#IReadsYou Review: NOW: The New Comics Anthology #12

NOW: THE NEW COMICS ANTHOLOGY #12

FANTAGRAPHICS BOOKS

CARTOONISTS: Cecilia Varhed; Bhanu Pratap; Cynthia Alfonso; J. Webster Sharp; Kayla E.; Noah Van Sciver; Rahel Suesskind; Francois Vigneault; Tim Lane; Max Clotfelter; Matt Lawton & Peter Bagge

DESIGN: Jacob Covey

EDITOR: Eric Reynolds

COVER: Alex Graham

BACKCOVER: Noah Van Sciver

ISBN: 978-1-68396-695-1; paperback (February 2023)

112pp, Color, $12.99 U.S.

NOW: The New Comics Anthology is an alternative-comics anthology series launched in 2017 and edited by Eric Reynolds.  Now is published by alt-comix and art comics publisher, Fantagraphics Books.  Over its four-plus decades of existence, Fantagraphics has published what is probably the most diverse collection of comic book anthologies in the history of North American comic books.  That line-up includes such titles as Anything Goes, Critters, Mome, Pictopia, and Zero Zero, to name a few.

NOW: The New Comics Anthology #12 offers a selection of works from thirteen cartoonists and comics creators, as well as a back cover “comics strip” from one of its contributors, Noah Van Sciver.  Now #12, as usual, holds to editor Eric Reynolds' creed (from NOW #1) that this anthology showcase “...as broad a range of quality comic art as possible...”

The contributors list also includes a Leroy favorite, the great Peter Bagge.  But let's take a look at each of Now #12's cartoonists' contributions individually:

THE LOWDOWN:  The illustration that acts as Now #12's cover art is entitled “Untitled,” and is produced by Alex Graham.  Like the cover for Now #11, it looks like something at least partially inspired by the animation seen in late British sketch comedy television series, “Monty Python's Flying Circus” (1969-74).

“Coronation Station” by Cecilia Vårhed:

While riding a commuter train – apparently during the height of the COVID pandemic – a young woman is harassed by a quintet of hipsters who are too cool to wear face masks.  After making them feel guilty, she finds herself invited to an apartment where a “spiritual experience” brings about unpleasant revelations.

Despite its surreal twists, “Coronation Station” captures the tensions of the pandemic.  The lead character is absolutely lovable, and I find that Vårhed has composed this story in a way that makes me feel connected to her lead.  This story is both a fascinating slice-of-life and slice of recent history.  I'd love to see this character again.

Big Head Pointy Nose” by Bhanu Pratap:

A boy with a beak-like nose and mouth feels out of place until... he doesn't.  This 16-page story has a picture book quality.  In fact, Pratap's lavish, rich colors convey a story that embraces both an alt-comix aesthetic and a story book sensibility.

Untitled by Cynthia Alfonso:

This 18-page story reminds me of the animation and production design of the films, Pink Floyd – The Wall (1982) and Heavy Metal (1981).

Untitled by J. Webster Sharp:

If David Cronenberg's nightmare about a ventriloquist's dummy and Tim Burton's dream about doll-making were somehow merged, there would be trouble.  Or we'd get Sharp's visually striking eight-page short story.

“Precious Rubbish” by Kayla E.:

Kayla's nine-page story riffs off old St. John Publications romance comics and religion.  Divided into five vignettes, it plays with childhood trauma and the adult securities inherited from them.  I enjoy Kayla's comix, although they trouble my imagination.  The thing is that Kayla E.'s work exemplifies the experimental, adventurous spirit of Now.

“Mellow Mutt” by Noah Van Sciver:

Yarn-spinning, tale-tellin,' and lies shape this lovely four-page story by Noah Van Sciver, one of my favorite regular contributors to Now.  Set in the halcyon days of the original theatrical release of Jurassic Park (1993), Noah summons pieces of the ghosts of Peanuts and one of those 1980s coming-of-age Hollywood movies.  “Mellow Mutt” epitomizes the crazy imagination of children, and how they can take mass media and make of it what they will.

“Monster Finger” by Rahel Suesskind:

A booger eats a booger.  This colorful throw-back short comix is an absolute delight even if I lack the imagination to adequately describe it to you.

“The Bird is Gone” by François Vigneault:

I first came across the “passenger pigeon,” the extinct species of pigeon that was once the most abundant bird in America, via a “CBS Evening News” segment decades ago.  Vigneault's seven-page comix, “The Bird is Gone,” is a history of the demise of the passenger pigeons in gory and horrific detail.  Ostensibly a historical piece, the aesthetic of “The Bird is Gone” recalls another extinct entity, EC Comics.  Dark and detailed, the story is a damnation and condemnation of Americans' careless appetites and of our appetite for destruction.

“Li'l Stevie” by Tim Lane:

This story is not the first comix in which Lane has used the late actor, Hollywood legend, and screen icon, Steve McQueen, as his subject/muse.  This is story made me do some research, and I was shocked to discover that McQueen had a very troubled childhood (to say the least).

Lane uses the form of the early comic book and style of the “Big Little Book” to detail the horrors of Li'l Stevie's boyhood, with Li'l Stevie being a stand-in for Steve McQueen.  In drawing “Li'l Stevie,” Lane uses the visual style of cartoonist Ernie Bushmiller and his famed comic strip, Nancy.  The result is a spellbinding, heartbreaking tale.  Other than an actual audio-visual recording of McQueen's childhood (which obviously doesn't exist), I don't think anything can convey the loneliness and desperation of an abused Li'l Stevie with more blunt force and brute power than what Tim Lane does here.  This is not genius.  It's fucking genius.

Untitled by Max Clotfelter:

This one-pager, a reminiscence of a comic book fan's experiences with other comic book people, is a delight.  Is there more?  I must have more.

“The Cartoonist” by Matt Lawton and Peter Bagge:

Burt Fisher is a newspaper cartoonist who draws a single-panel comic, “The Ruckus Room,” which he inherited from his late father, who created it.  Fisher hates the strip, and he says that he has been trying to destroy it via his take on the strip.  However, his version of The Ruckus Room has proven to be quite popular with readers.  With deadlines piling up, Burt's editor, Nancy, has hired an assistant to help him.  The young man, named Glen, is about to discover just what a mess Burt Fisher is.

The Ruckus Room is a thinly-veiled version of the classic newspaper comic, The Family Circus, which was created by the late Bil Keane, who drew it until his death.  One of Bil's four sons, Jeff Keane, now writes and draws the strip.  I think “The Cartoonist” is less about The Ruckus Room and more about Burt Fisher, one of those self-absorbed GenX types who ages into a slightly sociopathic curmudgeon.  Matt Lawton and Peter Bagge seem like a perfect pairing, at least I think so and want more.  I've been reading Bagge's comix and comic books for four decades (Lord, help me), and “The Cartoonist” is the pure essence of him.

I usually pick a “best of” entry after each edition of Now that I review, but, as far as Now #12, I can't.  There are five stories here from which I could pick a favorite, but I don't won't to slight any of them by saying, “this one is the best.”  The other stories are experimental and also explore the medium of comics in interesting ways, and even the stories that perplex me also impress me.  Not only does editor Eric Reynolds have a knack for getting acclaimed veteran and star cartoonists to appear in Now, but he also has a golden eye for talent – emerging cartoonists or little seen creatives.

Now #12 – wow, I don't know if I have the words to convey just how impressed I am with this edition.  I'll take the easy way out and say that I'm blown away.

I READS YOU RECOMMENDS:  Fans of classic alternative-comics anthologies will want to discover NOW: The New Comics Anthology.

A+

10 out of 10

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

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#IReadsYou Review: RED SONJA Black White Red #3

RED SONJA BLACK WHITE RED #3
DYNAMITE ENTERTAINMENT

STORY: Gail Simone; Dearbhla Kelly; Jonathan Lau and Hassan Otsmane-Elhaou
ART: Walter Geovani; Soo Lee; Jonathan Lau
COLORS: Dearbhla Kelly
LETTERS: Hassan Otsmane-Elhaou
EDITOR: Nate Cosby
COVER: Lucio Parrillo
VARIANT COVER ARTISTS: Sean Izaakse; Jonathan Lau; Lucio Parrillo; Rachel Hollon (cosplay)
32pp, Color, $3.99 U.S. (September 2021)

Rated Teen+

Based on the characters and stories created by Roy Thomas, Barry Windsor-Smith, and Robert E. Howard

Conan the Barbarian #23 (cover dated: February 1973) saw the debut of a high fantasy, sword and sorcery heroine, Red Sonja.  Created by writer Roy Thomas and artist Barry Windsor-Smith, Red Sonja was loosely based on “Red Sonya of Rogatino,” a female character that appeared in the 1934 short story, “The Shadow of the Vulture,” written by Robert E. Howard (1906-1936), the creator of the character, Conan the Cimmerian.

