#IReadsYou Review: KILLADELPHIA #3

KILLADELPHIA #3
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Rodney Barnes
ART: Jason Shawn Alexander
COLORS: Luis Nct
LETTERS: Marshal1 Dillon
LOGO/GRAPHIC DESIGN: Brent Ashe
EDITOR: Greg Tumbarello
COVER: Jason Shawn Alexander
VARIANT COVER ARTIST: Matteo Scalera
28pp, Colors, 3.99 U.S.(January 2020)

Rated “M/ Mature”

“Sins of the Father” Part III: “Abaddon”

Killadelphia is a new comic book series from writer Rodney Barnes and artist Jason Shawn Alexander (Empty Zone).  The series focuses on a police officer who falls into a lurid mystery, one which reveals that the corrupt, but historical city of Philadelphia is vampire-ridden.  Colorist Luis Nct and letterer Marshall Dillon complete Killadelphia's creative team.

James “Jim” Sangster, Jr. is a Baltimore Police Department beat cop who comes home to deal with the final affairs of his recently murdered father, revered Philadelphia homicide detective, James Sangster, Sr.  Jimmy hated his father, who is not dead, but is of the undead.  Now, they're working together to stop an apocalypse – son and vampire dad!

Killadelphia #3 (“Abaddon”) finds the Sangster boys and Jose Padilla, the chief medical examiner, cleansing the city morgue of its cadavers-turned-vampires.  This team-up, however, does not hide the estrangement between Jim, Sr. and Jim, Jr., and Padilla's honeyed words of peace and calmness may not change that.

Meanwhile, John Adams... the second President of the United States and the “Vampire King,” ruminates on his history.  He remembers how he came to be what he is and thinks on the evolution of his plans to build a society not defined by money, race, and class.  But what happens when you use the same old flawed ideas to build something new... or when your partners decide to go their own way?

Killadelphia #3 remains a thrilling, ass-kicking vampire comic book series, but I like that writer Rodney Barnes turns the narrative inward, as the two fathers, Jim, Sr. and John Adams, are forced to reap what they sow – at least, mentally and philosophically.  I like the haves/have-nots dynamic that plays itself out in who gets turned into a vampire and who does the turning.  However, I like what I see as Barnes' consideration of the costs people pay because of the hubris and the narcissism of powerful men.

Back in the 1980s, the peak work of comic book artist and illustrator, Bill Sienkiewicz, was some of the best, if not the best painted comic book art.  Many of Sienkiewicz's individual pages looked like individual paintings, while still propelling the narrative and also being graphical storytelling.

Jason Shawn Alexander, especially in Killadelphia #3, presents some pages that are like stand-along paintings, each with its own message, while being part of the larger narrative.  That would be story-pages 14-15, 19, and 22.  Luis Nct's coloring remains electric and alive – like something bad come alive.  Marshall Dillon letters rhythmically, creating a melody of blood and history and of sex and death.

In my review of Killadelphia #2, I wrote that if Killadelphia #3 was as good as the first two issues, I would begin to suspect that there was something supernatural about this comic book's creative team.  So...

10 out of 10

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


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.


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Book Review: SURRENDER, WHITE PEOPLE!

SURRENDER, WHITE PEOPLE!: OUR UNCONDITIONAL TERMS FOR PEACE
WILLIAM MORROW/HarperCollins

[This review was originally posted on Patreon.]

AUTHORS: D.L. Hughley and Doug Moe
ISBN: 978-0-06-295370-4; hardback; 5.5 x 7.25 (June 30, 2020)
256pp, B&W, $27.99 U.S., $34.99 CAN

Surrender, White People!: Our Unconditional Terms for Peace is a 2020 non-fiction, humor, and social commentary book written by D.L Hughley and Doug Moe.  Hughley is an actor, comedian, and longtime social activist, and Moe is a writer and an actor and performer associated with the “Upright Citizens Brigade.”

Surrender, White People!: Our Unconditional Terms for Peace works under the premise that America is about to become a majority-minority nation, and Hughley has a warning for White people.  White people are not only going to be a minority themselves, but they are also going to face a reckoning.  It is time for White people to sue for peace, and have some fun while D.L. holds them for accountable and lays out the details.  Have a laugh and Surrender, White People!

Hughley says that in a browner America black and brown people are not going to take a backseat anymore.  Thus, it is time for White people to surrender their unjust privileges; face their history, put aside all their visions of superiority, and open up their institutions so they benefit everyone in this nation.

Luckily for America... and for White people, D.L. has a plan.  If White people go along with it, the might actually get Black people (finally!) to stop talking about oppression, discrimination, and their place in America

THE LOWDOWN:  I have never read any of D.L. Hughley's books, including How Not to Get Shot, but after reading Surrender, White People!, I feel that I need to do so.  I am a longtime fan of Hughley's stand-up comedy and especially of his political and social commentary. He is one of the sharpest and most honest commentators on race relations, race awareness.  He is especially good speaking and writing on the inequalities in the United States and of the historic and systemic oppression of African slaves and their descendants at the hands of White people in America.

The premise of Surrender, White People! is that we need a peace treaty between Black folks and White people.  However, D.L. says there can only be peace and reconciliation if White people give up their “White privileges” and renounce “White supremacy.”

D.L.'s treaty is a kind of new constitution that has a preamble and six articles.  Hughley and Moe fill the articles with facts, history, and examples of why each article is necessary.  There is triple truth, Ruth, and genuine, even uproarious humor.  Laughs aside, the first two articles, “White People Shall Consider Reparations” and “History Books Shall Be Aligned,” unleash a savage broadside on White privilege and on the history of the United States of America... which is essentially a White (washed) story.

It would be too easy to say that Surrender, White People! is the perfect book for our troubled times.  The truth is that the time is always right for what D.L. Hughley has to say about racism in America.  Surrender, White People! is an opportunity to laugh, to learn, and to move us a little closer to real, substantial change.

But considering what has happened in the year 2020, we will need more books from D.L. Hughley and Doug Moe... and probably some amendments to this peace treaty.

I READS YOU RECOMMENDS:  Fans of D.L. Hughley cannot and must not miss Surrender, White People!: Our Unconditional Terms for Peace.

10 out of 10

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


https://twitter.com/WmMorrowBooks
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https://twitter.com/HarperCollins
https://www.harpercollins.com/


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.


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#IReadsYou Book Review: ON THE CORNER OF HOPE AND MAIN

ON THE CORNER OF HOPE AND MAIN (A Blessings Novel)
HARPERCOLLINS/William Morrow

[This review was originally posted on Patreon.]

AUTHOR: Beverly Jenkins – @authorMsBev
ISBN: 978-0-06-269928-2; paperback (March 3, 2020)
304pp, B&W, $15.99 U.S., $19.99 CAN

[On the Corner of Hope and Main is available in a trade paperback edition and a “hardcover library edition.”  This review is of the paperback.]

On the Corner of Hope and Main is a new novel from bestselling author, Beverly Jenkins.  This is the tenth novel in Jenkins' “Blessings” series (following 2018's Second Time Sweeter).  Set in the fictional small town of Henry Adams, Kansas, the book follows the lives of its citizens who never know a dull moment in their historic little town.  On the Corner of Hope and Main finds Henry Adams caught up in a mayoral election, while a former trickster returns with new tricks.

