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Stray Bullets (Single Issues) #13-16
The Collected Stray Bullets, Vol. 4
Forget the circus - the freaks live next door
Marvel at these wonders of the modern world. Be awed and amazed at a mystical, five-legged cow whose untimely death inspires a revolution. Stare agast at the depraved actions of a group of small-town freaks as they unleash a night of savagery and violence. Be astonished by the sadism of an ordinary housewife and her cohorts, as their foul afternoon entertainment turns deadly for an innocent young child. And roar with laughter at the infidelities of a middle-aged clown with blood on his hands who claws his way out of the darkness only to take the ultimate fall...
This fourth volume collects four more complete stories from David Lapham's Eisner Award-winning series.
152 pages, Paperback
Published January 1, 2001
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Displaying 1 - 4 of 4 reviews
August 23, 2018
Plugging, and chugging, and huffing and puffing along, the fourth offering in the Stray Bullets collection arrives with only more of the same. More black and white. More crime. And more nonsensically choppy plot development that contravenes any assumption of ostensible obfuscation, remarkably enough, seeming to almost delight in it’s madcap laughs that elicit giggles once in a while but ultimately don’t take us anywhere. Continually lifting from Pulp Fiction in tone in some cases and (specific) scenes themselves in others, it seems the author’s M.O. is as much schizophrenic homage as it is artistic rejection.
Happily (over)sampling from Tarentino’s magnum opus, Lapham seems to possess the functions but only appropriates the cosmetic and the most basic of the structures of the form to fit his vision. Which strangely enough, effectively mounts to a visionless vision. Unlike the endless Post-Modern road of unknowable knowledge this viewpoint could hypothetically suggest, Stray Bullets portrays a far more rambly perspective than anything.
So even when portions of the vignettes (which they effectively reduce to) can elicit smiles and laughs, the enjoyment of such is as amorphous as is any illusory (over)plot/conclusion/or adherence to any basic literary structures which Stray Bullets firmly rejects. With a severe lacunae of structural support, what (can only be described as something kind-of) resembles a story which finds itself running over an ever continually-crumbling field of ground first and vision second. Hop-scotching between crumbling pillars of already hazardous formations, only the fewest of breaths are allowed to become taken. Conversely, Pulp Fiction is structurally sound at multiple levels, arrived at via a phenomenally well thought out meta-structure that effectively subsumes all stories into a cohesive unit, as much as it allows each to shine within its own intertextually overlapping spheres.
Lapham’s horrifying homunculus is able to present facsimiles and the occasional parlour trick but, no amount of peppered ghosts can extinguish the sins against basic plot structure and decent character development. Leaving us with hollow marionettes to be strung along with by their All-Seeing-Eye of an Author, things will only be as good as the progenitor himself, for better and certainly for worse. Sure, they heed the call of their master and occasionally strike up a soon-to-be muted guffaw or manifest an appreciatively enjoyable reference yet, fail to ultimately create anything particularly memorable or thought-provoking.
With images symbolically looming over the wealth of ultimately mostly-vacuous dialogue within, actions drive forth cornucopia of micro-narratives, latticed together with crime and noir along their predetermined tracks. Unable to see the strings that pull, a chaotically urban battlefield is tempered with Fly-Over states weirdness, becomes populated with characters tinged with idiosyncrasy and a dab here and there of original content. Found objects of the historical variety deluge the rest of the series, leaving an unvarnished variety of unitarily-derived viscous samples; all utilized to a wide range of varying degree of success.
Happily (over)sampling from Tarentino’s magnum opus, Lapham seems to possess the functions but only appropriates the cosmetic and the most basic of the structures of the form to fit his vision. Which strangely enough, effectively mounts to a visionless vision. Unlike the endless Post-Modern road of unknowable knowledge this viewpoint could hypothetically suggest, Stray Bullets portrays a far more rambly perspective than anything.
