#IReadsYou Review: SAVAGE TALES: Winter Special One-Shot

SAVAGE TALES: WINTER SPECIAL ONE-SHOT

DYNAMITE ENTERTAINMENT

STORY: Scott Bryan Wilson; David Avallone

ART: Max Fuchs; Eman Casallos; Mariano Benitez Chapo; Hamish Munro-Cook

COLORS: Gab Contreras; Adriano Augusto; Adrian Woolnough; Jorge Sutil

LETTERS: Taylor Esposito

COVER: Arthur Suydam

32pp, Color, $4.99 U.S. (December 2022)

Rated Teen+

Savage Tales is the title of an anthology comic book series that has been used by both Dynamite Entertainment and Marvel Comics (twice).  Dynamite recently brought its version back as a series of one-shot comic books.

Savage Tales Winter Special One-Shot contains four short comics stories.  There is a Draculina story, “Juicing with the Devil,” which is written by Scott Bryan Wilson; drawn by Max Fuchs; and colored by Gab Contreras.  Next up is a John Carter & Dejah Thoris story, “A Honeymoon on Mars,” which is written by David Avallone; drawn by Emas Casallos; and colored by Adriano Augusto.  Third is Vampirella story, “Crypt Junkies,” which is written by Wilson; drawn by Mariano Benitez Chapo; and colored by Adrian Woolnough.  Last is a Captain Gullivar Jones story, “His War Chapter II,” which is written by Avallone; drawn by Hamish Munro-Cook; and colored by Jorge Sutil.

All four stories are lettered by Taylor Esposito.  I am reviewing each story separately.

THE LOWDOWN:  Since July 2021, the marketing department at Dynamite Entertainment has been providing me with PDF review copies of some of their titles.  One of them is Savage Tales Winter Special One-Shot, which is the second time I have read a Dynamite Savage Tales comic book.

Draculina in “Juicing with the Devil” by Scott Bryan Wilson, Max Fuchs, and Gab Contreras:

Story:  A skinny young man is transformed from weakling to muscular strongman – by a demon.  The cost for this is that the transformed human must join his demon benefactor in a wrestling match against Draculina...

My thoughts:  This is a delightful story, very well drawn and colored.  The writer perfectly captures both the desperation and subsequent self-delusion of a guy who finally gets everything he thought he wanted and more.

John Carter & Dejah Thoris in “A Honeymoon on Mars,” by David Avallone, Emas Casallos, and Adriano Augusto:

Story:  An aerial outing sends John and Dejah on a rescue mission, but the result is the revelation of John Carter's savage past – one that is longer than he expected.

My thoughts:  This story is beautifully drawn by Emas Casallos and colored by Adriano Augusto in a way that remind me of stories from issues of old Heavy Metal and Epic Magazine.  Writer David Avallone deftly reconciles or perhaps, redeems John Carter of some of his past military affiliations, with emphasis on one in particular.

Vampirella in “Crypt Junkies” by Wilson, Mariano Benitez Chapo, and Adrian Woolnough:

Story:  Trash TV junkie, Vampirella, has a chance to appear on her favorite reality television series, “Crypt Junkies.”  The show basically breaks into sealed graves, tombs, crypts, etc. in order to “see the wonders inside.”  But maybe no one should be opening the "Grave of Omuo."

My thoughts:  This is another very well drawn story, and it really conveys the power and tragedy of writer Scott Bryan Wilson's clever tale.  I'd call “Crypt Junkies” one of the few original comic book stories that genuinely mixes the styles of Robert E. Howard and H.P. Lovecraft.

Captain Gullivar Jones in “His War Chapter II” by Avallone, Hamish Munro-Cook, and Jorge Sutil:

Story:  The story opens in France, September 1918.  The Earth man, Gullivar Jones, who once adventured on Mars, is now returned to Earth and trapped in the muck and mire of World War I.  He can wish himself away from this and return to Mars, but now, how is life on Mars?

My thoughts:  Gullivar Jones is the science fiction military man created by Edwin Lester Arnold.  Jones made one literary appearance in the 1905 novel, Lieut, Gullivar Jones: His Vacation.  Now, writer David Avallone is giving him new life in the medium of comics.  I think what Avallone is doing is creating a sequel to a character that was short-lived, or he is, at least, giving new life to an abandoned character.  In two chapters, he and Munro-Cook have breathed new life into Captain Gullivar Jones in a way that is true to old-timey science fiction and is also an intriguing reboot.  What makes me anticipate more of this is that the possibilities are endless … or at least Avallone and Munro-Cook think so.