Red Sonja remained a fixture in comic books from then until about 1986.  In 2005, Dynamite Entertainment began publishing comic books featuring differing versions of the character.  One of those is Red Sonja Black White and Red, an anthology comic book featuring stories from well known comic book writers and artists, with the art presented in black, white, and red.

Red Sonja Black White and Red #3 is comprised of three stories.  The first is “Dawn of a Crimson Day” by Gail Simone, Walter Geovani, Dearbhla Kelly, and Hassan Otsmane-Elhaou.  Next is “Small Tales” by Dearbhla Kelly and Soo Lee with Hassan Otsmane-Elhaou.  The final story is “Ssshhhhh!” by Jonathan Lau, Hassan Otsmane-Elhaou, and Dearbhla Kelly.  I'll review each story separately.

THE LOWDOWN:   Dynamite Entertainment's marketing department recently began providing me with PDF review copies of some of their titles.  One of them is Red Sonja Black White and Red #3, which is the second issue of the title that I have read.

“Dawn of a Crimson Day” by Gail Simone, Walter Geovani, Dearbhla Kelly, and Hassan Otsmane-Elhaou:
Except for two panels near the end of the story, “Dawn of a Crimson Day” is a pantomime comic that offers up an origin story for Red Sonja.  Gail Simone's script is intense and angry, and I could feel some of it tapping at my heart.  The art by Walter Geovani surges and flows like a rushing stream, and Dearbhla's beautiful colors are fiery and lights this story so that even those far away can see it.

“Small Tales” by Dearbhla Kelly and Soo Lee with Hassan Otsmane-Elhaou:
“Small Tales” opens in Hyrkania where Red Sonja encounters a girl named Rua, who happens to be the She-Devil with a Sword's biggest fan.  Now, Red Sonja has to teach the girl how to be a hero.

“Small Tales” is a good story with a nice point about the life of hero.  Soo Lee's art expertly captures the runaway imagination of a fan about her champion.

“Ssshhhhh!” by Jonathan Lau, Hassan Otsmane-Elhaou, and Dearbhla Kelly:
This story finds Red Sonja attempting to claim a bounty by slaying a dragon, but things are not what they seem.  “Ssshhhhh!” is a confusing story with nice art, and while it is filled with visually striking moments, this mostly pantomime story does not interest me.

It is not hard for me to pick a favorite story of the three offered in Red Sonja Black White and Red #3.  The Gail Simone, Walter Geovani, Dearbhla Kelly, and Hassan Otsmane-Elhaou project called “Dawn of a Crimson Day” really stands out in this issue.

I READS YOU RECOMMENDS:  Fans of Red Sonja will want to try Red Sonja Black White and Red.

B+

★★★½ out of 4 stars

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


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#IReadsYou Review: KOLCHAK THE NIGHT STALKER 50th Anniversary

KOLCHAK THE NIGHT STALKER 50TH ANNIVERSARY SOFTCOVER

MOONSTONE BOOKS

STORY: David Avallone; Jonathan Maberry; Peter David; R.C. Matheson; Kim Newman; Tim Waggoner; Steve Niles; Rodney Barnes; Gabriel Hardman; James Aquilone; Nancy A. Collins; James Chambers

ART: Julius Ohta; Marco Finnegan; J.K. Woodward; Paul McCaffrey; Clara Meath; Szymon Kudranski; Jonathan Marks Barravecchia; Gabriel Hardman; Colton Worley; Warwick Caldwell-Johnson;

COLORS: Zac Atkinson; Szymon Kudranski; Colton Worley; Warwick Caldwell-Johnson;

LETTERS: Tom Napolitano; Tom Napolitano with DC Hopkins

EDITOR: James Aquilone

COVER: Colton Worley

MISC. ART: Jerry Ordway with Zac Atkinson; J.K. Woodward; Dan Brereton

ISBN: 978-1-946346-14-8; paperback (October 21, 2022)

188pp, Color, $24.99 U.S.

Kolchak: The Night Stalker – 50th Anniversary Graphic Novel is a 188-page comic book anthology that celebrates the fiftieth anniversary of the former ABC television series, “Kolchak: The Night Stalker.”  This graphic novel is edited by James Aquilone and published by Moonstone Books.

“Kolchak: The Night Stalker” was a television series that blended horror, fantasy, and science fiction.  It aired on ABC during the 1974–1975 season for a total of 20 episodes.  The series was preceded by two ABC television movies, The Night Stalker (1972) and The Night Strangler (1973).

The TV series and two movies followed wire service reporter named Carl Kolchak, who was played by the late actor Darren McGavin (1922-2006).  Kolchak worked for the Chicago branch of the Independent News Service (INS), a small news wire service.  He often investigated mysterious crimes and events and they were usually caused by forces, creatures, monsters, entities, etc. that were of supernatural, science fiction, and/or fantastic origins.  Carl Kolchak was created by the late writer, Jeff Rice (1944-2015).

2022 marked the fiftieth anniversary of the debut of “The Night Stalker” TV movie (specifically January 18, 1972).  To commemorate that anniversary, editor and publisher, James Aquilone, launched a crowdfunding campaign to raise money for an anthology graphic novel telling all-new comics stories that would span Carl Kolchak's entire career as a reporter of the supernatural and as TV’s greatest monster-hunting reporter.

The result was a hugely successful campaign and the eventual release of Kolchak: The Night Stalker – 50th Anniversary Graphic Novel.  This special 188-page graphic novel is comprised of 12 all-new stories that chronicle the adventures of the intrepid Carl Kolchak from the 1930s to the early 2000s.

The stories are written by a stellar line-up of novelists, television writers, and comic book scribes.  The list includes David Avallone, Rodney Barnes, James Chambers, Nancy A. Collins, Peter David, Jonathan Maberry, and Steve Niles, to name a few.  The artists include Jonathan Marks Barravecchia, Szymon Kudranski, Paul McCaffrey, Julius Ohta, J.K. Woodard, and Colton Worley, to name a few.

THE LOWDOWN:  There is more than one edition of Kolchak: The Night Stalker – 50th Anniversary Graphic Novel, including one that will contain a series of prose stories featuring Carl Kolchak.  My review will be of the 188-page “Cover A” paperback edition that contains the 12 stories and a short illustration gallery of variant cover art.

First, allow me to gush, dear readers.  If Kolchak: The Night Stalker – 50th Anniversary Graphic Novel is not the best horror comics anthology of the 21st century that I have read, it is definitely in the top three.  I can't think of a better one that I've encountered over the last twenty-plus years.

It is bracketed by a fine opening story and a pitch-perfect closing story.  The opening tale, writer David Avallone and artist Julius Ohta's “The Funny Place,” introduces a young Carl Kolchak who is coming into his own.  Avallone does not make the mistake of doing what the film, Solo: A Star Wars Story,” did and show us the origins of every single habit for which television viewers and fans would come to know Kolchak.  I'd like to see Avallone and Ohta produce a YA graphic novel expansion of their take on young Carl Kolchak.  I know it likely won't happen, but a fanboy can dream...

The closing story, writer James Chambers and artist Paul McCaffrey's “The Last Byline,” is masterstroke as a concluding story in an anthology.  It recalls Kolchak's debut, The Night Stalker; is a summation of his work and motivation; and is a fitting end … with his boots on.

In between, the writers and artists introduce new spins on the adventures of Carl Kolchak, such as Nancy A. Collins' and Warwick Caldwell-Johnson's “The Sin Feeder” and Jonathan Maberry and Marco Finnegan's “The White Lady.”  Writer Rodney Barnes and artist Jonathan Marks Barravecchia summon the spirit of original “Kolchak: The Night Stalker” episode, “The Zombie,” with the superb “Voodoo Child.”  It is a timely rumination on the pervasive poverty of black and brown inner city neighborhoods and also police violence, with a seeding of George A. Romero's “Dead” films.