On the Corner of Hope and Main opens with Trent July, mayor of Henry Adams for the past four years, ready to stop being mayor, so it's time for a new mayoral election!  Right from the beginning, two slightly unsavory candidates throw their hats into the ring, including the town's perennial pariah, Riley Curry.  Barrett Payne, a former Marine who directs the town's security infrastructure, decides he wants the job.  When a surprise candidate also enters the ring, however, Barrett is shocked, offended, and thrown for that proverbial old loop that shakes him down to the core of his being.

While the town has opinions on who would be the best candidate, Leo Brown, the ex-husband of Henry Adams' owner and savior, Bernadine Brown, is back in town... with a new scheme.  He hopes to make inroads with his new employer, Mega Seed; gain some closure with his former employer, Salem Oil; and get a measure of revenge against his ex.

The election and Leo Brown's schemes are not the only drama in town.  Malachi “Mal” July continues to make reparations for the damage he has caused and to the people he has betrayed, but his biggest reclamation project will be restoring some kind of relationship with the love of his life, Bernadine.  Is she finally ready to forgive him and let the past go?  It will be a blessing if she does.

THE LOWDOWN:  I had heard of author Beverly Jenkins, but had never read her work until I read her 2016 novel, Stepping to a New Day (the seventh “Blessings” novel).  I immediately fell in love with the characters and with the town of Henry Adams, the kind of small town that Norman Rockwell or Walt Disney could have loved.  Unlike a Disney small town idyll, however, Henry Adams has a diverse, but predominately African-American population and was founded by freed slaves.

On the Corner of Hope and Main is the fifth Blessings novel that I have read.  I've read the previous three novels, and last year, I went back and read the first book in the series, Bring on the Blessings.  Although On the Corner of Hope and Main has a few dark moments, it is radiant, hopeful, and positive, a sharp contrast to 2018's Second Time Sweeter, which I found to be a very dark, but hugely enjoyable read.  I think the new novel also encapsulates author Beverly Jenkins' theme of “blessings.”

Jenkins' characters in this series can work toward, gain, and find blessings if they deal honestly with other people and especially with themselves.  In the “Blessings” series, a blessing isn't just getting some material satisfaction, nor is it always manifested physically.  A blessing can be spiritual and mental, or it can be a personal enrichment that comes indirectly to a character when his or her family, friends, co-workers, etc. directly get a blessing.

Invariably, characters who embrace wickedness and selfishness and those who trade in hubris win curses instead of blessings, sometimes with devastating, even tragic consequences.  When one cannot love others as one loves oneself, what seems like a blessing will eventually turn out to be a disaster... or even a curse.

The struggle between getting what you want with good intentions and getting what you want at the expense of others is a winning formula for storytelling.  That is because the struggle is played out by the vibrant characters that Beverly Jenkins creates.  The good, the naughty, and the just-plain-bad are the kind of great characters that everyone says a successful novel needs.  There are no duplicate characters in Jenkins' “Blessings” novels.  Each character is unique, and no matter where he or she measures on the hero-villain or protagonist-antagonist scale, you will love reading about that character even when you can't exactly love the character.  These characters have literary depth and weight because Jenkins has fitted them (each and every one) with wants, needs, fears, and motivations.

On the Corner of Hope and Main exemplifies that.  I wanted to know more about what was happening in the lives of every character and player, even the ones that only appeared in a scene or two.  There may be no better small town in modern fiction than Henry Adams, Kansas.  If you need a good book to get you through this crazy time, you will find it On the Corner of Hope and Main.

I READS YOU RECOMMENDS:  Fans of Beverly Jenkins and of stories set in wonderful small towns will want On the Corner of Hope and Main.

10 out of 10

The paperback edition of On the Corner of Hope and Main contains the following William Morrow “P.S. Insights, Interviews & More...” extras:

1. About the author:  “Meet Beverly Jenkins”

2. About the book:  “Author's Note” and “Book Club Discussion”

https://twitter.com/WmMorrowBooks
https://www.facebook.com/WilliamMorrowBooks
https://twitter.com/HarperCollins
https://www.harpercollins.com/


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


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and  syndication rights and fees.


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#IReadsYou Review: KILLADELPHIA #2

KILLADELPHIA No. 2
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Rodney Barnes
ART: Jason Shawn Alexander
COLORS: Luis Nct
LETTERS: Marshall Dillon
LOGO/GRAPHIC DESIGN: Brent Ashe
EDITOR: Greg Tumbarello
COVER: Jason Shawn Alexander with Luis Nct
VARIANT COVER ARTIST: Jim Mahfood
28pp, Colors, 3.99 U.S.(January 2020)

Rated “M/ Mature”

“Sins of the Father” Part II: “Death, My Sweet Savior”

Killadelphia is a new comic book series from writer Rodney Barnes and artist Jason Shawn Alexander (Empty Zone).  The series focuses on a police officer who falls into a lurid mystery set in the corrupt and vampire-ridden historical city of Philadelphia.  Colorist Luis Nct and letterer Marshall Dillon complete Killadelphia's creative team.

James “Jim” Sangster, Jr. is a Baltimore Police Department beat cop who comes home to deal with the final affairs of his recently murdered father, revered Philadelphia homicide detective, James Sangster, Sr.  Jimmy hated his father, but now they're working together to stop an apocalypse – son and vampire dad!

Killadelphia #2 (“Death, My Sweet Savior”) finds the Sangster boys and Jose Padilla, the chief medical examiner, plotting to stop the machinations of John Adams... the second President of the United States.  It is a good thing that Jose had been working with Jimmy Sr. before... his untimely demise, because she already had a notion that there were vampires about... even if part of her was in denial.  Now, she and the Sangsters have some dirty, bloody work to do.

Meanwhile, in the Philly “Badlands,” Mr. President continues to shape his revolution.  But one of his soldiers, Tevin Thompkins, once the object of Jimmy Sr.'s search, has his focus on a more personal war.

I had planned on putting more time between my reading the first two issues of Killadelphia.  I liked Killadelphia #1 so much, and I thought if it waited a month or so before reading the second issue, I might be better able to tell if a glorious first issue was just beginners' luck on the part of Misters Barnes and Alexander.  However, once I obtained a digital review copy of Killadelphia #2, it kept calling to me, like Blanche kept calling on Mede in the film, Mandingo (1975).  [In this case, Killadelphia is the Mandingo and I am the desperate bed-wench.]

Seriously, there is no beginner's luck here.  Killadelphia #2 is a glorious read, and it may be even more kick-ass than the first issue, which was damn glorious itself.

Rodney Barnes' writing is the kind of rich, imaginative writing and detailed plotting that readers normally get from the best dark fantasy and horror prose.  Jason Shawn Alexander's graphical storytelling and art is powerful and alluring.  I think that reading it is like staring into the hypnotic gaze of a beautiful vampire (for instance, if Charlize Theron was vampire).

Luis Nct's coloring of Alexander's art is also beautiful, and it conveys the dangerous elements of this story with uncompromising boldness.  Letterer Marshall Dillon doesn't want to be left behind, so he turns his fonts into a thousand cuts – the way lettering should be in a vampire comic book.

If Killadelphia #3 is this good, then, I'll suspect that there is also something supernatural about this creative team...

