GHOST WHISPERER – Issue #1
Written by Becca Smith & Carrie Smith Art by Elena Casagrande
IDW Publishing

I don’t watch the show much. I caught a few episodes, mainly because I have a crush on Jennifer Love Hewitt when she does jumping jacks, but the show about a girl that can talk to ghosts was… well, a rip-off of Medium. So when I got this book for review, I said to myself, “Open your mind and let in all that is Love Hewitt.” Luckily I did because this was actually a fun read through. Writers Becca Smith and Carrie Smith, whom have to remain separate or will steal each other’s clothing, appear to have some Whedon in them. They could easily write the Buffy the Vampire Slayer comic book as it very much felt like one with their quick wit and spunky tone. Especially when Professor Richard Payne does his best Giles explaining the history of Isis and Osiris, you get the feeling the Scooby Gang was going to pop out any second. Nope, just Love Hewitt and her two friends. The art is pretty good too by Elena Casagrande, again feeling very much like a Buffy or Angel comic book. The girls weren’t overly done in the shapes and curves either, something most male artists exemplify. Sex sells, so go with the flow. Elena says no. Real women wear clothing, and I dig that. So if you like ghosts, Buffy, and Jennifer Love Hewitt in comic book form, then this book is for you.

GRADE: B+ CONTINUE READING? I’ll check out the next few sure, but I get lazy, and if I find out the TV show is still on the air, this might be toast.

SNAKED – Issues #2 & #3
Written by Clifford Meth Art by Rufus Dayglo
IDW Publishing

There was a mix-up of whether or not I was getting these two issues for review, so they’re kind of late. I guess I shouldn’t give out “A” grades anymore. As for the life of Snake Man, Bill Timmons, things get a little “Quantum Leapy” if you ask me. The timeline just jumps around way too much in these next two issues, and makes it hard to follow at times. I can see it working better as a movie, but for a comic book, so much jumping around just… well, I have a headache now after reading them back to back. When you do catch on to where the scene is at, writer Clifford Meth and artist Rufus Dayglo deliver some great stuff here, especially when a young Billy Timmons hangs out with his grandpa and learns about his kind of people. Snake people. Sometimes the political analogy works and sometimes it goes a little overboard; showing the second airplane of 9/11 about to hit, and implying that real snake people actually inhabit The White House. (I won’t mention names, but you know them!) It’s both clever and cliché. I think I like the fact that Clifford Meth is writing this without any fear or regret. He’s just letting it roll, and maybe it’s perpetrated controversy, and maybe it’s disgust for today’s political environment. I admire it, and I’ll continue on with the story of Bill Timmons and his intriguing snake father until there’s no more to read.

GRADE: B CONTINUE READING? If you saw the ending, then yeah, you have to keep reading. That’s a bold statement, Mr. Meth!

WILLOW CREEK – Issue #1
Written by Denny Williams and Christian Beranek Art by Josh Medors
Zenescope Entertainment

There’s something eerily familiar here in Willow Creek, and it’s not the fact that it’s a huge freakin church not too far from me. No, this story has a brother. Or sister. A sibling. Either case, it’s an older sibling, and it might get angry seeing the younger sibling copying them. For those saying WTF right now, I’ll make it simple: Willow Creek is 30 Days of Night… only with werewolves. Right down to the artist choice, Josh Medors, sporting his best Ben Templesmith, and drawing a tale about a sheriff who’s come back to a town that’s inhabited by Bigfoot… but not really. It’s a werewolf. And to talk tough, much like Eben, and then his partner is a woman, much like Stella. And did I mention there was snow? Sigh. Here’s the biggest problem. Because I loved 30 Days of Night so much, I could not for the life of me entirely hate this book. It’s a mirror image of the popular vampire tale from Steve Niles, and here I can’t stop reading and email Steve and say, “Hey, you know about this book?” It’s intriguing to say the least. And to see the second cover look like the cover of Dark Days? Wow. I’m just floored. It’s one thing to pay homage, and it’s another to replicate. I really don’t know what else to say about Willow Creek but… if you’re happy and you know it, clap your hands.

GRADE: C+ CONTINUE READING? Probably for the sheer need to see how far this comparison to 30 Days of Night goes.

THE WALKING DEAD – Issue #48
Written by Robert Kirkman Art by Charlie Adlard
Image Comics

So here it is. The inevitable. Fans of The Walking Dead series feared this would come, and it’s not the end of the comic book series. No, it’s the other fear. The one where more than half the regular cast kicks the bucket, and not in a dramatic fashion either. People you thought would make it out of the prison alive actually end up getting the most brutal deaths, and it makes me wonder, is this the them Kirkman has been telling all along? The good people… die violently? I mean the way he kills off one main character is just jaw-dropping, controversial, and somewhat heartless. But he’s said it all along: Nobody is safe. In this issue, he not only proves it, but slaps the reader again and again and again with violent deaths of characters we’ve gotten to know pretty well in the last 40 plus issues. From a writer standpoint, that has to feel good. Like chains breaking off, and wings growing from the back, propelling you back into the sky of ideas. But for the reader? Damn. I kinda feel bad for you. So if you’re prepared to face that fear you developed after reading four or five issues of The Walking Dead, then jump in, and in Rick’s words, “Just keep running and don’t look back. No matter what happens.”

GRADE: A CONTINUE READING? What Kirkman does from here will truly have fans glued to the page.

And with that, the Comic Book Spotlight comes to a close for me. I want to thank everyone for reading my reviews, and hope you all not only laughed out loud sitting in your computer chair, eating Doritos and drinking beer, but also went out and bought these books from the amazing amount of talent in the realm of comic books and horror. If you want more of my witty wordshots, you can read more of my reviews at another website, Geeks of Doom, under the moniker, Mitch Barracuda. I want to personally thank Wil for letting me run wild here and giving me a chance to share my views on horror comics and film, and Molly for supplying me with what I needed and being there when I needed her. Thank you Horror Yearbook! It’s been a helluva ride!

Read all Mike Fish’s Articles in his Archives

HORROR YEARBOOK: Welcome to the HYB Quickie where three is definitely company! I’m your host, Jack Tripper. Who’s Chrissy because I’ve got some squeezing to do.

(*crickets)

HORROR YEARBOOK: Okay! Joe, you’re the writer of this adaptation of Robert E. Howard’s classic story, Pigeons from Hell. How did you come about turning this into a graphic novel presentation?

JOE LANSDALE: I’ve been a big fan of Howard’s for a long time. I was talking to a representative of Paradox films and he mentioned the connection to Dark Horse comics, and I had worked with Mike and Dark Horse before, so during the discussion I mentioned how much I liked Howard and Pigeons From Hell. He said they wanted to do an updated version, and it grew from there.

HORROR YEARBOOK: Where there any changes, enhancements, or liberties you wanted to take with the story when using this format?

JOE LANSDALE: I mainly wanted to put it in the modern world, draw some things from it I thought were hinted at, and develop some ideas of my own that struck me as suitable and fitting to the story. I wanted it to look really nasty and noir-ish, and I wanted to play with some of the horror conventions that this tale helped create, and then I wanted to twist them a bit.

HORROR YEARBOOK: Nathan Fox, you’re the artist on this ghostly disturbing tale. Was there anything you wanted to do artistically to bring the tale to life visually?

NATHAN FOX: Joe’s script really blew me away. Especially how cinematic and eerie all of the supporting cast, shadows and the plantation house itself become over the course of the story. Artistically I wanted to try and pull that off in pacing and panel structure somehow. That progression and fluidity that cinema can bring to the delivery of the narrative as it unfolds. Ha. I hope it’s working. I am finding suspense/horror a challenging theme on paper. EVERYTHING is exposed the moment you start reading. Aside from a page turn you have to get creative in how you hide or reveal what’s next. So I tried to play around with the panel structure on the pages. They get more hectic and move or run off the page in the direction the character does or shift when something is dramatic then settle back down to the center of the page when there is a quiet moment, that sort of thing. To keep the viewers eye focused inside the panels and where the story is going rather than being able to skim through the panels just reading balloons but seeing it all unfold before they even get to the end of the page. Compositionally I tried to pull that off by using weird camera angles and using a lot of black area to set the mood but also hide what is coming next or try to focus the viewers eye where the story needs it to go.