I actually cannot pick a personal favorite story from Kolchak: The Night Stalker – 50th Anniversary Graphic Novel because they are all so damn good.  “The Nest” by Tim Waggoner and Clara Meath may be the sweetest.  I unequivocally endorse Kolchak: The Night Stalker – 50th Anniversary Graphic Novel.  I think the version that I am reviewing costs $32 to purchase from James Aquilone's Monstrous Books website.  I am sure, dear readers, that some of you have spent much more on reading material that is not nearly as good as this book.

I READS YOU RECOMMENDS:  Fans of Carl Kolchak and of “Kolchak: The Night Stalker” will very much want Kolchak: The Night Stalker – 50th Anniversary Graphic Novel.

[This volume includes introductions by R.C. Matheson and James Rice.]

A+

10 out of 10

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

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#IReadsYou Review: CREEPSHOW #1

CREEPSHOW #1 (OF 5)
IMAGE COMICS/Skybound

STORY: Chris Burnham; Paul Dini & Stephen Langford
ART: Chris Burnham; John McCrea
COLORS: Adriano Lucas; Mike Spicer
LETTERS: Pat Brosseau
EDITORS: Alex Antone and Jon Moisan
COVER: Chris Burnham with Adriano Lucas
VARIANT COVER ARTISTS: Declan Shalvey; Vance Kelly; Robert Hack; Bryan Silverbax; Ivan Tao; Felix Morales; Tone Rodriguez; Joseph Schmalke; Rob Csiki; Skan Srisuwan; John Giang; David Mack; Miguel Zapata; Chinh Potter; Tyler Kirkham; Tony Max; Steven Russel Black; Ciro Nieli; Casey Parsons
28pp, Colors, 3.99 U.S. (September 2022)

Rated “M/ Mature”

Creepshow is a new horror comic book anthology series from Image Comics.  It is a TV-tie in to the horror anthology television series, “Creepshow,” that currently streams on “Shudder” and later airs on the cable TV network, “AMC.”  Of course, both the comic book and TV series are descendants of the 1982 horror and comedy film, Creepshow, which was directed by the late George A. Romero and written by Stephen King.  Each issue of Creepshow the comic book will feature different creative teams with uniquely horrifying (and sometimes horrible) standalone stories.

Creephow #1 contains two stories.  The first is “Take One,” which is written and drawn by Chris Burnham and colored by Adriano Lucas.  The second story is “Shingo,” which is written by Paul Dini and Stephen Langford; drawn by John McCrea; and colored by Mike Spicer.  Both stories are lettered by the great Pat Brosseau.  Creepshow's horro host, “The Creep,” narrates the story.

THE LOWDOWN:  I'm going to summarize and review each story separately:

“Take One” by Burnham, Lucas, and Brosseau:
It's Halloween night.  Scaredy-cat Phil is wearing a poorly made mummy costume, and he is trick-or-treating with his asshole friends, Nate and Erik.  They come upon the house of the late Mr. Xander, who apparently died the way he treated his neighbors.  Well, although his house is dark, there is a bowl of full-size candy bars on the porch.  “Take One” says the sign in the bowl, so what will happen if Phil, Nate, and Erik help themselves to more?

I love Halloween stories – prose and comics.  That said, “Take One” is an embarrassment.  The punishment does not fit the crime, and the level of violence is neither comic horror nor scary horror.  I have enjoyed some of Burnham's work (Nameless, Secret Wars: E is for Extinction) in the past, but “Take One” is lame horror trying to pass for clever.

On the other hand, I have to admit that Burnham's art and Lucas' colors are nicely atmospheric.  Too bad it's wasted on a wack-ass story.

“Shingo” by Dini & Langford, McCrea, Spicer, and Brosseau:
As the story opens, Sandy Clark is angry, determined, and desperate to find a party entertainer for her daughter, Fiona's birthday party.  It looks as if Fiona's dad, Tom Clark, has also come up short.  Enter Shingo; he (or it) is the party entertainer with the appetite to make any party unforgettable.

After the fumble of “Take One,” I didn't expect much from “Shingo.”  I know that many consider Paul Dini a “legend” for his work on the 1990s animated TV series, “Batman” a.k.a. “Batman: The Animated Series.”  However, I find his comic book work to be hit or miss or miss or mediocre.  I don't know how the collaboration between Dini and Langford worked, but “Shingo” is brilliant.

It is everything that comic horror or horror comedy should be.  It's crazy, wacky, satirical, farcical, droll, and witty and also have an batty monster.  The title boogey is “Shingo,” who is like a gleefully mean-spirited blend of PBS's “Barney,” the purple dinosaur from PBS' long-running “Barney & Friends” TV series, and a mangy “Teletubby” (from the British PBS import TV series, “The Teletubbies”).  The ending and the final-girl-heroes are the double cherries on top.

Artist John McCrea, a master of blending the comic, the violent, and the horrifying, makes this story sing.  Other artists could make this story work, but not as well as McCrea, who also gets some perfect coloring from Mike Spicer.

“Shingo” saves Creepshow #1, and my grade for this issue reflects “Shingo” and not so much “Take One.”  I think “Shingo” has the potential to be a good horror movie in the vein of director Michael Dougherty's 2015 film, Krampus.  And I would be remiss if I didn't say that Pat Brosseau's lettering throughout this issue is outstanding.

I READS YOU RECOMMENDS:  Fans of classic horror comic book anthologies will want to read Creepshow.

[This comic book includes an afterword by Greg Nicotero, the executive producer of Shudder's “Creepshow.”]

A-

★★★½ out of 4 stars

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


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#IReadsYou Review: RED SONJA Black White Red #2

RED SONJA BLACK WHITE RED #2
DYNAMITE ENTERTAINMENT

STORY: Jonboy Meyers; Jeff Parker; David F. Walker
ART: Jonboy Meyers; Natalie Nourigat; Will Robson
COLORS: Jonboy Meyers; Natalie Nourigat; Will Robson
LETTERS: Pat Brosseau; Natalie Nourigat; Hassan Otsmane-Elhaou
EDITOR: Nate Cosby
COVER: Lucio Parrillo
VARIANT COVER ARTISTS: Jonboy Meyers; David Nakayama; Tabitha Lyons (cosplay)
32pp, Color, $3.99 U.S. (August 2021)

Rated Teen+

Based on the characters and stories created by Roy Thomas, Barry Windsor-Smith, and Robert E. Howard

Conan the Barbarian #23 (cover dated: February 1973) saw the debut of a high fantasy, sword and sorcery heroine, Red Sonja.  Created by writer Roy Thomas and artist Barry Windsor-Smith, Red Sonja was loosely based on “Red Sonya of Rogatino,” a female character that appeared in the 1934 short story, “The Shadow of the Vulture,” written by Robert E. Howard (1906-1936), the creator of the character, Conan the Cimmerian.

Red Sonja remained a fixture in comic books from then until about 1986.  In 2005, Dynamite Entertainment began publishing comic books featuring differing versions of the character.  One of those is Red Sonja Black White and Red, an anthology comic book featuring stories from well known comic book writers and artists, with the art presented in black, white, and red.

Red Sonja Black White and Red #2 is comprised of three stories.  The first is “Proelium Finalis” by Jonboy Meyers and Patrick Brosseau.  Next is “Edible” by Jeff Parker and Natalie Nourigat.  The final story is “Listen Close” by David F. Walker, Will Robson, and Hassan Otsmane-Elhaou.  I'll review each story separately.

THE LOWDOWN:   Dynamite Entertainment's marketing department recently began providing me with PDF review copies of some of their titles.  One of them is Red Sonja Black White and Red #2, which is the first issue of the title that I have read.  I have seen listings for it, but did not pay attention.

“Proelium Finalis” by Jonboy Meyers and Patrick Brosseau:
The plot involves “The Lemurians” who return from the bowels of the Earth in a bid to end both the Hyborian Age and the world of man.  They are led by the wizard, Kael Al-Ammon, but the humans are led by Red Sonja.

Meyers makes sure that Red Sonja's hair is red, but otherwise, he uses the color to splash across the pages of his sharp artwork in order to signify violence and gore. “Proelium Finalis” is a beautifully drawn comic book short story, but I'd like to see the team of Meyers and Brosseau smash us in the face with a miniseries version of this.

