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| Last Updated: Aug 21, 2008 - 3:13:23 PM |
Simpsons Comics #132
Bongo Comics Group
Writer: Chuck Dixon
Pencils: John Constanza
Inker: Phyllis Novin
Mr Burns, Homer Simpson’s boss at the nuclear plant, decides to go to an exclusive Mexican retreat for billionaires after spending six months in a hospital. However, the exclusive retreat is really a trap for billionaires, replacing them with younger doppelgangers that spend all of their money. Meanwhile, the real Mr Burns is forced to built cheap beer making machines, that are purchased by idiots like Homer Simpson. Can Mr Burns escape from forced labour before he dies?
This story spans the entire issue of the comic book and offers a comedic look at an old Simpsons’ character. I like how Mr Burns is so contemptuous of other billionaires, as if only old money and old business mattered. Here, new billionaires from the new technology industries, like Marge Simpson’s old stalker, Artie Ziff are fakes. Burns shows that of all the entrepreneurs and leading men captured with him, like Steve Jobs and Bill Gates, he’s the only one with an indestructible will. This is interesting, as it makes Burns larger than life and explains his resilience.
Dixon also nails Homer Simpson’s character when he shows him waiting for days for his beer making machine. The panels are priceless Homer Simpson’s moments.
The plot with the doppelganger lacks some background. He just spends money but doesn’t seem to funnel back anything back to his Mexican bosses. Although one doesn’t expect anything deep from the Simpsons, it’s interesting that the publisher has made this a two part story, involving of course, the Simpsons’ family next issue. I’m also glad the humour and social commentary in this issue goes as far as the regular Simpson’s television show. The various Simpsons’ comic book series tend to be lighter in humour and more kid-friendly. With a story like this, Dixon shows that the Simpsons’ comic book is no light fare.
Constanza’s work is tight and closely follows the character designs of the characters. This is good as many artists tend to be more liberal when they interpret the Simpsons’ characters.
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