#IReadsYou Review: FARMHAND #11

FARMHAND No. 11
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

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

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 11: “Rootwork”

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

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

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

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

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

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

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

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

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

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

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

10 of 10

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


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


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#IReadsYou Review: WWE #1

WWE No. 1
BOOM! STUDIOS – @boomstudios

[This review was originally posted on Patreon.]

STORY: Dennis Hopeless
ART: Serg Acuna
COLORS: Doug Garbark
LETTERS: Jim Campbell
EDITORS: Jasmine Amiri and Eric Harburn
COVER: Dan Mora
VARIANT COVER ARTISTS: Jamal Campbell; Rob Guillory; Oliver Barrett; Adam Riches; Brent Schoonover; Scott Newman; Corbyn Kern; Daniel Warren Johnson; Mike Henderson; Fabio Valle; Nakia Mann; Audrey Mok; Jerry Gaylord
24pp, Colors, 3.99 U.S.(January 2017)

“Breaking of The Shield”

WWE (World Wrestling Entertainment) is an American integrated media company and entertainment company known primarily as a professional wrestling league.  It is also a media and entertainment brand that includes licensed products like toys and clothing... and comic books.

As far as I can tell, the first WWE licensed comic books were first published a decade ago.  First, Titan Books of the United Kingdom published their wrestling comic book, WWE Heroes, with publication dates both in 2010 and 2011.  NBM Publishing, under its “Super Genius” imprint, published a comic book, WWE Superstars, with publication dates beginning in 2013 and possibly ending in 2016.

Beginning in 2016, BOOM! Studios published several “WWE” branded comic books, including an ongoing series, WWE, that ran for 25 issues from 2017 to 2019.  The main story in each issue of WWE was produced by the creative team of writer Dennis Hopeless; artist Serg Acuna; colorist Doug Garbark; and letterer Jim Campbell, as far as I can tell, for the duration of the series.

WWE #1 (“Breaking of The Shield”) opens with Seth Rollins, a member “The Shield,” one of the most dominant factions in WWE history, winning his latest match.  Seth, the ultimate opportunist, uses his victory to split with his partners in The Shield, Roman Reigns and Dean Ambrose.  Seth apparently betrays his mates at the best of the legendary wrestler, “Triple H,” the self-styled “King of Kings” who is now the authority in control of WWE.

Now, Seth is eager to prove that he is ready to fight for the “WWE Championship,” but his ambition puts him on a collision course with his former brothers.  And just what are Triple H's plans for Seth Rollins... really?

I never thought I would say this, but I liked WWE #1.  I was a wrestling fan as a 'tween, but after that, I rarely watched any matches on television.  In the time since then, I have sometimes watched a few minutes of professional wrestling produced by the WWE (formerly the WWF) and a few other pro wrestling organizations.  I find myself mildly interested, but watching pro wrestling would mean cutting into time I give to other entertainment and pastimes.

WWE #1 interests me because writer Dennis Hopeless tells an intriguing tale in the worlds of professional sports and in the entertainment industry.  That is the story of an ambitious ladder-climber who will betray any and everyone for his shot at making it to the top.  Such blind ambition can get you what you want, but that sometimes comes at the cost of losing things, both exterior (friends, family, colleagues, etc.) and interior (self-respect, peace of mind, pride, etc.).  By telling such a story, Hopeless sets up the WWE's atmosphere both of intrigue and backstabbing and of hope and glory, which could make for an engaging comic book series.

Artist Serg Acuna captures the brawniness and vitality of the wrestlers and also the pro wrestlers' propensity to strike quickly at opponents and adversaries.  Acuna's compositions have energy and suggest a sense of movement, and that is well served by Doug Garbark's tone-perfect coloring.  Letterer Jim Campbell pounds out the story in lettering that smartly tends to hang at the edges of the panels.  This doubles the power of the story, which is told in muscular illustrations and in Hopeless' straightforward dialogue and exposition.

I am not saying that WWE #1 is great, but it is quite good.  The highest praise that I can give it is to say that I will seek out WWE back issues.

7.5 out of 10

[This comic book features the back-up story, “The New Day's Optimistic Odyssey” Part 2, written by Ross Thibodeaux; drawn by Rob Guillory; colored by Taylor Wells; and lettered by Jim Campbell.]