HORROR YEARBOOK: This is also a very cinematic piece, flowing much like a film on the page. Were you striving for that look?

NATHAN FOX: Very much so. As before, I felt Joe’s telling of the story was cinematic and I draw a lot of inspiration from film/movies and photography. Reading the script for the first time it was easier than most scripts to read as a movie in my head. From the get go I had ideas for where to put the camera, panning movements, lighting and so on. Once I talked to Joe a bit more after we got started I found out a bit more about his link to the Thriller [with Boris Karloff] version and other movies he liked and it all just started to fall in place and lay itself out. I drew a lot from that episode and pay homage to a few of Joe’s influence and that episode specifically in the story. The staircase and basic layout of the set ended up being to the foundation design I used when I designed the rest of the house. Outside of that I drew a lot from Kubric, De Palma, Hitchcock and others for some inspiration and research for drawing suspense and editing ideas. I didn’t watch The Birds, although that would have been completely appropriate. Didn’t want it or any other films to act as cookie cutters for what it would look like but I do remember how freaky that movie made me feel and specific scenes that I dig. I put as much of that as I could in there as well. Stay tuned though. Issue one is just the beginning of the havoc that ensues cinematically…

JOE LANSDALE: It is a cinematic story, and I saw the TV Thriller version when I was a kid. I have a somewhat cinematic style from time to time, and comics lend themselves to that. I wrote the story that was in my head and in my memory from reading it and seeing the film adaptation and thinking about what I wanted to see, and what I thought Nathan would have fun with.

HORROR YEARBOOK: How did the two of you pair up on this? And are you two an old married couple now because of it?

JOE LANSDALE: I didn’t know Nathan or his work before this project, but I adore what he’s done. His style is unique. I think the way he makes the house look inside and out is very good. I also like the fact that his drawings of my characters are unique and not standard.

NATHAN FOX: Ha! I wasn’t really aware of Joe either. I had flipped through a few of the books he had done but never picked any of them up or known they were his at the time. I caught up quick to his work and Howard’s as well. Didn’t know the breadth of his work either outside of the movie and a comic I picked up as a kid, which was Conan as well. I would/will kill to work with Joe again if he’ll have me. I don’t know if it’s the whole southern Texas roots or what but his writing really reads similar to how I draw in my head if that makes any sense. It all flows well is probably a better way to state it. The thing that hooked me on the issue was how much I despised the idea of drawing 5 young adults going to a scary house but then ate my words the minute I read the following page and they stepped onto the porch. He set me up and I was hooked.

HORROR YEARBOOK: After reading the first issue, I was amazed at how much I enjoyed it, even though essentially, it’s a ghost story… a genre I’m not too fond of right now with all the Hollywood remakes. I think it’s because of the way you both interpreted it, more traditional like Evil Dead than scare tactic like The Grudge.

JOE LANSDALE: I think you’ll find as issues go along this becomes more and more interesting, and we play with the genre a lot, but in the end, I actually think I’m pretty true to Howard’s tale. It has already been done in comics, and faithfully, and it was done reasonably faithful on Thriller, and many readers seem to think it has dated a bit, and though I didn’t think so, I wanted to pull readers back into Howard’s story. I’ve always been at heart a traditionalist with a rebellious attitude, if that makes any kind of sense.

NATHAN FOX: Yeah, I’d have to agree. It definitely develops away from the local fair of scare tactic to just flat out freaky the more you get into the storyline. Same with Howard’s original, no doubt. I had hoped we could make it more than just your typical ghost story (even though they’re shadows, and not the NORMAL ghost…). But then again, what is that thing stealing around in the house?

HORROR YEARBOOK: The car scene especially, crashing into the swamp. No ghosts, no spikes in the road. Just a dumb deer. It played well in my head like a movie.

NATHAN FOX: Ha. Yeah, it didn’t read as contrived. I imagined putting a lot of nature into the book from the outset anyway. Bugs, snakes and so forth. That’s what those signs on the road are for, right?

JOE LANSDALE: I thought the deer was the way to go, to mess with expectations.

HORROR YEARBOOK: Nate, your style is very lively and comfortable, especially in the faces. Do you have any influences or artists you admire?

NATHAN FOX: Wow. Thanks man. Figuratively Yoshitoshi and Lucien Freud really had a huge effect on me from the get go. I’ve always found beauty, for lack of a better cliché’, in violence and oddity or uniqueness from one person to the next. Ha! I stare and people watch a lot to boot. Those uniqueness or differences makes it all that much more tangible I think. “Character” has been a big focus in terms of what I want to do in my drawing and even the freelance illustration stuff I do. I always ended up acting scenes out or find myself making faces while drawing to try and put that empathy and emotion into it. Must come from the movies influences and a necessity for constant movement and detail as well. I started out in college wanting to be an animator. I still do, but that empathy with character and figure has always stuck with me.

HORROR YEARBOOK: Now Joe, you wrote the short story for Bubba Ho-Tep. Where did that originally publish cuz I wanna read it!

JOE LANSDALE: It was published in ELVIS IS DEAD, an anthology, but it’s been published in my short story collection WRITER OF THE PURPLE RAGE, and it’s been reprinted from time to time, and as a book with the screenplay included by Don Coscarelli, with photos from the movie. The book version is called BUBBA HOTEP, and I think it’s still available from NIGHT SHADE PRESS.

HORROR YEARBOOK: IMDB lists you as the writer for Bubba Nosferatu. Is that still in the works?

JOE LANSDALE: I don’t know why they list me as the writer of BUBBA NOSFERATU. It was discussed with me, but it never came to fruition. The movie is dead as far as I know. Bruce bailed on it. He’s commented on it online. I had nothing to do with any of the plans for the remake. Don wanted to go a different way. I think my idea was to go pretty wild. I thought that’s what made the first one work, and I still do. As soon as you put a saddle on it, start to tame it, it’s gone and it’s as if the first never existed. People forget ROCKY was a great movie, because the others are such pop shit. Bubba may not have had that kind of success, but in it’s own way it was wonderful. I love the movie and think Don did a wonderful job. I’m sure had he done BUBBA NOSFERATU it would have been wonderful.

HORROR YEARBOOK: So what are your favorite horror flicks? And Joe, keep the list short buddy! Just kidding. List as many as you like.

JOE LANSDALE: My favorite is the original, THE HAUNTING, with Claire Bloom. I love THE UNIVITED as well. TEXAS CHAINSAW MASSACRE, NIGHT OF THE LIVING DEAD, THE INNOCENTS. There are so many. I have to admit I’m very fond of BUBBA HOTEP, and I can say that because I didn’t do the script and the actors were great and the directing was great, etc. It was faithful to my story, and though I’m not sure how comfortably it fits in the horror genre, or anywhere, I really love it. I also adore the original PHANTASM, EVIL DEAD, and all the spin offs from that. I think ALIEN and ALIENS are great, and the latter is also a kind of weird adventure film. HALLOWEEN. So many. I love the one with Bill Paxton as a vampire, and there’s a whole family of vampires and Bigelow directed, and Dark is in the title, but my mind isn’t fire on all cylinders today. [NEAR DARK]

NATHAN FOX: I’d have to say I didn’t watch a lot of horror movies until much later in life but Night of the living Dead, Alien and The Shining really scared the shit out of me as a kid. I watched a bit of late night horror fests and Twilight Zone as a kid as well. Horror anime has been fun over the years as well. Freddy Kruger was probably the first horror character though, as humiliating as this is to admit, to haunt my dreams, literally.
Sheltered suburban youth back then… what can I say?

HORROR YEARBOOK: Any other books or characters you two would like to tackle in the future?

NATHAN FOX: Yeah, now that I’ve gotten a hold of Howard’s stuff it would be great to tackle more. I am a big fan of Japanese folklore and horror films. Would love to tackle the Eastern influences at some point.

JOE LANSDALE: I’d love to do more Howard. I love his stuff.

HORROR YEARBOOK: Are you guys afraid of pigeons now?

JOE LANSDALE: I’m afraid of pigeon shit.

NATHAN FOX: I had always heard about the death association much like the crow kind of thing but I would have to say yeah, just the poop. However I did take pause the other week though. I actually hit one with a car by accident. I didn’t see it in the road till it was too late. They usually fly away at the last minute but nope. This time it was a cloud of feathers and then. Nothing. I couldn’t find the thing to see if it was hurt or alive. It just disappeared. That tripped me out for a few days.

