#IReadsYou: Review: DARK BLOOD #2

DARK BLOOD #2 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART: Walt Barna with Moisés Hidalgo (pp. 10-12, 19)
COLORS: A.H.G.
LETTERS: Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Valentine De Landro; Taurin Clarke
24pp, Colors, 3.99 U.S.(August 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s “The Walking Dead,” “Into The Badlands”).  Published by BOOM! Studios, the series is drawn by Walt Barna; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on a Black World War II veteran who discovers that he has strange new abilities.

Alabama, 1955.  After leaving his job at the diner, “Hardy's Eats,” Avery Aldridge, also known as “Double A,” has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

Dark Blood #2 opens six months before the Variance and reflects that which occupies Avery's oft-troubled mind.  He thinks of his wife, Emma, and their daughter, Grace Emmadell.  We see his life in “Vale Junction,” a small Black community where everyone knows him and loves Emma's “Vale Junction Book Mobile.”  Even his wartime experiences, especially from a particular time in Austria, circa 1945, flits in and out of Avery's memories.

However, reality intrudes after an altercation leaves Avery hurt.  Dr. Carlisle, a white university doctor, is the unlikely bystander who steps in to help, offering Avery immediate first aid.  As luck … would have it, Dr. Carlisle also operates a clinic “right outside of town on the old Rickman Farm” where he offers free medical care.  But nothing is really free...

THE LOWDOWN:  The indignities that Avery Aldridge suffers in Dark Blood #2 are familiar to me because I have experienced some of them and others were told to me via first hand or second hand accounts.  I admire a writer who can take such things and transform them into drama.  When a writer takes reality and inflicts it on make-believe people in a way that hits the audience in the soft spots (the heart, the soul, the mind), that is some mighty powerful storytelling.

Television writer-producer LaToya Morgan (AMC's “TURN: Washington's Spies”) offers in Dark Blood a comic book that is both science fiction-fantasy/horror and historical or reality-based drama.  She makes the Jim Crow world in her corner of Alabama truly an awful place, but at the same time, she presents in Vale Junction a Black community permeated with love and possibilities.  And that was the world that Black Americans lived not that long ago.

There are times when Avery suffers the insults of White people, and I can feel the hoary ghost of Nat Turner scratching at every window of my soul.  A documentary film or a work of journalism in our world would take Avery's experiences and attempt to engage our intellect.  Great drama takes those same experiences and engages our soul and ensnares our imagination.  It is through such mighty and imaginative drama that Morgan makes Dark Blood work as serialized fiction, a kind of fantastic fiction born in our reality based histories.

By page design and panel composition, artist Walt Barna brings the compelling drama of Dark Blood #2 to life.  With each panel, he is like a photographer working the right angles and capturing the perfect moments as he builds this chapter/issue.  There are also some beautifully drawn pages by guest artist Moisés Hidalgo.  Of course, A.H.G.'s gorgeous colors shift with the winds of Avery's memories, as well as with the linear jooks of Morgan's narratives.  So I credit the colors with forcing me to pay attention to the graphics throughout Dark Blood, especially this second issue.

After reading the first issue, I thought that LaToya Morgan, Walt Barna, A.H.G., and Andworld Design were off to a most excellent start, offering something that had great promise.  Dark Blood #2 aggressively delivers on that great promise.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A+

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
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#IReadsYou Review: NOCTERRA #5

NOCTERRA #5
IMAGE COMICS/Best Jacket Press

STORY: Scott Snyder
ART: Tony S. Daniel
COLORS: Tomeu Morey
LETTERS: Andworld Design
EDITOR: Will Dennis
COVER: Tony S. Daniels with Tomeu Morey
VARIANT COVER ARTISTS: Cary Nord; Francesco Francavilla; Tony S. Daniel and Marcelo Maiolo
28pp, Colors, 3.99 U.S. (July 2021)

Rated “M/ Mature”

“Full Throttle Dark” Part Five

Nocterra is a horror and science fiction comic book series from writer Scott Snyder and artist Tony S. Daniel.  Published by Image Comics, Nocterra is set on an Earth that has been experiencing an everlasting night, the “Big PM,” since the sky went dark and the world was plunged into an everlasting night over a decade ago.  Colorist Tomeu Morey and letterer Andworld Design complete the series' creative team.

In Nocterra, any living organisms left unlit in the dark for more than 10 hours start undergoing a biological transformation.  Soon, the living turn into monstrous versions of themselves, becoming something called a “Shade.”

Valentina “Val” Riggs – call sign “Sundog,” – was in the fifth grade the day the “Big PM” occurred.  Thirteen years later (“13 PM”), Val drives a big rig hauler, a heavily-illuminated 18-wheeler known as the “Sundog Convoy.”  A skilled “ferryman” Val transports people and goods along deadly unlit roads between the few remaining human outposts, and now she has her most dangerous haul – Bailey, a girl with a dangerous secret and her brother, Emory “Em” Riggs, who is becoming a Shade.

As Nocterra #5 opens, Val remembers those early days of sanctuary, when there was hope to reverse her parents' transformations into “Smudges,” the name for a human Shade.  Now, Val has found safety in the mysterious Sanctuary, having brought Bailey to the her grandfather's brother, Tiberius McCray, the leader of Sanctuary.

Sanctuary is also the place where Val found that mysterious light, “the Lux,” that can reverse Em's transformation into a Smudge.  Now, Val has two choices:  keep herself and Em safe or take Sanctuary for granted and leave.  Val is leaning towards that latter, but is there truth and darkness even in this great light?

THE LOWDOWN:  As I have written in some of my earlier reviews of Nocterra, I enjoy writer Scott Snyder's creator-owned series.  I have also told you, dear readers, that I am usually happy to read a comic book drawn by Tony S. Daniel, going back to his early days writing and drawing creator-owned titles at Image, such as The Tenth.  Nocterra has justified my devotion, and this penultimate issue, #5, of the series' first story arc has made me determined to follow Nocterra's dark highways and byways wherever they might lead.

As a theme in Nocterra #5, Snyder presents the idea that nothing, even sanctuary, is enough for humans.  They will take the bad that is the best for which they can hope and do worse trying to get better instead – even if that will obviously lead to disaster.  Andworld Design's lettering pounds the reads with this issue's ominous mood and dark misgivings about humanity.

Daniels eschews kinetic action for two-fisted conspiratorial drama that carries readers to this issue's shocking cliffhanger.  Tomeu Morey's beautiful colors advances an array of moods and emotions, conveying darkness even in the blinding light of Lux.  So, dear readers, there is time to catch up before this debut story arc ends.

I READS YOU RECOMMENDS:  Fans of Scott Snyder and Tony S. Daniel will want to sample Nocterra.

A

[This comic book includes a preview of Ordinary Gods #1 by Kyle Higgins and Felipe Watanabe.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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#IReadsYou Review: DARK BLOOD #1

DARK BLOOD #1 (OF 6)
BOOM! STUDIOS

STORY: LaToya Morgan
ART:  Walt Barna
COLORS: A.H.G.
LETTERS:  Andworld Design
EDITOR: Dafna Pleban
COVER: Valentine De Landro
VARIANT COVER ARTISTS: Juni Ba; Dan Mora; Valentine De Landro; Marcus Williams; Javan Jordan; Mico Suayan; Felix Icarus Morales with Robert Nugent; David Sanchez with Omi Remalante; Karen S. Darboe; Ingrid Gala; Marco Rudy
24pp, Colors, 3.99 U.S.(July 2021)

Dark Blood created by LaToya Morgan

Dark Blood is a new six-issue comic book miniseries created and written by screenwriter LaToya Morgan (AMC’s "The Walking Dead," "Into The Badlands").  Published by BOOM! Studios, the series is drawn by Walt Barna; colored by A.H.G.; and lettered by Andworld Design.  The series focuses on an Black World War II veteran who discovers that he has strange new abilities.

