Archive
The Stand: The Night Has Come #6
June 4, 2012
Creative Director and Executive Director: Stephen King
Script: Roberto Aguirre-Sacasa
Art: Mike Perkins
Colors: Laura Martin
Letters: Joe Sabino
Cover Art: Tomm Coker & Laura Martin
Editor: Nicole Boose
Publisher: Marvel Comics
After 31 issues, Marvel Comics’ adaptation of Stephen King’s epic The Stand comes to an end. The Dark Man, Randall Flagg, has been defeated in Las Vegas, and the survivors of the holocaust are making their way home. But Stu Redman and Tom Cullen may have a horrible surprise waiting for them when they arrive.
As an epilogue to this adaptation of the novel, this issue caps things off fairly well. We see the final fates of our main characters, or at least as final a fate as the novel gives us, and we get the hint that the bad times are going to come again, as they usually do.
As always, though, this adaptation has come very much as the expense of telling a solid story. From the beginning, this version of the story has been heavy with the captions and exposition in a way that’s perfectly acceptable if you’re reading a novel but doesn’t work at all in a graphic format. The finale is just as wordy and bloated as the rest of the series to date.
It’s a shame, because Mike Perkins and Laura Martin’s artwork handles this story so well. They perfectly get across all of the emotion and drama of the story, and while some of the details may not quite be possible to get across without words, it would be so much more effective to use those words sparingly.
The Stand, the novel, is one of the masterpieces of 20th century literature. This adaptation has never really succeeded in actually adapting, instead retelling the story, often word-for-word. It could have gone so much better.
Rating: 5/10
The Stand: Captain Trips #4
January 4, 2009
The Stand: Captain Trips #4 (Marvel Comics)
By Roberto Aquirre-Sacasa, Mike Perkins & Laura Martin
As the Superflu continues cutting its deadly path across America, things are falling apart everywhere. Frannie’s blow-up fight with her mother has ripped apart the family, while Larry’s own mother lies dying of the bizarre malady that has crippled New York. Lloyd’s attorney offers a little advice, and Nick Andros finds more work than he expected as a deputy. This is a step up from the last issue. Although we still have a lot of the expository captions that I found a bit grating last month, there aren’t quite as many, and they’re used to better effect. Hopefully, once we get past this preliminary stage of the story into some of the more action-oriented stuff, we’ll see even less of that particular crutch. Mike Perkins and Laura Martin continue to deliver on the artwork in a big way. The art is creepy, dark, but still powerful and with a lot of realism. The appearance of Randall Flagg at the end is particularly effective, although the art does bear an ever-so-slight resemblance to Jamey Sheridan, who… um… didn’t exactly sell me on the character in the TV miniseries back in the day. Still, it’s a step in the right direction.
Rating: 8/10
The Dark Tower: The Gunslinger-The Battle of Tull #5
October 17, 2011
Creative Director: Stephen King
Plot: Robin Furth
Script: Peter David
Pencils: Michael Lark
Inks: Stefano Gaudiano with Brian Thies
Colorist: Richard Isanove
Letterer: Joe Sabino
Cover Artist: Michael Lark, Richard Isanove
Editor: Ralph Macchio
Publisher: Marvel Comics
Roland Deschain was ready to leave the town of Tull, but Tull isn’t done with him. Silvia Pittston, the wild preacher-woman who communed with the Man in Black, leads the entire town in a frenzied attack on Roland, and the Gunslinger is forced to draw. The action is fierce, brutal, and swift, but the outcome can never be in doubt. It’s been some time since we saw the last Gunslinger really cut loose, and Lark and company do a fantastic job of showing the battle not just as a gunfight, but as a real tale of horror. Roland’s adversaries are crazed, wild, and the way he is forced to systematically gun them down isn’t really to watch. (Entertaining, but not fun. If that makes sense.) At any rate, this is the best installment of Roland’s story in quite some time. I don’t often mention the supplementary material when I review this issues, but this is an issue where it’s worth making an exception. Robin Furth, who was Stephen King’s research assistant for years before launching her own writing career, gives us something I find interesting not so much as a comic fan, but as a longtime follower of King’s work. The Gunslinger was originally published in 1982. In 2003, when the finale of the series was finally being prepared, King revised and re-released the first installment to bring it more in-line with the end of the series. In her supplementary article, Furth picks apart the differences between the two versions of the novel, particularly as relates to this section, the Battle of Tull. Although I’ve read both versions of the novel, I read them years apart and never attempted to compare the two, so the article is fascinating to me. A fan of King’s will find this well worth the read regardless of anything else.