HORROR YEARBOOK: Any last words, fellas?

JOE LANSDALE: Watch where you step.

NATHAN FOX: Sleep tight. Don’t let the shadows bite.

- STOP CLOCK -

Read all Mike Fish’s Articles in his Archives

JOHN LANDIS – by Giulia D’Agnolo Vallan
Interviews from Various Contributors
M Press Books

I got this book a day after my birthday in the mail last month. Little did I know it would be one of the best birthday presents I’d receive in a very long time. The cover alone sports college frat boys without togas, flipping the bird with innocent, comforting smiles, along with two brothers in black on a mission from God, a werewolf in painful transformation, and a fallen hero of modern music, decked out in his shiny red leather jacket, embraced by dancing zombies. How I would study film for four years in college, attend countless parties with movie trivia games, reenact favorite scenes around the cubicle walls, and pace down aisles of video stores without remembering one of my childhood favorites is beyond me. It was always Christopher Nolan “this”, Quentin Tarantino “that”, Jean Pierre Jeunet “who”, and Michael Mann “blue” that I would reference, and yet, in all that time, the guy that made me laugh the most was rarely spoken. The man that made me fall in love with movies as a teenager was inexplicably missing. And so when my birthday present from M Press Books arrived at my doorstep, I found something that I had lost in all of these years of growing up and becoming a certified tax payer, nine-to-fiver, and weekend warrior. I found my youth again in these pages, and I have John Landis to thank for it.

Simply titled John Landis, journalist Giulia D’Agnolo Vallan collects together some fascinating interviews done with the famous director along with many from close friends, colleagues, and cohorts of the past. People like Dan Aykroyd, Jamie Lee Curtis, Jim Abrahams, David Cronenberg, and Joe Dante bring back the good old days of film with their thoughts on John Landis, and opening the door to how each film he made had more going on than just movie magic. There’s incredible insight as to how Rob Bottin started out in Rick Baker’s garage and became one of the best special make-up effects gurus of horror, how John fell in love with his wife and notable costume designer, Deborah Nadoolman, and how John is always casting Frank Oz in his films because he needs an “uptight prick”. In addition to these words of wisdom and wisecracks, this book features some of the best pictures not seen on film; a highlight that not only should be done more for books of this caliber, but one that made me just want buy every single John Landis movie ever made, just to get close or relive some of those memorable moments. Just watching John Landis kiss James Brown on the hand like a king is intriguing enough, and it makes you want to know more about the man that brought us countless comedies and groundbreaking horror films.

Everything you wanted to know about John Landis and his films is in this book. It’s probably why I rarely remembered him in my many sessions of movie talk with my fellow movie buffs. In a time where DVD’s give everything about the film except the director’s credit card number, John seemed to fall to the back of the bus until recently when many of his films were released as special editions on DVD. The Blues Brothers is talked about at great length in this book, especially about how it was cut down a half hour, and now I can get it on DVD and see what I missed out on all those years ago. It’s a game of catch-up, but I’m glad it is. John’s films are something to chew on repeatedly rather than swallow because there is more there at times than just a sight gag. Especially his direction for John Belushi during Animal House, and how Bluto came to life partly because John was guiding him through scenes like a football coach. Even the slapstick comedies like Kentucky Fried Movie and my personal favorite, Amazon Women on the Moon, have a meek sense of detachment from the real world…in order to be realistic. To me, it’s not what John was trying to say in his films or preach a message or tell us how to behave; it was what John wanted to show us. The ability to change resides in all of us if we just look at ourselves and laugh.

John Landis has accomplished so much in the past 25 years, and I just can’t believe I don’t praise him enough for his work. An American Werewolf in London still holds up as one of the best horror movies of all time, if not, the definitive werewolf transformation caught on film. The Blue Brothers is a Chicago staple, and everyone who lives in that city of blues embraces those two characters like family. Coming to America still remains one of the best black comedies ever made, and is considered to be one of Eddie Murphy’s best, if not most quoted films. (Sexual chocolate!) Michael Jackson’s Thriller still stands tall as the number one video of all time, and is often copied even today in films and television commercials. And then there’s Animal House. In a list of long reasons many of us went to college for, one standout was to have an experience like Flounder and Pinto did at the Delta House. Arguable? Maybe. But certainly undeniable that John Landis remains one of the most well-rounded and innovative directors of our time. This book will certainly bring it all back and remind you that he is master at making us laugh until it hurts, jump in our seats in terror, and party until we’re pushed home in a shopping cart.

Thank you John for making my teenage years great.

GRADE: A+

Read all Mike Fish’s Articles in his Archives

PIGEONS FROM HELL – Issue #1 of 4
Dark Horse Comics
Written by Joe R. Lansdale Art by Nathan Fox

Can a pigeon really scare the crap out of you? I’m not sure yet as this new series from Dark Horse kicks off with an adaptation of a Robert E. Howard’s classic story and a nice little hook to keep reading. No pigeons acting like rabid bats or vultures, just buildup toward a nice ghost story and a haunted house. Told in that classic, “What’s in there?” ghost story format, Pigeons from Hell bucks the trend of flashy little girl ghosts running past the screen in their underoos. It kind of has to be told this way in comic book format since there’s no sound, but what really makes this ghost story a nice read is the pacing. This is where many ghost stories just don’t get it: Heartbeat. You have to stay in tune with that pulsating rhythm and ticking clock, and the creative team of Joe R. Lansdale and Nathan Fox are totally on par with this essential element. The objective is to keep moving, no matter what because stopping is not an option until the very end. Lansdale drives the car nicely, especially when the kids take off from the spooky mansion and end up crashing Die Hard-style into a swamp. Nathan Fox draws it nicely too, creating the panel to show what we might see in the movie theater. His style is very unique too, one that adds to the story because it’s not easily recognizable like say a Jim Lee or Erik Larsen. It’s like using an unknown actor, allowing the audience to lose themselves more into the character because you don’t have Scientology issues or mice up the arse bugging you subconsciously. No, this here is a genuine ghost story that I feel has big things to arrive in the next issue. Let’s wait and see.

GRADE: B+ CONTINUE READING? You know me, I don’t like ghost stories much, but this one has me wanting more.

HACK/SLASH – Issue #11
Written by Tim Seeley Art by Emily Stone
Devil’s Due Publishing

So this week brought many great reviews as you’ll read on to see, but Hack/Slash takes a breather from the throne to tell a standalone story that mixes Cry_Wolf with The Crow. It’s not a bad story, but not very original, and ended a bit abruptly. Cassie continues to question her sexuality which is good, but she’s also acknowledging her natural instincts while trying to find the things missing from her life: Her father, identity, and love. So writer Tim Seeley stays on par with that involving and strategically paced path of maturation. The fun part is watching the return of Pooch, the ugliest dog you ever saw that speaks English from the Acid Washed storyline, banging into a window trying to save his master, Elvis. What a goof, and yet, loveable at the same time. I hope Seeley has big plans for him. Other than that, the art is good as usual from Emily Stone, but nothing really new here pops up. It’s kind of a breather issue. Nothing wrong with that. Especially for the things to come. So get ready to put your seatbelt back on for a very cool crossover next month!

GRADE: B CONTINUE READING? The Bump crossover is next with Mark Kidwell vs. Tim Seeley. Horror fans get ready to rumble!

THE DARKNESS – V.3 – Issue #3
Top Cow Comics
Written by Phil Hester Art by Michael Broussard and Dale Keown

Sometimes, all it takes is a lightswitch to turn it on again. You wouldn’t think it for a superhero that strives in the dark, but hey, think the opposite sometimes and you’ll see things you might not have seen before. Phil Hester is pumping in some major thought and juice to this third go around at The Darkness, and is creating a kingdom for Jackie that not only makes sense, but complete. In this issue, we get to see how the good Dr. Kirchner met Jackie, and like many of us knew, learned how he swindled Jackie into letting him live to be one of the biggest threats ever encountered. I mean, it’s true what they say, keep your friends close, and enemies closer, but this is walking on a plank of razorblades with giant saws trying to cut you pieces! How is the skinny, wimpy, creepy Doctor supposed to be Jackie’s biggest enemy next to The Angelus and The Devil you ask? Simple. A man who can turn The Darkness power against its wielder is certainly is a threat, and those Darklings love to party in the flesh! Phil Hester is my new writing idol as he’s really brought my favorite character back to invigorating life. I’m digging the maturation of Jackie, even though he’s been through so much already in two volumes, that he still has a lot to learn. Especially with the Darkness power. It’s limitless, and I’m really happy to see Top Cow allow Hester to explore those avenues. Artist Michael Broussard continues to kick major ass on the pencils, and is joined in by Darkness staple, Dale Keown for some flashback goodness. The Darkness is an exciting book again, and I hope that Top Cow nurtures it like a baby more this time around. Now, turn the lights off and get back to getting busy.

