You know, I was gonna be harder on these before I started flipping through them again in preparation for actually writing this review? I have no objection to slice-of-lifers, obviously, even stylized ones like these — the kind where everyone’s dialogue is constantly “on” (“Don’t you want to say goodbye to Peter?” “If by Peter you mean ‘my bed’ and by goodbye you mean ‘pass out in,’ then yes. Yes, I want to say goodbye to Peter immediately.”), and where the lead occasionally talks to a cartoon ghost, and has a boss who looks like the Kingpin, meditates in the lotus position in his office, dictates all his correspondence (including grocery lists) to three assistants in lieu of owning a computer, and lives in an adjoining hotel so he never has to go outside. What’s more, Rilly’s cartooning is absurdly proficient and elegant. I wish I could remember who I’m stealing this from because it’s the perfect way to describe it, but you really could sit Rilly down next to his fellow (mostly) Canadians in the core Drawn & Quarterly line-up — Seth, Adrian Tomine, Joe Matt, mid-period Chester Brown — or for that matter next to Los Angeles’ classy classicists Jordan Crane and Sammy Harkham, and he wouldn’t look the slightest bit out of place. But speaking of fellow Canadians (and of Los Angelenos, at this point), there’s a healthy dose of Bryan Lee O’Malley’s comparatively contemporary portraits of young urban semi-professionals in there along with the standard Gray/Segar roots, an influence the aforementioned snappy, showy speech and not-quite-magic realism only make clearer by the end of Pope Hats‘ second issue. The problem is that it’s all a bit too dazzling to actually get into, at least for me. Every word uttered, every gesture gestured by studious law-clerk lead character Frances and her drunken whirligig actress roommate Vickie is designed to drive home just how them they are at all times. If the story, such as it is at this point, is one of young people feeling locked into the personae and professions they’ve chosen themselves, then Rilly’s conveying this all too well — I never felt like the characters had been given the freedom to surprise him or me. (You could perhaps say the same for the whole package as comics, if you were feeling less than charitable. The random-ass title, the self-effacing tone of various bits of incidental copy here and there, supplementary short stories in which ironically verbose schmoes wax philosophical about the ineffable joy and dread of modern life — the only way it could be more of a ’90s altcomix solo-anthology throwback is if it had a letter column full of people asking permission to turn it into a student film.)
But that’s all just how I remembered the comics from my initial read; much of it vanished upon that aforementioned flipthrough, which ended up feeling like a tour of Pleasuretown. For all I may object to the flippant patter, Rilly has a terrific eye and ear for the intersection between a person and her job, and how what she does during work hours and off hours alternately aligns and contrasts in revealing ways. Vickie is a manic pixie dream girl for guys and something of an alcoholic trainwreck for her roommate Frances, but she’s also a compelling actress in local productions. Frances is dutiful at work and at home to the point of drudgery/neurosis, but she tells a pair of spooky true stories at the end of issue #1 — in medium-closeup direct-address Brian Bendis fashion, no less — that both showcase how well comics can do that sort of thing and demonstrate how her attention to detail can manifest itself as an engaging facet of her personality during her free time. Issue #2’s backup story “Gould Speaks” hits its “intellectual blowhard actually quietly emotionally wrecked by a breakup” note a little hard for my taste, but watching Rilly fill out the space of the bus on which the title character is taking a cross-country trip by almost constantly shifting angles from panel to panel is a multi-dimensional joy, and when the true meaning of the story’s title is revealed, I laughed out loud. And of course there’s the fact that Rilly is a fucking phenomenal drawer — of hair, of ceiling fans, of city streets, of bar interiors, of beds, of pretty much anything. See the cover of issue #2? The inside’s just as pretty. It’s that kind of comic. In other words it’s a good kind of comic — it could be better, yeah, but isn’t that what issue #3 is for?