Thanks to some preview copies from Marvel Comics, Don and Randy follow Eden's Trail all the way to The Truth.
Don:
These Two in One Reviews tend to focus on independent or small-press comics fare, but occasionally, we take a look at some more mainstream titles. This is one of those times, as Randy and I discuss two forthcoming releases from Marvel Comics: Eden's Trail and The Truth.
Randy:
Both have been hyped pretty heavily, both for different reasons. The Truth is a controversial take on the early origins of Captain America by high-profile creators new to Marvel, and Eden's Trail is a sci-fi western with manga/anime style art, the first mini-series to be done entirely in the Marvelscope format, which means it's stapled on the top instead of the sides and has a lot more room for the artwork to spread out. They're also both high profile enough that Marvel's Bill Rosemann sent us full color copies, with The Truth printed on a thicker paper with color flakes in it that was very unusual.
Eden's Trail #1
written by Steve Uy & Chuck Austen
illustrated by Steve Uy
lettered by Chris Eliopoulos
edited by Mike Marts
scheduled for release on Nov.6
Don:
In a post-apocalyptic (or alien?) landscape, a quartet of bandits decide to rob Tila's Eden, the most popular, successful and therefore cash-heavy saloon in the Western outlands. There's two things that they didn't count on: the feisty nature of the saloon's proprietor, and the timely appearance of a thirsty local sheriff.
Eden's Trail reminds me a good deal of Studio XD's Last Shot from Image Comics. Both are part of a sci-fi Western genre, but despite the alien landscape and action, the characters tend to have a down-to-earth manner about them. Still, that attitude isn't enough to get me to connect with these characters or the premise. Mind you, I've never been one for post-apocalyptic genre in general, so take what you will from my comments.
Randy:
It's not my favorite genre, but I've seen plenty of good stories in the post-apocalyptic vein, so I'm probably more open to this type of story than you are. I was also reminded of Last Shot, which I liked, although Eden's Trail isn't quite as strong as the Image book was. I had a hard time figuring out most of the characters, as they are all a bit too laid back about what they're doing. The sheriff may have been meant to serve as a kind of Clint Eastwood cool character, but he instead came off as inconsistent. One minute, he's ready to walk out, the next he's doing his best to protect the girl. I couldn't quite get a handle on his character. I do have to credit Uy for giving us a surprise ending (and a surprise protagonist), but the artwork was mostly too jumbled for me to really enjoy.
Don:
Uy is clearly inspired by anime and manga, and especially the former, I believe. Uy brings a strong level of detail to bear in his artwork. There's a soft quality to the art that makes for an interesting contrast with the harsh nature of the setting. Mind you, some of that soft quality stems from the colors, and they're a bit distracting. In other words, the book is yellow. Really yellow. So yellow you could toast marshmallows by holding them over the pages.
Randy:
Dear God, yes. I'm a bit sensitive on the issue of colors, and Eden's Trail raised my coloring snob hackles. This is a color copy, and not a finished issue, so we shouldn't judge too harshly, but when you can't even read the (yellow) title on the (yellow) cover which features a (yellow) protagonist standing against a (yellow) background... I have to wonder if maybe Uy's computer coloring tools were stuck when he finished the book. The book shines when it comes to gunfights and action, and Uy has an imagination to rival a good action movie writer/director, but I would have killed for a little more definition and a little more variation in the color scheme.
The Truth #1
written by Robert Morales
illustrated by Kyle Baker
lettered by Comicraft
edited by Axel Alonso
scheduled for release on Nov.20
Don:
In the months before Pearl Harbor, before the United States joined the Second World War, Americans went about their business, enjoying life unfettered. Well, some Americans did. Others -- African Americans, to be precise -- didn't have such an easy time of it. One man and his fiancee are barred from entry at an attraction at the World's Fair. The son of a wealthy African American returns home with a black eye and bloody nose, the result of his nature as an outspoken protester. And a bitter soldier, demoted from Captain to Sergeant over a disagreement involving his race -- plays pool in the old neighborhood. Three different lives, with one common bond, and they're about to have more in common in the days following Dec. 7, 1941.
I'm pleased to discover that this is more than one man's story. The split focus among three men adds more layers to the story, and gives Morales more opportunities to explore a variety of African American experience. And make no mistake, that's what this book is about, not the Super-Soldier Serum or World War II super-heroics. Each one of the three main characters embodies different points of view. They are defined by innocence, idealism and cynicism, and I expect that the one who ends up in the role of the first Cap (if it's any of these guys) will exhibit all traits by the time the story is done.
Randy:
Honestly, I was wishing for a bit more time with each of these characters. That speaks well of Morales's writing in that he serves up an interesting cast, but it also means that I felt he gave all of them short shrift in terms of characterization. It seemed at times as if he was so focused on making each of them an embodiment of a certain aspect of Captain America that he spent too much time hammering that aspect home.
Morales does bring the readers right into the time frame of the story, though. The casual and accepted racism is appalling to someone with a 21st century viewpoint, and it's clear that this story is less about "What If Captain America were black?" and more about how racism affected the military and America during World War II and how that might affect a more realistic look at the origin of Captain America. The stories in this issue show a variety of racism in different places, including the World's Fair, an economic meeting and the military. The variety of experiences and viewpoints can only help to make the story entertaining as it goes on.
Don:
Baker's linework is as strong as I expected it to be. There's an appealing cartoony quality to his character designs, but a tone of poignancy manages to creep in there as well. I do have a qualm with the colors, though. The brighter colors, such as those in the opening scene, are no problem at all; they're rich and warm. But the darker scenes are a different matter. Maybe it's the result of the paper quality of this preview copy, or the lack of a more refined printing separation process, so I'll hold off on condemning them until I see the final product.
Randy:
I keep comparing Baker's newer work to classics like Cowboy Wally, Why I Hate Saturn and I Die At Midnight, and it keeps falling just a little short of those heights. Don't get me wrong, the work is terrific, and I'd read this book for his artwork alone, but it seems like it's not quite as polished and refined as it used to be. As you note, though, that may be both the colors and the paper quality of this preview, so I can't fairly judge without seeing the finished product. However, the colors do remind me of the somewhat garish tones of King David or Dark Knight Strikes Again, leading me to believe it's an intentional choice that doesn't fit my tastes rather than some kind of print error.
Regardless of how good either book is, however, these do stand out as examples of Marvel taking chances with new genres and new types of stories, and I hope that we'll continue to see that spirit of experimentation in the future.
For more information on these titles (including a Dot.comic preview of Eden's Trail), visit marvel.com.
