Comic Review: Punk Rock Jesus #6

            It seems relatively appropriate (in my mind anyway) that I review the penultimate issue of Punk Rock Jesus because one of my earlier reviews was the first issue (way back in July).  Since then, it has consistently been the best comic I have read all year, with each issue revealing a little more of the iceberg that we were going to inevitably crash into once issue six rolled around. 

Cover:

            I still love the simplicity and the design of the covers.  They make great use of the solid background color to allow not only the cover itself to pop off the shelf, but also the brightly colored image on the cover to really pull you in.  This contrast from the dark, brooding, and sometimes muddy interior art does a great job of reeling you in to the book.  If I was just picking this book up fresh, I would definitely be drawn to the covers more than anything else on the shelf. 

            The image itself for issue six is a bit “hit you over the head” in its directness (which is one thing that Murphy has had fallen back on quite a bit in the series) but it is pretty much expected that you would receive at least one “crucifix” pose by the time the series ended.  The fact that Chris is posed against the backdrop of the upside down cross also creates an interesting mirrored design element while also highlighting the fact that many of Chris’s decision make him seem very un-Christ like, as well as possibly foreshadowing events toward the end of the book.

10/10 – A very powerful cover that is not only well drawn but designed the right way.  As the apex of Jesus’ life had him up on the cross, the final issue of this series should naturally end with its own “Jesus” in the typical Christ-like pose.

Story:

            Murphy further proves that while this story is titled Punk Rock Jesus, it is more about the redemption of Thomas McKael, the bodyguard tasked with protecting Chris from harm.  We finally get a big reveal about Thomas’s past, which if you haven’t read it, go now, I’ll wait, it’s too good to miss.  I never saw it coming and honestly didn’t think Murphy would even address it, but holy shit that was a good piece of writing.  It really fleshed out why Thomas was so hell-bent on protecting Chris from the get-go and where his faith came from.  The depth that Murphy gives him makes us care even more for him later when he makes the decision to give his life to allow the kids to escape.

            I was wary when I finished issue five.  I really wondered how Murphy was going to wrap everything up in just one more issue, and really, where he was going with the story in general.  It was a good story, don’t get me wrong, but it was a matter of trying to figure out what his plan was for these characters and how it was all going to come together in issue six.  Spoiler alert: he delivered on all of it.  The Thomas stuff was great, as well as the various revelations that popped up regarding the baby thrown in the water way back in issue one.  While I don’t want to give too much away, Chris’s fate is a little surprising as well as the way the entire comic wraps up, and not in a good way.  Don’t get me wrong, I don’t mind the way Murphy handled Chris, but the final page, while beautifully rendered, leaves me feeling a little hollow.  Everything gets wrapped up well, but that last little bit, just kind of gave me a “that’s it?” kind of feeling.  It almost felt like Murphy knew he had to give the “bad guy” his just desserts but ran out of room so conjured that up in desperation. 

7/10 – Murphy wraps everything up masterfully in his final issue of the series even though the final sequence felt a little out of place.  The heart of this book and the true star of this series really shines through in the end though and he needs to be commended for giving us that big payoff.

Art:

            The art is still the highlight of the book.  The massive scenes that Murphy paints just using ink and zipitone are more impressive than anything I have seen in a comic book this year.  While he exhibits a master’s touch in the large scenes, it’s the smaller, more emotional moments that make you realize the true power of Murphy as a storyteller.  Small bits such as the look on the face of the characters at key moments, or the way he paces the story to let the moments that need to breathe really do so.  All that completely overshadows some of the more blatantly obvious symbols that I found unnecessary (though I suppose they are warranted given the topics covered in the book).  This is not just a comic book, this is art in its highest form and the fact that it is ending is, honestly, a little sad.

As each revelation about his father and his past is revealed, we can feel Thomas breaking down more and more and as the revelation about the death of his parents washes over him, you know what he is going to do in the coming pages, whether he is currently in custody or not.

This is how action sequences should be, quickly paced and chaotic instead of acrobatics with punches on the end.

This issue was incredibly heavy with dialogue, but it's the panels like the two on the bottom, where everything is quiet and we can all think what Thomas is thinking, that's what makes this book stand out.

Everyone has an emotional reaction to what is going on here, and Murphy does a great job of showing that.  The expressiveness of the eyes is not wasted as every page and every panel is full of importance.