Dark Blood #1 opens in Alabama, 1955.  It's night.  Avery Aldridge, also known as “Double A,” is leaving his job at the diner, “Hardy's Eats.”  In the alley, he has a fateful encounter with a racist.  Double A is a highly decorated World War II soldier, a former fighter pilot, a member of the soon-to-be-legendary “Red Tails.”  He is expected to act like a boy … when he is actually a very powerful, grown-ass man.  But this is “The Night of the Variance,” and everything is going to start to change – even the things some don't want changed.

THE LOWDOWN:  As I much as I love the original Star Wars movies and a number of classic Walt Disney animated features (Peter Pan), my all-time favorite movie moment occurs in 1967's In the Heat of the Night.  Involuntarily assigned to a homicide case in Sparta Mississippi, Philadelphia police detective Virgil Tibbs (played by Sidney Poitier) is interviewing a suspect, a local and powerful rich white man named Endicott (Larry Gates), when Endicott slaps him in the face.  Tibbs slaps him right back.  The first time I saw Tibbs slap Endicott, it took my breath away … and it still does.

Television writer-producer LaToya Morgan (AMC's "TURN: Washington's Spies") offers a sci-fi/horror spin on Tibbs' slap as the spine of the first issue of her new comic book, Dark Blood.  This time, the confrontation is longer, and Avery Aldridge's response is made a bit more complicated, partly because he seems unstuck in time.  Morgan does everything to tell her readers a lot by whetting their appetites for more, because they don't know the half of it, and she makes that “it” intriguing.

For all that I am intrigued by Dark Blood #1's story and concept, this first issue is also a showcase for the art team of illustrator Walt Barna and colorist A.H.G.  Barna's compositions are some of the most convincing period art that I have seen in a modern comic book in years.  Barna's Alabama, 1955 looks so “old-timey” that I could believe that it is something Barna drew at least half-a-century ago.  Barna's aerial sequences depicting Aldridge's time as a Red Tail reminds me of the comic book art one might find in EC Comics' legendary war comic book, Aces High (1955).

A.H.G.'s colors are gorgeous and also from a time machine.  If I didn't know better, I would say he hand-colored this comic book and manually separated those colors in a back office at a NYC-based comic book publisher – in days gone by.  Seriously, his colors shimmer, but are also earthy, and they make the storytelling's time periods look and feel authentic.

And I always enjoy Andworld Design's lettering, which is always stylish in a way that brings immediacy and power to the drama.  So LaToya Morgan, Walt Barna, A.H.G., and Andworld Design are off to a most excellent start, and Dark Blood #1 sparkles with promise.

I READS YOU RECOMMENDS:  Fans of modern science fiction and dark fantasy comic books will want to drink Dark Blood.

A

★★★★+ out of 4 stars

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


Dark Blood trailer: https://www.youtube.com/watch?v=WzzXIYr_FrA&feature=youtu.be
Dark Blood first loook: https://www.boom-studios.com/wordpress/archives/dark-blood-1-first-look/
https://twitter.com/MorganicInk
https://twitter.com/WaltBarna
https://twitter.com/AHGColor
https://twitter.com/andworlddesign

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#IReadsYou Revew: POST AMERICANA #4

POST AMERICANA #4 (OF 6)
IMAGE COMICS

STORY: Steve Skroce
ARTIST: Steve Skroce
COLORS: Dave Stewart
LETTERS: Fonografiks
28pp, Color, $3.99 U.S. (March 2021)

Rated M / Mature

Post Americana is a six-issue miniseries written and drawn by Steve Skroce and published by Image Comics.  Post Americana is set in a dystopian future and focuses on two rebels' attempts to save an area called the “Wasteland” from a rogue President of the United States.  Colorist Dave Stewart and letterer Fonografiks complete Post Americana's creative team.

Post Americana  has two settings.  The first is “The Bubble,” an installation inside the Cheyenne Mountains that is the most sophisticated super-bunker in the world.  Inside, Nathaniel Hawksworthe, the new President of the United States, plans to use the bunker's resources to build the “New America” by basically paving over the second setting, the “Wasteland.”  Determined to stop Hawksworthe are Michael “Mike” Lee, a hapless rebel, and Carolyn, a deadly Wasteland girl, who is already hellbent on revenge against the denizens of the Bubble.  But Carolyn and Mike will have to survive the Wasteland in order to save the Wasteland.

As Post Americana #4 opens, Carolyn has a surprise reunion with her mother, Eve, whom she thought was dead.  A prisoner of the forces of The Bubble, Eve is still a fighter, but our heroes are up against the psychotic Hawksworthe and now, his hoary, old hag of a mother.  When things get tough for Mike, Carolyn, Eve, and company, they will find themselves in need of some help.  Enter a hero from the bygone days, Night Terror.  So how is he alive, and do they really want his crazy-ass help?

THE LOWDOWN:  I wrote in my review of Post Americana #1 that I was a fan of writer-artist Steve Skroce, going back over two decades.  In my review of Post-Americana #2, I expressed joy that Skroce gave readers the fun of a cannibal holocaust-shindig, and I like that Post-Americana #3 gave the readers some history and back story.

As ever, Skroce offers something new in each issue of his creator-owned comic books, and Post Americana #4 is no exception.  Yes, the return of Eve will make readers suspicious, and it should, as it is clear that one should always expect both the next surprise and the curve balls from Skroce.  However, the story of the relationship between Carolyn and her mother tugs at the heart.  And the Night Terror angle is the funky cherry on top – to say nothing of his partner, Donny.

As usual, Skroce gets excellent assistance in creating this fine edition of his latest comic book.  That includes superb coloring from Dave Stewart and lettering from Fonografiks that makes the craziness readable.  I can't wait for the fifth issue.

I READS YOU RECOMMENDS:  Fans of Steve Skroce's comics and of post-apocalyptic sci-fi will want Post Americana.

A
9 out of 10

[This comic book features a five-page sneak preview of the comic book, Nocterra #1, by Scott Snyder, Tony S. Daniel, Tomeu Morey, and Andworld Design.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


https://twitter.com/ImageComics
https://imagecomics.com/


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#IReadsYou Review: STATIC: Season One #1

STATIC (SEASON ONE) #1 (OF 6)
DC COMICS/Milestone Media

STORY: Vita Ayala
LAYOUTS: ChrisCross
FINISHES: Nikolas Draper-Ivey
COLORS: Nikolas Draper-Ivey
LETTERS: Andworld Design
EDITOR: Chris Conroy
PRODUCERS: Reginald Hudlin and Denys Cowan for Milestone Media
COVER: Khary Randolph with Emilio Lopez
VARIANT COVER ARTISTS: Shawn Martinbrough with Chris Sotomayor; Nikolas Draper-Ivey; Denys Cowan with Brad Anderson; Olivier Coipel with Brad Anderson
32pp, Color, $3.99 U.S., (August 2021)

Rating: 13+

Milestone and Static created by Dwayne McDuffie, Denys Cowan, Michael Davis, and Derek T. Dingle

Episode One: Trial by Fire

Milestone Comics was the publishing division of Milestone Media, and its comic book titles were published and distributed by DC Comics.  Milestone was founded in 1993 by a coalition of African-American artists and writers, consisting of Dwayne McDuffie, Denys Cowan, Michael Davis, and Derek T. Dingle.  Milestone Media's founders believed that minorities were severely underrepresented in American comic books and wished to address this.  In 1993, Milestone Media launched its first four titles Icon, Blood Syndicate, Static, and Hardware, but DC Comics ceased publication of all Milestone Comics titles in 1997.