“Edible” by Jeff Parker and Natalie Nourigat:
The story introduces a tribe of humans that have settled in a valley with which they were not familiar.  Near the valley is a bog, and members of the tribe have gone into the bog and never returned.  The latest missing tribesman is a girl named Tanira or “Tan,” for short.  Once in the bog, Red Sonja discovers that a strange, seemingly unbeatable organism rules the area.

“Edible” is a clever story, and it is probably the closest that anyone will come to an all-ages Red Sonja story that is actually a Red Sonja story.  The pretty art is drawn by Natalie Nourigat in a clean style that readers will generally find in children's comics.

“Listen Close” by David F. Walker, Will Robson, and Hassan Otsmane-Elhaou:
“Listen Close” is a bedtime story about Red Sonja.  An African-American father tells the story to his red-haired daughter, who wants to be “just like Red Sonja.”  The “She-Devil with a Sword” has been summoned by King Assuman, who promises her great riches if she can rescue his bride-to-be, Ophelia, from a “vile creature.”  But there is more to this rescue mission than Red Sonja has been told...

“Listen Close” is this issue's second clever tale, and it is also blessed by Will Robson's ornate art with its detailed composition.  David F. Walker, who is currently known for his comic book, Bitter Root (Image Comics), offers a nice middle-grade appropriate Red Sonja tale.

It's hard to pick a favorite story of the three offered in Red Sonja Black White and Red #2.  Each story has at least one thing about it that I really like, so I'll just recommend the entire issue.

I READS YOU RECOMMENDS:  Fans of Red Sonja will want to try Red Sonja Black White and Red.

A-

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


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#IReadsYou Review: "ARCHIE HALLOWEEN SPECTACULAR" 2022

ARCHIE HALLOWEEN SPECTACULAR (2022)
ARCHIE COMIC PUBLICATIONS, INC.

STORY: Ian Flynn; Francis Bonnet; Bill Golliher; Dan Parent; Rich Margopoulos
PENCILS: Ryan Jampole; Pat & Tim Kennedy; Bill Golliher; Dan Parent; Gene Colon
INKS: Ryan Jampole; Jim Amash; Bob Smith; Rudy Lapick
COLORS: Glenn Whitmore
LETTERS: Jack Morelli; Bill Yoshida
EDITORS: Jamie Lee Rotante; Vincent Lovallo; Stephen Oswald
EiC: Mike Pellerito
COVER: Dan Parent with Rosario “Tito” Peña
32pp, Color, $2.99 U.S. (November 2022)

Rating: All-Ages

Eternal high school student and teenage boy, Archie Andrews, and his friends made their debut in M.L.J. Magazines' Pep Comics #22 (cover dated: December 1941), and before long, Archie was the publisher's headliner character.  In 1946, the company changed its named to Archie Comic Publications, also known as “Archie Comics.”

Archie Comics frequently publishes themed one-shot comic books featuring Archie's characters (sometimes referred to as “the Archie Gang”).  One of them is the Archie Halloween Spectacular, which Archie has been publishing since 2017.  This year's edition features four Halloween-themed reprint stories and one brand new story.  Entitled “Spirits of Halloween,” the new story stars Archie Comics' newest character duo, “Trick & Treat.”  The story is written by Ian Flynn; drawn by Ryan Jampole; colored by Glenn Whitmore; and lettered by the great Jack Morelli.

Archie Halloween Spectacular opens with Trick & Treat in “Spirits of Halloween.”  Meet Trick & Treat, a pair of impish magical creatures that come around every Halloween and eventually cause chaos.  Trick, a pumpkin-headed fellow who also sports bat wings, loves the three “S's” of Halloween:  suspense, screams, and scares.  Treat, a Caspar-like ghost, loves the three “C's”: costumes, creativity, and candy.

This year, the duo arrives in Riverdale for some Halloween fun and then, fall into disagreement.  Which imp's view of Halloween is the better?  They decide to make a wager of it, one that involves Archie and his rival, Reggie.  How much mischief will Trick & Treat cause Riverdale and Archie while everyone is out trick-or-treating?

THE LOWDOWN:   Trick & Treat are impish characters like “The Great Gazoo” from the animated television series, “The Flintstones” or “Jiminy Cricket” of Walt Disney's Pinocchio.  Although introduced as Halloween characters, I think Trick & Treat can cause trouble anywhere and anytime in the universe of the Archie gang.

The reprinted stories are comprised of two “Betty and Veronica” stories, and one of those guest-stars Sabrina the Teenage Witch.  There are also two “Archie” stories, including “The Secret Project,” a fun story featuring Archie and his pal, Jughead Jones.

Dear readers, I always have to be honest.  I have enjoyed what little of the modern Archie Comics that I have read, but I grew up on classic-style Archie Comics.  Thus, I will always recommend such Archie titles, so I am giving Archie Halloween Spectacular 2022 a hearty recommendation.

I READS YOU RECOMMENDS:  Fans of classic-style Archie Comics will want to find a copy of the 2022 edition of Archie Halloween Spectacular.

B+

★★★½ out of 4 stars

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


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#IReadsYou Review: NOW: The New Comics Anthology #11

NOW: THE NEW COMICS ANTHOLOGY #11
FANTAGRAPHICS BOOKS

CARTOONISTS: Theo Ellsworth; Jesse Simpson; Justin Gradin; Tim Lane; Baptiste Virot; Stacy Gougoulis; Natalia Novia & Ariel Lopez V.; Kayla E. Chris Wright; Steven Weissman; Josh Simmons
DESIGN: Jacob Covey
EDITOR: Eric Reynolds
COVER: Daria Tessler
BACKCOVER: Nick Thorburn
ISBN: 978-1-68396-520-6; paperback (March 2022)
128pp, Color, $12.99 U.S.

NOW: The New Comics Anthology is an alternative-comics anthology series launched in 2017 and edited by Eric Reynolds.  NOW is published by alt-comix and art comics publisher, Fantagraphics Books.  Over its four-plus decades of existence, Fantagraphics has published what is probably the most diverse collection of comic book anthologies in the history of North American comic books.  That line-up includes such titles as Anything Goes, Critters, Mome, Pictopia, and Zero Zero, to name a few.

NOW: The New Comics Anthology #11 offers a selection of fourteen cartoonists and comics creators, as well as a back cover “comics strip” from Nick Thorburn.  NOW #11 holds to editor Eric Reynolds' creed (from NOW #1) that NOW showcases “...as broad a range of quality comic art as possible...”

The contributors list also includes a Leroy favorite, Steven Weissman.  But let's take a look at each of NOW #11's cartoonists' contributions:

THE LOWDOWN:  The illustration that acts as NOW #11's cover art is entitled “Untitled,” and is produced by Daria Tessler.  It looks like something at least partially inspired by the animation in “Monty Python's Flying Circus.”

“Untitled” by Theo Ellsworth:
The NOW regular offers a one-page comic with an impressive display of curvy lines.

“Snub” by Jesse Simpson:
What's with the eyes on the two lead characters, seriously?  I want to say that it has something to do with either emotions or personality.  So after being snubbed (maybe) by fellow party-goer, “Kevin,” two friends talk it out and reveal that it does bother them, although they are also saying it does not.  I like that Simpson creates what seems like a natural conversation.  The characters are talking as much to themselves as to each other.  I want more of this.

“Wounded Candy” by Justin Gradin:
Grover, a garbage man employed by a waste disposal company called, “Talkin' Trash,” and a creature, something I call a “sidewalk spirit,” have an adventure with a celebrity Halloween mask, lots of garbage, and vomited gum.  “Wounded Candy” is the kind of edgy, surreal fantasy that alternative cartoonists produce.  Why draw a Doctor Strange comic book for Marvel that pretends to be “way out there” when you can go “off the beaten path” in many phantasmagoric directions via alt-comics?  [If you say page rate...]  Once again, I say “Encore! Encore!”

“The Junkman” by Tim Lane:
I know Tim Lane's work from Glenn Head's amazing anthology, Hotwire Comics, specifically Hotwire Comics #2.  Lane drew the cover and contributed three stories, “Outing,” “In My Dream,” and “The Aries Crow.”

“The Junkman” takes place in a junkyard.  It features a young man with an instant camera and an older man sitting in the remains of an automobile, a 1955 Chevy Belair.  The young fellow likes to take pictures of junk, and the older dude likes to ponder what could have been.  Lane's art is sort of a combination of Charles Burns and of EC Comics' Al Feldstein and Jack Kamen.  Lane's art looks like it belongs in a 1950s comic book, which makes it the perfect method and medium for a story that laments choosing practicality over risk.