Wow.  This issue is full of excellent stories, all well lettered by award-winning letterer, Taylor Esposito.  If I have to reluctantly pick a favorite comics story from Savage Tales Winter Special One-Shot, I will have to make a difficult choice.  I think I will go with “Crypt Junkies,” if only for the fact that it feels like it has potential to be a media franchise, but my eye is also on Gullivar Jones.

I READS YOU RECOMMENDS:  Fans of anthology comic books will want to read Savage Tales: Winter Special One-Shot.

A+

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

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#IReadsYou Review: RED SONJA Black White Red #4

RED SONJA BLACK WHITE RED #4
DYNAMITE ENTERTAINMENT

STORY: Sanya Anwar; Phillip Kennedy Johnson; Chuck Brown
ART: Sanya Anwar; Steve Beach; Drew Moss
COLORS: Kike J. Diaz; Steve Beach; Drew Moss
LETTERS: Hassan Otsmane-Elhaou
EDITOR: Nate Cosby
COVER: Lucio Parrillo
VARIANT COVER ARTISTS: Cat Staggs; Jae Lee; Lucio Parrillo; Rachel Hollon (cosplay)
32pp, Color, $3.99 U.S. (October 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.

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 #4 is comprised of three stories.  The first is “The Iron Maiden,” and it is written and drawn by Sanya Anwar; colored by Kike J. Diaz; and lettered by Hassan Otsmane-Elahou.  The second story is “The Iron Queen,” and it is written by Phillip Kennedy Johnson; drawn by Steve Beach; and lettered by Hassan Otsmane-Elahou.  The third story is “Cold Monger,” and it is written by Chuck Brown; drawn by Drew Moss; and lettered by Hassan Otsmane-Elahou.   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 #4, which is the third issue of the title that I have read.

“The Iron Maiden” by Sanya Anwar, Kike J. Diaz, and Hassan Otsmane-Elahou:
After being grievously injured, Sonja of Hyrkania passes out.  When she awakens, she is under the care of Oenila, and two more different women there couldn't be.  However, when Sonja later tries to save Oenila, she learns that a women can be a warrior on a different kind of battlefield.

“The Iron Maiden” is a nice story, but I think it doesn't show its power until the very end.  I do like that the story shows that every woman does not have to be a she-devil with a sword in order to be brave in a struggle that she must face.

“The Iron Queen” by Phillip Kennedy Johnson, Steve Beach, and Hassan Otsmane-Elahou:
This a tale of Red Sonja's past and present, one that finds her aged and waiting for the opportunity to be great again.  It takes a young woman who idolizes her to remind the She-Devil that she was and still is a she-devil.

The art for “The Iron Queen” by Steve Beach is beautiful, and has a quality that recalls the “ink-wash” art that could be found in Savage Sword of Conan, the old Marvel Conan comics magazine.  Johnson's story is nice, but I'm sure that I have read something just like it in the past.

“Cold Monger” by Chuck Brown, Drew Moss, and Hassan Otsmane-Elahou:
Red Sonja meets a stranger in a strange, cold land.  He tells her of King Ole VII, “the Cold Monger,” who uses magic to keep the land frozen and him in control of fire.  Can the hot-blooded She-Devil with a Sword melt down the Cold Monger's rule?

I like “Cold Monger.”  It's like a fairy tale with Red Sonja as the unnamed hero who passes through a land, staying only long enough to depose a despot.

It is not hard for me to pick a favorite story of the three offered in Red Sonja Black White and Red #4.  “Cold Monger” by Chuck Brown, Drew Moss, and Hassan Otsmane-Elahou really stands out in this issue, which I must admit that I find to be the weakest issue of this series that I have read, thus far.