A+
10 out of 10

Friday, January 24, 2020


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: KILLADELPHIA #1

KILLADELPHIA No. 1
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Rodney Barnes
ART: Jason Shawn Alexander
COLORS: Luis Nct
LETTERS: Marshal1 Dillon
LOGO/GRAPHIC DESIGN: Brent Ashe
EDITOR: Greg Tumbarello
COVER: Jason Shawn Alexander with Luis Nct
VARIANT COVER ARTISTS: Francesco Mattina; Jason Shawn Alexander
32pp, Colors, 3.99 U.S.(November 2019)

Rated “M/ Mature”

“Sins of the Father” Part 1: “A Call to Arms”

Killadelphia is a new comic book series from writer Rodney Barnes (Lando: Double or Nothing for Marvel Comics) and artist Jason Shawn Alexander (Spawn for Todd McFarlane/Image Comics).  The series focuses on a police officer who falls into a lurid mystery set in the corrupt and vampire-ridden historical city of Philadelphia.  Colorist Luis Nct and letterer Marshall Dillon complete Killadelphia's creative team.

Killadelphia #1 (“A Call to Arms”) opens with James “Jim” Sangster, Jr. dealing with the death of his father, revered Philadelphia homicide detective, James Sangster, Sr.  Ten days earlier, Sangster, Sr. got a tip that took him to “Harvest Green Homes,” a low-income housing project that had its glory days in the 1970s.  Now, it's known as “Hell Hall,” and it is the place where Detective Sangster was murdered.

Jim hated his father, but he more or less stumbles into reading his father's journal.  What he finds makes him think that Sangster, Sr. was loosing his mind.  What Jim finds when he makes his own trip to Hell Hall will shake his beliefs to their core.

I once believed that if talented and accomplished African-American writers got the comic book writing opportunities that DC Comics' imprint, Vertigo Comics, gave to white writers, they would produce some incredible work.  Of course, I was right, and Image Comics is proving it by publishing Black writer-penned titles like Bingo Love, Bitter Root, Farmhand, and Jook Joint, to name a few.  Now comes Killadelphia from Rodney Barnes, who wrote the ambitious 2017-2018 Falcon comic book series for Marvel Comics.  [After an epidemic of white-devil fever swept through Marvel's management and editorial, Falcon was unceremoniously canceled.]

Killadelphia #1 is incredible.  What Barnes does with his first-issue script takes most other comic book writers five or six issues to do.  Barnes, who is also a television writer and producer, presents the personalities of both Sangster men, while detailing their contentious relationship and its history in startling detail.  Plus, he unveils quite a bit of Killadelphia's back story and mythology in a few pages.  Wait!  He also gives us some hot vampire action, y'all!  [I'd say that I got more than my money's worth, but Image Comics did send me a PDF review copy.]

Jason Shawn Alexander's graphical storytelling is long and strong.  Powerful graphics and page design strike out at the reader – the way they should in a vampire comic book.  Alexander creates a milieu that is perfect for both horror fiction and for a contemporary tale of public corruption in a rotten metropolis.

Luis Nct's coloring is fantastic; it seems that every page suggests a different mood, which plays up Killadelphia's devious atmosphere and gritty and surreal ambiance.  Marshall Dillon's lettering also changes, moving and shifting with the narrative, conveying the notion that this story wants to sink its... something into you.

Killadelphia #1 can't stop, won't stop.  It is proof that comic books can do what movies like Us and Queen & Slim are doing for film – showcase the creativity of potent new or different storytelling voices.

10 out of 10

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


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.


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#IReadsYou Review: FARMHAND #11

FARMHAND No. 11
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Rob Guillory – @Rob_guillory
ART: Rob Guillory
COLORS: Taylor Wells
LETTERS: Kody Chamberlain
GRAPHIC DESIGN: Burt Durand
COVER: Rob Guillory with Taylor Wells
32pp, Colors, 3.99 U.S.(November 2019)

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 11: “Rootwork”

Farmhand is the (incredible) dark fantasy comic book series from comic book creator, Rob Guillory.  Guillory is also known for his award-winning tenure on the long-running comic book, Chew (Image Comics), with writer John Layman.  Farmhand is written and illustrated by Guillory; colored by Taylor Wells; and lettered by Kody Chamberlain (who also designed the Farmhand logo).

Farmhand's central character would appear to be Ezekiel “Zeke” Jenkins, a husband, father, and graphic designer and illustrator.  He returns to his hometown of Freetown, Louisiana with his wife, Mae, and their children, Abigail and Riley.  The old family business was “Jenkins Family Farm.”  The new family business is “Jenkins Family Farmaceutical Institute,” operated by Zeke's father, Jedidiah “Jed” Jenkins (who could be the lead character), and Zeke's sister, Andrea.  The “farm” grows plant-based replacement human organs and tissue, and once upon a time, people, especially transplant recipients, saw this as a miracle.  But, now...

Farmhand #11 (“Rootwork”) opens many many years before the present day.  Jedidiah and his wife, Anna, with baby Andrea in tow, are hosting a crawfish boil.  Their guests are Randall and Dolly Lafayette, Nancy and John “Tree” Moore, and Monica Thorne.  Monica is the biomedical engineer and botanist who would help Jed design the seed of a possible apocalypse, and even back then, the blood was trying to tell...

In the present day, Randall Lafayette's useless son, Tiberius, helps Jed so that he can visit the former Hoodoo woman and prophetess, “Grandmomma” a.k.a. “Auntie Janice.”  Once upon a time she foretold Jed's future, which turns out to be... rooted in the past.

Farmhand #11 launches Farmhand's “Season Three,” so to speak – the series' third story arc.  Farmhand is set in Freetown in the state of Louisiana.  Louisiana is a state established by multiple “racial,” ethnic, religious, and cultural groups – indigenous, immigrant, invader, and enslaved – long before it became part of the then still new United States.  Instead of being a bunch of ingredients or a selection of “tapas,” Louisiana is an elaborate gumbo, one in an evolving state of neo-cuisine

Some people say they “don't believe” in “interracial relationships,” with many emphasizing that this is the command of their favorite holy book.  Yet a Black person and White person can still come together and conceive a child, despite anyone's belief to the contrary.  It is sort of like the purity of your rose garden being an illusion; other plants will come a knockin' regardless of your beliefs.  Barriers and purity standards are labels and enclosures that are more man-made than they are natural.

Farmhand's dark fantasy is made of blood magic and green magic, of bloodlines and roots that break on through the barriers and borders, erasing any kind of red-lining.  In this comic book, people foolish enough to believe that they can control and divide get caught up in Farmhand's version of “The Twilight Zone.”  In the “Farmhand Zone,” humanity is the common denominator.  All are vulnerable, aggressive, and damned.

I think Rob Guillory's storytelling is brilliant.  He defies conventions and labels.  In every issue, he shows his characters in a different light.  He seems to be moving beyond heroes and villains and beyond the just and the unjust.  Everyone is trouble and in trouble.

And I can't stop reading.  I never know what to expect from Farmhand, the best ongoing comic book series in America.

[This comic book also includes the one-page comic, “Freetown Funnies” by Burt Durand.]

https://robguillory.com/
https://twitter.com/Rob_guillory
https://www.instagram.com/rob_guillory/

10 of 10

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


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.


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#IReadsYou Review: SURFACING #3

SURFACING #3 (OF 3)
APPROBATION COMICS

[This review was originally posted on Patreon.]

