Tyler Crook’s artwork is lush and teeming with life, making the world of Harrow County one of the most fully realized landscapes in fiction today. His images are raw and breathtaking. They are both beautiful and haunting. They enliven the imagination by not only showing you what’s on the page, but making you wonder what’s beyond the panels. Without Crook’s artwork, I don’t believe Harrow County would be half as good as it is.
Joelle Jones takes time to mix in some flavorful ingredients into Issue#2 of Lady Killer 2, and it already begins to pay off. The best thing about good storytelling isn’t always in the payoff, but the feeling during the journey that things could go very wrong. That foreboding tickle at the back of your cranium that raises the blood pressure ever so slightly. The excitement and fear of the danger that is about to come. This second issue reminded me in many ways of an episode of Breaking Bad in its cadence and tone, finding a perfect balance between intelligence and enjoyment. It’s everything that this book has the potential to be.
For five issues now, Sarah Winchester has been fighting the literal and figurative demons caused by the violent deaths of the moneymaking and life-ending machine that is the Winchester Rifle. I’ve turned every page with wide-eyed fascination. This part-Western, part-horror story told by Peter J. Tomasi, Ian Bertram, Dave Stewart, and company is fueled by the anger and sadness at the state of the world we live in. This takes on a vivid clarity as the bitter irony of Sarah’s final, hopeful words are spoken. This hope prompts the feeling that we are still living out this tragedy today.
The realities of Hollywood are a strange thing. It can chew you up and eat you alive. For Farrah Durante, this is becoming more and more obvious as the middle-aged actress does everything she can to land her next big role. This is further complicated by a terrifying force that has attached itself to her and doesn't have much of an affinity for the culture Farrah has surrounded herself with.
Betvin Geant and Kay have consistently produced a thoughtful, engaging, and thoroughly entertaining book in Rise of the Antichrist. What’s incredible is that every issue has managed to up the ante in scale and scope, mining the source material and creating a depth of character that drives the plot. The premise of a man with powers and a history of mental illness assuming the role of the Savior makes for an unusual hook, and what makes it truly interesting is the fact that the story rides the fine line between deranged superbeing and actual son of God. Michael manages to always find an answer through his faith, but it’s never overtly evident whether these are actually signs from a deity or the result of a mind searching for answers and finding them in itself. This issue ramps all of these things to 11 and leaves us with one hell of a final page.
Alternate history or speculative fiction stories deviate from a particular pivotal point in history to explore a “what if” scenario. What hopefully results is an intriguing and riveting examination of the effects of that diverging point. For writer J.H. Sanderson, the summer of 1978 was his point of departure. While President Jimmy Carter sought peace in the real world, in Sanderson's allohistory, a moment of aggression sparked off World War III between the US and then superpower, the USSR (Union of Soviet Socialist Republics). In Dangerous Gambles and Renegade graphic novel series published by Compact, Sanderson explores the struggles of a conventional modern war on US soil: food and various everyday sundries require ration coupons, curfews are instituted, and regular blackouts give rise to networks of marketeering, all under an overarching threat of invasion and nuclear annihilation.
In a world riddled with death, despair and giant man-eating monsters, one man does his best to not let the apocalypse get him down!
Three-year-old, London-based, independent publisher Dead Canary Comics is at it again! With a catalogue of comics that touches on bounty hunters, ancient demons, superheroes, frogs, and Shakespeare, Last Driver explores a post-apocalyptic wasteland created by the minds of writer C.S. Baker (The Fitzroy, Reddin) and revered illustrator Shaky Kane (The Bulletproof Coffin, Judge Dredd Megazine). The dynamic duo are joined by letterer Paul Clark-Forse and colorist Boo Cook. Artist Juan José Ryp rounds out the creative team by capturing everything about Last Driver into a fantastic cover.
It’s been way too long since the last issue of Future Proof. Issue #11 involved the mysterious figure from previous issues (apparently called “Umbrella Man”) stepping out of the shadows and organizing a crew of time-traveling supervillains that included Jim Morrison and Amelia Earhart. So, you can see why I’ve been anxious to see how the story continues. Rest assured that this issue does not disappoint.
And so, too, must all things end, and what then?
Have you had that moment when a story finishes, regardless of the medium, and you find yourself disoriented? Like you’re caught between the place you were in the tale and the world in which you pay your taxes and do your grocery shopping? You take a deep breath, your focus having been so completely in that other place that you scarcely breathed, and whatever compelling part of the story that drew you so far in lingers awhile, overlaying your reality like an AR game. This is the feeling that some of the greatest stories I’ve read have left me with, and every one of them lingers into the “waking world” (for lack of a better term), because the truth that lays at the heart of them was powerful. Rick Remender has assembled just this sort of tale from top to bottom, and the finale is wonderfully executed. There's a breath after the last page where you'll need that moment to remove yourself from that world, and the cautionary tale within will stick with me for a really long time.