Static, Milestone's most popular superhero character, first appeared in Static #1 (cover dated: June 1993).  Static is Virgil Ovid Hawkins, an African-American teenage boy who is a member of a subspecies of humans with superhuman abilities known as “metahumans.”  Static's origin has changed since he first debuted, and now, he has gained his powers after an incident exposed him to a radioactive chemical, making Virgil capable of electromagnetic control and generation.

Both Milestone and Static are back with the launch of the new comic books series, Static (Season One), also known as Static: Season One.  The series is written by Vita Ayala; drawn by ChrisCross (layouts) and Nikolas Draper-Ivey (finishes); colored by Draper-Ivey; and lettered by Andworld Design.  The new comic book focuses on a bullied nerd who gains super-powers, only to discover that his enemy has also gained powers.

Static: Season One #1 (“Trial by Fire”) opens in Dakota City, USA in the aftermath of the “Big Bang.”  That incident happened at a “Black Lives Matter” rally that turned insane when the police released an experimental tear gas on the protesters.  Some people were maimed or died; others gained  stunning new abilities and powers.  Bullied nerd, 16-year-old Virgil Hawkins, gained powers.

Virgil has power inside him now, real power that he constantly hears and feels buzzing inside him.  He has the ability to channel and manipulate electromagnetic fields, but Virgil also has anger burning inside him.  One of his classmates, the bully Francis Stone, has already felt Virgil's power.  But Francis, who calls himself “Hotstreak,” also has power inside him, and he is ready for some payback.

THE LOWDOWN:  In the original 1990s Static, Virgil Ovid Hawkins was essentially a 1990s, African-American version of the early 1960s teenage Peter Parker/Spider-Man.  Like that classic character, Virgil/Static struggled at becoming a superhero and had to deal with what it did to his life.

Writer Vita Ayala and artists ChrisCross Nikolas Draper-Ivey present a Virgil Hawkins who is a Black teenager coming of age in this era of protests that was launched by the death of an African-American man, George Floyd, (May 25, 2020), murdered by the hands (and knee) of a White police officer.

Ayala presents Virgil as an African-American teen who may be bullied, but does not even understand the idea that he should defer, know his place, or be a second class citizen.  Will he fight back against those who attack him or turn the other cheek … or is there an entirely different path that others have not imagined?  After reading this first issue, I feel that Ayala is going to take us, dear readers, on a journey of questions and answers, but one also filled with superhero action.

The compositions and colors by Nikolas Draper-Ivey remind me of the quirky animation of the 2018 film, Spider-Man: Into the Spider-Verse, crackling with eye-popping colors and striking graphics.  It is as if Nikolas wants us to feeling the shimmering, crackling, and buzzing inside Virgil.  ChrisCross (layouts) and Draper-Ivey move the story through this issue like an electric charge running along a line, and for the final page, Cross/Nikolas gives us a … static shock.  The drama, tension, and conflict practically bleed off the page.

I thought that I would like Static: Season One #1, but I am surprised by how much I like it.  By the end, I could have read another forty pages.  If Milestone fans were unsure about moving on, this first issue will make them happy for this re-imagining of a Black superhero for the BLM generation.

I READS YOU RECOMMENDS:  Fans of Milestone Comics will want Static Season One.

A

★★★★+ out of 4 stars

[This comic book has a tribute from Denys Cowan and Chris Conroy to the late comic book artist, John Paul Leon (1972-2021), who drew the first Static comic book.  This comic book also includes a “DC Nation” “Spotlight On” interview with Joshua Williamson about Infinite Frontier #1.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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#IReadsYou Review: NOCTERRA #4

NOCTERRA #4
IMAGE COMICS/Best Jacket Press

STORY: Scott Snyder
ART: Tony S. Daniel
COLORS: Tomeu Morey
LETTERS: Andworld Design
EDITOR: Will Dennis
COVER: Tony S. Daniel with Tomeu Morey
VARIANT COVER ARTISTS: Jenny Frison; Tony S. Daniel with Tomeu Morey
28pp, Colors, 3.99 U.S. (June 2021)

Rated “M/ Mature”

“Full Throttle Dark” Part Four

Nocterra is a horror and science fiction comic book series from writer Scott Snyder and artist Tony S. Daniel.  Published by Image Comics, Nocterra is set on an Earth that has been experiencing an everlasting night, the “Big PM,” since the sky went dark and the world was plunged into an everlasting night over a decade ago.  Colorist Tomeu Morey and letterer Andworld Design complete the series' creative team.

In Nocterra, any living organisms left unlit in the dark for more than 10 hours start undergoing a biological transformation.  Soon, the living turn into monstrous versions of themselves, becoming something called a “Shade.”

Valentina “Val” Riggs – call sign “Sundog,” – was in the fifth grade the day the “Big PM” occurred.  Thirteen years later (“13 PM”), Val drives a big rig hauler, a heavily-illuminated 18-wheeler known as the “Sundog Convoy.”  A skilled “ferryman” Val transports people and goods along deadly unlit roads between the few remaining human outposts, and now she has her most dangerous haul – a girl with a dangerous secret and her brother, Emory “Em” Riggs, who is becoming a Shade.

Nocterra #4 opens in Val's memories of “Day Three” of the Big PM.  She and Em are trapped in the basement, as their parents are transforming into Shades.  They are knocking at the door of the basement, determined to enter and kill their children.  Val and Em have each come up with a plan, but they always follow Val's plans.  Em wants that to change.  So what now?

Back in the present, exposed to the dark for so long, Em is changing.  Val need a “solar lamp” to slow down the change, and she knows where one is located.  It's in the outpost town of Tipton; make that “brought down” outpost town.  Even if Val gets lucky, there still is the problem of getting Bailey to Sanctuary, which might not be there.

THE LOWDOWN:  As I have written in some of my earlier reviews of Nocterra, I enjoy writer Scott Snyder's creator-owned series.  I have also told you, dear readers, that I am usually happy to read a comic book drawn by Tony S. Daniel, going back to his early days writing and drawing creator-owned titles at Image, such as The Tenth.

Well, I am having a blast reading Nocterra, which reads like an old-fashioned pulp serial with its haunting settings, crazy monsters, bad-ass villains, questionable supporting characters, and one against-all-odds female hero.  Nocterra #4 even has a theme: what to do when there only two choices, and both of them are risky, but one means destruction.

Snyder and Daniel are delivering in Nocterra the kind of work that has made them superstar comic book creators.  If you are fans of either, there is no reason that you should not be reading Nocterra.

If you are a fan of colorist Tomeu Morey, then, you want to see how beautifully he colors the dark world of Nocterra.  And I always enjoy reading the lettering of Andworld Design.  Thus, it is easy for me to give this series the highest recommendation, especially when Nocterra #4 delivers a powerful chapter that is built on a riveting backstory in order to deliver a heart-stopping last act.

I READS YOU RECOMMENDS:  Fans of Scott Snyder and Tony S. Daniel will want to sample Nocterra.

A

9 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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#IReadsYou Review: NOCTERRA #3

NOCTERRA #3
IMAGE COMICS/Best Jacket Press

STORY: Scott Snyder
ART: Tony S. Daniel
COLORS: Tomeu Morey
LETTERS: Andworld Design
EDITOR: Will Dennis
COVER: Tony S. Daniel with Tomeu Morey
VARIANT COVER ARTIST: Szymon Kudranski
28pp, Colors, 3.99 U.S. (May 2021)

Rated “M/ Mature”

“Full Throttle Dark” Part Three

Nocterra is a recently launched comic book series from writer Scott Snyder and artist Tony S. Daniel.  Published by Image Comics, Nocterra is set on an Earth that has been experiencing an everlasting night, the “Big PM,” since the sky went dark and the world was plunged into an everlasting night over a decade.  Colorist Tomeu Morey and letterer Andworld Design complete the series' creative team.