As lovely as the art is, with all its textures and draftsmanship, “The Junkman” is driven by the high-quality of the dialogue and how it evolves this moment in time between two different men.  They are really talking past each other for a time, and then Lane reveals that in their differences, there are connections and familiarity.  “The Junkman” is a tremendous work of comics storytelling.

“Interior Design,” “The Visit,” “Allo?” and “The Great Escape” by Baptiste Virot:
This suite of four stories, which totals seven pages, are surreal exercises concerning the difficulty of escaping one's current situation.  Virot's “clear line” style and flat colors reveal the skills of someone investing in print making.  I wish periodical comic books could support work like this, but alas...

“Mandorla” by Stacy Gougoulis:
I was just talking to a friend about the idiotic things stupid people do for a selfie.  Starting with a failed selfie, “Mandorla” is about the perception of time, possible lives, and especially about how life goes on … after us.  As the story goes down the rabbit hole of time, I found myself drawn into it.  Gougoulis' storytelling is so powerful, I barely escaped.

“Mission: E5” by Natalia Novia & Ariel Lopez V.:
Woodcut art, acid, Jack Kirby, and the last six decades of science fiction films come together in “Mission: E5.”  At the end of the story, we are informed that “Mission: E5” was inspired by the 1917 story, “A la Deriva” (“Adrift”), from author Horacio Quiroga, the influential Uruguayan short story writer (among other things).  I also felt drawn in by this story, and once again, I barely escaped the time-bending surrealism.

“Precious Rubbish” by Kayla E.:
This comic book is another case of adaptation, in this case a combination of old publications, including comic books, and text messages between the cartoonist and her elderly mother.  “Precious Rubbish” is an ordeal to read, but not because it is a terrible work.  It is as if Kayla E. is exorcising some personal demons … that I recognize.  So, this is another excellent entry.

“Monet Coil” by Chris Wright:
This story pits French surrealist Claude Monet and American expatriate and prolific portrait painter, John Singer Sargent, in a battle over a woman.  Monet believes that every moment is a rebirth, but Sargent just wants Monet to stay away from the woman.  Monet and Sargent were apparently real-life homies, but I have not found anything about them fighting over a woman.  However, I enjoyed this philosophical tale, which reminds me of the work of the late great cartoonist, Richard Sala.

“Now” by Steven Weissman:
This story about two women who place a baby in the mouth of a weird breed of cat called a “Qat” unsettles me.  But I'm a fan of Weissman, so I like it.

“Shortcut” by Josh Simmons:
I am still chuckling at this tale of two dopers who come to an ignoble end after taking a shortcut while smoking their weed.  Encore!  Encore!

“Some Guy's Food” by Theo Ellsworth:
This is an effective one-page comic.  I have feeling that someone might exploit this for a YA dystopian prose or graphic novel before the talented Theo Ellsworth does.  Seriously, these are nine panels full of raw comics and graphical storytelling power.

“Untitled” by Nick Thorburn:
This is another weird animal tale, but it is less creepy that Weissman's tale.

NOW #11 may be the best entry in the series since NOW #1, and that is saying a lot.  Not too long ago, I declared NOW #10 to be a series high point.  What The New Yorker is to American single-panel cartoons, NOW is to alternative and art comics.  If I have to pick a best of NOW #11 – and I don't – I'll choose Tim Lane's “The Junkman,” but tomorrow, I could change my mind.

I READS YOU RECOMMENDS:  Fans of classic alternative-comics anthologies will want to discover NOW: The New Comics Anthology.

A+

10 out of 10

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


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#IReadsYou: Review: THE SILVER COIN #4

THE SILVER COIN #4 (OF 5)
IMAGE COMICS

STORY: Jeff Lemire
ART: Michael Walsh
COLORS: Michael Walsh and Toni Marie Griffin
LETTERS: Michael Walsh
EDITOR: Chris Hampton
COVER: Michael Walsh
VARIANT COVER ARTIST: Christian Ward
28pp, Colors, 3.99 U.S. (July 2021)

Rated “M/ Mature”

The Silver Coin is created by Michael Walsh, Ed Brisson, Jeff Lemire, Kelly Thompson, and Chip Zdarsky

“2467”

The Silver Coin is a horror comic book anthology and miniseries published by Image Comics.  It is the creation of artist Michael Walsh and writers Ed Brisson, Jeff Lemire, Kelly Thompson, and Chip Zdarsky.  Each issue of this five-issue miniseries tells a tale of terror that is set in a supernatural world in which the mysterious “Silver Coin” changes the lives of those who take possession of it.  The fourth issue is written by Jeff Lemire; drawn and lettered by Michael Walsh; and colored by Walsh and Toni Marie Griffin.

The Silver Coin #4 (entitled “2467”) opens in the year 2467.  The new metropolis of this new world has buried the old world beneath its junk and refuse.  A trio of scavengers are on the run from Officer Colten Dudley and his remote controlled drone (called a “bird”).  But one of these scavengers is going to discover an ancient treasure.  The price it carries is unimaginable, and everyone may end up paying that price.

THE LOWDOWN:  As I wrote in my reviews of the first three issues of The Silver Coin, I am a big fan of horror comic book anthologies.  That includes everything from the classic EC Comics titles to later titles like DC Comics' Ghosts and House of Mystery, Kitchen Sink Press's Death Rattle, and Approbation Comics' Amour, to name a few.

“2467,” the offering in The Silver Coin #4, surpasses the stories offered in issues #2 and #3.  Jeff Lemire, who has written some outstanding science fiction comics, including Sweet Tooth, offers a tale that shows that the past isn't always history – a thing long gone – even if we have forgotten that past.

Once again, Michael Walsh's art and graphical storytelling are what really delivers the unsettling moments in this tale.  The “worms” which the citizens of this world use to connect to each other as if each person were a device, are both nasty and chilling.  I think the world of “2467” is worth some expansion.  Dear readers, let's come back for the finale and see what's in store.

I READS YOU RECOMMENDS:  Fans of classic horror comic book anthologies will want to spend The Silver Coin.

A-

7.5 out of 10

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


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#IReadsYou Review: THE SILVER COIN #1

THE SILVER COIN #1 (OF 5)
IMAGE COMICS

STORY: Chip Zdarsky
ART: Michael Walsh
COLORS: Michael Walsh
LETTERS: Michael Walsh
EDITOR: Chris Hampton
COVER: Michael Walsh
VARIANT COVER ARTISTS: Tula Lotay; Maria Nguyen
28pp, Colors, 3.99 U.S. (April 2021)

Rated “M/ Mature”

The Silver Coin is created by Michael Walsh, Ed Brisson, Jeff Lemire, Kelly Thompson, and Chip Zdarsky

“The Ticket”

The Silver Coin in a new horror comic book anthology and miniseries published by Image Comics.  It is the creation of artist Michael Walsh and writers Ed Brisson, Jeff Lemire, Kelly Thompson, and Chip Zdarsky.  Each issue of this five-issue miniseries will tell a tale of terror that is set in a supernatural world in which the mysterious “Silver Coin” changes the lives of those who take possession of it.  The first issue is written by Zdarsky and drawn, colored, and lettered by Walsh.

The Silver Coin #1 (entitled “The Ticket”) opens in 1978.  Disco is at the height of its power over American pop culture.  Feeling that power is local rock band, the power trio, “Running Red.”  They currently have the seven o'clock spot at “The Dirty Eagle,” a rock club that now caters to the disco crowd.

Ryan, the lead singer, songwriter, and guitarist of Running Red, wants to be more than just the leader of a bar band living on the edge.  However, his band mates, bassist, Joe, and drummer, Ashley, seem happy just playing together.  One day, Ryan discovers a mysterious silver coin, and he begins using it as his guitar pick.  Before they know it, Running Red is no longer a failing rock band, but this sudden change of fortune comes with a cost – a hungry curse.

THE LOWDOWN:  I am a big fan of horror comic book anthologies, which includes, of course, the classic EC Comics titles.  However, I am also a fan of EC's comics inheritors, including Kitchen Sink Press's Death Rattle, DC Comics' Ghosts and House of Mystery, Warren Publishing's Creepy and Eerie, and Approbation Comics' Amour, to name a few.