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

B

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


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#IReadsYou Review: SAVAGE TALES #1

SAVAGE TALES #1 ONE-SHOT (2022)
DYNAMITE ENTERTAINMENT

STORY: Scott Bryan Wilson; David Avallone
ART: Mariano Benitez Chapo; Will Rios; Al Barrionuevo; Hamish Munro-Cook
COLORS: Adrian Woolnough; Dinei Ribero; Jordi Escuin Llorach
LETTERS: Taylor Esposito
COVER: Arthur Suydam
VARIANT COVER ARTISTS: Liam Sharp; Rafael Kayanan; Arthur Suydam
32pp, Color, $4.99 U.S. (June 2022)

Rated Teen+

Savage Tales is the title of an anthology comic book series that has been used by both Dynamite Entertainment and Marvel Comics (twice).  Dynamite recently brought its version back as a one-shot comic book.

Savage Tales #1 One-Shot contains four short stories.  The first is a Vampirella tale entitled, “Horrible People Doing Horrible Things To Horrible People,” and is written by Scott Brian Wilson; drawn by Mariano Benitez Chapo; and colored by Adrian Woolnough.  Next, is an Allan Quatermain tale, “Missionaries of Madness,” written by David Avallone; drawn by Will Rio; and colored by Dinei Ribero.  The third is a Red Sonja story, “The Executioner's Sword,” written by Scott Brian Wilson; drawn by Al Barrionuevo; and colored by Jordi Escuin Llorach.

The final entry is a Captain Gullivar Jones story, “His War,” written by David Avallone; drawn by Hamish Munro-Cook; and colored by Dinei Ribero.  All four stories are lettered by Taylor Esposito.  I'll review each story separately.

THE LOWDOWN:  Since July 2021, the marketing department at Dynamite Entertainment has been providing me with PDF review copies of some of their titles.  One of them is Savage Tales #1 One-Shot, which is the first time I have read a Dynamite Savage Tales comic book.

“Horrible People Doing Horrible Things To Horrible People” by Scott Brian Wilson, Mariano Benitez Chapo, Adrian Woolnough, and Taylor Esposito:

Enjoying a drink in a bar, Vampirella meets an interesting fellow drinker who has interesting things to say about horrible people doing horrible thinks to other horrible people.  At least, he thinks its interesting.  Now, Vampirella is about to hand out a lesson in morality.

I Reads You says:  I don't really remember any Vampirella tales from back in the Warren Publications days.  Maybe, I need to buy some back issues.  Anyway, this excellent tale by Scott Brian Wilson apparently recalls the good old days of Vampirella.  The comeuppance Vampirella delivers does remind me of the fate of characters in the few original Warren comics short stories that I have read.  Wilson offers enough brutality to make a reader feel pity for a man who likely does not deserve any, which I think makes this tale a winner. Mariano Benitez Chapo's smooth art gives the story a sense of impact; he makes the punishment mean something.

“Allan Quatermain and the Missionaries of Madness” by David Avallone, Will Rio, Dinei Ribero, and Taylor Esposito:

It is Durban, Africa, year 1883.  The legendary big game hunter, Allan Quatermain, has come across a massacred village, and he knows who the culprits are.  They call themselves “Servants of the Great Old Ones,” but they don't know that they are Quatermain's latest big game.  Will his search for these “murderous missionaries, however, lead Quatermain to his own doom?

I Reads You says:  Of course, Allan Quatermain is author H. Rider Haggard's (1856-1925) fictional big game hunter.  Writer David Avallone's idea of bringing Quatermain into the realm of H.P. Lovecraft's domain is actually a good one, and I hope to see more.  Will Rio's art and storytelling make “Missionaries of Madness” seem more like a Western than an African-set tale.  This is also a welcomed bit of newness.

“The Executioner's Sword” by Scott Brian Wilson, Al Barrionuevo, Jordi Escuin Llorach, and Taylor Esposito:

Upon passing through a village, Red Sonja discovers that the local executioner has a very special sword which he uses to kill the condemned.  But which, the executioner or his weapon, is cursed with an insatiable hunger?

I Reads You says:  It is easy to create a good Red Sonja comics short story because the character is so special and has existed for so long that these stories practically write themselves.  It is not easy to create a great Red Sonja comics short story; I know this because I have read enough to know.  On writer Scott Brian Wilson's part, “The Executioner's Sword” is great story and an excellent piece of story craftsmanship in forging a morality tale in which the “She-Devil with a Sword” seems merciful and just rather than vengeful – which she often is.