GRADE: A CONTINUE READING? Of course. How’s Jackie going to get out of this one?

SIMON DARK – Issue #7
DC Comics
Written by Steve Niles Art by Scott Hampton

Don’t use the soap. No, not, “Don’t drop the soap.” I said it right the first time-Don’t use it!! Not unless you want to become a zombie from Dawn of the Dead! Everyone waking up in Gotham City is taking a shower with a bar of soap filled with demon creatures that bite the skin and just crawl in, taking over the body and brain and turning innocent folks into zombies. Scary stuff and familiar ground for writer Steve Niles as he continues his excellent run on Simon Dark, establishing a very likeable new character in a city full of them, most notably The Batman. The artwork is what really gives this book a jump above most DC books as Scott Hampton brings a photo-realistic look to the panels and characters without making it look copied or layered. The visual presentation really brings the book to life, especially when a drunk husband comes home late to make some loving with his wife, only to be tossed out window by his zombified wife. Thrilling to see, even in its still presentation. DC Comics has a cult hit here without being a Vertigo title! So stay away from the soap for a month, and stink it up as Simon now has some work to be done with this zombie menace invading Gotham City.

GRADE: B+ CONTINUE READING? Please do. Steve will thank you.

SCREAMLAND– Issue #2 of 5
Image Comics
Written by Harold Sipe Art by Hector Casanova

I’m really loving this book. Told in that raspy, Sam Elliott adult voice with a bit of Hollywood (at least, that’s the voice that triggers in my head!), Screamland manages to mix fantasy and reality like no line ever existed. I mean, I actually buy it, and think monsters do exist in Los Angeles. I remember meeting a few at parties in the Valley, and seeing some at a popular Mexican restaurant in Los Feliz. It’s all good, and I don’t know how writer Harold Sipe is doing it, but damn if he isn’t smiling like he has a secret formula in his pocket for making it all work. Hector Casanova is an artist to recognize because it’s refreshingly original with a bit of throwback, EC Comics style to it. It’s like a 50’s look in color. Hard to explain, but you feel that time period, (well, from the movies, magazines, and TV shows you watched anyway). I’d love to see this on Showtime or FX or some cable channel because I like that mature storytelling with a bit of dark humor added, like Entourage, Dexter, and In Treatment. And it’s like all of those shows put together. Profound and hilarious! Wow. I never knew a casserole could be so exciting, but damn if it isn’t with Sipe and Casanova doing the mixing. The monster meat is delicious, especially with The Mummy in the spotlight here, and I can’t get enough. More more more!

GRADE: A+ CONTINUE READING? Surprise hit of the year folks. Get your ass on this book.

BAD PLANET – Issue #5 of 6
Raw Entertainment
Image Comics
Written by Thomas Jane & Steve Niles Art by James Daly III, Dave Kendall, and Tim Bradstreet

Finally, we have the origin of our alien warrior, and it’s not pretty. Wait, I said that wrong. The story ain’t pretty as the alien warrior had it pretty rough before his race died out, but damn if it’s pretty to look at on the page! James Daly III, Tim Bradstreet, and a flashback painted by Dave Kendall makes this issue a beauty to stare at for hours and think big thoughts about the universe and how little we are, and… Just pass the doobie already, Mike! Kendall knocks it out of the ballpark, unbelievably adding more depth to a series already filled with standout professionals like Steve Niles, Thomas Jane, and Tim Bradstreet. It gives that Heavy Metal magazine feel without being overly epic, staying true to its science fiction roots. How this wraps up in the next issue is going to be hard to swallow, but I trust the pros on this book have big and bright ideas to go out with a big bang. Still, the origin story of this alien warrior is one to add to the classic science fiction creature database, being more unique and tasty than most of the Star Trek and Star Wars aliens. Actually, it nods a great deal to The Fifth Element universe which I wish had more to give us rabid, “multi-pass” lovers, but Bad Planet is definitely one to fill that void for fans of that flick. And hey, now I know how the book got its title! Very slick, boys! Very nice. Now bring on the deathspiders!

GRADE: A CONTINUE READING? You have to. The end is nigh!

LOCKE AND KEY – Issue #3
IDW Publishing
Written by Joe Hill Art by Gabriel Rodriguez

We started with a good ghost story, so we end with a good ghost story. Though very much different from Pigeons from Hell, Locke and Key presents a more dramatic approach, like The Sixth Sense subplot with the mother and boy being unable to connect. Locke and Key goes with an entire family trying to move past the death of the father, and leave the terror back in the past. But when the killer finds a way to escape prison, he heads back to the family to finish the job. It’s a great parallel to the main story of how the daughter strives to get past the event by staying invisible (metaphorically) in her new surroundings. No, her little brother Bode is the one that can run around the place as a ghost. Writer Joe Hill channels his inner Stephen King, establishing the location a little bit more, and the characters inner conflict before moving forward with the antagonists. He’s doing an excellent job too because I thought I’d lose interest after this issue, but quite the opposite happened. Maybe I’m slowly getting back on the ghost story train? If Gabriel Rodriguez continues drawing amazing art and Joe Hill lays on the words just right, I think I might have to drop the disliking ghost story moniker and embrace my inner Casper again. An excellent series that deserves to be a movie.

GRADE: A- CONTINUE READING? Very solid storytelling here and I look forward to more.

Read all Mike Fish’s Articles in his Archives

ANGEL: AFTER THE FALL – Issue #6
IDW Publishing
Written by Brian Lynch Art by Various Artists

So here we have the interruption to our story. It chronicles timelines before and after the big throwdown in the alley with three characters. Well, four if you count the fish (not me by the way), but his before story was pretty short and confusing. Was he a part of the Jaws show at Universal Studios? And what exactly did he do? Make out with the shark? So we first dive into Spike, whom has the best pre-Hell takeover of Los Angeles story. Not only is it coherent to the current story and Season 5, but it’s drawn very nicely by David Messina. Spike is badass, if not for a few pages again. This is what I wanted in the first five issues, not some feminine slave-boy to Illyria. The next story is Connor, and right away, he talks to himself like he’s his own father. Not until he gets confused with all the father figures does he actually start talking like a kid. Writer Brian Lynch apparently didn’t know which Connor he wanted to write about. The warrior almost as deadly as Angel from another dimension, or the brat that slept with Cordelia that everyone hated? Mr. Lynch, try redeeming the character rather than throwing in another ten shovels of dirt on his face! The next story is Lorne, and it’s a poem. It’s an interest gimmick, and it’s likeable, but I think more because of artist John Byrne making it fun to look at. And then we’re left with the fish getting ready to get beat up by a vampire. Some cliffhanger there. Yeah. Either I’m having a bad week or April Fools day came way late for this week’s books, because the reviews don’t get much better from here.

GRADE: B- CONTINUE READING? Can you really stop at this point?

