The latest installment of Kim Newman and Paul McCaffrey’s Anno Dracula 1895: Seven Days in Mayhem brings a lot of action and excitement to the Tower of London. McCaffrey’s cover is a stunning juxtaposition of refined beauty and a creepy x-ray—which is very fitting for the atmosphere of this series. The variant covers are great, too. Martin Stiff’s is simple but eerie, as a skull appears to emerge out of the Tower. Tom Mandrake’s cover nicely captures the action of this issue and creates a heroic scene with the heroines ready to battle a horde of crazed vampires.
Martin Scorcese says film is dead. It’s a strong statement meant to provoke discussion, and it’s difficult to argue against someone like Scorcese, a historian of cinema itself. He sees the breadth of everything that has been, is now, and what lies ahead. I want to say to Scorcese that comic books are keeping film alive. Creators like Matt Kindt are keeping the art of visual storytelling not only alive but moving forward. At first Kindt’s artistic style may seem scrappy or unfinished. That’s how I first felt when I picked up Issue #1 of Mind MGMT, but the word of mouth was so good for the series that it was hard for me to pass up. Now, I see him for who he really is. With every panel, Kindt tells a story, and he creates a mood and tone. In Issue #15 of Dept.H, he shows us what it would be like to have a photographic memory, melding time and space to pull us into our hero’s world. In fact, this issue takes us even more into Mia’s world than any issue has.
The five issue series The Witcher: Curse of Crows has been collected into a trade paperback, marking the third volume of Geralt of Rivia stories from Dark Horse and continuing the publisher’s collaboration with CD Projekt RED with stories that tie-in with the hugely popular video games. For fans who have not been sated by The Witcher 3: Wild Hunt, the comic book series further explores Geralt’s fantastical world: a world originally created by Polish writer Andrzej Sapkowski through a series of novels in the mid-1990s that became available to Western readers with English translations beginning with The Last Wish in 2007.
Cullen Bunn is at it again, this time with Brian Hurtt (illustrator) and Bill Crabtree (colorist). Together, they take us back to the days when mobsters owned high-stakes gambling clubs and wore tailored suits, the days of tommy guns and demon keys. Yes, that’s right - demon keys. You see, this universe is populated by demons who have taken rank in the mobster world. This isn’t Sicilian blood that runs through family veins, but demon blood.
In the summer of 1963, Disneyland debuted its newest attraction, the Enchanted Tiki Room. An ambitious show that pioneered animatronics, the Enchanted Tiki Room featured macaws, plants, and statues singing various songs, such as the endearing “The Tiki Tiki Tiki Room.” The attraction was in response to the active tiki culture that flourished in the post-war years; however, tiki culture would eventually decline due to south seas escapism being effectively destroyed by America’s intervention into Vietnam after the Gulf of Tonkin incident in 1964. While tiki culture would remain in hibernation during this period, the Enchanted Tiki Room saw great success, with the attraction later being duplicated in Walt Disney World and Tokyo Disneyland.
I love unusual superheroes, and indie comic book writer Matt Garvey and artist Dizeve, bring us one in The Ether #1. A rather dapper person who wears purple latex gloves and a skull-fitting map of what looks like London on their head, Mr. Ether’s superpowers seem to lie in not only his detective skills, but also in the realm of a being parkour expert rather than have any magical or supernatural abilities (though perhaps we see these later in the series).