The Silver Coin reminds me of DC and Warren's 1970s horror comics, especially because of Michael Walsh's ghostly coloring.  His ethereal compositions recall the late master of horror comics, Bernie Wrightson, and Walsh's storytelling is both efficient in its narrative and lavish in its presentation.  Even Walsh's lettering has a horrific lilt, as the fonts chronicle a creeping doom.

Chip Zdarsky, one of the most clever and inventive mainstream comic book writers, offers a standalone story that is complete and delivers the brutal comeuppance of dealing with a cursed object in a single-issue.  Efficient beginning, informative middle, and shocking ending:  we get all this in 22 pages and not in six issues of padded storytelling.

If The Silver Coin #1 is any indication of what the remaining issues will offer, I feel very confident in highly recommending it.  And I want more.

I READS YOU RECOMMENDS:  Fans of classic horror comic book anthologies will want to spend The Silver Coin.

A
8 out of 10

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


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#IReadsYou Review: SURFACING #6

SURFACING #6
APPROBATION COMICS

STORY: B. Alex Thompson – @ApproBAT
ART: Ricardo Mendez
COLORS: Alivón Ortiz
LETTERS: Krugos
EDITOR: Denise Thompson
MISC. ART: Cesar Grego with Alivon Ortiz
COVER: Gleidson Ribeiro and Victor Maya with Alivon Ortiz
32pp, Color, $4.99 U.S. (2020)

Rated: “M” for Mature

“The Stone and the Shell” Part 2 of 2

Surfacing is a comic book franchise created by B. Alex Thompson and published by Approbation Comics.  The four-issue miniseries, Surfacing: Depth Perceptions, focuses on a series of encounters, sometimes violent, between humans and mermaid-like creatures.  The eponymous Surfacing is an anthology series in which each issue offers a story in which a mermaid finds herself trapped in the world of humans.  Besides Thompson, artist Ricardo Mendez; colorist Alivon Ortiz; and letterer Krugos currently comprise Surfacing's creative team.

The latest chapter in the saga of Surfacing is “The Stone and the Shell.”  It is set two million years ago, on a Savannah, likely somewhere in eastern Africa.  This is  the home of a tribe of Homo erectus/ergaster (called the “tree folk” in this story).  Kon is a member of the tribe.  He is exceptionally good at making tools and at fishing, but in a tribe of fierce hunters, Kon's talents are seen as weaknesses.  It does not help that Kon has webbed feet, which also makes the other tree folk suspicious of him.  However, Kon encounters a beautiful young woman, “Int” of the “water folk.”  Meeting Int will change Kon's life, but what will it do to his relationship his own people?

Surfacing #6 opens as Int introduces Kon to her people, the “water folk.”  Obviously, they are suspicious of Kon and his intentions, as well as being wary of Kon's people, the “tree folk.”  Still, they welcome him into the tribe, but everything is not on the “up and up.”  And some transgressions can never be forgiven.

THE LOWDOWN:  As much as I enjoyed the miniseries, Surfacing: Depth Perceptions, I find myself really enjoying Surfacing, which showcases some of writer B. Alex Thompson's most imaginative writing.  The fifth and sixth issues of Surfacing present a big shift from the usual Surfacing tales.

Thompson's imagination gives us a story set in eastern Africa (likely modern day Kenya) during the Early Pleistocene.  That story offers a different kind of character, a complicated man who has troubles in his native world and who ends up caught between two worlds.  The Stone and the Shell” also emphasizes the familiarity of family conflict and romantic discovery, which allows the readers to recognize Kon and, perhaps, to place themselves in his life.  Thompson makes every page of this story intriguing, and like Part 1, Part 2 always has at least one thing on each page that makes me curious and want to know more about this story and its setting.

Artist Ricardo Mendez has proved to be a perfect collaborator for Thompson in this writer-artist team.  In “The Stone and the Shell,” Mendez creates a beautiful prehistoric pastoral world that is as interesting as the main story.  As he did in the first part, Mendez deftly tells this second chapter of “The Stone and the Shell” via his figure drawings of the characters, which give the story a sense of naturalism.  Alivon Ortiz's muted colors allow the emotions of the characters to stand out in the story.  Krugos' lettering and sound effects are also muted, but are “pitch-perfect” for this chapter's emphasis on betrayal.

I highly recommend Surfacing #6, just as I did for issue #5.  Surfacing is like nothing else you will find in mainstream, alternative, or indie comics, so please, dive into this.

I READS YOU RECOMMENDS:  Fans of fantasy comic books published by DC Comics' late imprint, Vertigo, will want to read Surfacing.

A
9 out of 10

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


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#IReadsYou Review: NOW: The New Comics Anthology #10

NOW: THE NEW COMICS ANTHOLOGY #10
FANTAGRAPHICS BOOKS

CARTOONISTS: Julia Gfrörer,; Tim Lane; Jacob Weinstein; Steven Weissman, M.S. Harkness; Walt Holcombe; Theo Ellsworth; Joakim Drescher; Silvia Rocchi; Alex Nall & Hartley Lin; Chris Wright; Noah Van Sciver; Celia Vårhed; Richard Sala; Karl Stevens
DESIGN: Jacob Covey
EDITOR: Eric Reynolds
COVER: Rebecca Morgan
BACKCOVER: Nick Thorburn
ISBN: 978-1-68396-399-8; paperback (July 2021)
108pp, Color, $12.99 U.S.

NOW: The New Comics Anthology is an alternative-comics anthology series launched in 2017 and edited by Eric Reynolds.  NOW is published by alt-comix and art comics publisher, Fantagraphics Books.  Over its four-plus decades of existence, Fantagraphics has published what is probably the most diverse collection of comic book anthologies in the history of North American comic books.  That line-up includes such titles as Anything Goes, Critters, Mome, Pictopia, and Zero Zero, to name a few.

NOW: The New Comics Anthology #10 offers a selection of sixteen cartoonists and comics creators, as well as a back cover “comics strip” from Nick Thorburn.  NOW #10 holds to editor Eric Reynolds' creed (from NOW #1) that NOW showcases “...as broad a range of quality comic art as possible...”  This latest edition also includes nine pages of never-before published comics from the late Richard Sala (1955-2020).

The contributors list also includes a Leroy favorite, Noah Van Sciver.  But let's take a look at each of NOW #10's cartoonists' contributions:

THE LOWDOWN:  The illustration that acts as NOW #10's cover art is entitled “Feminist Mountain Man,” and is produced by Rebecca Morgan.  The illustration is what it says it is, with some modern additions, such as a button bearing the logo of the NFL's Pittsburgh Steelers – a sight I always welcome.

“The Counterweight” by Julia Gfrörer:
This beautiful one-page comic is composed of 24 panels that depict the evolution of love and war and the impermanence of a union.  Gfrörer's lovely art also celebrates drawing the human figure in motion.

“The Mobbing Birds: by Tim Lane:
Tim Lane's story, “The Mobbing Birds,” has two things going for it.  The first is its textured, almost photo-realistic art.  The second is having the legendary Hollywood star and cultural icon, Steve McQueen (1930-1980).  The combination of the two create the sense of this story being select scenes from an actual Steve McQueen movie.  “The Mobbing Birds” is like a slice of Americana, probably the dominant theme of Lane's comics, and I find myself fascinated by it.  I wouldn't mind seeing it as a full-length graphic novel, but then, there's the McQueen estate...

“T.D. Ramanujan” by Jacob Weinstein:
This story focuses on T.D. Ramanujan, the administrator of a table tennis federation in the nation of India.  The art reminds me of mid-90s Chris Ware, and the lead character and the setting are quite interesting.  The story's most powerful moments are set during World War II, and the way Weinstein draws the characters makes each one look like a unique figure.  I would certainly like to see more comics set in this milieu.

“No More Or Less Alive” by Steven Weissman:
I have read so many alt-comics anthologies that I am sure I have previously come across Steven Weissman's amazing comics many times.  “No More Or Less Alive” is NOW #10's most explosive, in-your-face story.  A nature story and quasi-animal fable, it is set in “Black Feather Valley” and focuses on a mother gopher fighting a wheat snake for the lives of her seven nursing pups.  If I ever had the words to convey to you, dear readers, the power of this story, I can't find them as I write this.  There must be some literary comics award that will recognize this story as one of the year's best comics.