EVIL DEAD – Issue #4
Dark Horse Comics
Written by Mark Verheiden Art by John Bolton

To quote an R.E.M song (because it’s fitting, sad, and eyebrow crunching), “that was just a dream?” How could you, Mark? How could it possibly end like that? I almost tore that last page out of the book, and after writing this, I probably will! Like the next review, there were three kickass issues to start this super deluxe, extended, expanded, non-director, director’s cut for the Evil Dead movie in comic book form. We were treated to some cool moments not caught on film, a new perspective on what happened in the first film from Ash, and probably some of the best Bruce Campbell-speak without actually having Bruce Campbell writing the dialogue. Mark Verheiden was a ninja in those three issues! So the all the way up until this last page, Verheiden is basically Bruce Lee, kickin ass and being funny about it. All bloodied up and conquering every bad guy out there, our Bruce Lee writer enters the last page only to lie down next to the dead bodies and slit his own throat. Harsh analogy, I know, but come on! This was ridiculous, especially for the subject you’re writing about! “Evil Dead… just a dream folks. That’s all it was. Have a nice night. Tell your friends. Just a dream. Evil. Dead. Yeahhhhhh.” What-the-fuck??? I’m pissed! Not only does this one stupid-ass page ruin the entire series grade, but it makes me skeptical in reading Mark’s work ever again. Now if this was Hostel or Miracle Mile… sure, bad dream. I’ll buy it. I can live with that. But Evil Dead??? Bad choice, man. Bad choice. Is this really what you wanted, Mr. Raimi?

GRADE: C SERIES GRADE? B

CRIMINAL MACABRE: MY DEMON BABY – Issue# 4 of 4
Dark Horse Comics
Written by Steve Niles Art by Nick Stakal

Demon babies. More trouble than they’re worth. For Cal McDonald, they’re apparently worth dying for. The final segment of My Demon Baby had a lot going for it from the first three issues, but sorry to say, did not deliver in the end. The best friend, Mo’Lock, doesn’t really have any serious injury I guess after getting split in half by the crazy Templar Knight, and Cal quickly changes character around the baby, losing everything in his messed up personality…for baby talk. I know what Niles was trying to do here, basically showing that the magic of babies will smooth the skin of any hardass, but the writer took the wrong approach to get there. It was rushed and out of character for Cal to quickly to succumb to the baby cheeks and cuteness. Not to mention, the baby could be the anti-christ, and even proves the amount of power it has by saving Cal’s life in the end, but then… hey, give it a chance at life Cal says! Just doesn’t make sense, and while Cal never made sense in his decisions, this one is a tough one for the reader to get their noggin around. I feel that a mother figure was desperately missing from all this. The art also gets a little crazy, as I’m not a fan of floating cars much and massive areas of what I like to call, “Swoosh”. Need action? Draw a large area of swoosh! I love ya Steve, ya know that, but this issue made me cry on the toilet. And no man wants that.

GRADE: C SERIES GRADE? C+

JENNA JAMESON’S SHADOW HUNTER – Issue #2
Virgin Comics
Story by Jenna Jameson Written by Christina Z Art by Mukesh Singh

So after a pleasant start, Jenna Jameson’s Shadow Hunter tries to gut the fish and give readers everything… even the unwanted bits. I’m not a fan of books that spell it out or lay it on so thick that your mind walks away to the nearest TV commercial. I like the concept of this book, but in issue two, we’re supposed to know everything about Jezzerie’s power, family and purpose as she talks out loud like a mad Captain Kirk on crack. Maybe it’s just me and my slowrider Harley of dramatic buildup that entices me, but this book made me stop more times than a lost tourist. Luckily, Mukesh Singh is just keeping me dizzy from the excellent artwork he’s pouring into this, but damn does JJ and The Z need to keep the mystery here a little bit. I mean, I’m all for having sex on the first date, but not in the first hour of it. (It takes me about a half hour to read an issue. I savor it. Sometimes read it twice.) So Shadow Hunter plummets from a respectable start, and is in danger of me ditching it like a roast beef sandwhich near a stripper pole. Cradle your characters girls. Take it slow getting to the big reveal. Tease the audience. “Is it her dad? Who’s her mom?” Let me stay on the bike for awhile.

GRADE: C- CONTINUE READING? Shit, I don’t know. This one really played like a bad 70’s flick.

Read all Mike Fish’s Articles in his Archives

Special Thanks to Top Cow Productions for providing this spotlight. Visit the cool Wanted website at www.wantedmovie.com for more information on the movie coming out June 27th and the critically acclaimed graphic novel.

When the daily grind becomes numb. When the sex becomes dry. When the world around you thinks life is all about beating you down and never letting up, you imagine. You imagine if one thing in your life changed, it would make a difference. For Wesley Gibson, his life changed the moment his father was killed, and it’s a turning point everyone would kill for. No more bad days. Not for you at least…

WANTED
Written by Mark Millar Art by J.G. Jones
Top Cow Publishing

One day, the bad guys will win, and the good guys will lose. For now, Superman will always beat Lex Luthor. Batman will always beat The Joker. Wonder Woman will always beat… uh… puberty? But what if the bad guys won? Not just a battle. That’s been done. I’ve seen Spidey get his ass kicked enough times already. No, I’m asking…What if the bad guys won the whole freakin war? Not only that, but what if the bad guys beat every single mother effin good guy on the planet? Don’t see it happening? Guess again. Wanted has delivered the goods, and with an ever-lovin middle finger I might add.

Soon to be a summer blockbuster filled with other comic book movies like Iron Man, The Incredible Hulk, and Hellboy 2, Wanted stands to be the underdog amongst those heavyweights. Not only does it have one of today’s hottest but relatively unheard of, stylish and frenetic visual masters of direction, Timur Bekmambetov (Night Watch trilogy), but the film also features the always sexy Angelina Jolie being more badass than she was in Tomb Raider and Mr. and Mrs. Smith. So what’s the underdog to do? Get the people to read the source material! And that’s where I come into play, as I am very happy to oblige.

Wanted is probably one of the best graphic novels created in the past ten years, if not, the best supervillain story ever told. It stands tall next to the likes of The Watchmen, Sin City, and The Dark Knight Returns. (And some of you know, The Watchmen is also slated to be a movie by 300 director, Zach Snyder.) Written superbly by Mark Millar (The Authority, The Ultimates) and fantastically drawn by J.G. Jones (52), Wanted simply tells it like it is in this day and age of teenage girls ganging up on one girl to make silly putty of her face, just to show it on YouTube. The world is full of bad guys, and the only way to survive is to become one. It’s a book that makes a statement for sure, and I’m trying to resist the urge to swear like crazy in this review as Wanted has a very profound affect on its reader.

The premise is that the bad guys have won in the year of 1986, and all the superheroes have either been killed or crippled. The baddest of the bad is a guy that goes simply by the name of “The Killer”. As he’s about to have a justified threesome with two strapping male prostitutes, he get his head blown off from two cities away. This isn’t your average run of the mill Paste Pot Pete bad guys either. Nope. In Mark Millar’s world, these bad guys are good at what they do. So when the baddest, most lethal foe gets taken out of the picture, the supervillain society is shocked and shaken. The later being in the construction of a society where the supervillains basically run the country, and have free reign on beating, raping, and killing whomever and whenever they damn well please. What about the cops you ask? Yep, even them. So once The Killer is out of the picture, two chess pieces move into place. One of them being the lost son of The Killer, Wesley Gibson.

Stuck in a dead end job where the boss abuses her power and living with a girlfriend that sleeps around with all her coworkers and his best friend, Wesley Gibson one day gets a phone call from The Fox. (Think Halle Berry from Swordfish, but will be played by Angelina in the movie.) She informs him his father has just been killed, but has left him millions of dollars and a chance at a new life. The first thing he has to do in order to get that inheritance is to stand up, and tell everyone around him in the office, “Fuck you, you fucking assholes!” Do you do it? Hell yeah! It’s a classic moment that immediately brings the reader to Wesley’s side of the bargain. It’s just a shame that in reality, most of us want to stand up and do that!

From there, per the inheritance agreement, Wesley must lose the cowardice and feminine emotions his mother instilled in him, and not only become a man tied up to a chair while getting beat up by a lumberjack every week, but a cold-blooded killer as he takes a saw to farm animals everyday and hacks them up into burgers. In short, desensitization. Remember, there are no heroes in this world. Just villains, and for Wesley to survive, he must act, think, and live like one. Especially since it’s in his blood to be one of the deadliest marksman’s on the planet. From there, Wesley takes on the world with a new attitude and a gun, and there’s nothing that can stop him.

Mark Millar has written something without restraint and regret. Writers tend to fear this path because it’s risky. The content alone could either propel you to the top, and lucky for Millar, it has, or it could very well sink your career. He takes the perspective of the bad guys, and makes it common which is very hard to do. Rape? It’s a common thing. Kill cops? It’s a Saturday. So right away, this book is not for everyone, especially kids under 18. Because if you watch the news today, kids are messed up. Having them read this book is like handing over a gun. So that’s the only drawback of Millar’s tale. For those that are mature and understand this is fiction, then it’s the best comic book you’ll have read in a very long time.