Rating: 8/10
The Dark Tower: The Gunslinger-The Battle of Tull #4
October 8, 2011
Creative Director: Stephen King
Plot and Consultation: Robin Furth
Script: Peter David
Pencils: Michael Lark
Inks: Stefano Gaudiano & Brian Thies
Colorist: Richard Isanove
Letterer: Joe Sabino
Cover Artist: Michael Lark & Richard Isanove
Editor: Ralph Macchio
Publisher: Marvel Comics
In this issue, Roland meets Silvia Pittston, the mammoth woman that Walter O’Dim (the Man in Black) took into his… confidence… when passing through Tull. Pittston, convinced that she is an instrument of God’s wrath and that Roland is an agent of “The Interloper,” has prepared for this moment, and it leads Roland into a confrontation even more horrible than he’s grown accustomed to.
This sequence, the story of Tull, is one of my favorite bits of The Gunslinger. There’s something about Pittston, something incredibly dark and powerful about the character, that makes her seem like a perfect foil for Roland despite her relatively small part in the grand mythos of the Dark Tower. Furth and David do a very good job of painting her as this sort of mad, fanatical type of woman, the sort that nobody wants to associate with if they can help it, whose very insanity is what makes her so dangerous.
The artwork, by Michael Lark and Richard Isanove, is still very good. The blend of horror elements with western has never been so effective as in this series, although I still feel like their Sylvia is a bit too attractive. Again, though, it’s been some time since I read the original novel, and I may simply be misremembering her description. In my head, though, she was always a more hideous sort.
At any rate, the book is very strong, very effective, and very entertaining.
Rating: 8/10
The Talisman: The Road of Trials #1
November 21, 2009
The Talisman: The Road of Trials #1 #1 (Del Rey Comics)
By Stephen King, Peter Straub, Robin Furth, Tony Shasteen & Massimo Carnevale
Robin Furth probably knows the works of Stephen King better than anyone alive, maybe even more than the man himself. She’s been his assistant, his chronicler, and she’s been a valuable part of the team that has brought The Dark Tower to life at Marvel. But this time, she takes the reigns of the script herself in adapting King and Peter Straub‘s collaboration The Talisman, and after one issue, I have to admit the adaptation is leaving me cold. It’s a wonderful novel and a great story, but the flow of the story here is stiff and choppy, like so many books and movies turned into comics often are. There’s no smoothness to the story, no real organic feel. Everything is kind of forced. Tony Shasteen‘s artwork isn’t bad — it’s got a fantastic feel that is appropriate to the story and suits the work. But it isn’t really enough to make me love this book. If Furth‘s scripting stays at this level, I’m not sure how long I can stick with this book.
Rating: 6/10
The Stand: Captain Trips #3
November 15, 2008
The Stand: Captain Trips #3 (Marvel Comics)
By Stephen King, Roberto Aguirre-Sacasa, Mike Perkins & Laura Martin
I’m starting to feel a little put off by this book. Where the Dark Tower comics have been magnificent adaptations of the world Stephen King created, Roberto Aguirre-Sacasa isn’t going far enough in the “adapting” department. The long chunks of captions are getting tedious, especially in scenes where they replace dialogue that would be more accessible. The story, of course, is still strong — we get a heartbreaking scene with Frannie and her parents, nice development with Larry and Nick, and the violent introduction of Lloyd Henreid. The artwork, too, is wonderful. Perkins and Martin give this book a fantastic visual style. The only downside here is in the scripting. There are times where it feels like I’m reading an illustrated novel rather than a comic book, and that’s just not what I’m paying four bucks an issue for.