STORY: B. Alex Thompson – @ApproBAT
ART: Nenad Cviticanin
COLORS: Santtos
LETTERS: Krugos
EDITOR: John Ward and Denise Thompson
COVER/BACK COVER: Cesar Grego and Alivon Ortiz
32pp, Color, $4.99 U.S. / $1.99 digital-comic (2018; digital release date – November 7, 2018)

Rated: “M” for Mature / 17+ Only (comiXology)

“A Promise of Home”

Surfacing is a three-issue comic book miniseries published by Approbation Comics.  Surfacing is a horror anthology, with each issue offering a different story based on a similar theme – a violent encounter with mermaid-like creatures (which are the subject of the four-issue miniseries, Surfacing: Depth Perceptions).  Surfacing is written by B. Alex Thompson; drawn by Nenad Cviticanin; colored by Santtos; and lettered by Krugos, with gorgeous cover art drawn by Cesar Grego and Alivon Ortiz.

Surfacing #3 (“A Promise of Home”) opens somewhere in the American West, sometime in the 1800s.  There and then, we meet Bennet Ramirez, Amos Parker, Kit Taylor, Zeke Breen, Elijah Hart, and Jasper Doolin.  They are a roving gang of armed stagecoach robbers.  After their latest... successful campaign they visit a small wild west town to cash in on their loot.

It seems that a traveling circus has also set up in that town, and Kit Taylor, considered a bit sanctimonious by some of his lot, visits the circus.  There, he discovers a wondrous and captivating creature, a being that will decide Kit's fate and that of his fellow thieves.

When I first prepared to read Surfacing #2, I did not know what to expect of it, especially after I had enjoyed Surfacing: Depth Perceptions so very much.  It turned out that I thoroughly enjoyed Surfacing #2, which was and is a truly exceptional single-issue comic book story.

Surfacing reminds me of dark fantasy anthology series like the classic  “The Twilight Zone” (1959 to 1964) and the 1980s “Tales from the Darkside.”  Both series feature stories set in the present, as well as in the past and the future.  Surfacing #3's “A Promise of Home” is set in the “Wild West” that is familiar to audiences via American “Western” films.

However, at its heart is a timeless tale of star-crossed lovers, in which the author somewhat downplays the fantasy and the horror fiction aspects of the story.  B. Alex Thompson, as he has done in some of his other anthology work (like his Amour series), depicts real human emotions and feelings in a fantastic setting and allows the humanity to dominate.

Artist Nenad Cviticanin delivers lovely art and excellent storytelling. Cviticanin's clean, “clear-line” style is evocative and focuses in on the most important aspects of the story.  He depicts the “American West” in a way that is recognizable to readers, but he saves his storytelling prowess for a truly powerful ending, with its love-at-first-sight angle.  The coloring by Santtos captures the strength of the story with subtlety and grace, and Krugos' lettering is gentle and effective.

Of course, I am crazy about the cover illustration by artists Cesar Grego and Alivon Ortiz, and I'd like to see more of their work.  Surfacing #3 makes me wish Thompson would produce more Surfacing, especially with this exceptional group of collaborators.

9 out of 10

Buy Surfacing #3 at comiXology.

www.ApprobationComics.com
www.AlexThompsonWriter.com

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


The text is copyright © 2020 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: CHAOS CAMPUS: Extra Credit #7

CHAOS CAMPUS: EXTRA CREDIT No. 7
APPROBATION COMICS

[This review was originally posted on Patreon.]

STORY: B. Alex Thompson – @ApproBAT
ART: Ricardo Mendez
COLORS: Alivon Ortiz
LETTERS: Krugos
EDITORS: B. Alex Thompson and John P. Ward
COVER: Ricardo Mendez (2017 Monterey Comic Con Convention Exclusive cover)
32pp, Color, $9.99 U.S./.99¢ digital-comic (2017; digital release date – April 12, 2017)

Rated: Teen 13+ / 15+ Only – comiXology rating

Chaos Campus: Sorority Girls vs. Zombies created by B. Alex Thompson

“The NecroMager”

Chaos Campus: Sorority Girls vs. Zombies is a zombie apocalypse comic book series that mixes in elements of comedy, horror, and adventure.  The creation of B. Alex Thompson, Chaos Campus is published by Thompson's company, Approbation Comics.  Chaos Chaos is set during a zombie invasion and follows the adventures of three members of the sorority, Epsilon Alpha Zeta Upsilon (EAZY):  ass-kickin’ Jamie Lynn Schaeffer, brainy and magic-wielding Paige Helena Patton, and sexy Brittany Ann Miller.

Thompson is also producing a Chaos Campus side series, Chaos Campus: Extra Credit, which offers readers something “extra,” but (apparently) in continuity to the main series.  Thompson also releases a “convention exclusive” variant cover edition of Extra Credit.  Thompson recently provided me a copy-for-review of Chaos Campus: Extra Credit #7 – Convention Exclusive 2017 (for the Monterey Comic Con).

Chaos Campus: Extra Credit #7 opens in the middle of Paige's funky dream that finds her in a too-revealing swimsuit, in a situation of submission and humiliation, and in a meeting the mysterious Locus.  Back in the waking world, Paige reunites with Jamie and Paige and also with the ongoing battle against the “Neo-Zombies.”

There are also some new complications.  Jamie makes a shocking announcement.  A killing machine named “Denvey” joins the fray.  Locus is real, and she has friend named “Spook.”  And a friend, Brian, turns out to be a budding magic-baddie and a total frickin' asshole and ass-wipe.

As usual, I enjoy whatever Chaos Campus comic book I read.  Chaos Campus: Extra Credit #7 does not have the dramatic (or humorous) chops of the regular series, but it is wacky, offbeat, and gleefully gruesome.  I enjoyed the guest characters:  Locus, Spook, and Denvey, which are the property of comic book creator, Adam Black.

The art by Ricardo Mendez is quite nice.  What he lacks as an experienced draftsman, Mendez makes up with imaginative illustrations.  To me, Mendez feels like a natural at comic book storytelling.  As usual, Alivon Ortiz delivers strong coloring, this time conveying the chaotic situation of this issue.  Letterer, Krugos, gets the most out of “sound effects,” especially “Budda Budda” for gunfire.

So, for those who can't get enough zombie education from Chaos Campus: Sorority Girls vs. Zombies, you'll get schooled in the ways of necromancy and backstabbing in Chaos Campus: Extra Credit #7.  You, dear reader, can even get this “Extra Credit” from comiXology.

7.5 out of 10

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

Buy Chaos Campus: Extra Credit #7 at comiXology.

www.ApprobationComics.com
www.AlexThompsonWriter.com
Visit Adam Black and Locus Comics at http://locuscomics.com/


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

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#IReadsYou Review: BLACK PANTHER #1

BLACK PANTHER No. 1 (2005)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

WRITER: Reginald Hudlin
PENCILS: John Romita, Jr.
INKS: Klaus Janson
COLORS: Dean White
LETTERS: Chris Eliopoulos
COVER:  John Romita, Jr. and Klaus Janson with Dean White
32pp, Color, $2.99 U.S., $4.25 CAN (April 2005)

“Who is the Black Panther?” Part One

The Black Panther, also known as T’Challa, is a Marvel Comics character and was the first black superhero to appear in mainstream American comics.  Created by writer Stan Lee and artist Jack Kirby, the Black Panther first appeared in Fantastic Four #52 (cover dated:  July 1966).

On occasion, I have come across some Black Panther comic books that I have liked, and Black Panther has appeared as a guest or co-star in other comic book series that I find memorable, such as in Fantastic Four #241, during John Byrne's incredible run as writer-artist during the early to mid-1980s.