J.G. Jones is the perfect choice for artist on the series, and he compliments Millar’s words perfectly. The complete collection even shows some of the changes that we made for dramatic effect, and Jones would hit it spot-on right away, or the requests from Millar would be filled with vast improvement. Jones worked very hard on this book, but you can tell he loved every minute of it. Each panel has a Panavision camera, and it’s easy to see why a movie would come from it.

Unfortunately, from the previews at least, it looks like the superheroes and villains have been taken out of the movie. In fact, I don’t think Wesley has his cool costume either. I think they mention it being an Assassin’s Guild of some kind, so that’s going to be interesting to see as the graphic novel really captures the conflict between good and evil using superheroes and villains, molded from some of the most recognizable. (Part of the fun of the book is to see who is who along with silly names like Shithead, Fuckwit, and Johnny Two Dicks.) But I don’t see that being a problem since the book is always better than the movie. However, after reading the book, I’m dying to see what they do with the source material on the big screen. I highly recommend this for comic book fans, and even higher for those wanting to see the movie. (Pun intended). Just make sure to keep the swear words at work to a minimum, don’t let your girlfriend sleep with your best friends while reading it, and have a Slim Shady CD ready to play after you read that last page. This is my face while I think of Wonder Woman bending over to pick up that rope.

GRADE: A+ HIGHLIGHT? Too many to list. The last page is brilliant. What a way to end it. Gritty, raw, and in your face, Wanted rocks the supervillain house!

Read all Mike Fish’s Articles in his Archives

HALLOWEEN: NIGHTDANCE – Issue #3
Devil’s Due Publishing
Halloween Comics
Written by Stefan Hutchinson Art by Tim Seeley

Ready for a shocker and not of the three finger kind? This issue rocked! There was some stumbling in the beginning with the flashback of the girl and boy getting locked into a basement, but everything else appeared to hit the dartboard and score big points. The subplot finally meshed well with the main storyline, and writer Stefan Hutchinson appears to have warmed up the slow-moving train of a story, creating a solid pace while keeping the drama down to a “just right” level. And no speak of silly stars! Woo hoo! Tim Seeley on art duty really scores big here as the climax really lays down the sentiment and shock value to this book. We really feel for what happens to a certain character’s demise all because of how it was drawn. Just the look on the kid’s face before the second whack lands on the back of his head really leaps off the page, not to mention no words in the moment as the reader feels that blunt instrument clearly. By far the most memorable and heartfelt victim at the hands of Michael Myers, if not, any other slasher moment in a comic book. And did I forget the boobs? No? I don’t forget boobs. There’s boobs in this book. Nice ones too. Well drawn, Mr. Seeley. So put down the shocker, and get out the titty twister because Nightdance has just scored a big invite to the “No Pants Dance”!

GRADE: A- CONTINUE READING? Roger that, good buddy.

BUFFY THE VAMPIRE SLAYER – Issue #13
Dark Horse Comics
Written by Drew Goddard Art by Georges Jeanty

It’s good to laugh with Xander, especially when he’s manservant to our Lord of Darkness himself, Dracula! This issue we learn how the vampire attack at the mansion happened with the strange but familiar powers, and it’s all because of a certain bloodsucker losing a bet in a card game! Huh… sounds like me. The comedy continues from writer Drew Goddard, and it’s a relief as most of the series has been quite dramatic. Finally, a wind of the first and second season humor comes back with Xander, Willow, and well, Andrew came later, but the kid is super funny in this one dressed up in his George Hamilton “Dracula” suit. The comedy is definitely back to fulfill that need fans have been wanting for awhile now, probably dating back to Season 6. And I always wondered why Dracula was a “one episode wonder” on the TV show as he seemed like a cool but humorous cat to hang around at times. But I can see with Spike firmly planted in that brooding role already, it was kind of hard. But hey… there was Angel too! I’m having a blast with Drew Goddard on writing duties, and by the end, I was begging for this to be a TV show again because it definitely felt like it. Georges Jeanty really pours on the pencils here, and it’s probably one of his best issues as the consistency of his art stays near or spot-on to the actors. The climax has a firm grip on my balls too, as the vampires figured out how to relieve all the slayers of their powers, and here crazy Buffy gathers ALL of the slayers to go fight them. And then you got Dracula pissed off, and ready to head to the fight as well. It’s gonna be a bloody mess, but a damn good one.

GRADE: A CONTINUE READING? I’m surprised I didn’t see this coming a mile away, but the writer of Cloverfield is bringing the Dawn to Japan, and there’s just gotta be some building stomping going on there!

SILENT HILL: SINNER’S REWARD – Issue #2
IDW Publishing
Written by Tom Waltz Art by Steph Stamb

This story continues to drive like a midnight ride with a hot lady in the passenger seat, only you’re going to Silent Hill for the payoff. It’s a very comfortable pace, even with all the time jumping that sometimes disrupts where you’re at, but still flowing enough to stick with it in one read. Tom Waltz has thought this one out pretty good, and I like where he’s taking us, keeping both the straight story and the stigmatic Silent Hill atmosphere holding hands throughout. This would make for an interesting video game as it leans more toward the linear aspect of Resident Evil than its Silent Hill counterparts. I like the hitman angle as well since we want to enter the town of Silent Hill strong for once rather than weak and uninformed. It’s a refreshing take on the ghost genre, so to go in guns blazing and see how tough you really are is a good setup technique. The art is very cool, modern film noir look by Steph Stamb, reminding me a little bit of The Evil Dead comic book, and sexy at times as the flashback to the boss’s wife and the hitman in bed had me riled up a little bit. I’m really impressed with this series, and I’m really looking forward to where this goes and how it ends. Just don’t screw it up like The Ruins, Mr. Waltz. Man, that movie better have an alternate ending on DVD.

GRADE: A- CONTINUE READING? Still kickin butt in the story department, and the art is really tasty too. Keep on driving…

SPOOKS – Issue #3
Devil’s Due Publishing
Written by Ryan Schifrin and Larry Hama Art by Adam Archer

This book is weird. After a dreadful second issue, the third one comes along and repairs some of the damage caused before. Kinda like band-aids with the healing cream, only for writers having trouble with dialogue. (Dialogue cream? Holy cow… I’m rich, bee-yatch!) That doesn’t make this book great though as it still strives for the Saturday morning cartoon audience and not something as believable as The Monster Squad. The half-witch thing is stretching it a bit as she uses her powers a lot, but the dumb soldiers around her just kind of shrug it off as a “That was weird” moment. Yeah…no. Not gonna fly. I liked Frankenstein’s monster in this issue as he was cool in his action star pose toward the end, and the half-witch from the neck down is pretty darn sexy. Why her face looks like a goofy Dharma that just burped is beyond me. But yeah, this series feels out of place for the most part, like it was supposed to come out when the X-Men cartoon was on the air. Hey, it’s still better than that Van Helsing movie, but not by much. So, yeah, there was a little war here as the humans shoot up vampires, werewolves, and a big non-STD crab, but I guess there’s more on the way, especially with a chopper full of “red” G.I. Joes. Hopefully the pacing slows down a bit and gives a more insightful approach to the characters than the action.

GRADE: C+ CONTINUE READING? I guess. Not dying for more though.

BENEATH THE VALLEY OF THE RAGE #4
The Scream Factory
Wowio Comics
Written by John Bisson and Robert Kurtzman Art by Stephen Thompson

Download this series and other Scream Factory books for free at Wowio!