So even when portions of the vignettes (which they effectively reduce to) can elicit smiles and laughs, the enjoyment of such is as amorphous as is any illusory (over)plot/conclusion/or adherence to any basic literary structures which Stray Bullets firmly rejects. With a severe lacunae of structural support, what (can only be described as something kind-of) resembles a story which finds itself running over an ever continually-crumbling field of ground first and vision second. Hop-scotching between crumbling pillars of already hazardous formations, only the fewest of breaths are allowed to become taken. Conversely, Pulp Fiction is structurally sound at multiple levels, arrived at via a phenomenally well thought out meta-structure that effectively subsumes all stories into a cohesive unit, as much as it allows each to shine within its own intertextually overlapping spheres.
Lapham’s horrifying homunculus is able to present facsimiles and the occasional parlour trick but, no amount of peppered ghosts can extinguish the sins against basic plot structure and decent character development. Leaving us with hollow marionettes to be strung along with by their All-Seeing-Eye of an Author, things will only be as good as the progenitor himself, for better and certainly for worse. Sure, they heed the call of their master and occasionally strike up a soon-to-be muted guffaw or manifest an appreciatively enjoyable reference yet, fail to ultimately create anything particularly memorable or thought-provoking.
With images symbolically looming over the wealth of ultimately mostly-vacuous dialogue within, actions drive forth cornucopia of micro-narratives, latticed together with crime and noir along their predetermined tracks. Unable to see the strings that pull, a chaotically urban battlefield is tempered with Fly-Over states weirdness, becomes populated with characters tinged with idiosyncrasy and a dab here and there of original content. Found objects of the historical variety deluge the rest of the series, leaving an unvarnished variety of unitarily-derived viscous samples; all utilized to a wide range of varying degree of success.
November 12, 2019
The story with the 5-legged cow and the elections for new sheriff has some fun moments. It's narrated by Amy, one of the most unreliable characters in this universe, so it's convoluted and I expect, in part at least, a big fat lie.
Orson and Beth decide to leave the trailer park for Vegas. Unfortunately, Scott pays them un unscheduled visit and demands to have Harry's coke returned to him. Nina's been snorting it and dies from an overdose. All sorts of past history gets brought into the light.
Amy has another adventure while spending a few days away from home. Without informing her sister Beth, no less, who desperately searches for her. While hiding out at her friend's house, the owners return - a working man and his cheating wife. He finds her cheating and a major fight breaks out, during which Amy is found out. Thankfully, she is saved by Beth.
The last story has a new cast, as far as I can remember the usual one. Hank goes through a life-changing event when he accidentally kills a man who attacked him. He begins to act very much unlike himself - he cheats on his wife, visits hookers and falls in love with a stripper. Right before ending it with his wife, the hooker stops him. It looks like he returns to his old self at that point.
Orson and Beth decide to leave the trailer park for Vegas. Unfortunately, Scott pays them un unscheduled visit and demands to have Harry's coke returned to him. Nina's been snorting it and dies from an overdose. All sorts of past history gets brought into the light.
Amy has another adventure while spending a few days away from home. Without informing her sister Beth, no less, who desperately searches for her. While hiding out at her friend's house, the owners return - a working man and his cheating wife. He finds her cheating and a major fight breaks out, during which Amy is found out. Thankfully, she is saved by Beth.
The last story has a new cast, as far as I can remember the usual one. Hank goes through a life-changing event when he accidentally kills a man who attacked him. He begins to act very much unlike himself - he cheats on his wife, visits hookers and falls in love with a stripper. Right before ending it with his wife, the hooker stops him. It looks like he returns to his old self at that point.
May 14, 2017
Chilling
April 29, 2014
This is possible the best one yet in the series as it starts to bring the story together, reintroducing characters and broadening the story arcs. With a story set over generations, believable yet complex characters and quick sharp dialogue. This series continues to impress; however, the proof is in the pudding as they say, after these first four FREE instalments, am I now prepared to splash out cold hard cash for the next one. The simple answer is yes. You should to.
Displaying 1 - 4 of 4 reviews