Still, the Black Panther comic book that I have loved the most did not arrive until early 2005.  That year, Marvel Comics launched a new Black Panther series under the “Marvel Knights” (MK) banner.  It was written by Reginald Hudlin, a movie director and producer, who was best known, at the time, for directing House Party (1990) and Boomerang (1992).  He would go on to earn a best picture Oscar nomination as one of the producers of Quentin Tarantino's Django Unchained (2012).  This Black Panther comic book was drawn by John Romita, Jr. (pencils) and Klaus Janson (inks); colored by Dean White; and lettered by Chris Eliopoulos.

Black Panther #1 (“Who is the Black Panther?” Part One) opens in the Black Panther home land, the central African nation of Wakanda, during the 5th century A.D.  The story also visits Wakanda during the 19th century.  It seems that these are two moments in Wakandan history when the mysterious nation ably defended itself from outside raiders.  In the early 21st century, however, outside forces seek to penetrate the defenses and veil of Wakanda, this time successfully.

Within the last year, Marvel Studios has announced that it is producing a Black Panther feature film; has cast an actor to play Black Panther/T'Challa (Chadwick Boseman); and has selected a director for the film (Ryan Coogler).  So I decided to re-read 2005 Black Panther #1 again, which I had not read since it was first published.  It would be a start to rereading as much of that series as I could before Black Panther makes his first feature film appearance in the upcoming film, Captain America: Civil War.  Another reason for me to revisit this series is the anticipation of author, journalist, and political and cultural commentator, Ta-Nehisi Coates' upcoming work on the character.

I think what I like about Black Panther #1 is that it makes Wakanda and the legacy that is Black Panther so bad-ass.  Of course, Reginald Hudlin delivers a stellar script, full of enthralling action and mystery.  John Romita, Jr.'s pencils are some of his most stylish art, and Klaus Janson's stellar inking strengthens the compositions and storytelling.  Dean White's colors make the story seem as if it is on fire, almost too hot to handle for the imagination.  The Ohio Players said Fi-Ya!

However, it is the sense that the Black Panther mythos is as powerful as any other Marvel superhero mythos or world, and that makes this comic book so cool.  Black Panther is not a token, and he is more than historical.  His is a world within the larger world of the Marvel Universe with which others will have to reckon.  This is the gift that Reginald Hudlin gave to Black Panther.  Hudlin picked up on the strong work that Christopher Priest began in his 1998 Black Panther, which was the first step in making Black Panther a major character, for reals, and Hudlin kept it too-real for some readers slash haters.

Ta-Nehisi Coates, I hope you can make the Panther's claws sharper than ever.

A

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


The text is copyright © 2016 Leroy Douresseaux. All Rights Reserved. Contact this blog for reprint and syndication rights and fees.

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#IReadsYou Review: ALABASTER SHADOWS

ALABASTER SHADOWS
ONI PRESS – @OniPress

[This review was originally posted on Patreon.]

STORY: Matt Gardner
ARTIST: Rashad Doucet – @RashadDoucet
COLORS: Rashad Doucet
LETTERS: Ryan Ferrier
EDITORS: Jill Beaton and Robin Herrera
ISBN: 978-1-62010-264-0; paperback (December 9, 2015)
192pp, Color, $12.99 U.S.

Rating: All Ages

Alabaster Shadows is a 2015 original graphic novel (OGN) from writer Matt Gardner and artist-colorist Rashad Doucet.  Alabaster Shadows focuses on the new kid in town who discovers that there are incredibly weird things going on in his new neighborhood.  Letterer Ryan Ferrier completes the book's creative team.

Alabaster Shadows opens as Carter Normandy and his parents and his sister, Polly, arrive at their new home in the neighborhood of “Alabaster Shadows.”  Carter thinks that all the houses look the same, but on the first morning in the new house, he discovers a peculiar water leak, which seems to defy the laws of physics.

Carter is starting to believe that there is something weird about the neighborhood.  At the “Community Center,” the odd Mr. Randolph asks Carter and Polly to let him know if they see anything weird.  However, Miss Priscilla Crowe, head of the Community Center,” can barely tolerate the children.  Carter's homeroom teacher, Ms. Frump, also a child-hating old hag, seems to be up to something with Miss Crowe.

Luckily, Carter finds a group of friends that seems like the perfect fit.  There is Harley, a fan of the conspiracy theory magazine, “Weekly Truth Journal,” and her skeptical brother, Warren.  Dudley is the quiet boy who likes to draw... when he isn't talking about the monsters under his bed.  Monsters under his bead, you say?!  Yes, Alabaster Shadows apparently has a monster problem, to say nothing of the otherworldly places from which these monsters originate.  Now, it is up to Carter and his friends to solve the mysteries of Alabaster Shadows and to keep these monsters from crossing over into their world, or suffer dire consequences.

I discovered the existence of Alabaster Shadows the graphic novel in a press release.  At the time, I thought the name of the artist, Rashad Doucet, sounded familiar and was one I should know.  [That is a short story for another time.]  I eventually cashed in some Barnes & Noble credit and bought a copy of Alabaster Shadows.  Coming across the press release was probably serendipity because the purchase was more than worth it.

Alabaster Shadows is one of the best “graphic novels for kids” that I have ever read, and I have been reading quite a few in recent years.  I would say that its target audience is probably from 8 to 12-years old or the “middle grade” readers.  However, if you are a fan of classic juvenile novels or famous children's fantasy and adventure literature, then, even your older teen, adult, or AARP heart will love the fantastic read that is Alabaster Shadows.

Using terms like enchanting and endearing may seem a bit too sweet.  Terms like mesmerizing, engaging, and enthralling might seem to be over-the-top or pretentious.  But damn, y'all, it's true.  This is a freaking, flat-out, great comic book and graphic novel.  Dammit!  I want a sequel, now!

Matt Gardner's story collects elements from H.P. Lovecraft, Scooby-Doo cartoons, Tom Sawyer, the Hardy Boys/Nancy Drew, The Three Investigators, and juvenile science fiction, among other things.  He puts it all together and creates something new that snaps and crackles like sparks from a downed electrical line.  The world of Alabaster Shadows is so big that one book cannot contain it.  Alabaster Shadows' cast, young and adult, are also a lively, likable bunch; it's like we can never get enough of them.  Hopefully, readers will see them again.

Rashad Doucet's illustrations either seem to fly off the page or seem to be pulling away from the page.  Doucet has taken the static images of comics and has found a way to make them move and groove like animated images.  Even the facial expression are dynamic; emotions and emotional states are never in doubt.  Doucet's coloring is dazzling and life-like; it is as if the colors don't want to recognize any borders in their bid to bring the drawings to life.

I must not forget to mention Ryan Ferrier's lettering, which is steady.  There are times, however, that Ferrier conveys the story in lettering that has a machine gun rhythm, perfectly capturing those moments of the story when the reader is not supposed to go slow.

I am surprised (and disappointed) that I have discovered how good Alabaster Shadows is practically four years to the day it was first published.  But it is never too late to discover a read that blows your mind.  Alabaster Shadows should be a perennial, an evergreen graphic novel, always ready to be discovered by new readers or rediscovered by readers who will look at it and say, “Let's do it again.”

10 out of 10

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


https://onipress.com/
https://twitter.com/OniPress
https://www.facebook.com/onipress
https://www.instagram.com/onipress/
https://www.youtube.com/user/onipress
https://www.pinterest.com/OniPressOfficial/

Buy Alabaster Shadows #1 as a digital comic at comiXology.

