It boggles the mind, really. How could a man known as a letterer take a throwaway concept designs for computer font advertisements and craft a comic book? And not only that, but a comic that's not campy but emotionally powerful? It certainly doesn't sound like a recipe for creative success, but that's exactly what it is. Comicraft founder Richard Starkings et al have never missed with a single one of their Hip Flask and Elephantmen comics, and this new release through a new publisher doesn't buck the trend. I was disappointed to discover that Ladronn, the artist who has provided the line art for every previous comic-book installment of this property, only offers up a cover image for this new issue, but that disappointment was fleeting, as Starkings introduces us to a new name whose work is softer than Ladronn's but just as compelling and engrossing.
An Elephantman named Ebeneezer -- Ebony for short -- makes his along a damp, dark street in Mystery City when the most unexpected thing happens. A little voice calls out to him, and he turns to see a little girl approaching him. Her name is Savannah, and she's incredibly curious and friendly. As her mother gets her nails done in a nearby shop, Savannah asks all sorts of questions of her new friend. Some answers he provides to amuse her. Other answers he keeps to himself because they represent painful memories and a dangerous side of himself he fears he'll never be able to leave behind. Elsewhere, a regular guy, a human named Joe, trudges angrily down another street, seething with hatred for the Elephantmen and how they've changed the world.
At first glance, Moritat's style is a lot like Ladronn's. It's full of detail and often boasts an eerie intensity. But his style suits the Ebony/Savannah tale better because he brings a softness and vulnerability to the characters that really enhances the tone of the dynamic between them. I was reminded a bit of Adam Hughes's style. The colors are rich and vibrant, but they also help to maintain a dark, noir feel that's been an integral part of the property since its inception.
Given he's launching this title through a new publisher, Starkings made some wise story and character designs in crafting this debut issue. Savannah's curiosity about Ebony (and about the Elephantmen in general) mirrors that of a new reader, and the clear flashbacks, combined with the more urban and civil backdrop for the main sequence, gives the reader all of the information s/he needs to get up to speed. Savannah's precocious nature makes her instantly likeable, and Ebony's gentle and playful moments with her does the same for him. They also serve to balance the horrors hinted at in the flashbacks. It's easy to see Ebony as a victim rather than a monster.
The backup segment, "Just Another Guy Named Joe," ends abruptly, leading me to believe Starkings plans to continue his hate-filled journey through Mystery City. At first, I was left with the feeling that the segment really didn't add much to the book or have much of a point. But when one holds it up to the main story, the point becomes quite clear. First, we see Ebony, fearing he'll never find a place for himself in civilized society. He feels he'll forever feel ostracized. And then there's Joe, who feels as though he's been shoved aside by the Elephantmen. He hates them because he perceives that they're the stars of tomorrow, and that regular guys are relegated to the periphery, unable to compete. Joe hates the Elephantmen for no good reason, and Ebony hates himself for circumstances that were beyond his control. 9/10