Rating: 6/10
The Dark Tower: The Gunslinger-The Battle of Tull #3
August 28, 2011
Creative Director: Stephen King
Plot and Consultation: Robin Furth
Script: Peter David
Pencils: Michael Lark
Inks: Stefano Gaudiano
Colorist: Richard Isanove
Letterer: Joe Sabino
Cover Artist: Michael Lark & Richard Isanove
Editor: Ralph Macchio
Publisher: Marvel Comics
Allie continues her story this issue, telling Roland of how the Man in black, Walter O’Dim, rose the weed-eating Nort from the dead, and left behind a key that will prove Allie’s undoing. Roland, afterwards, continues his search of the town, and finds the true enemy that Walter left in his wake. We’re really getting into the meat of The Gunslinger now, the first fateful confrontation that left marks on Roland’s soul and further darkened his long road to the Tower. This issue sets up things well, not just for the rest of this storyline, but for the far, far future of Roland’s story. The mystery of 19, Constant Readers know, is something that we will return to time and time again over the years. The cover is particularly strong on this point, showing Allie surrounded by the number, losing her mind with the knowledge that using the number will destroy her, but unable to resist the pull. Michael Lark and Stefano Gaudiano do solid work here, until we get to the threat at the end. At the risk of being just another nit-picking fanboy, the character isn’t at all what I envisioned while reading the book. Frankly, she’s not ugly enough. Oh, she’s thick, she’s angry, but she’s not particularly ugly, and that’s what I always saw when I closed my eyes and read. Still, this issue moves the story along and introduces a vital element in a good way. It works.
Rating: 7/10
The Dark Tower: The Gunslinger Born #2
March 19, 2007
Review by: Adam Chapman & Blake M. Petit
Quick Rating: Good; Satisfying
Rating: Parental Advisory
Having faced his Gunslinger’s Trial, Roland Deschain is given his first mission.
Creative Director: Stephen King
Plotting & Consultation: Robin Furth
Script: Peter David
Art: Jae Lee & Richard Isanove
Letters: Chris Eliopoulos
Production: Anthony Dial
Designers: Pat McGrath & Dayle Chesler
Assistant Editor: Nicole Boose
Editor: John Barber
Executive Editor: Stephen King
Cover Art: Jae Lee & Richard Isanove
Publisher: Marvel Comics
Blake: With his Gunslinger’s trial behind him, Roland Deschain is given his first mission. He, along with his friends Cuthbert and Alain, are sent to the barony of Mejis, there under the guise of being apprentice drovers seeking horses, but in truth to seek out traitors to the Affiliation. As they begin their mission, a girl named Susan is sent out to visit the witch-woman called Rhea of the Coos, carrying more than one mission of her own.
First, let me correct a mistake I made in last issue’s review – it is with this issue that the adaptation of the novel Wizard and Glass begins. The story last issue was actually part of the first Dark Tower novel, The Gunslinger. But those of you who haven’t read the books, fear not – the comic book is presenting the story here in proper chronological order, so you’re not actually missing anything.
This story actually feels more like a set-up issue than issue #1. Last month we got the “origin,” and now we’re actually putting the chess pieces – Roland, his friends, Susan and Jonas, primarily – into place for the rest of the story to come. I don’t say this as criticism, just an observation. A lot of new characters are introduced this issue, and the introductions are handled very well, Susan’s in particular. The encounter between her and Rhea is as chilling in graphic form as it was the first time I read it in the novel.
Adam: With regards to the introductions in this issue, I almost felt that they could have been handled with a bit more depth, so that the characters were then easier to mark in one’s head. After last issue, I also found that the set-up of this issue dragged the overall story down a bit, is it seemed more awkwardly set up, and then the issue dragged a tad on from there. The fluidity of the narrative, and of the story beats just didn’t seem as good as the last issue.