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


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


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#IReadsYou Review: FARMHAND #10

FARMHAND No. 10
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

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

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 10: “In Vocation”

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

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

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

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

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

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

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

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

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

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

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

10 of 10

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


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

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Review: FARMHAND #6

FARMHAND No. 6
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

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

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 6: “ReCreation”

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

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

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

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

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

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

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

10 out of 10

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

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


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

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Review: FARMHAND #5

FARMHAND No. 5
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

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

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 5: “The Antique Lady”

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

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

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

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

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

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

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

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

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

10 out of 10

http://RobGuillory.com

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


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

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Review: FARMHAND #2

FARMHAND No. 2
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

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

Rated “M/ Mature”

Farmhand created by Rob Guillory

Chapter 2: “The Haunted Man”

Farmhand is a new comic book series from comic book creator, Rob Guillory.  Farmhand is written and illustrated by Guillory; colored by Taylor Wells; and lettered by Kody Chamberlain (who also designed the Farmhand logo).  Farmhand focuses on Ezekiel “Zeke” Jenkins, a husband, father, and graphic designer/illustrator.  He returns to the family farm, which now focuses not on “beans, greens, potatoes, tomatoes,” but on the growth of human body parts.

Farmhand #2 finds Zeke struggling with troubling dreams which delve into his past troubles, and he is having a difficult time finding work in the old hometown of Freetown.  Meanwhile, at “Jenkins Family Farmaceutical Institute” (formerly known as “Jenkins Family Farm”), Jedidiah “Jed” Elias Jenkins (Pops) is introducing another patient to the wonders of farm-grown body parts.  Behind the scientific advancements and the hometown charm are dark reunions, unexpected acts of kindness, and the menace of plants that should not be menacing.

Farmhand has a darkly humorous sensibility, like some kind of sparkly black comedy.  Zeke Jenkins is our hapless hero, who does not realize that his misgivings barely scratch the surface of the dangerous topsoil that is his new life.  I wish I could yell out to him, “It's worse than you think!”  Guillory mines the most humor from his hero being over his head even when he thinks that he is ahead of the game.

On the other side, Farmhand's secrets are a menace society, a threat that belies Taylor Well's dazzling colors.  We sing about a circle of life and preach recycling, but do we realize that change, even recycling, is destructive... or at least transforming.  That is “The Twilight Zone” element of Farmhand; one's innocence, naivete, or ignorance does not protect one from the unexpected twist of fate or the macabre reality of nature revealed in the final minutes of a Twilight Zone denouement.

In a way, Rob Gullory's Farmhand is the true sequel and true heir to director Philip Kaufman and writer W.D. Richter's creepy, 1978, version of the classic Cold War-era film, Invasion of the Body Snatchers.  The similarity is not so much about plants; rather, it is in the frightening reality of how the catalyst (the plants) changes one person into something completely new and different.  Snatch a copy of Farmhand; read it in bed, but beware of falling asleep near that glass on your bedside.  There is a mint leaf floating in your tea.

9 out of 10

http://RobGuillory.com

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


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

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Review: FARMHAND #1

FARMHAND No. 1
IMAGE COMICS – @ImageComics

[This review was originally posted on Patreon.]

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

Rated “M/ Mature”

Farmhand created by Rob Guillory

Farmhand is a new comic book series from cartoonist and comic book artist, Rob Guillory.  Guillory is the artist and co-creator with writer John Layman of the hit Image Comics title, Chew.  Guillory is a Eisner Award and Harvey Award recipient for his work on Chew.

Guillory previewed Farmhand #1 two months ago in the Farmhand #1 Ashcan a small, full-color mini-comic book.  Farmhand is written and illustrated by Guillory; colored by Taylor Wells; and lettered by Kody Chamberlain (who also designed the Farmhand logo).

Farmhand #1 introduces Ezekiel “Zeke” Jenkins.  He grew up on his father, Jedidiah “Jed” Elias Jenkins' farm.  Zeke, his wife (Mae), and their children (Abigail and Riley) are embarking on a tour of Jed's farm, which has a new cash crop.

The “Jenkins Family Farm” is now the “Jenkins Family Farmaceutical Institute.”  On the farm, scientist use radical new stem cell research to grow human organs, limbs, and tissue through a combination of plant DNA.  For all that is new in this scientific wonderland, however, something has taken root, and the dark secrets will bloom again.