Nocterra introduces Valentina “Val” Riggs – call sign “Sundog.”  She was in the fifth grade the day the “Big PM” occurred.  Any living organism left unlit in the dark for more than 10 hours starts undergoing a biological transformation and changes into a monstrous version of itself, becoming something called a “Shade.”  This is happening to her brother, Emory “Em” Riggs.

Thirteen years later (“13 PM”), Val drives a big rig hauler, a heavily-illuminated 18-wheeler known as the “Sundog Convoy.”  A skilled “ferryman” Val transports people and goods along deadly unlit roads between the few remaining human outposts, and now she has her most dangerous haul – a mysterious man and his granddaughter.

Nocterra #3 opens in Val's memories, as she recalls the time when people changed … when her parents became something else.  In the present, the notorious “Blacktop Bill” and his band of highwaymen (of a sort) are hounding the Sundog Convoy.  He wanted Val to surrender her passengers, Dr. Augustus McCray and his granddaughter, Bailey.  Now, he is out for all their blood, and to escape him, someone inside the big rig will have to make a sacrifice.

Meanwhile, black gums, gnarled bones, and haunting yellow eyes are the signs of someone transforming into a human shade.  Someone is showing at least one sign.

THE LOWDOWN:  As I said in my review of Nocterra #2, I enjoy Scott Snyder's creator-owned series more than I enjoy his recent work for DC Comics.  I also wrote that I am usually happy to read a comic book drawn by Tony S. Daniel, going back to his early days writing and drawing creator-owned titles at Image, such as The Tenth.

Well, I am having a blast reading Nocterra.  It reads like an old-fashioned pulp serial with its haunting settings, crazy monsters, bad-ass villains, questionable supporting characters, and one against-all-odds female hero.  In Nocterra #3, Val proves that she can drive the fury road as furiously as Furiosa.

Nocterra #3, like the previous issue, makes me confident that this series is one worth following.  If you are budgeting, dear readers, drop something else to make sure you enter the world of Nocterra every chance you get.

I READS YOU RECOMMENDS:  Fans of Scott Snyder and Tony S. Daniel will want to sample Nocterra.

A

9 out of 10

[This comic book includes a seven-page preview of the original graphic novel, “Kane & Able,” by Shaky Kane and Krent Able.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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#IReadsYou Review: NOCTERRA #2

NOCTERRA #2
IMAGE COMICS/Best Jacket Press

STORY: Scott Snyder
ART: Tony S. Daniel
COLORS: Tomeu Morey
LETTERS: Andworld Design
EDITOR: Will Dennis
COVER: Tony S. Daniel with Tomeu Morey
VARIANT COVER ARTISTS: Clayton Henry with Alejandro Sanchez Rodriguez
28pp, Colors, 3.99 U.S. (April 2021)

Rated “M/ Mature”

“FULL THROTTLE DARK”

Nocterra is a new comic book series from writer Scott Snyder and artist Tony S. Daniel.  Published by Image Comics, Nocterra is set on an Earth that has been experiencing an everlasting night, the “Big PM,” when the sky went dark and the world was plunged into an everlasting night, for well over a decade.  Colorist Tomeu Morey and letterer Andworld Design complete the series' creative team.

Nocterra introduces Valentina “Val” Riggs – call sign “Sundog.”  She was in the fifth grade the day the “Big PM” occurred.  Any living organism left unlit in the dark for more than 10 hours starts undergoing a biological transformation and changes into a monstrous version of itself, becoming something called a “Shade.”  This is happening to her brother, Emory “Em” Riggs.

Thirteen years later (“13 PM”), Val drives a big rig hauler, a heavily-illuminated 18-wheeler known as the “Sundog Convoy.”  A skilled “ferryman” Val transports people and goods along deadly unlit roads between the few remaining human outposts, and now she has her most dangerous haul – a mysterious man and his granddaughter.

Nocterra #2 opens with Val remembering the early days of the “Big PM,” when her parents were lying to themselves.  Val believes in putting a fist through childish fantasies and through the lies people tell themselves.  So what will she do now that Em is infected, and his transformation into a Shade seems to be happening faster than it should?

Meanwhile, she forces the old man, Dr. Augustus McCray, to tell her the truth, or at least more, about the purpose of his journey.  Val also discovers that “Blacktop Bill,” someone thought to be no more than a ghost story, is chasing her.  What does he want?

THE LOWDOWN:  I enjoy Scott Snyder's creator-owned series more than I enjoy his recent work for DC Comics.  I find all that Dark Nights: Metal stuff mostly unreadable, but I enjoyed Wytches (2014-15).  I am usually happy to read a comic book drawn by Tony S. Daniel, going back to his early days writing and drawing creator-owned titles at Image, such as The Tenth.

I found Nocterra #1 to be a strong first issue because it offered so much background information about the story.  Snyder did keep a lot of secrets, but he gave readers a clear understanding of the basics when it came to Nocterra's lead character, the setting, and the plot.  Still, I wondered if the first issue was a fluke, but, now, I know that I had nothing to worry about.  Nocterra #2 is a fine example of pop comics storytelling, with riveting subplots, a poignant flashback, some important character development, and some wham-bam action.

Tony Daniel's art is not as subdued as it was in the first issue.  The storytelling surges, and even the character moments hop with kinetic energy.  Colorist Tomeu Morey is very important to this narrative, and his colors offer subtle shifts in nightmare world.

I won't hesitate this time.  Nocterra #2 makes me confident that this series is one to follow.  If you are budgeting, dear readers, drop something else to make sure you enter the world of Nocterra every chance you get.

I READS YOU RECOMMENDS:  Fans of Scott Snyder and Tony S. Daniel will want to sample Nocterra.

A
9 out of 10

[This comic book includes a four-page preview of “The Good Asian #1” by Pornsak Pichetshote and Alexandre Tefenkgi.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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#IReadsYou Review: NOCTERRA #1

NOCTERRA #1
IMAGE COMICS/Best Jacket Press

[This review was originally posted on Patreon.]

STORY: Scott Snyder
ART: Tony S. Daniels
COLORS: Tomeu Morey
LETTERS: Andworld Design
EDITOR: Will Dennis
COVER: Tony S. Daniels with Tomeu Morey
VARIANT COVER ARTISTS: Jock; Bosslogic; Greg Capullo
36pp, Colors, 3.99 U.S. (March 2021)

Rated “M/ Mature”

“FULL THROTTLE DARK”

Nocterra is a new comic book series from writer Scott Snyder and artist Tony S. Daniels.  Published by Image Comics, Nocterra is set on an Earth that has been experiencing an everlasting night for well over a decade.  Colorist Tomeu Morey and letterer Andworld Design complete the series' creative team.

Nocterra #1 opens in Denver, Colorado in the fifth grade class of Valentina “Val” Riggs.  This is the day of the “Big PM,” when the sky goes dark and the world is plunged into an everlasting night.  Any living organism left unlit in the dark for more than 10 hours starts undergoing a biological transformation and changes into a monstrous version of itself, becoming something called a “Shade.”

