Steven T. Seagle

From 1996 to 1999, DC revived the House of Secrets for 25 issues. I tried to get the House of Secrets Omnibus, but ILL couldn't procure it, so I had to settle for this, which collects just the first five issues. It's a very different House of Secrets than we've seen before (and since); the House is located in Seattle, and it attracts to it those who possess "secrets," who are tried by a group of ancient ghosts. Into all this enters Rain, a damaged, defensive young woman who ends up serving show more as the court's "witness." What could easily be a cliche character is really quite interesting-- her hard edges feel real, not like stock traits, as she's genuinely hurtful sometimes. The prose and dialogue are great, and this is probably the best artwork of Teddy Kristiansen's (considerable) career. There's something of a self-contained story here, but I'm disappointed I'll never know what happens to these guys next.

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A very interesting take on the Superman mythology. A comics writer who has been assigned to write for Superman is trying to find a way into the mythology that feels true, despite a prejudice against the character. Why the prejudice? Because Superman is different from everyone around him- but he can put on and take off that difference whenever he wants, unlike the other "outsiders" around him (such as Jews, blacks, or handicapped people). Seagle struggles with the Nietschean concept of the show more Ubermensch, while dealing with the realization that he, genetically is anything but: After a lifetime of watching family members dissolve under the effects of Huntington's disease, he finds himself unable to write about a man who will never face the fear and horror of the crippling disease that he himself may one day face. (Although Seagle, did, in fact, write Superman comics for DC.)
The art is extremely emotional and the story is beautifully done. show less

Ted Marx is a genius. Not like when your mom says that your baby brother is a genius cause he figured out how to work the iPad at the age of three, but a real one. He skipped grades in school and he's a quantum physicist at a think tank. But lately...everything is beginning to overwhelm him. He's having trouble making the next big leap at his job, he's being passed over by the younger kids, his kids are growing up way too fast, his wife is seriously ill, and his father-in-law who is senile show more lives with them. What's a genius to do? But then...he discovers that his father-in-law knew Einstein himself! And even more than that Einstein shared his greatest discovery with him. Can Ted get the secret for himself? And if he can...what will he do with it?

For such a short book Steven deals with a lot of complicated topics ranging from aging in-laws, illness, being smart but not smart enough, and most importantly of all...what do you do when you've been told the greatest secret known to man? It's like the parable of the gold pieces from the Bible, but in this case letting the secret go to seed maybe the best thing to do with it. This is the question that Ted struggles with, all the while trying to deal with normal life and the pressures of his job. And it's the story's greatest strength. We see Ted as neither a hero, or a villain, or even someone to aspire to be like. He's just...like the rest of us, struggling to deal with life and everything that is thrown at him. There is no neat and tidy ending with this book. No question is every truly answered and we don't know what Ted may do with the secret. Instead the book is just like the real world...gray and unclear, with hints of light.

One of the things I struggled the most with this book were the illustrations. It took me a while to realize why everything was gray and somewhat fuzzy, with hints of green and light running through it, is that Teddy is mirroring what we see in the storyline, he's mirroring life. It's not supposed to be clear and rosy, instead it's muted and unclear, with those hints of light shining through every once in a while, like a bolt of genius out of the gray. The one big issue I have with the book, is the type choice. It was at times difficult to read and made for some interesting... confusion, such as where it looks like the father-in-law is calling Albert Bett instead of Bert.

Overall while I enjoyed the book, I found it difficult to grasp until the 3rd or 4th reading. And I think that's because the author paralleled life so closely, creating a character that we can't but help find uncomfortable because he's so like us and he struggles with the same things that we do. And yet...that's also the biggest selling point of the book. This is a good book for adults and I give the it 3.5 out of 5 stars.

ARC provided by Gina at FirstSecond show less

This is the first volume of Sandman Mystery Theatre to draw connections with the wider DC universe-- in this case, the appearance of Rex Tyler, here called the "Man of the Hour," but eventually to become the superhero "Hourman." "The Hourman" is an oddly imbalanced story; half of it is about Wesley and Dian's evolving relationship, as usual, and half of it is about the Hourman's attempts to begin a crime-fighting career. They cross over in that Wesley discovers the Hourman in the course of show more his own activities as the Sandman, and the Hourman's investigations lead him to the same crime the Sandman is hearing about in his dreams. The relationship stuff is good, especially now that Dian is actively helping Wesley's crime-fighting, but it's overshadowed by the stuff with Hourman; I love a good origin story, and this is an excellent one. It doesn't help that the mystery here is perfunctory; Wesley spends more time investigating Rex Tyler than he does the crime, and the crime itself is stealing jewelry from an immoral and obnoxious rich person. It's hard to get worried about this. Far more interesting is Rex's fumbling attempts to help a family in trouble with local gangs.

The second story here, "The Python," is the first SMT story that completely did not work for me. To start with, it suffers from the same problem as every story with a fill-in artist: Warren Pleece is not Guy Davis. His art is simpler than Guy Davis's and more cartoony, which isn't really appropriate for the gritty atmosphere of SMT, but it's also just less accomplished. There's a lot of ugly or distorted faces, and not always in spots where they're wanted, I think. But also, the mystery this one just doesn't work-- earlier SMT stories suffered from a superfluity of suspects; this one has almost none, and then the murderer is someone completely different, with no previously indicated means, motive, or opportunity. (But still a contrived link to Dian.) It's lame, and the Sandman scarcely contributes until the obligatory fight scene at the end; everyone's favorite asshole cop Lieutenant Burke does most of the work again. Which is cool, I like Burke, but this isn't Lieutenant Burke Mystery Theatre. The other thing that doesn't work about "The Python" is that while Dr. Death and The Night of the Butcher showed Dian's initial horror at Wesley's secret life and then acceptance, and "The Hourman" showed her actually helping him, she all of a sudden backslides here for no readily apparent reason. Call my cynical, but I think Wesley and Dian's split is solely to set up the crossover in the next installment...

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