10/10 – The good outweighs the bad by a large margin and for that it has proven to be the most consistently well-drawn book I have seen in years.

Overall:  9/10 – A little let down in the area of the story can’t dull the polish that is the book in its entirety.  This has consistently been the best value in comic books at $2.99 per issue and will be missed from my monthly pull list for sure.  I just can’t wait to see what Murphy has lined up for his next project.

Pull List

Pull List

            Anyone that is a regular at a comic shop has what is known as a “pull list.”  This is basically just a subscription to individual books that the store owner or employees “pull” for them and set aside each week.  Even if that individual does not have a set pull list with the comic shop itself, they probably have a mental one that they go to whenever a new comic Wednesday comes around to make sure that they are getting to read their favorite series or creator. 

I currently have a mental pull list that is divided between monthly comic books (affectionately referred to in the business as floppies) and trade paperbacks.  When I was younger, especially when I was going to school at the Kubert school, my pull list was dominated by superheroes.  I had quite a bit of disposable income and there was a good chance that I was going to spend a substantial amount of it on comic books and related paraphernalia.  The majority of those superheroes resided in the Marvel Universe, with the exception being a few Batman issues here and there.  I eventually started to scale back my comic book buying when the quality of the stories and art did not match the investment (around the time I graduated the Kubert school in 2005).  Slowly I have started to get back into it more and more.  My pull list that basically consisted of Invincible trades and anything that Richard Moore produced grew into a fairly substantial yet rewarding group that is dominated much more by different, non-superhero fare (after a brief dalliance in the “New 52” that ended with a confirmation of my feelings on DC Comics and superhero comics in general).

            For those that would like to check out what I am reading, here is a list and short explanation as to why I read what I read.

Comics:

Think Tank- A new addition to the list.  All you need to know about why this is now a mainstay on my list can be found here.

Punk Rock Jesus- Also a new addition.  You can check out the review and a good explanation as to why you should give it a shot as well here.

KISS- I have always been a fan of not only KISS music, but also their comics.  You can check out my review of the first issue here.  It is not for everyone, but the story is decent and the art is some of the best on a KISS series since Angel Medina.

Masters of the Universe- The only true DC book that I am reading (or probably will read for that matter).  This is more for nostalgia’s sake than anything but it is not too terrible of a read if you want to get away from the superhero books.  Find the review to issue one here.

Mega Man- I have been a Mega Man fan since I was young, and I have passed that love for the blue bomber on to my son.  This book is for him as much as me, but it is a good read nonetheless, even if I am not too keen on Manga-styled art.

Trades/Graphic Novels:

Atomic Robo- This may be one of the most well written comics I have seen in a long time.  Nik and I have gone back and forth recently as to how well the weird science mixes with real life because of how the characters (especially Robo) react to it.  The art is superb as well.  I love the simple, open illustrations.  Plus, two words: Doctor Dinosaur! 

Berona’s War- The writing is a little rough at times, but the art is beautiful.  If you mix Saving Private Ryan with a Disney cartoon, you would get Berona’s War.  Highly recommended as an art book if nothing else.  Plus, as a fairly inexpensive hardcover offering, you can’t go wrong.

Invincible- I’ve been on the Invincible bandwagon since I picked up the first trade on a whim.  This is the best superhero book on the market and one of the most consistently good books of the last decade.  Plus, the sketches and process stuff in the back of the trades with commentary by creators Kirkman and Ottley are a phenomenal addition.

The Goon- This is a new addition as well.  After reading issue 40 a few weeks ago (the review can be found here) I knew that I had to get caught up quickly.  I am not all the way through the trades, but The Goon is a superb comic created by one of the best in the business in Eric Powell.

Mass Effect- I’ve long been a fan of the games, and the comics do a great job of expanding on the story and adding to the mythology of the Mass Effect universe.  The art is great considering the amount of different alien species and technology that makes up the universe itself.

Wizard of Oz series- The only Marvel comic I have or will purchase now has nothing to do with superheroes at all.  To be honest, I pick this up for the gorgeous Skottie Young art.  Eric Shanower’s story sticks very close to the original Oz books and the stories themselves have just not aged well (the initial book The Wizard of Oz is decent but I think that is only because of familiarity).  This is no knock on Shanower as he does the best he can with what he is given, but what seemed cute or even groundbreaking upon its initial release seems a little stale now.  Another book that can be purchased as an art book and nothing else and would still be as valuable.

