Writer: Richard Starkings
Artist: Moritat
Publisher: Image Comics
There are two important reasons why Elephantmen is heartbreaking. Though it’s an attempt to get the series, which has until now been marked by issues that come out yearly if that often, on a more regular schedule, key artist Ladronn isn’t handling the series; newcomer Moritat takes over the interiors. The other cause for heartbreak is that, thanks to Moritat being a capable replacement, the story inside is genuinely touching without using forced conventions or clichés. Even an Elephantman can cry.
It’s so strange that what was once the mascot of Comicraft has become a fleshed out and intriguing character – a set of intriguing characters, actually. This issue focuses on Ebony, the elephant of the Elephantmen (Hip Flask, a hippo, has typically been the lead protagonist). At first glance the story doesn’t seem like much of a story at all, consisting of a framing sequence of Ebony talking to a little girl who’s waiting for her mom to emerge from a shop. However, their conversation allows Ebony to reflect on his tortured past – and the tortured elements don’t drive him to any extreme action in the present, but make him feel all the more distanced from the little girl and humanity as a whole.
It’s strange to think that a story about a walking talking elephant could be even more topical about racism than themes explored in X-Men stories. The little girl recognizes Ebony for what he is – a walking talking elephant – and bases her questions around that fact. However, her questions – like does he wash behind his ears, or can he pick his nose – are less obnoxious and degrading and do more to celebrate his unique differences to humanity. And then we get a conclusion that’s truly wonderful and not quite as conventional as we were led to believe.
The main appeal of the Hip Flask series has always been Ladronn’s art, and though the story in this debut issue has done its half of the work, the question is whether or not Moritat could follow in Ladronn’s footsteps. It’s a given that almost any substitute would be Ladronn’s lesser, and indeed Moritat is, but surprisingly his art comes across as “Ladronn light,” keeping the same tone and emotional expressions in the characters without the overly meticulous attention to detail. So yes, it looks less pretty than Ladronn, but it retains the same flavor and tells the story just as well (if not better, thanks to the drop in visual distractions). But the backup tale, “Just Another Guy Named Joe,” actually demonstrates that Moritat might have more potential for detail and Ladronn-ism than he leads us to believe.
An ongoing Elephantmen series, as well as the change in art duties, are both surprising in their new direction and reassuring in their successful execution. As long as we get the second issue before a year elapses, this could become the next big buzz book.
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