“Go Big, Then Stay Home” by M.S. Harkness:
Cartoonist M.S. Harkness is also a competitive weightlifter, and this autobiographical comics short story recounts a trip she took with her friend, Elis Bradshaw, a competitive female power lifter.  Early in 2020, Harkness and Bradshaw travel to Columbus, Ohio for a power-lifting event, the “Arnold Fitness Expo,” where Bradshaw will compete, with Harkness there to help.  “Go Big, Then Stay Home” provides an interesting look at the world of power-lifting, but what really amps up the drama is that COVID-19 looms over this story.  Interestingly, the story is set in the last days before the pandemic shutdown so much of public life.

“I'm Trying to Sleep!” by Walt Holcombe:
“I'm Trying to Sleep!” is comic relief, the short story equivalent of a gag strip.  I think I have read Walt Holcombe before, and I'd like more.

“You Wouldn't Think So but It Happens All the Time” by Theo Ellsworth:
This colorful story is about the interaction of humans and animal-hybrids, but such interaction requires traveling to the animal-hybrids' world.  But it ain't easy to go to the animal-hybrid world.  I wish there were more of this story, because it seems like there should be.

“Miserable Mildrid” by Joakim Drescher:
One might mistake this for a series of “funny animal” one-page comics, except “Miserable Mildrid” is not that, even if it has a passing resemblance to such.  However, the porcine-ish Mildrid offers humor as creator Joakim Drescher digs into such ailments of modern culture and popular culture as conspiracy theories, incels, fan culture, COVID-19, and the subsequent shutdown.  “Miserable Mildrid” is solidly alt-comics, and it is one of my favorite entries in NOW #10.

“I Hate Parties” by Silvia Rocchi:
“I Hate Parties” is an observation more than it is a story, and it is indicative of something that I have noticed in the four volumes of NOW that I have read.  Many of these stories could be longer … in my humble opinion.  It's as if these cartoonists don't realize either their own potential or the potential of what they create.  “I Hate Parties” is an example of this...

“Real Witches” by Alex Nall & Hartley Lin:
...On the other hand, “Real Witches” is a two-pager that feels complete.  Its 21 panels recall classic 1950s and 1960s newspaper comics concerning the lives and adventures of children, except that “Real Witches” has a strong angle of modern edginess.  If Charles Schulz's Peanuts debuted today, it might look and read like “Real Witches,” another of my favorites from this volume.

“Taffy” by Chris Wright:
“Taffy” is like a demented children's picture book that is entirely inappropriate for anyone to read.  I find it fascinating.  Strangely, “Taffy” reminds me of the work of another cartoonist featured in NOW #10, the late Richard Sala.

“Mellow Mutt” by Noah Van Sciver:
A boy and his toy triceratops and using the imagination to play action heroes:  that's “Mellow Mutt.”  It's silly, funny, crude, and ultimately sad.  What would NOW be like without an offering from the great Noah Van Sciver.

“Free Cone Day” by Celia Varhed:
“Free Cone Day” would be funny even if it weren't painfully true.  When you want something, like a job or a particular career, you can fool yourself to the point of foolish oblivion.  “Free Cone Day” is the kind of superb work of alternative comics that only NOW is original enough to publish.

“Five Shorts”
Richard Sala (1955-2020) was one of the great cartoonists and most unique comics creators of the last four decades.  I have reviewed many of his works and have compared his comics to Charles Addams, Gahan Wilson, and Edward Gorey.  Sala's “pop macabre” sensibilities placed him in the company of contemporaries and of such fellow purveyors of Gothic pop art and entertainment as Charles Burns, Tim Burton, Lemony Snicket, and Guillermo Del Toro, to name a few.

“Five Shorts” is a nine-page suite of never-before published comics from early in Sala's career.  He apparently never even showed them to his friends, according to NOW editor Eric Reynolds.  I thought the world of Sala as an artist and cartoonist, and I exchanged some emails with him back in the Aughts.  I am happy to get this early work in NOW #10.  In them, one can see the beginnings of the graphic style and sensibilities that made Sala an artist whose influence is probably wider than many suspect.

“In This Short Life” by Karl Stevens:
This one-page comic features beautiful, photo-realistic art, and some contemplation.

“Then... But... NOW” by Nick Thorburn:
This is another befuddling back cover strip from Nick Thorburn.  I like it.

So, in conclusion, NOW #10 is the best volume of the series that I have read since I read NOW #1.  It is full of excellent stories, inventive pieces, and beautiful art, but I must choose “No More Or Less Alive” by Steven Weissman as the best of NOW #10.  Like B. Krigstein, Weissman is innovative in the use of the space of a comic book page for “No More Or Less Alive.”

I READS YOU RECOMMENDS:  Fans of classic alternative-comics anthologies will want to discover NOW: The New Comics Anthology.

A

9 out of 10

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


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The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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#IReadsYou Review: NOW #9

NOW: THE NEW COMICS ANTHOLOGY #9
FANTAGRAPHICS BOOKS

CARTOONISTS: Theo Ellsworth; Raquelle Jac; Keren Katz; Noah Van Sciver; Emil Friis Ernst; Ben Nadler; Ethel Wolfe
DESIGN: Jacob Covey
EDITOR: Eric Reynolds
COVER: Raquelle Jac
BACKCOVER: John Ohannesian
ISBN: 978-1-68396-371-4; paperback (September 2020)
120pp, Color, $12.99 U.S.

NOW: The New Comics Anthology is an alternative-comics anthology series launched in 2017 and edited by Eric Reynolds.  NOW is published by alt-comix and art comics publisher, Fantagraphics Books.  Over its four-plus decades of existence, Fantagraphics has published what is probably the most diverse collection of comic book anthologies in the history of North American comic books.  That line-up includes such titles as Anything Goes, Critters, Mome, Pictopia, and Zero Zero, to name a few.

NOW: The New Comics Anthology #9 offers a selection of seven cartoonists and comics creators, as well as a back cover “comics strip” from John Ohannesian.  NOW #9 holds to Eric Reynolds' creed (from NOW #1) that NOW would showcase “...as broad a range of quality comic art as possible...”

The contributors list includes a Leroy favorite, Noah Van Sciver.  But let's take a look at each of NOW #9's cartoonists' contributions:

THE LOWDOWN:  The illustration that acts as NOW #9's cover art is entitled “Nine,” and  is produced by Texan, Raquelle Jac.  It is a beautiful piece that reminds me of the drawings and doodles high school students commit to their tablets to pass the time or to ignore a teacher.  It is a striking image, a slice-of-surreal life that embraces a selection of the myriad variations of apartment living.

“The Real Me” by Theo Ellsworth:
This is a one-page comic that reminds me of the work of cartoonist/illustrator, Jim Woodring.  It has an unsettling quality, and I really felt that the subject of “The Real Me” was talking to me.

“Misguided Love” by Raquell Jac:
This story is the cover times 41.  The autobiographical story, “Misguided Love,” with its garish and sometimes subdued colors, is beautiful to look at.  Unfortunately, it is an ugly read.  There is just too much clutter, and some of the panels are drawn as to be impossible to read.  All of it is static between the author and her audience.  What I actually can understand or interpret is interesting, but this is way too obtuse in its graphical storytelling.

“The Raindrop Prelude” by Keren Katz:
The story offers some of the most beautiful drapery that I have seen in a comic book in a while.  The art has a Japanese woodblock printing quality, and the story involves, in a way, one of composer and pianist Frederic Chopin's 24 “Preludes,” specifically the “Raindrop” prelude.  The story is composed of several single-page illustrations (for the most part), and I felt my imagination floating through the story, while also trying to linger to keep looking at the pretty art.

“Spacehawk” by Noah Van Sciver:
This story is a tribute to cult cartoonist, Basil Wolverton (1909-1978), and his first character of note, the kooky “Spacehawk.”  Of course, Van Sciver's art does not match the peculiar nature for which Wolverton was known, but he captures the kookiness.

“Zoom” by Emil Friis Ernst:
At times, there is a Moebius-like quality about “Zoom.”  I could see it having a place in Metal Hurlant from long ago.

“Quarryhouse” by Ben Nadler:
I have mentioned in previous reviews that I once read a review of an Annie Lennox album (perhaps, in Spin Magazine), in which the reviewer said that every LP needed at least one great song.  I believe that every volume or issue of a comics anthology needs at least one great story.