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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#IReadsYou Review: SURFACING #2

SURFACING No. 2 (OF 3)
APPROBATION COMICS

[This review was originally posted on Patreon.]

STORY: B. Alex Thompson – @ApproBAT
ART: Nenad Cviticanin
COLORS: Santtos
LETTERS: Krugos
EDITOR: John Ward and Denise Thompson
COVER/BACK COVER: Cesar Grego and Alivon Ortiz
32pp, Color, $4.99 U.S. / $1.99 digital-comic (2018; digital release date – October 31, 2018)

Rated: “M” for Mature / 17+ Only (comiXology)

Surfacing: Depth Perceptions is a four-issue science fiction and horror comic book that focuses on the drama and conflict that plays out between two friends and a mermaid at a oceanic research facility.  Before that series, there is an earlier comic book, simply entitled Surfacing, which is also published by Approbation Comics

Surfacing is a three-issue comic book miniseries, and it is written by Approbation Comics' mastermind B. Alex Thompson.  Surfacing is a horror anthology, with each issue apparently offering a different story based on a similar theme – a violent encounter with a mermaid-like creature.  Like Surfacing: Depth Perceptions, Surfacing is written by B. Alex Thompson; drawn by Nenad Cviticanin; colored by Santtos; and lettered by Krugos, with gorgeous cover art drawn by Cesar Grego and Alivon Ortiz.

Surfacing #2 opens on a rural highway in the state of Michigan, circa 1970s.  A young woman named Daisy is hitchhiking when she hops a ride with four friends:  Mary and her boyfriend, Justin, and Mary's best friend, Lisa, and Justin's best friend, Bobby.  The quintet stops at a small gas station and grocery store, where the elderly proprietor warns them against going “upriver,” where these young people plan to enjoy some swimming.  Of course, they ignore him; of course, they suffer dearly for it.

I did not know what to expect of Surfacing, especially after I so enjoyed Surfacing: Depth Perceptions.  It turned out that I thoroughly enjoyed Surfacing #2, which reminds me of dark fantasy anthology series like the classic  “The Twilight Zone” (1959 to 1964) and the 1980s “Tales from the Darkside.”  Damn, once again, B. Alex Thompson, one of my “Top 5” comic book writers, kills it.  I had a blast reading this comic book.  In fact, I think Thompson would have made a better choice than Stephen King's brat, Joe Hill, to write TNT's planned “Tales from the Darkside” reboot, which ultimately went nowhere, of course.

Once again, artist Nenad Cviticanin delivers lovely art and excellent storytelling.  Cviticanin's clean drawing style seamlessly moves from character interplay to kinetic action to horror fully realized.  This is like a teen slasher movie with a sprinkle of the classic film, Jaws.  The coloring by Santtos is equally smooth, but also consistent.  Every page, regardless of the action, has the same color scheme, which helps the transition from the tension of slow boil to blood-letting intensity creep up on the reader.

As they did for Surfacing: Depth Perception, artists Cesar Grego and Alivon Ortiz draw fantastic cover art for Surfacing.  The front cover offers a striking layout design, and the back cover art captures the fun of summer, but drops in the premonition of summer camp doom.

Yes, I'm going there:  Surfacing rises to the top!

9 out of 10

Buy Surfacing #2 at comiXology.

www.ApprobationComics.com
www.AlexThompsonWriter.com

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: FARMHAND #10

FARMHAND No. 10
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Rob Guillory – @Rob_guillory
ART: Rob Guillory
COLORS: Taylor Wells
LETTERS: Kody Chamberlain
32pp, Colors, 3.99 U.S.(July 2019)

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 10: “In Vocation”

Farmhand is a dark fantasy comic book series from comic book creator, Rob Guillory.  Guillory is also known for his award-winning tenure on the long-running comic book, Chew (Image Comics), with writer John Layman.  Farmhand is written and illustrated by Guillory; colored by Taylor Wells; and lettered by Kody Chamberlain (who also designed the Farmhand logo).

Farmhand's central character is Ezekiel “Zeke” Jenkins, a husband, father, and graphic designer and illustrator.  He returns to his hometown of Freetown, Louisiana with his wife, Mae, and their children, Abigail and Riley.  The old family business was “Jenkins Family Farm.”  The new family business is “Jenkins Family Farmaceutical Institute,” operated by Zeke's father, Jedidiah Jenkins, and his sister, Andrea.  It grows plant-based human organs and tissue, and once upon a time, people, especially transplant recipients, saw this as a miracle.  But, now...

As Farmhand #10 (“In Vocation”) opens, the secrets of Mayor Monica Thorne continue their gradual emergence.  Meanwhile, Thorne has to keep playing the role of dutiful public servant, and Jedidiah Jenkins' carelessness has given her the cover she needs.  Recipients of Jenkins' miracle seed-transplants are in a state of crisis, and one of them nearly kills Jedidiah.  Andrea Jenkins finds herself recalling these unfortunate people to the Jenkins Institute to receive help for their new conditions.

And now, in need of job, Zeke is helping Andrew fix this mess as a paid “communications consultant.”  But a sudden recollection of his past has Zeke... seeing things from a green point of view.

In my previous reviews of this excellent comic book, I consistently connected Farmhand to the work of late television writer and producer, Rod Serling, and his legendary TV series, “The Twilight Zone.”  This second story arc, which began with issue #6 and ends with #10, also recalls the work of legendary modern horror novelist and short story writer, Stephen King.

Farmhand's sophomore arc does not suffer from the dreaded sophomore slump.  It slowly emerges like a cobra before a snake charmer and his “pungi.”  This arc takes its time, toying with the readers the way a cat bats around a mouse – before delivering the killing blow.  This is the way the first half of King's classic small town horror novel, 'Salem's Lot (1975), works.  The denizens of 'Salem's Lot play out their small town melodramas never aware that “The Master” is already in their midst, well into his elaborate meal.  In Farmhand, the players live on a meal of denial, until indigestion sets in.

With each issue, Guillory makes the world of Farmhand richer and darker.  Honestly, sometimes, I wondered how far he could take this series, but it seems as if he never runs out of seeds and ideas.  Every issue presents another “mean green mutha” of an idea or two or three.

The “green mutha” would not be so mean without Taylor Wells' glorious coloring.  Wells is the sunshine in this garden of unearthly delights, and an Eisner Award nomination is due Wells, not because the colors are pretty, which they are.  Farmhand would not be the same without Wells, who gives this apocalypse the color of life.

With letterer Kody Chamberlain delivering a photosynthesis-tic beat, Farmhand is complete.  So where is Rob Guillory taking readers?  If the first ten issues are any indication (and they are), the future is a trip into “pure imagination.”

[This comic book also includes the one-page comic, “Freetown Funnies” by Burt Durand.]

https://robguillory.com/
https://twitter.com/Rob_guillory
https://www.instagram.com/rob_guillory/

10 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: JOOK JOINT #1

JOOK JOINT No. 1 (OF 5)
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Tee Franklin
ART: Alitha E. Martinez
COLORS: Shari Chankhamma
LETTERS: Taylor Esposito
EDITOR: Brenda Wright
COVER: Alitha E. Martinez with Shari Chankhamma.
VARIANT COVER ARTISTS: Mike Hawthorne with Jordie Bellaire
28pp, Color, $3.99 U.S. (October 2018)

Rated M/Mature

Jook Joint is a new comic book series from writer Tee Franklin (Bingo Love) and artist Alitha E. Martinez (Black Panther: World of Wakanda).  The series focuses on a voodoo priestess who is the proprietor of a strange music and social club that resides somewhere outside New Orleans.