Al Barrioneuvo's moody art conveys the sense of malaise and doom that hangs over the village in which the story is set.  Barrioneuvo pulls off a rarity.  He creates a Red Sonja who is different in spirit from every other Sonja, and that is something, indeed.

“His War” by David Avallone, Hamish Munro-Cook, Dinei Ribero, and Taylor Esposito:

Once upon a time, Captain Gullivar Jones was swashbuckling his way across Mars.  Now, he is back on Earth and in the pit of the Great War (World War I).  Is this return to Earth Gullivar's new beginning, and is it something he really wants?

I Reads You says:  Captain Gullivar Jones is the science fiction military man created by Edwin Lester Arnold (1857-1935).  By bringing Jones back to Earth to fight humanity's war, writer David Avallone creates the idea that his lead character needs healing and redemption.  Beyond that, I can't say much.  “His War” is more like a taste of a larger work, and this taste makes me think that the story could work as a graphic novel, prose novel, or even as an intriguing screenplay.  Hamish Munro-Cook's art and graphical storytelling thoroughly sells the idea of man now grounded from his former fantastic realities.

If I have to reluctantly pick a favorite comics story in Savage Tales #1 One-Shot, it is a difficult choice.  I think I will go with “The Executioner's Sword,” which is the most genuinely emotional and, dare I say it, human story of this publication.

I READS YOU RECOMMENDS:  Fans of anthology comic books will want to read Savage Tales #1 One-Shot.

[This comic book includes “Dynamite Dispatch” July 2022, which features an interview with writer Phillip Kennedy Johnson about his new James Bond comic book series.]

A

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


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The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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#IReadsYou Review: NOW: The New Comics Anthology #13

NOW: THE NEW COMICS ANTHOLOGY #13

FANTAGRAPHICS BOOKS

CARTOONISTS: Roman Muradov; Nathan Gelgud; Caitlin Skaalrud; Stacy Gougoulis; Cyntha Alfonso; Josh Pettinger; Ross Murray; Steven Weissman; Emil Friis Ernst; Kayla E.

DESIGN: Kayla E.

EDITOR: Eric Reynolds

COVER: Kayla E.

BACKCOVER: Kayla E.

ISBN: 978-1-68396-963-1; paperback (May 2024)

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 #13 offers a selection of works from ten cartoonists and comics creators, as well as a back cover “comics strip” from one of its contributors, Kayla E.  Now #13, 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 current contributors list also includes a Leroy favorite, the great Steven Weissman.  But let's take a look at each of Now #13's cartoonists' contributions individually:

THE LOWDOWN:  The illustration that acts as Now #13's cover art is entitled “There is a Great Void,” and is produced by Kayla E.  Kayla is all over this issue.

“Conceptual Illustration” by Roman Muradov:

This is a funny one-pager about a particular moment in an art/illustration class.  It reminds me of the stories friends of mine told me about disputes between instructors and professors and students in college art classes.

“Paul Schrader on Big Decisions and Pauline Kael” and “Paul Schrader: Man of His Word” by Nathan Gelgud”:

Cartoonist Nathan Gelgud's comics are sometimes about the movies and movie stars, and he offers two such entries in Now #13.  The first is this volume's second story, “Paul Schrader on Big Decisions and Pauline Kael.”  The second is this volume's fourth story, “Paul Schrader: Man of His Word.”  Both of them focus on real-life screenwriter and film director, Paul Schrader, who is best known for his collaborations with director Martin Scorsese.  Schrader wrote Scorsese's 1976 film, Taxi Driver, and co-wrote his 1980 film, Raging Bull.

These two stories portray Schrader, who can be both outspoken and an outspoken asshole, as the put-upon one.  That gives the “adversaries” in both stories a target for their ire, which in turn creates humorous scenarios.  I find these two stories entertaining because I am a fan of American films and of its history, but both stories would be funny even if the characters had different professions.  I could read a rather large collection of these humorous American cinema-related stories, or I'm sure I could enjoy more of Gelgud's work in general.

“How to Make Comics” by Caitlin Skaalrud”

If someone were to describe making comics, Skaalrud's contributions to Now #13 perfectly captures what it can be like trying to make comics. Sometimes, it is a vain attempt to orchestrate chaos and then, attempt to make chaos friends with madness and disorder.  Also, “How to Make Comics” is a beautiful and lyrical narrative work.