When Fangoria Comics suddenly dropped off the map last year, I quickly went to the man running the show, Scott Licina, and asked about one of my favorite books of 2007, Beneath the Valley of the Rage. See, Fangoria Comics cut off issue four here when Fango called it quits on the comic books, so it was just sitting out there in limbo… until now. The Scream Factory has taken over most of the Fangoria Comics books, and as an added bonus, has put them all up on Wowio to read for free. Sweet deal if you ask me, especially for you folks out there hearing news about the new movie, Bump, based on the comic book by Mark Kidwell, starring Hellraiser babe Ashley Laurence, Sean Patrick Flannery, and Jigsaw himself, Tobin Bell. But back to Beneath the Valley of the Rage, which was a prequel itself to the movie by Robert Kurtzman entitled The Rage. That has made its way onto DVD, and I have to admit, the comic book blows it away. Maybe because the comic book was so damn good that I had very high expectations for the film, but I swear, if I hear another zombie vulture squawk like an irregular whistle, I’m gonna punch a baby and a puppy… and I won’t feel good about it! It’s weird when you read all four comic books that this all leads into the movie because I’d rather see the comic book as the movie. Mix Big Trouble in Little China meets Indiana Jones and a bit of Congo, but with tons of blood, guts and beheadings. Not to mention a kickass sidekick named Dirty Sanchez, this comic book series has it all. So I’m glad to have finally picked up the fourth book and finished the prequel. But Robert Kurtzman’s movie hurts this series now, and the ending to this issue sort of leads into the movie making it a little sour in the mouth, knocking it down a grade as well. Still, some solid writing from John Bisson and some great art by Stephen Thompson should easily sway folks into reading this gem of a horror series, and if you skip the movie, then you’ll be able to see the “A” grade it previously had. And how can you pass up a free deal? Check out The Scream Factory on MySpace for more details or go straight to Wowio and start downloading Bump and this series, and then thank me later. I like green paper, fast women, and ice cream. Thanks!

GRADE: B+ SERIES GRADE? B+

Read all Mike Fish’s Articles in his Archives

ANGEL: AFTER THE FALL – Issue #5
IDW Publishing
Written by Brian Lynch Art by Franco Urru

Let’s get ready to rumble! The major players enter the battle for Angel’s life and basically the future of Hell-A, and… well, it gets cut short like a fire drill interrupting a strip poker game as the big-breasted Hooter chick you took home is about to take off her Victoria’s Secret bra. Some sort of gimmick comes into play as the story is put on hold for another story to make an entrance just as Illyria changes back into Winifred, and the T-Rex throws down with the Buffy Dragon. The writer actually acknowledges the “cruel” trick on the last page, but it’s not exactly cruel. It’s more like a bitch slap, basically telling his readers that, “Hey, I’ve got you in the palm of my hand, so now watch an hour of Love Boat, my slave. And no… not the original show either. The NEW Love Boat.” Not sure who polished the brass balls here, whether it was the publisher’s idea or Numfar himself, but if this idea doesn’t go according to plan, Angel fans are going to be even more pissed off after watching their favorite vampire clang a sword at the end of “Not Fade Away”. So yeah, there’s not much to write about for this here issue as it’s all setup. Nobody dies. Nothing is wrapped up. Nothing really revealing, and the definition of story arch gets thrown into the meat grinder. The clock is now ticking Mr. Lynch and Mr. Whedon, and the patience of Angel fans is certainly being tested. I’d really hate to be in your shoes right now.

GRADE: C CONTINUE READING? Unfortunately, I’m a slave for these characters, so I’ll be checking out this interruption called, First Night.

SIMON DARK – Issues #6
DC Comics
Written by Steve Niles Art by Scott Hampton

Simon says kickass. DC Comics newest dark hero in Gotham City makes Batman no longer the ultimate shadow walker. Nope, Simon Dark lives up to his name as he’ll pop out of nowhere and kick your butt for a bowl of Spaghetti-O’s. Simon learns more about himself in this issue as he retraces the footsteps made by his dark magic worshipping parents, and then finds his mission is to protect people from a very bad man using bar soap as a killer. What I like most about this book is the look it has, mixing James O’Barr’s The Crow with Batman. I was a big fan of The Crow until it faded away because of terrible movie sequels, so for me, it’s sort of a vicarious, wishful thinking that Simon Dark is Eric Draven. Steve Niles also loves his Frankenstein, and that’s a clear influence and a nice touch to the character’s inability to function as a normal human being. I also like that this series only speaks when it’s necessary in the captions and doesn’t ramble on, keeping the mystery alive but also setting a comfortable pace. Each issue gives a slice of the Simon Dark pie, letting the reader enjoy a little bit more and always opening the door for next time. And every month, I keep coming back for more. Simon says eat more Simon Dark pie!

GRADE: A CONTINUE READING? This is a great book, and like Hack/Slash, I’ pretty sure I’m here for the long run. Well, until Guy Gardner shows up. God, I hope not.

LOCKE AND KEY – Issue #2
IDW Publishing
Written by Joe Hill Art by Gabriel Rodriguez

I can’t stand ghost stories, and yet, I love this series. Granted it’s only two issues in, I’m hungry for more. Through the past what, ten years at least, Hollywood has been pumping out ghost stories left and right, mainly remaking them from Japanese imports. Only a few like The Devil’s Backbone and The Sixth Sense really grabbed me and made me enjoy the tale of things “there but not there”, but the rest of Hollywood’s Evil Casper clamor just made me groan like a hippo giving birth. And maybe that’s why I love this book because it has a taste of both of those movies I mentioned. It’s told mainly from a child’s perspective, Bode, having the ability to die in front of a doorway and become a ghost, floating around the house and spying on his family in his cool new birthday suit. He has a friend in a water well, kind of like Samara from The Ring, but can actually spit out a sensible sentence. Joe Hill is churning out great writing as he leads the reader through a complex story without overcomplicating things. I think that’s the key (pun intended?) into having most of the narration come from Bode as it’s simple and humorous, dare I say, cute. Strange thing is that it feels like a Clive Barker book, but that’s probably me because of artist Gabriel Rodriguez and the everlasting imprint he left on his previous series, Clive Barker’s The Great and Secret Show. His art rocks. Locke and Key is a surprise for ghost stories looking to run away from the common scare tactic film structure, and Joe Hill acknowledges that fresh start for the subgenre with his superb writing. Gabriel Rodriguez brings the words to life with his fantastic art, and I’m addicted. A real winner for IDW.

GRADE: A CONTINUE READING? And did it get better! Wow. This is a great ride folks. Unlock it for yourself.

SCREAMLAND– Issue #1
Image Comics
Written by Harold Sipe Art by Hector Casanova

A gigantic spider as a bartender? Now that in itself makes this book awesome! There have been many of nights and many of bars where the bartender has made me look like an idiot in front of the ladies. “Please serve me. I have money!” But enough about me. Let’s talk about Screamland, a new twist on the classic Universal monsters team-up as all of the favorites like Dracula, Frankenstein’s monster, and The Wolf Man try to survive today’s Hollywood movie-making machine. Take one part The Monster Squad and mix it with HBO’s Entourage, and that’s basically this book in a nutshell. And it definitely meets that high level of entertainment as writer Harold Sipe brings sharp wit and laugh out loud humor to the comic book show along with Casanova’s sleek style of art. The first issue finds Frankenstein’s monster trying to stay in Hollywood, getting roles even Pauly Shore would pass up. Along with Carl the Wolf Man, times become tough when they’re no longer in the spotlight. So when Frank’s attractive and human agent comes calling with a new acting gig that gets the band back together, namely Dracula, Wolfman, Mummy, and Frank, well, it’s a job they can’t pass up. Especially after Frank’s previous effort to make money, the disastrous (yet extremely humorous) website business venture. Sipe and Casanova have a fun book on their hands, and it won’t be long before the comics world takes notice of Screamland. This is what Spooks from Devil’s Due should be. A careless ride down Sunset Blvd with a bunch of monsters in your car looking for the next acting gig and a way to party like it’s 1931. Oh yeah! Oh yeah!

GRADE: A- CONTINUE READING? You bet. Screamland is a scream, and not the terrible kind.

