'Sweet Childe': An example of the Boobs & Blades comics craze.

Sweet Childe #1 (New Moon Studios, 1993)
Script: Vinson Watson
Art: Harold Cupec

Rating: Five of Ten Stars

After being ignored by her spiritual leaders, set upon by sexually harrassers, and coming under threat of a murderous ex-boyfriend, Tasha is given a magic amulet by a strange old lady. From then on, when she is set upon by a male predator, she transforms into a blood-thirsty, killing machine that leaves no menacing males (or even friendly ones) alive.

From about the mid-1980s and through most of the 1990s, busty women in little clothing who ran around disemboweling their opponents were all the rage. Such characters existed before, and they exist to this day, but for 10-15 years, they were everywhere. They were so prevalent that they'd take over comics where they were initially secondary characters (Lady Death in "Evil Ernie") or existing characters would literally be mutilated and transformed into sword-wielding babes in skimpy outfits (Psylocke from "Captain Britain" and "X-Men").

One example of this comics trend was "Sweet Childe" from New Moon Studios. I came across it in a pile of underground and alternative and self-published comics from the 1980s and 1990s that was recently donated to the Shades of Gray cause (so there will be even more reviews of black-and-white comics coming to this space).

Story-wise, I'd say it's about average for the Boobs & Blades fare of that period. The general content and tone seems inspired equally by slasher films and 1980s exploitation flicks, with characters also drawn from the pool of stock figures from those genres. Where "Sweet Childe" stand apart, however, is that I don't remember any other title being quite so dedicated to its viewpoint that nearly all men are predators just looking for a woman to abuse or rape... and even those who aren't actually are, because if they have consensual sex with a woman who they hook up with in a bar, well, that just proves that they're predators who deserve to be killed. 

That last part bothers me--that one of Tasha's victims is a guy with him she picks up on the bar, goes back to a hotel with, and has mutually agreed upon sex. She and the man are both very clear on what they are looking for. And yet, she brutally murders him for having sex with her. This makes no sense in the context of the rest of the issue. Maybe it's because I like a little bit of a "morality tale" aspect to my horror stories, but this makes no sense to me and seems out of key with everything else that happens in the issue. If the transformed/possessed Tasha (the "Sweet Childe" of the title?; I am realizing I'm not sure why the book is called that) is a Furie out to avenge the evils of men against women, why does she then become the very evil predator she is supposed to be targeting? Maybe Watson was setting Tasha/Sweet Childe up to be the villain of her own series (as was the original intent with Marvel's Punisher? The final page makes me think this might be the case, but it could just be sloppy writing. Actually, the way the victim's connection to other characters is revealed, I'm thinking this might be the case more than anything.

Art-wise, it's a bit below average. One problem is that Cupec's art appears flat and static, despite the violent action that dominates the book. Maybe this wouldn't have been a problem if a good colorist had worked on the pages, but this is black and white, and Cupec doesn't use enough black to make things pop, or he uses it badly. 

The biggest problem, though, is that the action is sometimes hard to follow both in individual panels and pages and across pages. Harold Cupec's choice of PoV in a number of panels is odd and it causes disruption in the flow of the story because it's often unclear how the events in one panel led to what is happening in the one following--and this sometimes leads to a cascade failure where it becomes unclear what's happening from one page to the next.  There's a mass-slaughter sequence onboard a subway train where this becomes a huge problem as it turns into a perfect storm of all of Cupec's weanesses.. It also doesn't help that he tries to do some Tim Vigil-style gore... but he's no Tim Vigil. (That said, I adore Tasha/Sweet Childe's facial expression in the last panel. It may be the best moment in the whole book.)

Given the widespread popularity in some quarters of the notion that all men are evil rapists just looking for the right opportunity to show their true colors, I suppose "Sweet Childe" might hold some appeal to modern readers--if it was available anywhere or had made it past the first issue. I've not been able to find evidence of either being the case; I can't find any information on the title nor its publisher nor the publisher's parent company anywhere on the Web.

I am torn between awarding this title a Low Five or High Four on the 0 - 10 scale used here at Shades of Gray. I probably would not have bothered getting issue #2 of "Sweet Childe" (or even #1, frankly) Back in the Day unless I'd been at a convention and either liked a conversation/encounter I had with the creators, or it was given to me for free. That said, part of me is curious to see where "Sweet Childe" might have gone if it made it to issue #2 and beyond. Was our "heroine" going to be the villain in her book, as the final page seems to hint at? And why is the series called "Sweet Childe" when no one in the story seems to fit that name? Would there have been answers to those questions? Probably not, but the fact that I was even motivated to ask them tells me there's a spark of something here, even if the creators weren't fully able to fan it into life. That's worth some consideration, so I am erring on the side of generosity.

If, in the unlikely event you come across a copy of "Sweet Childe" out there, or remember reading it, feel free to hop on and share YOUR take on it.