Thirteen years later (“13 PM”), Val is a big rig hauler, driving a heavily-illuminated 18-wheeler, and her call sign in “Sundog.”  She is a skilled “ferryman” who transports people and goods along deadly unlit roads between the few remaining human outposts.  At Luxville, Colorado, a well-lit outpost, Val hopes to find her brother Emory a.k.a. “Em” in better condition.  Waiting for Val, however, are two people with a request for help that she cannot refuse and that will change everything.

THE LOWDOWN:  I enjoy Scott Snyder's creator-owned series more than I enjoy his recent work for DC Comics.  I find all that Dark Nights: Metal stuff mostly unreadable, but I enjoyed Wytches (2014-15).

Nocterra #1 is a strong first issue because it offers so much information.  Snyder keeps a lot of secrets, but he gives readers a clear understanding of the basics when it comes to the lead character, the setting, and the plot.  Of course, the next few issues will thrill the readers with shocking reveals and new mysteries, but Snyder does not leave me with the maddening feeling that instead of reading the first issue of a comic book I have actually read a teaser.  Andworld Design's lettering conveys the shifts in tone of the dialogue, from the introspection of Val to the urgent appeals of her brother, Em.

Readers may be surprised to see how subdued Tony Daniels' art is.  His pencils are subtle and impressionistic, more original Mad Max than Mad Max: Fury Road.  The inking captures the nuance in the characterization and the action.  Daniels plus colorist Tomeu Morey is always a good thing, and here, Morey creates the sense of an eternal night dotted by the neon twilight of the human outposts.

I READS YOU RECOMMENDS:  Fans of Scott Snyder and Tony S. Daniels will want to sample Nocterra.

8 out of 10

[This comic book includes “A Note from Scott,” an afterword by Scott Snyder.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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#IReadsYou Review: THE DARK KNIGHT RETURNS: The Golden Child #1

DARK KNIGHT RETURNS: THE GOLDEN CHILD No. 1
DC COMICS/Black Label

[This review was originally posted on Patreon.]

STORY: Frank Miller
ART: Rafael Grampá
COLORS: Jordie Bellaire
LETTERS: John Workman and Deron Bennett
EDITOR: Mark Doyle
COVER: Rafael Grampa with Pedro Cobiaco
VARIANT COVER ARTISTS: Andy Kubert with Brad Anderson; Frank Miller with Alex Sinclair; Joelle Jones with Dave McCaig; Rafael Grampa with Pedro Cobiaco; Paul Pope with Jose Villarrubia
32pp, Color, $5.99 U.S. (February 2020)

Ages 17+

Batman created by Bob Kane with Bill Finger

Batman: The Dark Knight Returns (also known as DKR) was a four-issue comic book miniseries starring Batman.  Published by DC Comics in 1986, this prestige-format comic book was written by Frank Miller; drawn by Miller (pencils) and Klaus Janson (inks); colored by Lynn Varley; and lettered by John Costanza, with the book covers drawn by Miller and Varley.

DKR told the tale of a 50-year-old Bruce Wayne, long retired as Batman, who dons the cape and cowl again to take on a new crime wave in Gotham City.  When an institutionalized Joker discovers that Batman has returned, he revives himself and begins a new crime wave of craziness.  Batman also battles Superman who is trying to force Batman back into retirement.

DRK was a smash hit, and from the time of its publication, it became a hugely influential comic book, especially on the editorial mindset of DC Comics.  There have been sequels to DKR, as well as other comic books set in its “universe.”  The most recent DKR comic book is Dark Knight Returns: The Golden Child.  It written by Frank Miller, drawn by Rafael Grampá; colored by Jordie Bellaire; and lettered by John Workman and Deron Bennett.  The Golden Child finds the heirs to the legacy of the Dark Knight and the Man of Steel taking on adversaries of their predecessors.

Dark Knight Returns: The Golden Child #1 opens three years after the events depicted in the nine-issue miniseries, Dark Knight III: The Master Race (2015-2017).  Lara, the daughter of Wonder Woman (Diana) and her consort, Superman, has spent that time learning to be more human.  After spending her life with the Amazons of Paradise Island, however, Lara has a great disdain for humans.  Carrie Kelley, the former Robin, has been growing into her new role as The Batwoman, after Bruce Wayne/Batman finally retired.

The Batwoman has been battling the Joker and his gang of Joker clones, who are in full rage as the day of the U.S. presidential election approaches.  [Although he is not named, President Donald Trump's image and presence are prominent throughout this comic book].  But Joker has found a new partner in a terrifying evil that has come to Gotham – Darkseid.  Now, Lara and Carrie must team-up to stop two evils, but their secret weapon, young Jonathan, “the golden child” (Lara's brother and Diana and Superman's son) is also the object of Darkseid's murderous desire.

I really like Dark Knight Returns: The Golden Child, but not because of Frank Miller's story.  It is a hot mess of sound and fury signifying nothing.  It is like someone's incorrect idea that the sound of Jack Kirby is not big (in relation to Darkseid, a character he created), but is histrionics.  Miller does offer a few good ideas, and he is one of the few mainstream comic book creators that could get away with not only casting Donald Trump in a DC Comics title, but also portraying him in an unflattering light.  Teaming-up Joker and Darkseid is not one of Miller's good ideas, and Miller's portrayal of Lara and Jonathan is a mixed bag.  But I can tell that Miller really loves Carrie Kelley, a character he created in DKR.  She is glorious as The Batwoman.

No, I don't love Dark Knight Returns: The Golden Child because of Frank Miller.  I love it because of Rafael Grampa, the Brazilian film director and comic book artist.  Grampa's style in Dark Knight Returns: The Golden Child is a mixture of Frank Miller's graphic style in both Batman: The Dark Knight Returns and in his Sin City series of miniseries and one-shot comic books and also of Scottish comic book artist Frank Quitely's graphic style.

Grampa's gorgeous illustrations and compositions look even better under Jordie Bellaire's inventive coloring and varietal of hues.  But even all that pretty art can't create superb graphical storytelling from Frank Miller's mish-mash of a story, except in a few places – the Batwoman sections of course.  Carrie Kelley is absolutely spectacular in the double-caped, leathery Bat-suit, which also looks like an actual man-sized bat.

Well, you can't get everything, although John Workman and Deron Bennett also deliver some fine-looking lettering.  So I'll be satisfied with Dark Knight Returns: The Golden Child #1 being one of the beautifully drawn and illustrated comic book one-shots that I have ever read.

8 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"

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#IReadsYou Review: UNDER THE MOON: A Catwoman Tale

UNDER THE MOON: A CATWOMAN TALE
DC COMICS/DC Ink – @DCComics

[This review was originally posted on Patreon.]

STORY: Lauren Myracle
ART: Isaac Goodhart
COLORS: Jeremy Lawson
LETTERS: Deron Bennett
ISBN:  978-1-4012-8591-3; paperback; (May 1, 2019)
224pp, Color, $16.99 U.S., $22.99 CAN

Age Range: 13 and up

Catwoman created by Bill Finger and Bob Kane

Catwoman is a DC Comics character that is part of the Batman line of comic books.  Created by Bill Finger and Bob Kane, Catwoman made her debut as “the Cat” in Batman #1 (cover dated: Spring 1940).  Catwoman is Selina Kyle, and over her eight decades of existence, she has been a villain, an anti-hero, and Batman's love interest in addition to having a complex love-hate relationship with him.

Until it was recently made defunct, “DC Ink” was a DC Comics imprint that offered original graphic novels for readers of the “Young Adult” or “YA” demographic.  DC Ink titles, according to DC Comics, featured coming-of-age stories that encouraged teens to ask themselves who they are and how they relate to others.  [DC Ink is now known as “DC Graphic Novels for Young Adults.”]