Ghostbusters- Another book picked up on a whim that I could not put down.  Reading this series feels like watching a third movie, it is written so well and so spot on in terms of the individual voices to each of the already well established characters.  Why they have not approached this creative team to write the third Ghostbusters movie I have no idea.  The art is super cartoony but it is a style that I love and that fits with the subject matter very well. 

Elephantmen- I was late to this party as well but this series is incredible.  There are little gripes here and there about the art (coloring is often too dark) and the story can be a tad confusing at times (especially in the collections as they don’t always completely follow the numerical order of the issues themselves), but the overall series is awesome (and I’m a sucker for anthropomorphic animal series done well).  The best thing is the hardcover collections are jam-packed full of additional content.  Seriously, 2/3 of the collection is sketches and cover illustrations.  A beautiful addition to any collection.

Chew- I also came late to Chew, but I think I should get a pass on that as I converted Nik and his wife to the fold.  The art is consistently great and the stories are always well done.  Even reading them as trades, the recaps of Tony Chu’s cibopath powers never get old which is a testament to Layman’s ability to keep everything fresh.  My favorite part of the series is the additional stuff that you can find hidden in the background, be it pictures hanging on walls or messages written on a note on the fridge.  It’s like a where’s Waldo of hilarious extras.  You can tell Layman and Guillory have a lot of fun with this title.  Plus: Poyo!

            So what’s on your pull lists?  Anything I should be reading that I’m not?  Anything that I am reading that you think is garbage?  Try and convince me either way, I am always open for a good comic discussion!

Comic Review - Punk Rock Jesus #1

            After a couple sparse weeks in terms of comic selection, this week featured a plethora of choices for someone not seeking the traditional superhero mess.  There was Mega Man #15 (Goose’s favorite series and an overall well-done title), Secret Agent Poyo #1 (which is just as good as you would expect from Layman and Guillory, pick it up now and you will not be disappointed) and even Battle Beasts #1 came out.  Yes, if you are between the ages of twenty-five and thirty-two you probably remember Battle Beasts as a toy collection.  Well like most things from the 80’s, these guys have made a comeback.  I actually went into reading that comic thinking it would be pretty sub-standard but good enough to hit the nostalgia bone.  It actually surprised me and turned out to be a solid comic in its own right.  I would suggest any and all of the comics mentioned above, but none would I suggest more highly than the highlight to the week (and a comic I have been looking forward to for months) Punk Rock Jesus.

            PRJ is a comic that centers around the cloning of Jesus Christ for a reality show.  While that is a central theme in the book, Sean Murphy makes sure that that is not the only thing about this book that makes it interesting.  He surrounds Jesus (known as Chris in the book) with other characters that seem stereotypical (the ex con trying to make good, the dirtbag television producer) but he plays them in a way that makes them more believable than just cookie-cutter fill-ins for real people.  This is where PRJ really shines.  You can look at the pages in the book and tell that Murphy is a talented artist (I would put him up there with some of the best that are working right now) but reading the way that he paces a story and how he writes people with differing viewpoints makes this an all-around great read.  Murphy throws in many little twists and turns (including one huge twist at the end that I won’t spoil for you because it’s that good, like, my jaw on the floor good) that fits so well in the story that you can tell it was done with a purpose and not just to shock people.  Let’s get to the nitty-gritty of the book though. 

Cover:

            Yes, the cover really doesn’t tell a story as I usually want to see.  However, the fact that Murphy combines an illustration with a powerful graphic design element makes it worthwhile (and don’t tell me the Marvel Ultimate covers do the same thing, black bars on each side are not graphic design elements, they are black bars).  I assume that the character on the cover is Chris, but I’m not sure as we only see him as an infant in this issue.  I would have maybe made the cover coincide with a character in the book (Thomas or Gwen, even an infant Chris would have been a good choice) but without seeing the rest of the covers I can’t fault Murphy for this as much just yet.  Also, I love the incorporation of the finger print on the cover, it just adds even more to the idea that this character is going to be an individual (what’s more individual than a fingerprint) as opposed to the second coming that everyone thinks he will be. 

