Persistence. According to the American Heritage Dictionary (Standard Edition) persistence is "to hold firmly and steadfastly to a purpose, a state, or an undertaking despite obstacles, warnings, or setbacks." In a time when it seems that half the comic books being offered in a given month are #1's, it's refreshing to see some titles, characters, and creators persist. Of course Superman and other superheroes from major publishers are perennials, but their continued existence seems more a function of momentum than persistence. To find examples of the true definition of persistence we need to look at low circulation black-and-white books which keep coming out year after year thanks to the determination and singular vision of their creators.

(A caveat: Another reason these books tend to persist is that they appeal to an adult audience instead of fickle children. All of these books contain enough sex, violence, harsh language, and/or adult themes to make them for mature readers only.)
 

CEREBUS #201-219 (Aardvark-Vanaheim)

 Dave Sim's CEREBUS is the epitome of persistence. Begun twenty years ago (20! Tu-when-tee!! Two decades!!! One-fifth of a century!!!!), CEREBUS is a 300 issue limited series. And Sim has actually made it 73% of the way toward the doggone conclusion with no sign of stopping short.

Speaking of short, Cerebus -- in case you don't know -- is an aardvark. Most members of the supporting cast tend to politely ignore this fact, however. What is hard to ignore is the fact that Cerebus is a jerk. He's a bitter, self-pitying, moody, annoying drunkard who occasionally finds himself in positions of authority (prime minister and pope, so far) only to lose everything through his own incompetence and greed. Despite these faults, he is a funny little fella. Oh, by the by, there are only two other known aardvarks in his world. All three seem to possess mystical psychic powers, and one is constantly vying with Cerebus for world domination or somesuch.

 The protagonist aside, the only problem with CEREBUS is that most new readers probably find it rather daunting. With 219 issues collected into eleven trade paperbacks, CEREBUS requires a considerable investment of time and money from a collector who wants the entire story. Fortunately, Sim makes it easy to jump on by dividing the series into well-defined story arcs that are fairly self-contained. It is easy to give CEREBUS a test run by picking up the most recent trade paperback or by subscribing to the comic at the start of a new story arc. With that in mind . . .

"Guys," one of my favorite storylines in recent years, just came to a conclusion and is being collected as a trade paperback this month. "Guys" finds Cerebus deeply depressed over his lifetime of failures. He's lost all his power, money, and women. Estarcion, the country in which he currently finds himself, is run by a tyrannical matriarchy which confines all single men to taverns, where they are expected to drink themselves into docility until some woman deigns to mate with them. Making the most of the situation, Cerebus and his buds form a close little boy's club within the tavern. They do all the usual guy stuff: bond, talk about women, drink, talk about ex-girlfriends, fight, talk about sex, play games, joke about women, play pranks, and cringe in fear whenever a woman comes around. The good times come to an end when an ex-girlfriend of Cerebus' best barmate shows up and shatters their little clique. Cerebus is all alone later when temptation shows up in the form of a woman about whom Cerebus once fantasized. Will she pull Cerebus into that which he most fears and loathes -- a relationship?

 In keeping with a long-running CEREBUS tradition, "Guys" is populated with characters who are parodies of various celebrities or comic characters. Mick Jagger, Keith Richards and Margaret Thatcher have all appeared in previous CEREBUS storylines and have minor roles to play in "Guys." In a tribute to comic book self-publishers, Sim has a parade of bowdlerized versions of some of today's most prominent independent creations. See if you can spot characters from EDDIE CAMPBELL'S BACCHUS, STARCHILD, TUG AND BUSTER, ROARIN' RICK'S RAREBIT FIENDS, DON SIMPSON'S BIZARRE HEROES, HILLY ROSE, THB, TOO MUCH COFFEE MAN, and EIGHTBALL. I'm sure I've missed a few myself.

 If you try "Guys" and like it, you'll want to start looking for the rest of the CEREBUS trade paperbacks. While it would probably be best to read them in chronological order, one could also read the trades in order of quality. My favorites are "High Society," "Church & State," and "Jaka's Story." These works find Sim at the top of his form. "Cerebus," the first collection, contains Sim's earliest work and is, therefore, rather crude in both story and art. If you read this first, just remember that Sim improves dramatically and quite quickly by the next volume. "Melmoth" is an interesting digression from the Cerebus character. The protagonist is a tribute to Oscar Wilde. "Mothers and Daughters" sprawls across four trades ("Flight," "Women," "Reads," and "Minds") and is the most dependent on previous plotlines. "Mothers and Daughters" would probably be the worst story to read first.