Published in May of this year, Under the Moon: A Catwoman's Tale is an original graphic novel (OGN) that focuses on a young Selina Kyle before she becomes Catwoman.  It is written by bestselling author Lauren Myracle (the “Winnie Years” series); drawn by Isaac Goodhart (Image Comics/Top Cow's Postal); colored by Jeremy Lawson; and lettered by Deron Bennett.

Under the Moon: A Catwoman's Tale introduces 15-year-old Selina Kyle.  In her short life, she has had to put up with the string of bad men that her mother, Gayle, picks up on the job at Carl's Tavern.  The worst of the lot is the most recent pick-up, the brawny bully, Dernell.  Soon, Selina figures out that she cannot stay under the same roof as Dernell, and she leaves home.  She also eventually quits attending Gotham High School, where she has friends like Angie and Tristan.

Selina Kyle, however, believes that, at heart, she is a loner.  Still, she connects with the mercurial trio of Ojo, the leader; Yang, the computer genius; and Briar Rose, a young girl who does not talk and really does not want to be touched.  And Selina can't quite get former classmate, Bruce Wayne, out of her mind.  But the streets are dangerous, and some kind of beast, known as the “Gotham Growler,” is terrorizing Gotham City.

Thus far, I have read the first two releases from the DC Ink imprint, the debut release, Mera: Tidebreaker, and now, Under the Moon: A Catwoman's Tale.  Both are lovely reads, and Under the Moon: A Catwoman's Tale offers is a fetching coming-of-age tale about a young woman coming to terms with who she is.  Writer Lauren Myracle presents a teenage girl who says that she prefers caring about no one and no thing, and Myracle takes her on a journey to figure out how she can live to be a loner... with a few friends, of course.

The art team of Isaac Goodhart and colorist Jeremy Lawson deliver some of the most gorgeous comic book art that I have seen this year.  Goodhart's supple line work and lush inking are eye candy, and they make Selina Kyle's story a moody, urban fairy tale filled with a sense of mystery as much as it is filled with angst.  Lawson's colors make love to Goodhart's compositions, putting the moodiness in a jazz-accentuated mode.  Honestly, Goodhart and Lawson's work here reminds me of Daniel Clowes art for his classic graphic novel, Ghost World.

Letterer Deron Bennett, one of the best letterers in American comic books, changes fonts and graphic styles with subtlety and grace.  Bennett knows exactly the tone that is needed, when things should be quite, normal, and out-loud.

In the end, everything is topnotch in this hugely enjoyable read.  Under the Moon: A Catwoman's Tale is one of the best Catwoman comics that I have ever read.

9 out of 10

Under the Moon: A Catwoman's Tale contains the following extras and back matter:

• Website, phone numbers, and contact information for organization that help with stopping domestic violence, avoiding self-harm, and stopping animal cruelty.
• A page of character designs by Isaac Goodhart
• a three-page interview section in which Lauren Myracle and Isaac Goodhart interview each other
• two author biographical pages
• a  full-color preview of the graphic novel, Teen Titans: Raven, from Kami Garcia and Gabriel Picolo

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: PING PONG: Volume 1

PING PONG, VOL. 1
VIZ MEDIA – @VIZMedia

[This review was originally posted on Patreon.]

MANGAKA: Taiyo Matsumoto
TRANSLATION/ENGLISH ADAPTATION: Michael Arias
LETTERS: Deron Bennett
EDITOR: Mike Montessa
ISBN: 978-1-9747-1165-9; paperback (May 2020)
530pp, B&W with some color, $29.99 US, $39.99 CAN, £23.99 UK

Ping Pong is a Japanese manga series written and illustrated by Taiyo Matsumoto, who is also the creator of the Tekkonkinkreet and Cats of the Louvre manga, to name a few.  Ping Pong was serialized in Japanese publisher, Shogakukan's seinen manga magazine, Big Comic Spirits, from 1996 to 1997.

Ping Pong tells the story of two boys, Makoto “Smile” Tsukimoto and Yutaka “Peco” Hoshino, who have been friends since childhood despite having drastically different personalities.  They are now both talented members of the table tennis (ping pong) club of Katase High School.  The series depicts the boys' different approach to table tennis.

Shogakukan originally collected Ping Pong's 55 chapters into six tankōbon volumes (graphic novels), and in 2014, Shogakukan re-released the manga in two book volumes under the new title, Ping Pong: Full Game No.  VIZ Media is publishing an English-language edition of Ping Pong: Full Game No as a two-volume, paperback omnibus set under its “VIZ Signature” imprint.

Ping Pong, Vol. 1 (Chapters 1 to 27) introduces longtime friends, Smile and Peco, who are both on the table tennis team at Katase High School.  Peco is all-in as a player, believing that he can beat just about any other ping pong player anytime.  Smile is eccentric and rarely smiles, nor does he take the game of table tennis/ping pong that seriously.  In fact, it seems that he would rather lose than have his opponent experience the agony of losing.

Well, Katase High's Coach Jo Koizumi won't accept that.  He is determined to make Smile a great ping pong player, even if he has to use every trick in his playbook.  Meanwhile, straight out of China comes Wenge Kong, a Chinese ping pong prodigy recruited by the Japanese high school, Tsujido Polytechnic, as a “ringer.”  However, Kong has his own issues and struggles.

[This volume also includes Ping Pong Episode 0: “Tamura.”]

THE LOWDOWN:  Some may know the Ping Pong manga because of the 2002 Japanese live-action film, which is how I first learned of the manga.  Over the last decade and a half, Ping Pong's creator, Taiyo Matsumoto, has become something of a graphic novel star with the English-language releases of his manga,  especially Tekkonkinkreet, Sunny, and Cats of the Louvre.

Ping Pong Graphic Novel Volume 1 provides a look at one of Matsumoto's early long form series, and it reveals that Matsumoto himself was something of a prodigy.  The first 27 chapters of Ping Pong are an impressive display of different graphical storytelling approaches in presenting the personalities, character, and motivations of the story's main players.

In fact, the characters' personalities drive this story.  For instance, Peco's cocky and carefree nature acts as a counter to Smile's stubborn attitude and taciturn nature.  As I read this story, I could almost feel the characters falling on either side of the Peco/Smile divide, and, for me, this gives a spice to the ping pong matches.  Speaking of those, Matsumoto turns the ping pong matches into duels of furious speed and slashing moves in which the players and rackets move as fast as the ping pong balls.

With his translation, Michael Arias' does what he did for Cats of the Louvre – give the readers an engaging tale full of diverse personalities.  Deron Bennett's lettering changes as Matsumoto's illustrations shift in tone and style, both creatives giving this tale depth and richness.  With a title like Ping Pong, one might not think that this story could be as wonderful as it is, and it is indeed wonderful.

I READS YOU RECOMMENDS:  Fans of Taiyo Matsumoto will want the VIZ Signature edition of Ping Pong.

9 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


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#IReadsYou Review: BASKETFUL OF HEADS #1

BASKETFUL OF HEADS #1
DC COMICS/DC Black Label – @DCComics

[This review was originally posted on Patreon.]

STORY: Joe Hill
ART: Leomacs
COLORS: Dave Stewart
LETTERS: Deron Bennett
EDITORS: Mark Doyle and Amedeo Turturro
COVER: Reiko Murakami
VARIANT COVER: Joshua Middleton
32pp, Color, $4.99 U.S. (December 2019)

“Ages 17+”

Basketful of Heads created by Joe Hill

Bestselling dark fantasy and horror novelist, Joe Hill, and DC Comics have launched a new “pop-up line” of horror comics entitled “Hill House Comics.”  The initial offerings from Hill House consist of five comic book limited series:  The Dollhouse Family, written by Mike Carey and illustrated by Peter Gross; The Low, Low Woods, written by Carmen Maria Machado and illustrated by Dani; Daphne Byrne, written by Laura Marks and illustrated by Kelley Jones.

