- 00:00:29 – Introduction
- 00:03:16 – Listener mail!
- 00:06:17 – The New World: Comics from Mauretania
- 00:48:32 – Young Frances
- 01:20:52 – A Walk through Hell #1
- 01:39:53 – Wrap up
- 01:40:52 – Contact us
A Comfortable Fogginess
On this episode of the podcast, Paul and Derek look at three new releases that, while all compelling readings, are vastly different in style and narrative approach. They begin with Chris Reynold’s The New World: Comics from Mauretania, recently released from Gallery 13. This is a collection of Reynold’s Mauretania comics published beginning in the 1980s. This volume was designed by Seth, and he also provided a brief and insightful note at the end of the text. Neither Paul nor Derek had encountered any of the Mauretania stories before, and they’re sorry that they hadn’t read Reynolds any sooner. The narratives are dreamlike and random in their coherency, and while making any sense of their meaning and action can be an exercise in frustration, they are strangely some of the most compelling comics the guys have read this year.
Next, the Two Guys turn to a creator whom they’ve read and loved before, but not by his current name. Both Paul and Derek are big fans of the series Pope Hats, authored by Ethan Rilly, an anagram of Hartley Lin. In Young Frances (AdHouse Books), Lin is now using his real name and collects issues #2, #3, and #5 of his defining series. The text presents the story of Frances Scarland, a young legal clerk whose efficiency and competency are admired by those around her, but who nonetheless wonders if she’s just drifting through life without purpose. Her best friend, Vickie, is impulse and more scattered, yet talented enough to find a lead role acting in a hit television crime drama. This is yet another example of “verite dessinée” storytelling, a favorite of Derek’s and Paul’s.
The guys conclude this episode by looking at the first issue of Garth Ennis and Goran Sudžuka’s A Walk through Hell (AfterShock Comics). A mix of horror and crime, this first issue establishes the premise of the series but does so in a way that poses a variety of questions. In fact, both Paul and Derek feel as if this first issue ended almost too quickly — a sense that they’ve gotten with other AfterShock first issues — although there is enough in this inaugural installment to have them wanting to come back to the series. In this first issue, Special Agents Shaw and McGregor work a recent race-related killing while at the same time investigating the disappearance of two fellow officers. What they stumble onto, and we never get a sense of what that is, is apparently something so horrific that even the most hardened law enforcers are unable to live with what they saw.