 I have nothing but praise for CEREBUS creator Dave Sim. Unlike the spawn of other creators, Cerebus is pencilled and inked by Sim in each and every issue. After two decades of practice, Sim's linework is beyond reproach; it is polished, accomplished, and dynamic, with never a misstep. Additionally, Sim has written every issue of CEREBUS since #1. While CEREBUS is deservedly famous for it's long, involved storylines and Sim's controversial philosophies, I love Sim's masterful use of broad humor and biting satire. Finally, Sim is one of the greatest letterers working in comics. By lettering his own script, Sim is able to add immense depth to the dialogue. Indeed, he gives each character a distinct voice the reader can actually hear inside his head. Sim does this by superbly defining characters' accents, tones, volumes, and inflections with his letters. In Sim's hands, the word balloons come alive, becoming as dynamic as the rest of the artwork. Sim's only assistant is Gerhard, who designs and draws the backgrounds. While I have always wondered why someone would specialize in backgrounds, I must admit the results are amazing. I cannot imagine CEREBUS without Gerhard's incredibly detailed and meticulously crosshatched contributions.

 Now, c'mon! You've heard about CEREBUS for years! Probably you've heard mostly positive reviews. So why are you still waiting? Time's running short, y'know. There are only six or seven years until the conclusion, which means there are only two or three more jumping-on points left. Get with it, already!
 
 

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Grade: A+

(A woman's perspective from my wife: Dave Sim and Cerebus are two of the most misogynistic creatures I have ever encountered in comics. I have never actually read a CEREBUS comic of course, but from what I've seen, I have no desire to. I feel women need some sort of warning along with this A+ review.)

(CEREBUS VOLUME 11: GUYS trade paperback, CEREBUS VOLUME 10: MINDS trade paperback and CEREBUS #222 are all solicited this month in PREVIEWS on page 190!)

(For a CEREBUS fan website and many CEREBUS links, surf on over to http://iridium.astro.ubc.ca/~holland/cerebus/cerebus.html)

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THE DESERT PEACH #1-25 (Thoughts & Images, Aeon/Mu Press)

 A common misconception about THE DESERT PEACH is that it is about gay Nazis in the deserts of Northern Africa during World War II. Actually, there is only one gay Nazi; all the other Nazis are heterosexual. The gay protagonist, Pfirsich Rommel, is not a Nazi, though he is an officer in the German army. His lover, a pilot in the German air force and a former member of the Hitler Youth, does belong to the Nazi Party, but he only drops into the story occasionally. The parts regarding North Africa and World War II are accurate.

I'm glad I could clear that up for everyone.

 If you're still reading this, you may be open-minded enough to enjoy one of the most irreverently outrageous and joyfully unique comic books ever produced. THE DESERT PEACH goes where no other comic dares to tread. Creator Donna Barr has the audacity to combine homosexuality, Nazism, and war in a comedy. And damned if she doesn't pull it off. Barr's persistence is evidenced by her ability to make this one-of-a-kind comic book last for over ten years, 25 issues, and three publishers.

 "Pfirsich" is German for "peach," and Pfirsich Rommel is a real peach of a character. He's the younger brother of Erwin Rommel, the "Desert Fox," who led German forces to victory after victory in Northern Africa. Pfirsich is a perfect gentleman and lady, all rolled into one. His protective nature caused him to join the army so that he could stay close to his brother: Erwin tends to be oblivious to the opportunists and turncoats that surround him. (Of course, the fact that Pfirsich looks simply divine in a military uniform helped make the decision easier for him.) Erwin's power and fame help ensure Pfirsich's tenuous safety in an army and society that despise homosexuals. But Erwin's influence can only go so far, and Pfirsich finds himself in charge of a group of misfits in the 469th Halftrack, Support, and Gravedigging Battalion.

 The 469th is the most colorful army unit ever assembled. It consists of a mute radio operator, a Jewish Nazi (he was drunk at the time!), a woman masquerading as a man, an addled fellow who carries a live landmine around as if it were a teddy bear, and an American P. O. W. who writes the camp newsletter. Luckily, the unit physician is a psychiatrist. The ostensibly German unit also features Russians, blacks, and Moslems. The Peach keeps everyone in line by doting over them as if they were his children. But he is a firm parent, ready to blister the skins of his subordinates with harsh orders when necessary.