In my review of Farmhand #1 Ashcan, I wrote that the story bore a resemblance to the macabre side of Americana captured by writer Ray Bradbury and television writer-producer, Rod Serling (“The Twilight Zone”).  I believe that Farmhand is an “American Gothic,” and Guillory is like Stephen King, peeling back the folksy charm of agrarian America and revealing its anthropological roots buried in a rich black soil of dark myths and elder things.

Guillory recently told me that the work of Alfred Hitchcock also influenced the creation of Farmhand.  There is a suspenseful, disquieting quality to the narrative that recalls some of Hitchcock's most (in)famous films, such as Rebecca (1940), Psycho (1960), The Birds (1963).  Unlike the “escape-from-dystopia” films of the 1960s and 1970s (think Logan's Run), Farmhand is “let's-go-visit-dystopia,” and in some of Hitchcock's films, the lead character blithely enters a bucolic, pastoral trap (The Birds).  And Farmhand #1 ends on a decidedly menacing note.

The full Farmhand #1 allows the reader to see the full range of Taylor Wells' gorgeous colors, which so perfectly capture the atmosphere that it is appropriate to call her a “co-storyteller.”  Kody Chamberlain's lettering conveys the shifts in the story from domestic semi-tranquility to strange science to conspiracy and horror.

I hope Farmhand #1 is not a fluke.  There is tremendous potential upon which Rob Guillory must deliver in future issues.

9 out of 10

http://RobGuillory.com

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


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

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Review: FARMHAND #1 Ashcan

FARMHAND No. 1 - Ashcan Edition
IMAGE COMICS – @ImageComics

FARMHAND #1 (Diamond Code MAY180011) hits stores on Wednesday, July 11th, 2018. The final order cutoff for comics retailers is Monday, June 18th, 2018. See preview pages here.

[This review was originally posted on Patreon.]

STORY: Rob Guillory – @Rob_guillory
ART: Rob Guillory
COLORS: Taylor Wells
LETTERS: Kody Chamberlain
8pp, Colors, Giveaway U.S.

Rated “M/ Mature”

Farmhand created by Rob Guillory

Farmhand is an upcoming comic book series from Rob Guillory.  Guillory was the artist and co-creator with writer John Layman of the hit Image Comics title, Chew.  Guillory is a Eisner Award and Harvey Award winner for his work on Chew.

Farmhand Ashcan is a small, full-color minicomic that previews Farmhand #1 (Chapter 1: “You Can Go Home Again...But Why?), which is due for release July 11, 2018 (Diamond ID: MAY180011).  I was able to obtain a copy of Farmhand Ashcan via a friend who received several copies from Guillory.  Guillory gave me permission to post a review of this preview.

Farmhand introduces Ezekiel “Zeke” Jenkins.  He grew up on his father, Jedidiah “Jed” Elias Jenkins' farm.  Zeke, his wife, and their children (Abigail and Riley) are embarking on a tour of Jed's farm, which has a new cash crop.  For all that is new, however, something has taken root, and the dark secrets will bloom again.

Layman and Guillory's Chew, a dystopian science fiction comic book, was both humorous and satirical, similar in some ways to Terry Gilliam's film, Brazil; to the fiction of Philip K Dick, and even to the late Spain Rodriguez's Underground Comix, Trashman.  It was bright and colorful, and Guillory's small press, alt-comix, graphics aesthetic captured the gore, the violence, and the bureaucracy with glee.  Plus, Guillory's graphical storytelling was especially strong from the start of the series, unusual in emerging comic book narrative artists.

Farmhand is different.  It bears a resemblance to the macabre side of Americana captured by writer Ray Bradbury and television writer-producer, Rod Serling (“The Twilight Zone”).  It is an “American Gothic,” and Guillory is like Stephen King, peeling back the folksy charm of agrarian America and revealing its anthropological roots buried in a rich black soil of dark myths and elder things.  Rather than with despair, creator and characters will face the hoary horror with a hoary sense of humor.

Guillory gets into the story quickly with the help of his collaborators.  Colorist Taylor Wells offers rich hues and technicolor flourishes, and Kody Chamberlain's lettering captures the shifts in the story from horror shocks to strange science.

The cover of Farmhand #1 plays up the series' sly, humorous side, but I think the dark fantasy-scary tale side of this story will bloom in full.

A

http://RobGuillory.com

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


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

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