“Quarryhouse” is the first of NOW #9's two great stories.  A mixture of Hey, Wait... era Jason and Acme Novelty Library-era Chris Ware, “Quarryhouse” takes place over a sixty-hear period – 1989, 2019, and 2049 and involves a tragedy (similar to the one in Hey, Wait...).  Depending on how one reads “Quarryhouse,” each time period introduces a new theme to the story.  I also believe that author-cartoonist Ben Nadler suggests that different generations of a family are connected much more deeply and intimately than by bloodline alone.  They share stories, pain, curses, guilt, and obligations, and are tethered by the need to reach across time to help one another.

“How Mums Annoy You” by Ethel Wolfe:
The 2013 Martin Scorsese film, The Wolf of Wall Street, was an adaptation of the 2007 memoir of the same name by notorious stockbroker and trader, Jordan Belfort.  The film received criticism because some people interpreted it as glorifying Belfort's criminal behavior and nihilistic lifestyle.  In answer to this, the film's screenwriter, Terence Winter, said that the film was about two things:  people don't change, and they never learn.”

NOW #9's second great story, “How Mums Annoy You,” is a story of abuse that focuses on an Internet “celebrity” who is also a predator and a manipulator of the young women who follow him.  Ethel Wolfe (a pen name used by the cartoonist John Harvey) may not realize that his story has a theme:  people don't change and they never learn … and they lie to themselves and others.  If Hollywood really paid attention to alternative comics, this story would have been optioned for film or television already.  It is a bracing read that left me wanting more.

“Art” back cover strip by John Ohannesian:
Meh.

So, in conclusion, the cover art and two great stories, “Quarryhouse” and “How Mums Annoy You,” are what make NOW #9.  There ended up being a little controversy about one of the contributors some months after this issue was published, but I'll let you find out the details for yourselves, dear readers.

I READS YOU RECOMMENDS:  Fans of classic alternative-comics anthologies will want to discover NOW: The New Comics Anthology.

A-
7.5 out of 10

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


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The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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#IReadsYou Review: ThoughtScape Comics #1 - Digital Edition

THOUGHTSCAPE COMICS #1
MATT MAIR LOWERY

[UPDATE: ThoughtScape Comics 2024 Kickstarter campaign is now live.]

STORY: Matt Mair Lowery
ART: Dave Law; Tyrell Cannon; Lisa Naffziger; Karl Slominski
COLORS: Dave Law; Tyrell Cannon; Lisa Naffziger; Karl Slominski
LETTERS: Dave Law; Tyrell Cannon; Lisa Naffziger; Karl Slominski
DESIGN: John Larson
COVER: Jenna Cha
44pp, Color, $8.00 U.S. (digital), $15.00 U.S. (print)

ThoughtScape Comics is new science fiction anthology comic book series from writer Matt Mair Lowery.  Lowery is the writer and co-creator with artist Cassie Anderson of Lifeformed, a YA science fiction graphic novel series published by Dark Horse Comics.

Lowery has stated that each issue of ThoughtScape Comics will contain 44+ pages of content, featuring stories written by Lowery and drawn by up-and-coming comic book artists.  Some of the stories will be self-contained and others will be part of a serial.  Multimedia artist, John Larsen, will provide the graphic design and packaging for each issue.

ThoughtScape Comics #1 contains four stories.  Lowery is joined by artists Dave Law, Tyrell Cannon, Lisa Naffziger, and Karl Slominski.  Two stories are apparently serials, and the other two are standalone stories.

ThoughtScape Comics is set in a world in which humanity's first multi-planet conglomerate, LifeTech, discovered the “ThoughtScape” in the late 21st century.  The ThoughtScape is a fifth dimension where every thought that has ever been thought exists.  Using technology of its own innovation, LifeTech began isolating and monitoring these thoughts (via “ThoughtScape Listening Posts").

Later, LifeTech began capturing and recording these thoughts through Thought & Information Service Collection Officers (TISCOs).  Eventually technological advancements allowed that the entire “ThoughtLives” of both living individuals and of the long-dead could be virtually reconstructed and played back through a variety of media formats.  The stories of ThoughtScape Comics will focus on the designs and intentions of LifeTech; the nature of ThoughtScape; and how people and beings connect, react, and exist with both.

THE LOWDOWN:  For the review of ThoughtScape Comics #1, I will offer comments on each of the four stories individually.

The first story is “Thoughtscape 2319: Parish, The Thought . Part 1,” the first part of a serial.  It is written by Lowery and drawn by Dave Law.  The story takes place at the edges of the galactic frontier in the year 2319.  Week 32.4, Thought & Information Service Collection Officer (TISCO) Odessa Query patrols her beat, currently the Hen 3-593 Di Chamaelontis System – 700 light years from Earth.

Her TISCO ship collects thoughts from ThoughtScape Listening Post Di.Cha.036, while she entertains her ship's neurocorder, Feyla.  Query prepares to move on to her next assigned Listening Post when she is diverted to an ongoing disaster.

Because of its cliffhanger ending, I am excited to read more of this story, especially because Lowery teases something awesome and awful coming to scare us, dear readers.  Dave Law's drawing style is perfect for science fiction comic books, and the design of the characters and the technology are convincing.  I also like Law's impressive title page drawing (for which I wouldn't mind having the original art).

The second story is “A Spy Without A face,” illustrated by Tyrell Cannon.  The story pits a mysterious “spy without a face” against a pack of assassins who have broken into a mysterious LifeTech facility.  Both sides get more than they bargained for in this black and white tale.

Cannon's graphical storytelling is high-speed and hyper-kinetic with the graphic design sensibilities of science fiction anime and manga.  Lowery's story allows Cannon to draw an explosive tale that is visceral and thrilling.  I'd like to see another Lowery-Cannon creation, and this story also made me seek out more information about Tyrell Cannon.

[Art by Tyrell Cannon for the story, "A Spy Without A face."]

The third story is “Adorable Orphans,” written by Lowery and drawn and colored by Lisa Naffziger.  Sally, an elementary school-age girl, loves her “Grammie,” her grandmother.  Her parents seem to despise the old woman, and they are particular about the things to which Grammie exposes Sally.

One day, Sally gets a package from Grammie.  Inside is the season’s hottest toy trend, one of LifeTech’s “Adorable Orphan android dolls” (also called a “DollDroid”).  The girl DollDroid's name is Betty, and she is a great friend for Sally, but everyone else better watch out.

“Adorable Orphans” is by far the best story in ThoughtScape Comics #1.  It is straight-forward, but Lowery is sly and sneaky in the way he surprises the readers in unexpected ways.  For instance, Sally's parents are both snobby and vulgar.  What's going on with Grammie?  And there is certainly more to Sally than what appears on the surface.

Lisa Naffziger's compositions and coloring are more alt-comics than children's comics, although I can understand why some people would see her work as the latter.  Lowery and Naffziger have created in “Adorable Orphans” a concept that could live on its own outside the world of ThoughtScape Comics.  If I were in Hollywood film and television production, I'd swoop in and buy the media rights for “Adorable Orphans” away from the rest of this package.

The fourth and final story is “Ex Post Facto: A Dash Varrick Misadventure . Part 1.”  A press release from Lowery describes the story in the following way:

XXXX#$%@&*!(AGAIN)))...Murder and music at the fringes of the revolution! he’s just a drop in the Co- maXYxXc o p y X > P A S T E Y # % Z o n e , - - h e ’ s - - y o u & M E m e M E . h e ’ s d - d - d a s h D A S H .tooLATEagaFILEretrieveERRORERR.accessing…

The art by Karl Slominski has elements that remind me of David Mack, especially, and of Bill Sienkiewiz, a little.  Otherwise, I have no idea what's going on with this story.

Overall, I like ThoughtScape Comics #1.  It presents such an expansive science fiction concept with a universe of possibilities as big as anything offered by the Star Wars and Star Trek franchises.  I hope a lot of comic book readers get behind the project and financially support it.

I READS YOU RECOMMENDS:  Fans of science fiction anthology comic books (such as 2000 AD) will want to try ThoughtScape Comics.

A-

7.5 out of 10

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


https://twitter.com/mattmlpdx
https://www.mmlcomics.com/thoughtscape-comics
https://www.kickstarter.com/projects/mattmlpdx/thoughtscape-comics-1
https://twitter.com/TCannonComics
https://twitter.com/lisanaffziger
https://twitter.com/KarlSlominski
https://www.instagram.com/itsdavelaw/
https://twitter.com/kale_satan
https://johnlarsen.net/


The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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