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Reviews
Up to now, Nick Bertozzi's work has appeared like shooting stars in the
night sky: unexpected, brief, and spectacular. With issue one of RUBBER
NECKER, Nick finally lets loose with a full meteor shower.
It begins with "Drop Ceiling"-the first chapter in an ongoing tale of a
young man, Dennis, clumsily wedged into the yoke of Responsibility. While
learning the ropes at the family business and raising a little boy with
his girlfriend and her uncouth family, Dennis is haunted by echoes of his
scruffy youth-swimming holes, cut-off jeans, and LED ZEPPELIN IV. Although
redolent of the malaise Bertozzi uncorked in THE MASOCHISTS, it's
handled here with a concentrated pen and tight, agile panels that hint at
the story's ambitious scope. You can tell from the start: "Drop Ceiling" is
not a sketch, but a study. A study the reader becomes anxious to continue,
thanks to an abundance of clever teases: "What's with those disappearing
women in the empty lot? Why is Dennis chased off a friend's yard with a leaf
blower? And what's in that mysterious package his late father left him?"
"Adrift in a Mid-Life Melodrama" switches gears, swapping the studied,
realistic approach of "Drop Ceiling" for a distorted, cartoony style:
acurious effect for a curious story about obsession, sculpture, and TNT. The
third feature, "Masochism," looks like it was done by a completely different
artist. The dark, bold details distance this story-in both subject matter
and appearance-from typical Bertozzi fare (if there is such a thing). It's
the tale of a beguiling, post-apocalyptic poetry slam, laced with traces of
mythology and existential hoodoo. Maybe.
RUBBER NECKER never wastes a breath on exposition. You must steer through it
on your own; wrestling with its complex relationships, marveling at its
triumphs, puzzling over its mysteries. Kind of like stargazing. But the
universe doesn't fit on your bookshelf.
Reviewed by Ross Alvord
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