Ah, Ghostbusters. The first movie is a classic action-comedy flick, and the cartoon it spawned was a surprisingly surreal yet charming show for kids. I didn't know what to expect from this new comic-book series, but I suspected it would resemble the latter somewhat. I was surprised to discover that wasn't the case. Writer Andrew Dabb performs an incredible balancing act here, incorporating the humor and attitude of the movie, an amped-up flair for action and some unexpected but welcome strength in characterization. Dabb treats the subject matter seriously, but not too seriously either. This debut issue is long overdue, but it's a 1980s pop culture revival that can really connect with the audience on something other than just a nostalgic level.
New York cleaning crews are still carting away the remnants of the giant Stay-Puft Marshmallow Man that attacked the city, and Dr. Peter Venkman is busy doing the talk-show circuit. Business for the Ghostbusters is booming, and they're heralded as celebrities worldwide. Even Louis Tully, the accountant transformed into a canine-like monster during the Ghostbusters first mission, is making out like a Hollywood star as a result of his association. Everything is going incredibly well... so why is Dr. Ray Stantz so unhappy? Meanwhile, evil lurks within a psychiatric institution.
Penciller Steve Kurt tells the story clearly, and he captures the familiar settings of the film incredibly faithfully. I also love the energy and movement he brings to the action sequence. When it comes to rendering the human characters in the story, though, his linework is a little on the inconsistent side. It's not confusing; it's clear who everyone is. But Kurth seems torn between a cartoonier style (more in keeping with the Real Ghostbusters animated style) and more realistic leanings. Blond's colors are quite strong. They bring an eerie energy to the ghostly creature later in the book, and they add depth and a little extra realism to the backgrounds as well.
There are a number of elements and mood that make for a dense and wonderfully varied read here. Dabb has fun with the characters, offering plenty of snappy banter reminiscent of the movie. He also fosters a real sense of menace in a new protagonist, and he includes some drama through some strong characterization. He also brings the characters into the 21st century. The story is clearly set in the present, and the events from the 1980s movie are treated as though they're just a few months old. This subtle updating eliminates retro elements that could have proven to be distracting.
The scene that really sets this apart as a typical '80s nostalgia book or yet another movie spinoff comic is the quiet rooftop conversation between Peter and Ray. Dabb plays the characters straight, reminding us that at some point in their past, they weren't heroes, clowns or businessmen. There's real emotion in that scene, and Dabb gets the reader to forget the weirdness and the slapstick so closely associated with these characters.