            As a quick aside, DC has made quite a few decisions lately that have come under intense scrutiny such as rebooting their entire line or the whole Before Watchmen fiasco.  The best thing they could have done here was to let Murphy realize his vision without a lot of micro-management.  I am not sure if all of the choices were Murphy’s or if his editor Karen Berger had input in them, but the fact that DC backed off shows me they can recognize when something is going to be special.  The two main aesthetic choices that were perfect fits for this book was the fact that the interiors were printed in black and white and the paper stock for the interiors.  While there are many talented colorists out there, any colors on this book would have just muddied everything up.  The black and white art has so much character and reads so well on its own that color would have not been able to bring anything to the table and in fact would have hurt the project.  The paper stock on the interior was not the traditional glossy paper that we are now used to seeing from comic books, especially those from the big two.  It felt like old-school newsprint in terms of its texture, but it was a tad thicker, giving the book a little more durability than those comics of the past.  Regardless, both choices added to the appeal of the comic itself and I would like to commend both Murphy and Berger for making the choices and DC for letting them.

9/10 – This was an 8 just because of the lack of clarity of the character on the cover and how he relates to the story, but it got bumped up to a nine because of the paper stock on the interiors (it’s my review I can make up the rules if I want to).

Story:

            I previously mentioned a good deal about the story so I will just say this:  This is how comics should be written.  A lot happened in this issue but it still had specific moments that you look back at and can’t stop thinking about (more on that below).  Not only that but this is the first comic in a long time that I have finished and immediately anticipated the next issue.  Nothing in this book is forced, it is all natural and fluid.  Even the cliffhanger is something that just happens, it was a surprise to me but I could see the natural progression of it and how it would have happened.  The concept is new and interesting and the characters are appealing.  Murphy hits it out of the park with this one, and the best part, it’s only issue 1!

10/10 – One of the best written comics I have seen in years.  This is what people can use when they are touting comics as literature.

Art:

            This is a work of art.  Seriously.  Each page, each panel, it all works so well together.  The use of black is spot on.  It is suffocating where it should be and used to create a mood when necessary.  The emotion that Murphy evokes through his artwork is better than any I have seen.  Being in the closet with Thomas feels claustrophobic, when Thomas is holding his father’s hand it makes me feel for him.  

The backgrounds that are present in nearly every panel just shows how comics are supposed to be made.  Everything is meticulously done and thought out with design elements incorporated throughout.

This is the first panel of the book. It sets the tone for the craftsmanship that is evident throughout.

Look at Thomas' father's face.  You can see the emotion, the love for his son and the desire to see him safe.

Beautifully crafted downshot.  Chaos has never looked so well done.

No one creates an establishing shot like Sean Murphy.

While I don't quite get the tame Polar Bear thing yet, this just shows more of Murphy's ability to create a shot and establish not only where we are physically, but where someone is mentally.  Look at the clutter as your eye pans right and how it differs from the left side of the room.  Thought was put into this.

Christian symbolism is big in this book, but just look at the use of negative space.

More absolutely beautiful establishing shots

            The only art criticism I have involves one panel.  Thomas looks a little undersized as he is being placed on the motorcycle and his uncle placing him there doesn’t really look right.  I realize his uncle is a big, probably very strong guy, but that panel makes it look like he is lifting him with one hand and holding him straight while placing him on the bike. 

            The only other issue that I have is the lettering.  In terms of word bubbles, that looks fine.  My main issues are the sound effects and the protest signs.  Everything else in the book looks so organic and fluid that having the sound effects as typed block letters works against the artwork as opposed to with it, as you want from lettering.  The protest signs are also a typed font, which doesn’t feel believable and really stands out against the rest of the artwork, to the point of being distracting.

9/10 – The issues were minor and honestly they may have only triggered in my mind because I read the comic from a critical standpoint.  Someone just reading it for the sheer joy of reading it would probably not notice them.  Besides, the rest of the book is simply beautiful.  If you can use the writing to tout the book as literature, the artwork here can easily be used to prove that comic books and sequential art are a legitimate art form and, if in the hands of masters of their craft, can be a truly beautiful thing.

10/10 – I could not recommend this book any more highly.  It is quite possibly the best book I have picked up in years and reaffirms my faith in the comic book medium as a legitimate storytelling form and not just the storyboards for a movie.  Sean Murphy deserves any and every award that will be coming his way for this.