 Like all the truly great comedies, THE DESERT PEACH is able to introduce serious topics and address them both comically and movingly at the same time. The last couple of years have seen stories dealing with serial murder, racism, pedophilia, rape, protest movements against Hitler, and (duh!) homophobia. Not one to back away from the obvious criticisms, Barr even managed to deal with the ramifications of the Holocaust in one issue.

 Writer/artist Donna Barr is as unique as her creation. She is an overt lover of all things German. Her dialogue is heavily sprinkled with German words and phrases (all helpfully translated in footnotes). Her character's costumes are authentic because she collects and wears vintage German clothing and uniforms. But don't worry! As you should be able tell from her characters and subject matter, this woman is not a skinhead. What she is is a talented artist and writer. Her artwork is so loose and busy that I'm inclined to call it sloppy -- but in a good way. Her pages are frenetic, kinetic and dynamic. Heck, most of the time even the page numbers tend to go running around the borders or between the panels. And yet, her characters are all well defined, and the action is always portrayed clearly. Her scratchy, frantic drawing is a stylistic choice, by the way. In the first few issues she used a much bolder line and proved her self very capable of doing more traditional linework. However, her current style better suits the over-the-top antics of the Peach and his cohorts.

 Donna Barr has made a habit of creating off-beat comics. Her other on-going series is STINZ (various publishers, Grade: A), the life story of a Germanic centaur. Barr has chronicled Stinz' life from his youth as a dumb young stud courting female centaurs, through his traumatic formative years as a soldier in World War I, to his adulthood as a husband, father, gentleman farmer, and town mayor. STINZ, unfortunately, is offered as infrequently as THE DESERT PEACH.

 THE DESERT PEACH is, at best, biannual. So, the bad news is you can only get it twice a year. But the good news is Barr compensates by making each issue a self-contained graphic novel. For new readers, this means you'll have plenty of time to order the newest issue, read it, relish it, and read it again, all before you have to commit to buying the next issue. Doesn't that sound like a good plan? I suggest you take advantage of the issue offered this month.
 
 

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Grade: A

(DESERT PEACH #26 is solicited this month by A Fine Line in PREVIEWS on page 191!)

(For the official Donna Barr/Stinz/Desert Peach homepage, surf to http://www.tooluser.com/barr/.)

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I, LUSIPHUR #1-10 (Mulehide Graphics)
POISON ELVES #11-20 (Mulehide Graphics)
POISON ELVES #1-21 (Sirius Entertainment)

Lusiphur Amerellis Malache is not a cute little elf. As a matter of fact, he's the meanest, nastiest elf you'll probably ever know. He's just evil. Unlike other anti-heroes, he has no redeeming qualities. He's not short and cuddly like Cerebus. He's not torn by the wrenching soul searching to which John Constantine is constantly subjected. He's not about to be lured over to the side of good like Hawkeye or the Black Widow. No, Lusiphur is a wretched, awful cretin. Still, he is an entertaining wretched, awful cretin.

Lusiphur is a thief, murderer, assassin, and all-around rogue. In his first series from Mulehide Graphics, he wanders from one adventure to another, applying his quick, brutal solutions to every dilemma. With Lusiphur, no problem is so big it can't be shot -- several times, if necessary. Even so, he frequently finds himself holding the dirty end of the stick because Lusiphur has phenomenally bad luck. When he finds a genie who grants him three wishes, for instance, Lusiphur discovers that his wishes have come at the expense of three very powerful and vengeful men. Every old guy who seems to befriend Lusiphur eventually tries to kill him. Lusiphur's nemesis is a foppish version of Zorro named the Purple Marauder. The Marauder, who is the only person Lusiphur can never fully defeat in hand-to-hand combat, always turns up at the most inopportune moment with his battle cry of "Nyar!" Oh, and there's an imp who dresses like a clown living in Lusiphur's subconscious. The imp seems to help Lusiphur on occasion, but mostly just leaves Lusiphur feeling befuddled.