Jook Joint #1 opens in the 1950s.  Everyone knows that the hottest spot in all of New Orleans is the Jook Joint, where the jazz is always popping and people keep on a-bobbing.  The women who work in the club are to die for... and men literally die if they don't follow the Jook Joint's only rule:  “Keep your hands to yourself.”  Of course, some men don't believe that rules apply to them, and that is when the Jook Joint's owner, Mahalia, and her coven get to enjoy themselves delivering punishment.

Joint Joint #1 is a timely publication in these times when women are pushing forward and coming out of the dark to tell the truth about the abuse, degradation, and violence that they have faced and continue to face at the hands of (mostly) men.  In an afterword at the end of this first issue, writer Tee Franklin talks about how Jook Joint emerged from her recovery and healing from the years of hurt and pain she experienced in numerous abusive relationships.  Text pieces in Jook Joint #1 offer three phone numbers and two website addresses where abused women and men can seek help after they experience domestic and sexual violence or if they are considering suicide.

Jook Joint #1 does not offer a story so much as it presents an introduction to the world of Mahalia and her Jook Joint.  It is an introduction that glorifies in revenge against and punishment of men who plot domestic and sexual violence against women and of men whose sense of entitlement will lead them to commit wanton acts of sexual violence.  I think the second issue of Jook Joint is where the story will really begin.

Artist Alitha E. Martinez, who was brilliant in Black Panther: World of Wakanda, offers powerful illustrations and graphics in service of this taste of honeyed revenge.  Colorist Shari Chankhamma's old-school, earthy hues recall classic horror comic book coloring, like that found in the Joe Orlando-edited DC Comics titles.

I'm not sure how to describe Taylor Esposito's lettering.  It is like a musical accompaniment, conveying the threats of abusive men while capturing the sly sultriness of the warnings given to those men.  Then, Esposito's lettering blasts out the avante-garde sounds of bloody punishment.

When I was a kid, a “jook joint” was a trashy club owned or frequented by Black folks, where a jukebox filled the club with music that was intermittently interrupted by gunfire.  Jook Joint the comic book ain't trashy, but there will be blood.

9 out of 10

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


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

----------------------

Review: FARMHAND #6

FARMHAND No. 6
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Rob Guillory – @Rob_guillory
ART: Rob Guillory
COLORS: Taylor Wells
LETTERS: Kody Chamberlain
32pp, Colors, 3.99 U.S.(March 2019)

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 6: “ReCreation”

Farmhand is a science fiction and dark fantasy comic book series from comic book creator, Rob Guillory.  Guillory is also known for his award-winning tenure on the long-running comic book, Chew (Image Comics), with writer John Layman.  Farmhand is written and illustrated by Guillory; colored by Taylor Wells; and lettered by Kody Chamberlain (who also designed the Farmhand logo).

Farmhand focuses on Ezekiel “Zeke” Jenkins, a husband, father, and graphic designer and illustrator.  He returns to the place where he grew up, Freetown, Louisiana, with his wife, Mae, and their children, Abigail and Riley.  The old family business, “Jenkins Family Farm,” grew crops, as in plants.  Now, Zeke's father, Jedidiah Jenkins, and “Jenkins Family Farmaceutical Institute” grow plant-based human organs and tissue.

Farmhand #6 (“ReCreation”) opens with a local minister, John Moore, feeling a sense of foreboding while he stands in a local graveyard.  There is trouble all around, but Zeke, Jedidiah, Riley, and Riley's strange pal, Mikhail, are gone fishing.  Meanwhile, at the institute, Andrea (Zeke's sister and Jed's daughter) is facing down mounting problems.  Even Zeke and company will find that a fishing trip is not an escape from the spreading curse of that “miracle seed.”

In my previous reviews of the excellent Farmhand, I have connected this comic book to the work of late television writer and producer, Rod Serling, and his legendary TV series, “The Twilight Zone.”  Farmhand also plants its roots in the rich, dark soil of that American master of speculative fiction and fantasy, Ray Bradbury.

Still, Farmhand is gradually a vine growing in its own directions, and I have started to wonder about the direction of this narrative.  Yes, the events depicted here are often a horror show for the characters within, characters main, supporting, guests, and cameos. But what of this miracle seed?  Is it in a state of distress as some of the characters in this series are?

One might interpret, as I did, a suggestion in this issue that the stem cell that has provided so many humans with new organs and body parts may also be some kind of A.I. – Artificial Intelligence.  Maybe, the “miracle seed” is an artificial intelligence or perhaps, “independent intelligence.”  Maybe, its actions are beyond the moral considerations of good and evil.  In Jurassic Park, Dr. Ian Malcolm says that life will find a way, and Farmhand's seed seems to be finding its own way, by design grand, random, or otherwise.

Farmhand #6 is the start of a new story arc.  Guillory's writing and art are still quite good.  Taylor Wells' colors remain a wonderland of hues.  Kody Chamberlain's lettering is like a steady drum beat telling a story to everyone in the valley who can hear it.  However, whereas many series attempt to solidify its world and worldview by the second story arc, Farmhand and Rob Guillory are not solidifying; rather, they are in a state of change, if not evolution.  When it comes to where the “Jedidiah seed” is going, there is no signpost up ahead.

10 out of 10

https://robguillory.com/
https://twitter.com/Rob_guillory
https://www.instagram.com/rob_guillory/

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: HOUSE OF WHISPERS #2

HOUSE OF WHISPERS No. 2
DC COMICS – @DCComics @vertigo_comics

[This review was originally posted on Patreon.]

STORY: Nalo Hopkinson
ART: Dominike “DOMO” Stanton
COLORS: John Rauch
LETTERS: Deron Bennett
EDITOR: Molly Mahan
CURATOR: Neil Gaiman
COVER: Sean Andrew Murray
32pp, Color, $3.99 U.S. (December 2018)

“Suggested for Mature Readers”

The Sandman created by Neil Gaiman and Sam Kieth

“The Power Divided”

House of Whispers is a new comic book series that is part of The Sandman Universe, published under DC Comics' Vertigo imprint.  The Sandman Universe is a line of comic books inspired by the dark fantasy comic books that Neil Gaiman wrote for DC, in particular The Sandman (1989-1996) and The Books of Magic (1990-1991).

House of Whispers is written by Nalo Hopkinson; drawn by Dominike “DOMO” Stanton; colored by John Rauch; and lettered by Deron Bennett.  The series focuses on a tragic goddess of love (among other things) who grants the wishes and counsels the souls of those who visit her in their dreams.

House of Whispers #2 (“The Power Divided”) finds the House of Dahomey (a houseboat) trapped in The Dreaming.  Its owner, the goddess Erzulie Fréda, is in a state, as being in The Dreaming has cut her off from her worshipers and thus, her power.  Now, she is about to send her houseboat careening towards the rift or crack through which her house passed into this place she shouldn't be.  She will need the help of her rascally nephew, Shakpana, a troublemaker not sure what trouble he caused.  Meanwhile, LaToya awakens from her coma, and then, tries to convince her partner, Maggie, that despite her awakening, she is dead....

