We’re back in outer space. I’ve been watching every month (even every week) for a new issue of The Weatherman. It is one of the juiciest series being published. It might be because I’m an enormous fan of this kind of science fiction - the kind that’s completely gonzo and embraces it. The kind that Philip K. Dick wrote, or the kind Hunter S. Thompson might write if he wrote science fiction.
I don’t want to condone doing drugs for people who live in places in which it is still illegal. I’m not going to say with absolute certainty that I was under the influence of cannabis when I read this issue. What I will say, though, is that if you were going to choose to read a comic book while high . . . this is the one to do so.
Kengo Hanazawa's brilliant I Am a Hero began as a simple, yet cleverly designed, zombie story. Here, zombies are called ZQNs, and that strong point of view coupled with incredibly beautiful artwork could have been enough, but he has turned this epic tale of survival into a sprawling parable of individuality versus singularity.
I haven’t fist pumped since the '90s. I fist pumped yesterday when I read Black Badge #11 which is the penultimate issue of this story arc (and maybe the series as a whole).
With issue 14, the overarching story of Gideon Falls finally starts to take shape. We now have a better understanding of who the forces of good and evil are in this world, with the terrifying laughing man (Norton Sinclair) on one side, and now Bishop Jeremiah Burke on the other. The importance of characters come more into focus, taking on deeper, richer archetypes as the past catches up to the present. None of this disappoints. Lemire is using the very foundations of reality as his sandbox: the past and present, multiverses, good and evil, and our perceptions of hell with (thus far) no heaven in sight.
Here’s me continuing not to complain that we get more Hellboy stories from Mike Mignola. I sincerely love this world so very much. The esoteric magic is beautiful, and all of the elements I love about the big red guy are on display in this one-shot. There’s a brutal fight that Hellboy “harrumphs” his way through. There’s also a strange magical force that finds its way into the story and shows itself through a very unexpected and playful visual device. The great thing is that the visual device fits in perfectly with the purveyor of that magic.
What a strangely beautiful and poetic world Poelgeest, Bertram, and Hollingsworth have created. All of the characters have one foot in the afterlife and one fighting for freedom and justice in this alternate universe to our own. Though, like with all incredible sci-fi, one can see the exaggerated and hyper-realistic elements of our own world in theirs.
I’m a child of the '80s (born in ’78), so my informative years were spent with The Goonies, Monster Squad, The Lost Boys, It, and other stories of kids coming together and against all odds defeating something way above their paygrades and combined heights. Urban Legendz embraces that really great credo of all for one and one for all, as Dwayne, just entering his teenage years, finds himself a transplant to Brooklyn along with his older high school-aged brother, Curtis, and his dad who happens to be a police officer. They’re moving there from Illinois, leaving the death of their mother behind to start a new life…by entering into their parents’ old life, as Brooklyn was the city Dwayne’s mom and dad grew up in.
Mind MGMT is a seminal work of fiction. Regardless of medium, this is one of the finest works of the past decade, and it was all brought to you by Matt Kindt. To take on the jobs of writer, artist, and colorist in something this complex, with this many moving parts, and t keep up with the consistency of excellence that Kindt does, is nothing short of amazing.