The inseparable team of Jimmy Palmiotti and Justin Gray is joined by Scott Hampton for DC’s latest foray into reviving one of their classic war-themed comics, this time with one of the most bizarre hooks to date.
But for real…why isn’t it called “Weird War Tales”?
Written by Justin Gray and Jimmy Palmiotti
Illustrated by Scott HamptonMeet the soldier they call “G.I. ZOMBIE,” a man who is neither dead nor alive, who fights for his country again…and again…and again!
Let’s be real for just a moment now. This is the third time DC has tried to launch a war themed comic in the New 52, the second one to feature Gray and Palmiotti as writers. Beginning with “Men of War” and followed by “G.I. Combat,” DC has gotten further from the grounded world of normal soldiers, delving into Dinosaur infested islands and amnesiac super soldiers. Now the evolution becomes even more outrageous, with the story of a federal agent who also happens to be dead. How’s that for a high concept?
The core concept could just as easily pass for bad satire (or at least mediocre comedy) but Palmiotti and Gray play their hand as straight as possible. This is a dark, gritty book, one full of blood, cursing, mutilation, misogyny, and any number of foul and distasteful subject matters. This isn’t a funny book. However, it somehow manages to still be sort of fun.
The issue begins in a biker bar in Mississippi, where a recently released female convict kicks back a few drinks. Gray and Palmiotti cast the scene as a sort of “Stray Bullets” analogue; a sort of slice-of-life crime fiction with atypical pacing. However, the scene quickly descends into the sort of brutality one might expect from “The Walking Dead,” before taking yet another shift entirely.
If there’s one main complaint that can be leveled against the debut of “Star Spangled War Stories,” it’s that it lacks cohesion. The plot meanders, almost like a shambling zombie, from story beat to beat. While there’s a clear and certainly interesting through-line, a deep cover operation to expose a group of red-neck terroristic weapon hoarders, the issue has a hard time keeping its focus on that thread. Much time is spent explaining just want sort of “zombie” the titular G.I. is, and it’s not necessarily time efficiently spent. Yes, it’s certainly worth seeing how the character’s “powers” work, and seeing the soldier reattach his severed hands is pretty awesome. However, much of the exposition revolving his undead status feels forced and unnecessary, and several drawn out scenes hammer out the fact that he’s a compassionate zombie, rather than a ravenous brain muncher.
Thankfully, a fair bit of time is devoted to establishing Jared and Carmen’s working relationship. Carmen’s unnervingly convincing performance in the issue’s opening scene is wonderfully contrasted with her reaction immediately after, humanizing the character after such a dehumanizing display. There’s an utterly disturbing layer of sexual tension between the two characters, one that is portrayed with a surgical detachedness. I find it hard to believe that Palmiotti and Gray would go further down this path, but the fact that they went there at all shows that there a very few stops they aren’t willing to pull.
At this point, the book’s strongest draw is Scott Hampton’s artwork. The artist’s pages instantly invoke a similar tone and quality as that of Travel Foreman’s spectacular work on “Animal Man.” Hampton works as both penciller and colorist on the issue, and the result feels quite unlike anything else in the New 52. The artist’s painterly style gives the book an ethereal, haunted tone. The smooth, blended colors lead to some wonderfully striking imagery, particularly when the book heads into outdoor areas. Occasionally Hampton’s characters appear static and lacking in facial expression, but the few times this occurs is far outweighed by the sheer expressiveness presented in the issue’s key segments. The interrogation scene, Jared’s midnight outing, and the deer incident all carry a tangible emotional weight, all thanks to Hampton’s terrific work.
Hampton’s work is also evocative of 80’s DC horror titles, particular the work done on “Saga of the Swamp Thing” (in fact, the artist pencilled a few issues of that series, prior to Alan Moore’s seminal run). In the way that that book was very much a precursor to Vertigo, “Star Spangled War Stories” is almost a “post-cursor” to the influential and beloved imprint. This is very much the kind of book one would have expected to see published under the Vertigo banner as little as five years ago. While Vertigo has begun to thrive once again, the fact that a book like this can once again exist as a part of the main DC universe suggests that the role of the imprint, and DC’s view on what is and isn’t appropriate, has shifted dramatically.
Days after reading the issue, there are a number of moments in “Star Spangled War Stories” that stick with me. However, while the debut of “G.I. Zombie” has these noteworthy, thought-provoking, and occasionally powerful moments, it fails to come together as a worthwhile whole. The in media res approach works to build a sense of mystery, but it ultimately limits any sort of attachment to the characters. Furthermore, the approach is nearly undermined by the reliance on exposition to catch the reader up on the book’s status quo. The book’s tone is almost surprisingly grim, but in a way more accustomed to Vertigo or indie books than that of the New 52. Gray and Palmiotti set up an intriguing dynamic between Carmen and Jared, giving the characters a unique chemistry and instantly placing them on a sort of level playing field. I look forward to seeing their relationship develop, far more than I yearn for a group of terroristic goons to seek justice. It’s not quite what I’d call a strong debut, but “Star Spangled War Stories'” unique concept and style, interesting plot and location, and willingness to push boundaries makes it a book worth checking out.
Final Verdict: 7.3