Writer Nalo Hopkinson continues the assault on our senses that she began in House of Whispers #1 with a dazzling array of colorful sequences, sparkling story elements, and fabulous characters.  Reading this comic book is still like experiencing an African or African-American folk music festival full of fierce beats and infectious rhythms.  This issue, however, Hopkinson keeps bumping the turntable with a series of adversarial events for her characters that also keeps the story from being predictable.

Artist Dominike “DOMO” Stanton explodes it all into life with imaginative page designs and kinetic graphics.  Often it is the way DOMO places his characters and elements that really conveys the characters' distress over the chaos of their environments.  It becomes a beautiful wall of graphics that are living out loud once John Rauch adds his pulsating colors to the art.

Letterer Deron Bennett does a Steph Curry-like shimmy as he place the word balloons in just the right places, accompanying his collaborators with his own special moves.  All of it is under another fine-ass Sean Andrew Murray cover.  House of Whispers #2 does not play it safe.  It pushes forward as Nalo Hopkinson captains her houseboat into uncharted comic book waters.

9 out of 10

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


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.


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Review: SHURI #1

SHURI No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Nnedi Okorafor
ART: Leonardo Romero
COLORS: Jordie Bellaire
LETTERS: VC's Joe Sabino
EDITOR: Wil Moss
EDITOR-IN-CHIEF: Akira Yoshida
COVER: Sam Spratt
VARIANT COVER ARTIST: Travis Charest; Jamal Campbell; Skottie Young; John Tyler Christopher; Carlos Pacheco; Rafael Fonteriz with Laura Martin
28pp, Color, $3.99 U.S. (December 2018)

Rated “T”

Black Panther created by Jack Kirby and Stan Lee; Shuri created by Reginald Hudlin and John Romita, Jr.; Dora Milaje created by Christopher Priest and Mark Texeira

“Gone”

Shuri is a Marvel Comics superhero character.  She was created by writer Reginald Hudlin and artist John Romita Jr. and first appeared in Black Panther (Vol. 4) #2 (cover dated:  May 2005).  Shuri is a princess of the (fictional) African kingdom of Wakanda and is the daughter of the late king, T'Chaka.  Shuri is best known as the sister of T'Challa, the king of Wakanda and the Black Panther.

Shuri has a genius level intellect which matches that of her brother, T’Challa, and she has also once replaced him in the role of the Black Panther.  Shuri gained additional fame when she appeared in Marvel Studio's record-setting film, Black Panther (2018), portrayed by actress, Letitia Wright.

Shuri now has her own comic book series in the obviously titled Shuri.  It is written by author Nnedi Okorafor; drawn by Leonardo Romero; colored by Jordie Bellaire; and lettered by Joe Sabino.

Shuri #1 (“Gone”) opens as Shuri directs the mission that will send Black Panther and the mutant, Manifold, into deep space on Wakanda's first human space mission (as seen in the current Black Panther series).  After a few weeks past with no contact from the mission, however, Shuri may find herself taking on an important mantle... again.

It is clear from the beginning that writer Nnedi Okorafor intends to establish Shuri as a both a personality and as a superhero outside of her relationship to T'Challa.  This book will be about Shuri's own identity, goals, motivations, desires, etc., and that is a good thing.  She is an interesting, indeed, even alluring character.

As for the art:  In Sam Spratt, Shuri has a cover artist with a bold, eye-catching style that captures the power and potential and regalia of an African woman who is full.  The interior artist and storyteller, Leonardo Romero, has become something of a Chris Samnee acolyte (if not clone).  Stylistically, Romero's illustrations here suggest a sense of wonder and discovery, as if Shuri was a child, seeing a world of possibility for the first time.  Thus, the storytelling seems a little disconcerting and disconnected to what I think Okorafor intends.

Jordie Bellaire's coloring goes right along with Romero's graphical angle.  Joe Sabino's lettering seems neutral, as if he focuses on merely efficiently finding place for the dialogue.  I am curious to see where Shuri is going, and while I have questions about this title's direction, I do recommend it to Black Panther fans.

7 out of 10

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


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: FARMHAND #5

FARMHAND No. 5
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

STORY: Rob Guillory – @Rob_guillory
ART: Rob Guillory
COLORS: Taylor Wells
LETTERS: Kody Chamberlain
MISC. ART: Burt Durand (“Farmhand Calendar” design)
32pp, Colors, 3.99 U.S.(November 2018)

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 5: “The Antique Lady”

Farmhand is a recently-launched comic book series from comic book creator, Rob Guillory, known for his award-winning tenure on the long-running comic book, Chew (Image Comics).  Farmhand is written and illustrated by Guillory; colored by Taylor Wells; and lettered by Kody Chamberlain (who also designed the Farmhand logo).

Farmhand focuses on Ezekiel “Zeke” Jenkins. a husband, father, and graphic designer and illustrator.  He returns to the place where he grew up, Freetown, Louisiana, with his wife, Mae, and their children, Abigail and Riley.  The old family business, “Jenkins Family Farm,” no longer focuses not on “beans, greens, potatoes, tomatoes,” but on the growth of human body parts.  Yes, “Jenkins Family Farmaceutical Institute” grows plant-based human organs and tissue.

Farmhand #5 (“The Antique Lady”) finds much trouble a-brewing.  Almost all the fuss centers around the “Jenkins Experimental Stem Cell,” the miracle “seed” that apparently appeared to Zeke's father, Jedidiah “Jed” Elias Jenkins, in a dream.  Zeke's sister, Andrea Jenkins, is learning her father's history with Dr. Monica Thorne, who helped Jed make sense of the science of his dream seed so that he could grow limbs as easily as he would grow trees.  Now, Andrea is also missing...

The first two issues of Farmhand recalled the sensibility of the work of television writer and producer, the late Rod Serling, especially his legendary TV series, “The Twilight Zone.”  I am also reminded of the writings of the late Ray Bradbury, known for his short stories and novels in the genres of speculative fiction, science fiction, and horror.  Like the work of Serling and Bradbury, Farmhand is mysterious, macabre, and entrenched in the rich, black soil of Americana.

By the end of the second issue, however, Farmhand began to reveal a darkly humorous sensibility, which became a kind of gleeful and maniacal comedy in the third issue.  That was when Guillory gave Zeke's children, Abigail and Riley, a showcase to fight a monster.  And it was wonderful!

Farmhand #5 marks the end of the series' first story arc.  It is a really sweet, but scary end to the introductory arc of this series  The situation with Andrea Jenkins chills me because even the disappearance of a fictional woman of color reminds me of the still unexplained 2015 death of jailed African-American activist, Sandra Bland.

Although all five of these issues introduce Farmhand, none of them seem like padded story or comic book decompressed storytelling.  Rob Guillory fills each issue with a... cornucopia of imaginative and inventive characters, creatures, plot twists and... plants.  Each issue is almost like a brand new thing, a chapter in a larger narrative than manages to be its own unique tale – fresh from the farm, of course.

Taylor Wells, with her vivid and beautiful colors, heightens the sense of imagination in this series, while not hiding the fact that Guillory is turning the narrative darker.  Kody Chamberlain's lettering pops off the page and gives the dialogue teeth.  Yeah, the words that are coming out of the characters' mouths have bite.  Holla!

I am enjoying many Image Comics titles, and Farmhand is my favorite right now.  That is saying a lot because Image is killing it every week.  By the way, the farm will be returning to us in March, and the first Farmhand trade paperback is due January 16, 2019 – fresh from the farm, also.

10 out of 10

http://RobGuillory.com

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


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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