besides, Volume Three has a sequence that gives the game away anyway. The story is slow to start, but it really comes together as it goes, and as we see people throughout the universe of the series react to what is about to happen to Dream-- or what Dream is about to do? The final storyline makes a lot of sense of Dream's inactivity throughout the series (though I don't know that it excuses it as good storytelling), and I was happy to see Lyta Hall, wife of the 1980s Sandman, make a return. As the series' longest storyline yet, The Kindly Ones really works: I was riveted as I read, wanting to know what was going to happen next even thought I knew. There were lots of great little moments, especially the last stand of Merv Pumpkinhead during the assault on the Dreaming, and Cain's grief at what has happened to Abel. Marc Hempel has a different pencilling style from most of the other artists on the series, which would have been fine-- except that it often made it difficult to recognize brief appearances by preestablished characters. Though not quite as good as Brief Lives in Volume Three, The Kindly Ones provides an excellent finale to the series.

I need to say a few words about Matthew the Raven. Though Merv makes me laugh the most, Matthew is my favorite of the characters to inhabit the Dreaming, a mortal man who died and was offered a chance to live on in dreams as Dream's raven. He's your "average guy" amongst the far-fetched characters of the Dreaming, a little baffled but often able to cut through the crap. He got some good material in Volume Three, and he shines here in Volume Four, providing a human anchor for the massive events unfolding. The climax of the The Kindly Ones wouldn't be nearly as powerful without him, and he's what makes the last storyline in the book, The Wake, work as well as it does, as he struggles to come to terms with what happened. A great supporting character.