Hill is writing the other two – Plunge, which will be illustrated by Stuart Immonen, and Basketful of Heads, the first Hill House release and the subject of this review.  Basketful of Heads is drawn by Leomacs; colored by Dave Stewart; and lettered by Deron Bennett.  The series will feature a young woman and an ax that has the supernatural power to lop off a human head in a single stroke.  But the lopped-off heads keep talking!

Basketful of Heads #1 opens on Brody Island, Maine in September 1983.  There, we meet a young couple staying on the island for the summer.  They are vivacious party girl, June, and Liam Ellsworth, who is working as a temp officer with the Brody Island Police Department.  They are enjoying a day in Liam's “dune buggy” police car when they get a call from Brody Island Police Chief Wade Clausen.

It seems that some prisoners have managed to escape from “Shawshank Prison” (a reference to a fictional state prison that appears in the work of Joe Hill's father, legendary novelist, Stephen King).  The escape leads to June and Liam inadvertently house-sitting, which is when the story really begins.

Basketful of Heads #1 is mostly an introduction to the series' setting.  Eighteen of the twenty-two pages of this first issue walk us through the world of Brody Island and introduce the main characters, while hinting at what will be June and Liam's first deadly dilemma.  The narrative really does not begin until the twenty-first and twenty-second pages of this issue – the last two pages.

Hill does a good, but not great job with this first issue, and I find the characters and the setting only mildly interesting.  But the last two pages make me think that I will be more than mildly interested when the proverbial shit hits the fan – hopeful in issue two.

Artist Leomacs' graphical style seems just right for a horror, thriller, or crime comic book, and Dave Stewart's coloring establishes a sense of foreboding.  Deron Bennett's lettering does most of the heavy lifting in giving this story a sense of rhythm and the feeling that it is actually going somewhere and is not just introducing some people who live on a tourist-trap island.  Basketful of Heads #1 is good enough to make me want to check out another issue.

“Sea Dogs” Part One: “Boarding Party”
STORY: Joe Hill
ART: Dan McDaid
COLORS: John Kalisz
LETTERS: Wes Abbott
EDITORS: Mark Doyle and Maggie Howell

“Sea Dogs” is a comics serial that will run in four-page increments at the back of every issue of Hill House Comics (apparently in the initial run of series).  “Sea Dogs” will tell the tale of how werewolves helped the Thirteen American Colonies and its Continental army win their war against Great Britain.

The first chapter, “Boarding Party,” opens in May 1780, at a secret rebel stronghold in upstate New York.  The mysterious Mr. Bolton meets a trio of men, who can transform into werewolves.  He wants to recruit the men and their special abilities in order to help the American rebels.  Their target is the powerful British Navy, which is destroying the Continental navy and other colonial ships by the hundreds and is also creating a blockade that has left the Continental army half-starved and poorly equipped.

The art by Dan McDaid and colors by John Kalisz recall the comic book art of classic DC Comics horror titles of the late 1960s and 1970s like House of Mystery and Ghosts.  Letterer Wes Abbott's fonts are delightfully old school, and I must admit that I am quite intrigued by Joe Hill's concept here.  Plus, I also love werewolves!

[This comic book also contains an essay by Joe Hill.]

7 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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#IReadsYou Review: MERA: Tidebreaker

MERA: TIDEBREAKER
DC COMICS/DC Ink – @DCComics

[This review was originally posted on Patreon.]

STORY: Danielle Paige – @daniellempaige
ART: Stephen Byrne
COLORS: David Calderon
LETTERS: Joshua Reed
EDITORS: Ben Abernathy and Michelle R. Wells
ISBN:  978-1-4012-9339-1; paperback; (April 2, 2019)
208pp, Color, $16.99 U.S., $22.99 CAN

Age Range: 13 and up

Mera created by Jack Miller and Nick Cardy

Mera is a DC Comics character that is part of the Aquaman line of comic books.  She was created by writer Jack Miller and artist Nick Cardy and first appeared in Aquaman #11 (cover dated: September 1963).  Mera is “queen of the sea” and Queen of Atlantis to Aquaman's “king of the sea” and King of Atlantis.  Once a supporting character, modern versions of Mera emphasize her own super-human strength and magic power (to control water), and she is portrayed as a superhero.

DC Ink is a DC Comics imprint that offers original graphic novels for readers 13-years-old and older.  DC Ink titles will feature, according to DC Comics, coming-of-age stories that encourage teens to ask themselves who they are and how they relate to others.

Mera: Tidebreaker is the title that kicks off the DC Ink line.  It is written by novelist Danielle Paige (the Dorothy Must Die series).  It is drawn by Stephen Byrne, colored by David Calderon; and lettered by Joshua Reed.  Mera: Tidebreaker focuses on a teenage heir to the throne who believes that murdering a prince of a rival kingdom will allow her to rule her kingdom independently.

Mera: Tidebreaker introduces Mera, teenage royalty and heir to the throne of Xebel.  Once one of the seven kingdoms of Atlantis, Xebel now is oppressed by Atlantis.  Xebel seethes with the potential for rebellion against Atlantis.  Mera's father, Ryus, expects his daughter to marry Larken, the son of the ruler of “The Trench,” a kingdom allied to Xebel.

The Xebellian military plots to overthrow Atlantis and break free of its oppressive regime, and one of the most important moves in this rebellion is finding and assassinating Arthur Curry, the long-lost prince and heir to the throne of Atlantis.  Mera decides to take that mission on herself, as she believes that killing Arthur will allow her to sit on the throne of Xebel without having a man at her side.

Arthur lives on land, in the beach town of Amnesty Bay.  Mera not only takes her first steps on land, but she also gets sidetracked when she finds herself having unexpected feelings for the target of her assassination mission, Arthur.

I first came upon Mera as the dutiful, but powerful wife of Aquaman decades ago.  While the comic books I read depicted Mera as quite the fighter in her own right, I would never have imagined a Mera comic book like Mera: Tidebreaker.  This graphic novel explores the themes of duty, love, heroism, and freedom with depth and substance.  Mera is a strong, complex, and messy character in ways that makes it hard for the reader not to attach herself to this engaging young woman.

I think what makes Mera: Tidebreaker work is that writer Danielle Paige presents Mera's coming-of-age as a work-in-progress.  The hero, in this case, Mera, does not learn about herself and her place in the world, nor does she develop relationships with others.  Instead Mera is learning about herself and her place in the world.  She is developing relationships with others.  Mera's journey is ongoing; nothing is really complete, and there are few if any easy answers.  Every resolution is part of an evolution, so, without spoiling things, I can say that Mera: Tidebreaker looks as if it will be the first in a new original graphic novel series.

Stephen Byrne tells this tale in brawny, effective graphical storytelling.  [It is hard for me to believe that this is the same Stephen Byrne who drew the recent, detestable Wonder Twins comic book.]  Byrne tells Mera: Tidebreaker as if it were some hot, television teen soap opera, using intense emotions and powerful moments of drama and confrontation to shape the characters.  Byrne makes Mera: Tidebreaker a cover-to-cover read.  [I read it in one sitting.]

Colorist David Calderon uses his colors to accentuate Mera: Tidebreaker and to give it an unusual visual appearance.  I might describe that appearance as some kind of realism.  Joshua Reed's lettering is effective and effectively sized and placed to make the story flow smoothly.

Mera: Tidebreaker has an all-around excellent creative team, and they make this the high-quality launch an imprint needs, especially DC Ink, with its particular ambitions.  One might even argue, that Mera: Tidebreaker gives young readers the kind of select original graphic novel that older readers take for granted.