Blake: The narrator of the book also takes on a more personable tone here as well, interacting with the reader a bit more and giving the story a sense of it being told to the reader, rather than being read. As so much of Stephen King’s best work has an undeniable “campfire tale” quality, this is really a nice touch.
Adam: I have to say that personally I was kind of bothered by the narrator here, it didn’t seem to have nearly the punch that the last issue had. At times, I also found the narrator to be more obtuse and speak more clumsily than in the last issue. I appreciated the interplay that is existing between the storyteller and the audience, but felt that it got muddied during this issue, instead of flowing better or being all that more personable, if it could even be called that.
Blake: The artwork, like last issue, continues to be the star of this book. We covered the way the linework and color art blends seamlessly last issue, and that still bears true now. Let’s look at some more specifics now – Susan, for instance. She actually looks like a girl. A scared, beautiful girl, but a young girl nonetheless. So many artists would have been unable to resist the urge to turn her into some oversexualized cliché, but Jae Lee and Richard Isanove absolutely nailed it.
Adam: When it comes to the artwork, I can’t disagree with you in the least. This is a lovely looking book, Isanove is a perfect companion for Lee, and it also gives me a lot more respect for Isanove and how much his pencils can change and modify a piece of art. He’s got a very distinctive look to his work, and he really makes Lee’s art into something of sheer beauty. Already the linework is good, but the delicate colours that Isanove applies do wonders to an already beautiful piece. As Blake was saying, Lee‘s characters look their ages, and aren’t ridiculously out of proportion, or oversexualized, as in the case of Susan. Lee’s skills as a storyteller are on full display here, and you can also get a sense of how many different styles he can master, from the creepy and horrific, to the gentle and horrified.
Blake: Then there’s the scene where we see the real Big Bad of this series – this is a bit of creative license, as he wasn’t this prevalent at this point in the original novel. That’s just fine – it gives the book the perfect dose of portent for the future, and the artwork on these two pages is phenomenal: creepy, scary and more than a little grotesque. These are the pages that earn the “Parental Advisory” label on the UPC box.
Peter David, Robin Furth and a masterful art team continue to craft a comic book unlike any you’ve ever seen before.
Adam: Seeing as I’ve never read any of the Dark Tower series, everything is new to me, and from that perspective the issue worked fairly well at giving the reader all of the necessary information, and including elements to be worked on in the future of the series. I’m still impressed with the overall package, and glad that Marvel didn’t skimp on the extras after the first issue. I’m impressed by the level of quality, the extras, how its put together, all of it. Impressed and surprised. Overall, I have to agree with Blake, they are a great team, making a comic book event that’s never quite been done like this before, although I was a tad crestfallen upon seeing that this issue couldn’t quite live up to the expectations the first issue propogated.
Adam’s Rating: 8/10
Blake’s Rating: 9/10
Recent Reviews: July 6 Releases
Last week was busy for me, so I didn’t turn out as many reviews as I often do. I still managed to crank out a few CXPulp reviews, though. Here’s what I reviewed that came out last Wednesday…
The Stand: Captain Trips #2
October 11, 2008
The Stand: Captain Trips #2 (Marvel Comics)
By Stephen King, Roberto Aguirre-Sacasa, Mike Perkins & Laura Martin
The adaptation of my favorite Stephen King novel continues with the search for the people Charles Campion infected with the disease that would soon be known as “Captain Trips.” Stu Redman is tested, Frannie Goldsmith tells her father she’s pregnant, and Larry Underwood falls into another one of those little pitfalls that has made his career the success that it is. We’re also introduced to our next hero here, Nick Andros, the deafmute drifter who gets the crap beat out of him for being in the wrong place at the wrong time. Nick is the closest to a pure character Stephen King has ever created, and as such, is a favorite of mine. I really enjoyed the first issue, and I still liked this issue, but here we have a case of Aguirre-Sacasa being a bit too married to the text. The book is full of captions that seem to slavishly repeat the novel, to the point of being a little ponderous. The story could be told just as effectively without the thick prose that works really well in the novel. It doesn’t translate quite as well here.
Rating: 7/10
The Back Issue Bin 