 With the move to Sirius Entertainment, POISON ELVES became focused on a long storyline entitled "Sanctuary." The sanctuary of the title is the other-dimensional hidden haven of an assassins' union. Lusiphur stumbles into the place, fights for his life, and is drafted into service. Scoundrel that he is, he quickly adapts to his life of paid murder. His bad luck holds however. Not only do half the members of his own assassins' guild want him dead, but there is a competing guild set on eliminating all competition. And the police are tracking Lusiphur's guild with the aid of Lusiphur's best friend. And Lusiphur's ex-wife, a sorceress named Hyena, is involved in a conspiracy with a sorcerer who wants Lusiphur dead. It's all coming to a head in issue #25, where writer/artist Drew Hayes promises to reduce the size of the cast drastically and terminally.

 Hayes is not the most skillful writer or artist I've ever come across, but I have to admire his guts. POISON ELVES has persisted through a title change and a switch from self-publishing to a small publisher. I'm sure it was because the character and the creator refused to go down out of sheer spite. Both are no-nonsense butt-kickers who do things their own way on their own terms. Hayes' starting notes to each issue and his letter column replies are some of the edgiest and snottiest I've ever read. I'd be inclined to write him off as all bluster if his artistic skills weren't constantly growing. He still has a ways to go, but the improvement from the first series to the second is considerable. His text is plagued with typos, misspellings, awkward grammar and overblown phrasing, but his one-liners are hilarious and his plotting is tight and intense. His art, which is reminiscent of Dave Sim (CEREBUS) and James Owen (STARCHILD), has gotten pretty slick. Once in a while though, a random panel is a bit indecipherable or the perspective of a human form is a little skewed.

I'm sure all these faults will fade with time . . . and I've no doubt Hayes and Lusiphur are going to be around for a long, long time to come.

Grade: B

(POISON ELVES #27 is solicited this month by Sirius Entertainment in PREVIEWS on page 304!)

(For the official publisher's page surf over to http://www.edgeglobal.com/sirius/elves.html. For some nice fan pages and links try http://www.cs.washington.edu/homes/brad/pe/p.elves.html or http://www.cs.washington.edu/homes/brad/pe/pe.links.html.)
 
 

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MIRACLEMAN BOOK FOUR: THE GOLDEN AGE (Eclipse Comics)

 Eclipse Comics has been defunct for years, and yet PREVIEWS continues to offer its backstock. Talk about persistence! (Didn't I hear that Todd MacFarlane bought all of Eclipse's residual property last year?) The company is dead, but the legacy lives on!

 One of Eclipse's shining jewels was the MIRACLEMAN comic. Back in the eighties, writer Alan Moore revived the 1950's British comic book character Marvelman for a British magazine called WARRIOR. Marvelman was a transatlantic rip-off of our own Captain Marvel (the SHAZAM! guy, not the Kree warrior). Eclipse Comics brought Marvelman to the states and rechristened him Miracleman to avoid a lawsuit with Marvel Comics. We were thus treated to one of Alan Moore's deconstructions of the superhero mythology. Miracleman was no Superman. In MIRACLEMAN, things got a bit bloody when a couple of villains set out to achieve world domination. Then things got bloody unpredictable, when the hero actually attained world domination himself. At that point, Alan Moore left the book in the hands of a minor writer named Neil Gaiman.

 Gaiman, with artist Mark Buckingham, took MIRACLEMAN off in a new and miraculous direction. Rather than focusing on the character of Miracleman, in THE GOLDEN AGE Gaiman created an anthology of tales about common folks dealing with a planet ruled by a godlike superhero. This approach gave Gaiman the same kind of freedom he found in SANDMAN: he could use a variety of techniques to let the tale be told in the best manner possible. Some stories are poetic. Some are gritty and mean. One makes use of a child picturebook sequence. Another incorporates the image and artwork of Andy Warhol. None feature more than a panel or two of Miracleman. Mark Buckingham varies his artwork wildly in each chapter, masterfully keeping up with Gaiman's changes of pace.

 While I heartily recommend you seek out the Alan Moore issues or trade paperbacks, don't miss the chance to pick up the treasure currently under your nose.
 
 

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Grade: A-

(MIRACLEMAN BOOK FOUR: THE GOLDEN AGE is resolicited this month in PREVIEWS on page 248!)

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The police drama KANE adds a third trade paperback this month with KANE BOOK 3: HISTORIES. See my review in the February 1997 issue of LWYBM, then check out the listings under Dancing Elephant Press on page 243 of the July PREVIEWS.

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