Haha #1 Featured Reviews 

“HAHA” #1

By | January 15th, 2021
Posted in Reviews | % Comments

One shots come with the benefit of their limitations. By nature of being only twenty some pages the long, the expectations for a one shot are specific — go in, go out, wrap a little bow on it. With no room for overly complicated arcs, the stories in one shots have a kind of narrative purity that lends itself to clarity. “Haha” #1 is one such story. Warning, minor spoilers to follow. But we’ll add the caveat that this is the kind of story where what happens matters less than how it happens.

Cover by Vanesa Del Rey

Written by W. Maxwell Prince
Illustrated by Vanesa Del Rey
Colored by Chris O’Halloran
Lettered by Good Old Neon
Reviewed by Kobi Bordoley

ICE CREAM MAN writer W. MAXWELL PRINCE brings his signature style of one-shot storytelling to the world of clowns—and he’s invited SOME OF THE COMIC INDUSTRY’S BEST ARTISTS to join him for the ride.

HAHA is a genre-jumping, throat-lumping look at the sad, scary, hilarious life of those who get paid to play the fool—but these ain’t your typical jokers.

With issues drawn by VANESA DEL REY (REDLANDS), GABRIEL WALTA (Vision), ROGER LANGRIDGE (Thor), and more, HAHA peeks under the big top, over the rainbow, and even inside a balloon to tell a wide-ranging slew of stories about “funny” men and women, proving that some things are so sad you just have to laugh.

W. Maxwell Prince’s purview, if The Ice Cream Man is any indication, is elevating the pedestrian. “Haha” #1 does just that, and follows the day in the life of Bartelby the clown as things go from sad to bad to worse. His barely tolerates him, his clowning days at the ubiquitous, oversaturated fun park are over, and on top of that, he gets shot in the head. “But doctor, I am Pagliacci” indeed. Part of why “Haha” #1 works so well is because Prince writes captures the aesthetic of domestic ennui and disappointment so well. The sad clown is perhaps overplayed, but in Prince’s hand, the writing feels compelling, driven, and dare we say literary. The writing in “Haha” #1 really is top notch, and maybe we’re too soaked in pathos but the line “Grace is like a long rainbow handkerchief…it never ends” just feel profound. While “Haha” #1 is a bit on the nose when it come to pop culture references, the clever moments outweigh the eyeroll moments. Besides, having a character named Bartelby say “I’d prefer not to” is so expected at this point it feels like a right of passage, so Prince gets a pass.

The heat never really turns down in “Haha” #1, and Bartelby the clown’s existential anguish reaches a climax in one particularly effective sequence where he gets shot point blank in the head by a bank robber, who’s also dressed like a clown (Yes, the irony and drumbeat of dry puns are strong in this story). This is where the story really cracks open, and that clarity of of purpose that exists in one shots really shines through. From a writing perspective, there’s also some expert stuff going on. Bartelby’s inner monologue narrates “Haha” #1, serving as the subtext for his in the moment dialogue. Stylistically, this works well and heightens the irony, as we the audience chuckle coldly at the disconnect between what’s happening and what Bartelby’s thinking. Navigating the sad clown’s brain as he rides out his near death experience really is something else. We’ll let you read it to see for yourself — and when we say see for yourself, we mean it, because Del Rey’s art here is really next level.

Even aside from the aforementioned brain scene, Del Rey’s art in “Haha #1” is exemplary. She fills panels in “Haha” #1 with expertly drawn characters full of emotion, and dynamic action that’s clear. The art in this story is nothing short of captivating and detailed. Del Rey captures realism and abstraction in perfect ratios. We mean this from an intra-panel level, but also in the comic as a whole. While “Haha” #1 mostly has a singular visual style, there are times when things break into the abstract and psychedelic, but it’s done in such a seamless way that it never feels jarring in a bad way. The balloon sequence at the end (you’ll know it when you see it) does this especially well. In terms of specific set pieces and tropes, it’s worth talking about how Del Rey draws her clowns. Just like zombies, vampires, and werewolves, we think it’s fair to say that at this point in the history of comics and popular culture, clowns have their own aesthetic vocabulary. Del Rey’s Bartelby never looks too scary and never looks to unhinged, but at the same time he never looks too normal. He’s never shown out of make-up, but there’s zero doubt in the audience’s mind that he’s fully human. As much as Prince’s writing builds the character, Del Rey’s art really enshrines Bartelby as the tragic figure.

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In “Haha” #1, Del Rey also shows off her masterclass use of perspective and depth. We get a good mix of close-ups and wide angle shots, which do a good job of highlighting character details and background worldbuilding, respectively. From a visual perspective, there’s never a dull moment in “Haha” #1. Sometimes stories don’t vary enough in terms visual focus, which as a reader leads to a sort of visual monotony. That’s not so in “Haha” #1, and for that we’re grateful. O’Halloran’s colors also deserve high praise. Each scene feels brushed with the kind of slight sepia wash reminiscent of early modern age comics. There’s a darkness in the light and a blackness in the black. Maybe it’s a trick of the light, or maybe it’s the work of an expert colorist. We’ll go with the latter. Truly, the parallel themes of happiness/sadness and light/dark as representing the dilemma of clowning are next level in “Haha” #1.

While the holiday season may be over, we can’t help but think that “Haha” #1 fills that special role of “comic you show to the uninitiated as a gateway into comics.” The story is accessible, well written, with a palatable visual style that’s exceedingly clever. We’re intrigued to see where “Haha” goes from here. It’s a varied anthology series, so anything goes. But if further issues are as strong as “Haha” #1, we’re in for a treat.

Final Verdict: 9.2. Full of pathos, pitch perfect art, and literary maturity, this story has the markings of a true classic.


Kobi Bordoley

comic reviews, as a treat.

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