8 out of 10

[This book contains a preview of the original graphic novel, Under the Moon: A Catwoman's Tale, from writer Lauren Myracle; artist Isaac Goodhart; colorist Jeremy Lawson; and letterer Deron Bennett.]

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: EXCELLENCE #1

EXCELLENCE No. 1
IMAGE COMICS/Skybound – @ImageComics @Skybound

[This review was originally posted on Patreon.]

STORY: Brandon Thomas
ART: Khary Randolph
COLORS: Emilio Lopez
LETTERS: Deron Bennett
EDITOR: Sean Mackiewicz
COVER: Khary Randolph with Emilio Lopez
VARIANT COVER ARTIST: Emilio Lopez
36pp, Color, $3.99 U.S. (May 2019)

Rated M/Mature

Excellence created by Brandon Thomas and Khary Randolph

Chapter One: “Kill the Past”

Excellence is a new comic book series from writer Brandon Thomas and artist Khary Randolph.  It is released by the Image Comics' studio, Skybound Entertainment.  The series follows a young man who is born into a secret society of magicians.  Excellence is written by Thomas; drawn by Randolph; colored by Emilio Lopez; and lettered by Deron Bennett.

Excellence #1 (“Kill the Past”) opens in Column One, New York City.  It is the day Spencer Raymond Dales is born to Raymond and Stephanie Dales.  Raymond belongs to “The Aegis,” a secret society of magicians ordered by their unseen masters to better the lives of others—those with greater potential.  However, these magicians must never use their powers to better themselves.  As Spencer grows, he struggles to meet the expectations of his legacy, and he also views the system as being in need of change.  Young Spencer is committed to one truth – Excellence is real.

Calling a work of entertainment by the title, “Excellence,” is a trap.  If “Excellence” is not excellent, then, reviewers and critics will offer up snarky titles and headlines for their reviews and articles.  Those titles and headlines will basically focus on “Excellence” not being excellent.

Excellence #1 strives to be excellent.  Truthfully, it might seem to start as if it were nothing more than your average comic book, but what is presented in this first issue plays out for... excellence.  Excellence could be an awesome comic book series, and if it does not turn out to be that way, it won't be because the creative team did not try.

Excellence already has... excellent art by Khary Randolph, art that is as electric and as energetic as any comic book art out there today.  Randolph's art here is highly stylish, but the compositions and page design have a depth of storytelling.  Randolph seems to be lock-step with writer Brandon Thomas, which is a good thing, in bringing this imaginative concept to life in vivid comic book storytelling.

Emilio Lopez's colors Randolph's art with a vengeance with colors that explode off the page.  The green and blue colors here could almost blind an innocent unsuspecting reviewer like myself.  As always, Deron Bennett letters more bumps in the hump; he is a soul man of lettering.

So... Excellence is.  Past this first issue of introductions and teasing, I believe, are chapters that will offer brilliance... and continued excellence.

8 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: CATS OF THE LOUVRE

CATS OF THE LOUVRE
VIZ MEDIA – @VIZMedia

[This review was originally posted on Patreon.]

MANGAKA: Taiyo Matsumoto (with Saho Tono)
TRANSLATION/ENGLISH ADAPTATION: Michael Arias
LETTERS: Deron Bennett
EDITOR: Mike Montessa
ISBN: 978-1-9747-0708-9; hardcover (September 2019)
432pp, B&W with some color, $29.99 US, $39.99 CAN, £20.00 UK

Located in Paris, the Louvre is the world's largest art museum (and perhaps it most famous).  Did you know, dear reader, that the Louvre also publishes comics?  Yes, the most famous art museum in the world has been commissioning various legendary comic artists to write their own original stories inspired by the Louvre and its collection for the last decade.  These comics are published via a joint venture between the Louvre and French publisher, Futuropolis.

Most of these artists are French, but increasingly the Louvre has been working with Japanese manga artists (mangaka).  One of those mangaka is Taiyo Matsumoto, who is best known for his manga, Tekkonkinkreet.  Matsumoto won one of American comics' most prestigious honors, an Eisner Award (“Best U.S. Edition of International Material,” 2008), for Tekkonkinkreet: Black and White, VIZ Media's English-language edition of Tekkonkinkreet.

Matsumoto's contribution to Louvre comics is Les Chats du Louvre (Cats of the Louvre), which Futuropolis published in two books, one in February 2017 and the second in August 2018.  VIZ Media recently published an English-language edition of both volumes of Les Chats du Louvre in a single, hardcover, omnibus book under the title, Cats of the Louvre.

Cats of the Louvre, Part One (Chapters 1 to 10) and Part Two (Chapters 11 to 17 to Final Chapter) focuses on a group of human characters that works at the Louvre and a small family of cats that lives in the museum's attic.  Cécile Gagnier, a recent hire, is a tour guide.  Through Marcel, an elderly nightwatchman, Cécile learns that the paintings speak.  Although Cécile and, Marcel's new assistant, Patrick Nasri, initially doubt the old nightwatchman stories, they gradually become believers, especially Cécile.

For the world-renowned Louvre museum contains more than just the most famous works of art in history.  At night, within the Louvre's darkened galleries, an unseen and surreal world comes alive.  It is a world witnessed only by the cats that live in the attic, until now…  The cats, who change appearance at night into anthropomorphic forms, will end up sharing that magic with the humans.  Long ago, Marcel's sister, Arrieta, disappeared in the Louvre when the two were children.  Now, Cécile and a precocious white kitten named “Snowbébé” will solve a mystery that unites the world of the humans that work at the Louvre, the world of the cats, and the magical world a mysterious painting.

It is difficult to describe Cats of the Louvre.  It is surreal and partly exists in the real world and in the world of magical realism; then, some of it is entirely magical and fantastical.

Taiyo Matsumoto fashions an interesting and endearing group of human characters.  Marcel is mysterious, but he is the kind of old man who has a lot to say.  I found that I could not get enough of him.  Patrick Nasri is a nice spin on the skeptical youth type.  Cécile Gagnier is our doorway into the entire world of the museum and its employees and the world of the family of cats in the attic.  Her curiosity and determination and her willingness to listen and to believe make her an excellent focus and doorway into the narrative for readers.

The cats are something else entirely.  Even as cats, they seem slightly supernatural, so when they become human-like at night, everything about them turns magical and exciting.  I could follow their lives and adventures forever.  Most of the cat characters are quite interesting, but the star is, of course, Snowbébé.  This little white cat is the one who crosses the barriers, visiting the galleries during the day when the tourists and museum visitors can plainly see him.  It is his adventure into the mystery painting that creates the most magical and surreal sections of Cats of the Louvre.

Matsumoto's art is as lyrical, as poetic, and as personal as his story.  His odd, eccentric drawing style is perfect for comics; in fact, Cats of the Louvre looks like Eurocomics, American comics, and manga.  The art and story are hypnotic and alluring.  I found myself being pulled into the comic by the irresistible force of Matsumoto's graphical storytelling.

Michael Arias, the noted visual effects artist who directed the anime adaptation of Tekkonkinkreet, provides the translation and English adaptation for VIZ Media's edition of Cats of the Louvre.  Arias captures the magic and brilliance of Matsumoto's tale of the Louvre and its cats, its humans, and its charmed works of art.  Letter Deron Bennett turns in the best work of his career, providing the English lettering and sound effects and also, with his lettering, matching the beautiful spirit of Matsumoto's art.

I highly recommend Cats of the Louvre.  No admirer of the medium of comics can ignore Matsumoto's stunning manga.

10 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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