“Pig” by Stacy Gougoulis:

Told in pages of three-color, with the third color shifting at varying intervals, “Pig” is about love and mortality.  Centering on an elderly woman in need of a heart and on the pig that might provide that heart, Gougoulis' story challenges the reader's perception of how the story should, could, or would end.  I'm not crazy about “choose your adventure” stories because I want to read the author's story even if I don't like the ending (see Anthony Horowitz's Moriarity: A Novel).  “Pig” exemplifies why we should almost always choose the author's adventure.

“Escape from the Center” by Cynthia Alfonso:

This is like an exhibit at a college art show, and that's okay.  I like it.

“Laird Bell” by Josh Pettinger:

This is a very sharp short, short story that uncomfortably made me think of the recent fatal shooting attack on a CEO of a repulsive health insurance conglomerate.  With “Laird Bell,” Pettinger deftly manages to make what is scary seem sweet, quaint, and humorous.  Sadly, fiction is the only place where scenarios involving stalking and homicidal intent are sweet.

“Anything Sinister” by Ross Murray:

If there is an entry here that could launch a television series on a streaming network, it is New Zealander Ross Murray's “Anything Sinister.”  Focusing on a woman beset by a mysterious and debilitating back injury, it encapsulates how an unexpected event, especially a lingering medical condition can leave a person without any resources or without enough resources to make his or her life not fall apart. Considering the events of my life these past years, I felt “Anything Sinister” in my heart.  It made me tear-up.

“The Vals Vs. Fresh Gurls” by Steven Weissman:

This story is a lot funnier and more playful than Weissman's usual Now contributions.

“Lizard Person” by Emil Fries Ernst:

The Danish cartoonist offers a story that is impressively metaphorical.  You won't see the ending coming, although it seems obvious once you get there.

“You Cannot Live on Bread Alone” and “L'il Kayla Takes a Tumble” (back cover) by Kayla E.:

Kayla E. takes old comics and re-purposes them for her dark tales of domesticity and modern life.  If the classic TV series, “I Love Lucy,” were created today, it would be closer to Kayla E.'s vision than it would be to the original 1950s series.

I usually pick a “best of” entry after each edition of Now that I review.  My favorite Now #13 entry is “Anything Sinister” by Ross Murray.  The truth is that I could have picked any of several stories as my Now #13 favorite.  This edition of the series really emphasizes something that can get lost in the focus on the art comics aspects of Now, and that is the fact that this anthology has featured and continues to feature some excellent storytelling in the form of the comics medium.  Also, there is a nice international flavor to Now #13.

If Now were a prose anthology, critics would call it “literary.”

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

A+

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

You can buy Now #13 at Fantagraphics.

https://www.fantagraphics.com/

https://x.com/fantagraphics

https://www.instagram.com/fantagraphics/

https://www.facebook.com/fantagraphics/

https://www.youtube.com/channel/UCtLxEaspctVar287DtdsMww

Now #13 contributors on the Web. Please, visit them and maybe buy something:

Cynthia Alfonso: https://www.instagram.com/zyn_vaites/

https://www.kaylaework.com/

Emil Friis Ernst: https://www.beingernst.com/

https://nathangelgud.com/

https://www.stacygougoulis.com/

Roman Muradov: https://bluebed.net/

https://www.rossmurray.com/

https://www.instagram.com/josh_pettinger/?hl=en

Caitlin Skaalrud: https://www.talkweirdpress.org/

https://www.instagram.com/wei_ss_man/?hl=en

The text is copyright © 2024 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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#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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The text is copyright © 2022 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.

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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"


https://twitter.com/Mister_Walsh
https://michaelwalshcomics.com/
https://twitter.com/zdarsky
http://www.zdars.co/
https://twitter.com/JeffLemire
https://tinyletter.com/JeffLemire
https://twitter.com/edbrisson
http://www.edbrisson.com/
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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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#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"


https://twitter.com/Mister_Walsh
https://michaelwalshcomics.com/
https://twitter.com/zdarsky
http://www.zdars.co/
https://twitter.com/JeffLemire
https://tinyletter.com/JeffLemire
https://twitter.com/edbrisson
http://www.edbrisson.com/
https://twitter.com/ImageComics
https://imagecomics.com/


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

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

Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).