Don and Randy delve into the darkness of two small-press comics: Mortal Coils and Valentine.
Don:
Well, in this edition of our Two in One Review, we take a look at something old and something new. In other words, Randy and I get the chance to experience the work of a new -- but impressively talented -- new writer, and we revisit the black-and-white crime drama of Valentine, both published by Red Eye Press.
Randy:
Both of these books have the same publisher and similar production values, black and white interiors with color covers on shiny cardstock. They're also similar in that they have a dark tone and share some creative talent, but there are plenty of differences to be found as well.
Mortal Coils #1
published by Red Eye Press
written by A. David Lewis
illustrated by Evan Quiring & Darren Merinuk and Jason Copland
lettered by Darren Merinuk & Dan Cooney
edited by A. David Lewis
Don:
A woman awakens to find herself in a strange place: the body of another person. But if such a body switch weren't enough, the real horror is disgusting irony of the identity of the person whose body she now inhabits. And in another story, a scientist engages in the ultimate experiment of man versus machine.
What makes Lewis a great writer and a promising new talent is his skill when it comes to narration. His stories are heavy on narrative captions, but his strengths lie there. The characters and emotions come alive in the narration, and it transforms some clever but familiar premises into something fresh and exciting.
Randy:
I'll agree with you that the narration is a strength. Either of the stories could have become very frustrating, as the reader is given only hints and teases at what the story is about and what's going on, but the first-person narration in each story and the intense pressure of both stories keeps the reader riveted. I was particularly impressed with the first story in the book, as we learn more and more about the situation of the woman trapped in the body of a man who has wronged her previously. It's a horrific situation despite how unreal it is, and Lewis manages to bring the reader into the head of the main character, sympathetic and horrified even though it's a situation none of us will ever find ourselves in.
The second story, with a connection that I didn't really see to the first (other than the corporation that exists in both), is interesting in a different way. It has the same method of revealing what's going on, not actually telling the reader what is going on until the end of the story, but instead of relying on psychological horror, it relies on more physical suspense, the fight-or-flight response that inhabits us all. And the premise takes off from an interesting notion, coming to a not-entirely-surprising but still clever conclusion.
Don:
The art is capable and tells the two stories fairly clearly, but it's also the sort of thing I've come to expect from such small-press/independent efforts. The artists show promise but lack polish. Anatomy is inconsistent in both stories. In "Disembodiment," Quiring's pencils never really give the reader much of a sense of the character's surroundings. And in "Deeper Blue," Copland's sketchy approach fails to capture the sleek, cold quality of the technological antagonists.
Randy:
I'll agree with you on the inconsistency, and on the sketchiness of the antagonists in the second part, but I do have to give Quiring the nod in maintaining the dark and uncertain tone of the lead story. The use of black borders instead of white helps to convey the middle of the night feeling, and there are some long shots that show how alone the protagonist is in the empty apartment, giving her no aid or comfort other than her own mental coping resources to look to for help.
Don:
Overall, though, Mortal Coils was a real treat. Lewis's Twilight Zone-esque storytelling is thoroughly entertaining. He captures dark, tense moods with seeming ease, and his narration makes the most fantastic premise seem plausible and frightening.
For more information about Mortal Coils and A. David Lewis, visit www.Serious-About-Comics.com.
Valentine #8
published by Red Eye Press
written by Daniel Cooney & A. David Lewis
pencilled by Daniel Cooney
inked by Peter Palmiotti, Darren Merinuk & Joe Fauvel
Don:
The head of the Californian Russian mob wants the bundle of cash that restauranteur Angela Argento has hidden away, and he's joined forces with Angelo's sister-in-law to get it. The only one who can help Angelo is one-time assassin Dana Valentine, who lies bleeding in the street, the victim of a sniper's bullet.
I enjoyed this issue -- the conclusion of the two-part "Red Rain" storyline -- much more than the previous one. The art is much stronger this time around. The visuals are far more clear and consistent throughout the book. The sense of realism is maintained for most pages, and the title character looks more like a real person. The lettering is quite sharp as well. There are some irregularities -- due in part, no doubt, to three different inkers working on the book -- but overall, the visuals here were much more professional and refined.
Randy:
This was definitely a stronger effort than #7, which we reviewed some time ago in a previous Two in One. Mind you, I thought the book showed potential even then, and I still think so. I confess that I didn't quite get a handle on all the characters and loyalties in the book, and the introduction of Harper (presumably from a previous story) left me scratching my head at first, but the central attraction of the book, the strong characterization of Dana Valentine, continues to impress.
On the art chores, I will also agree that the work is more clear and consistent, except that I still feel the action could use more clarity. The final showdown has more than a few unclear moments, largely due to too many characters and unclear geography, so that I wasn't sure who had been shot during the exchange, where the police had come from and what exactly Valentine had done to bring the whole thing to a close. These are fairly major storytelling points, and I felt like Cooney let us down a little in these crucial action moments.
Don:
The script is much sharper, so it would seem Lewis can handle more than just his own plots (he's listed as the scripter for this issue). The dialogue carries a much more genuine tone. Despite the violent circumstances of the plot, the dialogue remains grounded. Furthermore, the plot is thoroughly accessible. Lewis includes plenty of exposition to refresh the reader's memory or bring new ones up to speed.
My one qualm with the plot is the world-domination kick that the Russian mobster is on. It takes the book out of the realm of simple crime fiction and into a far more lofty, less plausible place.
For more information about Valentine, visit
