"The Hada House"
Okay, so I've been shamefully negligent
here of late: blame it partially on me having to adjust to new and
frequently difficult circumstances, and partially to a rather
disastrous computer meltdown (though I DID manage to save the files
for my ongoing translation, to your undoubted relief). NEVERTHELESS,
if you thought I was going to let a great holiday like Halloween get
by me—HA! HA, I say!
So! Ready to do the time warp again?
Today we are going to take a look at a little number by Marco Rota;
Rota, of course, is responsible for
my
second-favorite Halloween story ever,
(and even if it we
ARE talking about a bit of a shallow bench, it really is great) and
he's also written a number of other pretty great spooky stories (like
this
and this,
which Elaine says she finds too disturbing to be enjoyable, but which
I think is pretty great) that I hope may see American publication
with this exciting new IDW deal.
For now, however, we are stuck with
“The Hada
House.”
Yay!
Okay, so that didn't exactly sound like
a red-hot recommendation, but actually, there's something to be said
for this one, if you adjust your expectations appropriately. Boy,
THAT didn't sound like a recommendation either. I am NOT on a roll
here. But...okay, better stop while I'm ahead.
To the extent that this story gets by,
it does it on atmosphere. As with many Rota stories, plot isn't
exactly a priority. This can be okay; “The Halloween Huckster”
isn't plot-heavy, either. Sometimes it can just leave a story
feeling aimless, though. But whatever else you want to say, this
definitely looks good and puts you in the Halloween mood and also
there's a reference to the old English rhyme that became a pretty
solid Steeleye Span song and whether or not it's one hundred percent
thematically appropriate, I WILL TAKE IT.
Seriously, man, the looming mansion,
the oddly-tilted gargoyle, the silhouette inside—GOOD STUFF. If
the story could stay at this level throughout, it would be one of the
all-time best.
But, well, it can't, not quite. Once
our hapless couple actually gets inside the mansion and is dealing
with its cartoony inhabitants, things get less interesting, and the
story never really does anything with the initial Rocky Horror
inspiration, though I would assume that “Rafferty” is in
reference to Riff Raff from the movie. You know, if they ever make a
comic about his adventures, and it starts with self-contained stories
but later moves on to continuity-driven episodes in a longer ongoing
plot, you can watch Rafferty turn into a serial.
Just sayin.'
Mostly, Donald just sort of pinballs
around. It's not the greatest thing ever,
but I'll admit that it has a certain aesthetic appeal. Hell, there
are a fair few early Barks stories that are basically flimsy excuses
for us to watch Donald get injured, so there's precedent.
We could do worse, is what I'm saying.
Yes! THIS is what we want from a
Halloween story! It makes me forgive quite a lot of silliness. STAY
FOREVER!
Yay!
Unfortunately, we inevitably come to
the Big Reveal. I cannot say that I am transfigured by anger—I'm
mellower than perhaps I once was, and I'm kinda used to such things
anyway—but I would definitely say I am transfigured by slightly
exasperated indulgence tinged with irritation at the inevitability of
the whole thing. Is that something you can be transfigured by?
Well, I am.
GRUMBLEGRUMBLEGRUMBLE. The other
question is, what's with the sinister-looking cameraman in the lower
right?
Of course, there's a bit of a kicker in
the end; that too was inevitable. And don't think I don't appreciate
it—it at least goes some little way to mitigate the lameness of the
denouement—but it's not quite the spookiness I was hoping for.
Oh well—as sometimes happens when I
pick through a story I'm not that enthusiastic about, I actually find
that I like it somewhat more than I used to.
...but what's this? A gravestone,
obscured by weeds and moss and spiderwebs? Let's carefully wipe them
away, and...whoops, the flashlight is going out. Jiggle it to make
it go fitfully on again. Okay, let's see...“Duck Comics Revue,
1857-1879?” WHAT?!? HOLY SHIT! THE BLOG WAS DEAD THE WHOLE TIME!
DAH DAH DAH! AND WHAT'S THIS RUSTLING NOISE?!? AAAAHH! IT'S THE
BLOG'S VENGEFUL SPIRIT! RUN AWAY!!!
...oh, wait, it was just a cat. PHEW.
A CAT WITH A BLOG-SHAPED SHADOW!
MUSICAL CRESCENDO, ROLL CREDITS
MUSICAL CRESCENDO, ROLL CREDITS
Labels: Marco Rota
9 Comments:
It's near-impossible for me not to read that "Zat's ze idea!" in Tommy Wiseau's voice. That makes the scene, shall we say... a bit less frightening than it could have been, though I guess I can't blame Marco Rota for it.
I was disappointed by the reveal, but still found the story enjoyable overall. The art, of course--the atmospherics you mention, and Daisy running away in terror in the last panel of p. 10. I also liked the reference to Magica with its mini-story (Rafferty spurned her because she's not rich!). But I would have enjoyed the story more if the threats inside the house had been horror-story stuff rather than slapstick.
My favorite David Gerstein line: "Ze beauty of your smile lights ze jack-o-lantern of my soul."
Anybody know what Daisy is supposed to be feeling in the last two panels? I'm afraid she looks a bit besotted with the count, which I find annoying.
While I did, as you say, find the Duck Street story disturbing, I agree wholeheartedly with the Inducks rating of "Nightmare Ship," which just may be my favorite duck story ever by someone other than Barks or Rosa. Crossing all my fingers and toes that it will be printed here in time for next Halloween!
Is that line about being "dried up and blown away" a reference to "The Old Castle's Secret"? It seems likely, given that "blowing away" is an odd thing to expect when trapped underground.
Oh, and another thing...I had the impression while reading this story that its Duckburg is somewhere in Europe, as is often the case in European stories. Hard to imagine a central European noble family buying a summer house in America in 1721. And if this Duckburg is in Italy, that helps explain how Rafferty ran into Magica near Mount Vesuvius.
Anon,
"You are tearing me APAHHHT, Comfort Chamomile Tea!" 😃
I remembered Rosa drawing a pretty good looking vampire in this story. As do often happens with Rota stories, however, the good will engendered by the attractive art is somewhat neutralized by the occasionally mystifying plotting.
Chris
Elaine—if Daisy looks besotted with the Count, I'm afraid it's intentional. Rota, like Taliaferro, loves to show Daisy swooning over random third parties when it's least convenient for Donald. On the anti-sexist side, though, he characterizes Donald exactly the same way.
Donald being repeatedly catapulted around the castle reminded me less of a pinball machine than a video game—which is one reason I put a variation of this line in the Count's pointy-fanged mouth.
Donald saying "Darn it, Daisy!" was his G-rated version of "Dammit, Janet!"
I have no particular problem with Daisy swooning over random third parties, especially since Donald does likewise. I think my problem in this case is that the Count had put Daisy through the mill in a very direct, one-on-one way, and I didn't believe that Daisy would so quickly move to finding him attractive. She might forgive him, given the explanation and the handsome payment they get, but it doesn't seem in character for Daisy to suddenly turn around and swoon over him. I would think that after an initial outburst (you put us through all this for a *commercial*?) she might, at most, say something indulgent, in the "little boys with their toys" vein. But not "Oh, I hope I meet him again someday" with dreamy eyes.
I didn't read the ending as Daisy being smitten by the Count, but rather enthralled, as in the Count cast a spell upon her, as if wont to happen in a lot of vampire stories.
The hell does "hada" mean, anyway?
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