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Elephantmen # 002 August 2006
01/12/2006 . Source: Paul Skevington 
pub: Comicraft. 36 page comic. Price: $ 2.99 (US). Buy Elephantmen in the USA - or Buy Elephantmen in the UK  check out websites: www.comicraft.com , www.imagecomics.com and www.hipflask.com
Another excellent instalment of 'Elephantmen'. Building on the strengths of the first issue, this book displays admirably the reasons why it is going to become a classic series - undoubtedly one of the best released this year.
The introductory atmosphere has been abandoned in favour a full-on attempt to define the titles design and direction. The Ladronn cover is predictably fantastic, capturing the ferocity of the unusual tale lurking beneath the front page. Delving inside we are greeted with a caption that informs us that this particular story, entitled 'Behemoth And Leviathan' has been co-created by Richard Starkings, Henry Flint and God.
Luckily, this doesn't indicate some kind of Oscar night, gushing religiosity on the part of the authors and artists. The story cleverly uses quotations from the Bible to depict a fight between the crocodile cross-breed Elijah Delaney and Hip-Flask, half-hippo/half-gumshoe. Both are 'Elephantmen', creations of a diabolic agency named Mappo, originally designed to be the ultimate soldiers but now existing as free citizens, albeit ones that suffer greatly from the prejudices of a fearful humanity. Here, Elijah takes on the role of Leviathan and Hip that of Behemoth, biblical monsters often associated with the animal aspects of these two characters.
The archaic passages are employed to give the encounter an almost mythical edge, emphasising the power and might of the men involved in this titanic struggle over what appears to be some sort of an idol. That we do not know the reason for the fight or the motivations involved gives the tale the feeling of those ancient stories of battling gods and demons.
It's a highly unusual structure and a brave move for a title just finding its feet but, actually, that's the point of it. This book is roaring out its intention to startle and surprise its readers and this can only be a good thing.
The success of the story is made possible by the strength of Henry Flint's art. Dark, emotive and frenetic, it revels in the dirt and grime of the setting and the tooth and claw savagery of the central melee. Flint has a keen eye for action and Starkings panel-work is exemplary - this is how a punch-up should be done in comics.
There's a distinct element of foreshadowing here. 'Behemoth And Leviathan' are conceptually loaded ideas, with accounts (principally Judaic) describing them as being destined for a final fight that may signal the end of conflict. I'd love to know where Starkings is planning to take this plot strand.
The second story in this issue features a cover by Ian Churchill, a nice enough piece that suffers in comparison to the Ladronn. The story, 'Shock Croc', is utterly different in tone and pacing from 'Behemoth And Leviathan' but makes a great companion piece to it, giving the readers time to relax with some more conventional dialogue and storytelling. The plot sees Elijah meeting a parody of 'shock jock' Howard Stern, here named Herman Strumm. As part of his show, Strumm interviews Elijah, mocking his genetically engineered heritage and asking offensive questions. As the piece progresses, we see the anger slowly build in Elijah. What happens next is only to be expected. It's another story designed to inform the reader of the situation the so called 'Elephantmen' are being forced to live with. Whilst showing that just because these beings are oppressed, it doesn't automatically equate that they are all good people. Elijah's quiet hostility and disdain for the tasteless proceedings are perhaps more extreme than the not entirely dislikeable Strumm deserves: we are not going to be allowed to draw easy lines here.
Moritat's art is simple and effective, glorying in the brightly coloured awfulness of Strumm's studio and the ridiculously endowed women he has populating it. Moritat's work is suited to the large panels in the script and continues to be a joy to read. It is likely to become the defining style of this comic.
I was very glad to here the news that issue one completely sold out of its 16000 copy print run. Crossing my fingers seems to have worked, so I won't unbind them again until issue two gets a similar result. I do this for purely selfish reasons, the more comics we have like this, the better.
Paul Skevington
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