FREDDY VS JASON VS ASH – Issue #6 of 6
Dynamite Entertainment
WildStorm Entertainment
Written by James Kuhoric Art by Jason Craig

The nail is finally in the coffin to this series. Praise Jeebus. As expected, more cut and paste from the movies intertwined with the three main characters is used like cheap cologne on a cheap date. “Hey! How bout the scene where Ash shoots the shit out of the witch in Army of Darkness… how bout we put Jason in there instead? Brilliant!!” Yeah, and so are my farts under lighter fluid. This was definitely a series for fans who didn’t mind this kind of replacement of popular moments from each franchise, and I certainly envy them for enjoying it. For the life of me, I tried to lose myself in this story. I mean, I have the ability. I was able to do it for Deep Blue Sea, Eight Legged Freaks, and Snakes on a Plane. Why not this? And the answer still shines like a burning star: originality. Those movies took the campy idea and made it into something new. Gave it legs, arms, and a chunk of cheddar for the head. This series? Nope. It seems it just wanted to prove the three characters could coexist with one another, and that’s really about it. “Hey Hollywood. See? I told ya!” We already know two of them can from the movie, so it’s not hard to throw Ash into the mix. But why cut up each movie and tape it together like a third grade art project? Make it original. Make it new. Make it enjoyable. And the ultimate insult to injury to end it all? Ash puts on Elvis glasses as he rides of into the sunset, nodding to Bubba Ho-Tep now. Just stop already! Oh wait. It did. Praise Jeebus.

GRADE: C- SERIES GRADE? C

Read all Mike Fish’s Articles in his Archives

MEATHAUS: S.O.S – Trade Paperback
Written by Various Writers Art by Various Artists
Nerdcore Website

Variety is the spice of life, and lucky for me, I love the spicy stuff. General Tso Chicken, Pace Picante Sauce, Wasabi Almonds, and Buffalo Wings. (With the chicken, Jessica.) So when it comes to movies, field trips, dates, and of course, food, the wider the scope, the more fun I’ll have. That definitely goes for books as some of my favorites are collections of short stories from the likes of horror masters Clive Barker, Steve Niles, and Stephen King. So when I came across Nerdcore’s comics anthology, Meathaus: S.O.S, I welcomed the many different and stylish yarns with invited hands, even though most of it wasn’t horror-related.

Filled with a wide range of storytelling and artistic measure, Meathaus: S.O.S. somehow acts as one entity to the reader, as if the voice starting from Farel Darymple’s Fotogloctica carries into the next writer/artist team until the very end. This is probably pure coincidence, but in reading the forward, it appears that many of these creators were friends, therefore giving some sort of uniformity to the work, no matter how different each story was. For the short explanation of it all, Meathaus: S.O.S. is The Breakfast Club of comic book anthologies. A deep message about the human spirit and the need for imagination in our daily lives, delivered with a gentle pat on the reader’s back. It’s touching to say the least.

Right away, the book starts out like a Wes Anderson flick with the aforementioned Fotogloctica. I could definitely see Anderson making this into a short movie as it has his infamous quirky sense of family attached with enduring moments of beauty and sadness. I’m not sure if Farel Darymple is a big fan of Anderson, or is indeed himself Anderson, but if it’s neither… well then I’m hoping he’s flattered with the comparison! His story is a great way to start out the book, and one of the highlights of the entire collection. From there, the adventure continues in a format reminiscent to MTV’s Liquid Television, featuring shorts that will make you grin with heavy thought. Especially when we reach The Computer and The Tree by Jared Purrington. It’s a style that on the surface appears simple, but the message is buried deep in the parallel between technology and nature. It’s a very cool delivery, especially in this day and age where morals are a hard sell. It’s definitely a story that will engage conversation amongst friends over dinner or coffee as well.

Sticking with the Liquid Television comparison, the “Aeon Flux” of the book is a story entitled The Dirties by The Hanuka Brothers. It seems like if you want to make a stylish and intriguing book these days, you have to do it with your brother, a la The Luna Brothers (Girls, The Sword). The Dirties does emit emotion, but in such a small way where love or death is not the key to drama, but childhood innocence. The story chronicles two brothers looking out for their sister whom was injured badly by the so called Dirties gang. They’re fighters, and venture out to a place where the bad guys that beat up their sister live. But in the end, it’s revealed differently from the girl’s perspective on what happened giving a sort of Twilight Zone twist to the story that pays off well. Not only is The Dirties drawn superbly, but just leaps off the page creating a memory that the reader will not shake for days. I’m still thinking, working out the details of the narrative, even after about a week from reading it.

The rest of the compilation doesn’t let up with underlying messages and wholesome truths found in the dark places of our mind and hearts. A man encounters a dog on the verge of death, and finds the dog is able to grant him a wish before he passes to the next life. The decision the man makes is one that invokes thought, and I like that kind of message in a story. Not only does Marian Churchland grab the heart and make it weep, but also makes the reader basically yell at the main character to make a wish already! Excellent pacing for this untitled piece. And many others don’t appear to have titles, so it’s a little more difficult to go into more detail about them, but they all share that common theme of life being more than a thought, but a stream of consciousness. It’s constant, and if you’re not careful, life will definitely kick you in the ass. So says Mr. P., the assuming raw Porterhouse steak for a friend in Firefox 49, as I related to this piece of work to great lengths. Life is full of ups, downs, and unwanted floats. Take what you can get to stay afloat, and mainly to keep a steak with arms, legs, and that talks from calling you a jackass. It’s weird to read, I know, but once you read it, you’ll understand where Jim Campbell and myself are coming from.

This is a great anthology for travel, as it’s filled with so many different stories from different angles, but intertwining beautifully for intermittent conversations and dare to say, coffee breaks. Meathaus: S.O.S is not to be left at home. By train, bus, bike, or airplane, this comic book anthology acts like a friend with some free time, and will definitely keep you company.

GRADE: A

By Mike Fish

Interview by Mike Fish

HORROR YEARBOOK: Welcome to Horror Yearbook, Georges. You’re the artist on Buffy the Vampire Slayer Season 8 for Dark Horse Comics. How’s that going?

GEORGES JEANTY: It’s going great! All of the people at Dark Horse have been incredibly gracious! This is my first gig with them and I couldn’t be more pleased. My editor, Scott Allie, has been very patient while I’ve tried to meet certain deadlines.

HORROR YEARBOOK: Are you Canadian? I ask because the only other “Georges” I know of is UFC Champ, Georges St. Pierre, one of my favorite fighters. He’s friends with red leaf flaggers, Terrance and Philip.

GEORGES JEANTY: Ha ha, that’s funny. No, not Canadian unless you count being Canadian by way of Haiti. My name is of French persuasion, but my heritage is Hispanic and my nationality is American. How’s that for a melting pot? I’m not familiar with St. Pierre, but I do know Terrance and Phillip, we’re old fart buddies!

HORROR YEARBOOK: Gotta love South Park. How long have you been drawing Buffy?

GEORGES JEANTY: I’m coming up on the two-year mark—as much as that is hard to believe! I got the job about six months before the book was scheduled to come out. So I’ve been involved with Buffy for quite some time now. She is a harsh mistress, but she keeps you coming back!

HORROR YEARBOOK: How did you land the job in bringing Buffy Summers back for another season on CBTV? (Comic Book TV – it’s catchy)

GEORGES JEANTY: CBTV… yeah, I can see it now! I think that may just start a whole new trend! I wonder who owns the rights to the Love Boat? I’d love to see that continue. There were so many unanswered questions form the show!

It’s a long story about how I got the gig, but the short of it is I got an e-mail from Editor Scott Allie asking if I’d be interested in this book called Buffy the Vampire Slayer. I didn’t admit to Scott that I had never watched an episode of Buffy but I was looking around for my next project as I was finishing the book I was on—The American Way. I took the job thinking it would be a temporary thing; and here we are 2 years later and still about 25 issues to go! And here I thought I feared commitment . . .

HORROR YEARBOOK: What’s it like working with Joss Whedon?

GEORGES JEANTY: Joss has been incredibly gracious—nothing like the “Superstar” status you would expect from a guy with his credits. The one thing about Joss that hit it home with me was when we were e-mailing each other back and forth and I mentioned to him that I usually like to talk to the writer after reading a script, and if I could reach him through his office or his assistant…? Without missing a beat he said “Well here, here’s my home phone and my cell—call if you need anything.”

Joss loves comics as everyone knows and he has taken to the medium quite well writing the Astonishing X-Men and Runaways, but you can tell he’s been wanting to continue the adventures of the Scoobys for quite some time! Working from his scripts has been a joy!

HORROR YEARBOOK: Are you a fan of the TV Show?

GEORGES JEANTY: I’m a fan now, but like I said I had never watched an episode [before the comic book], well, I did see the movie and actually liked it, and I may have seen an episode with John Ritter, but that was because I was a fan of his. But now… I’m like a rabid fan! I’ve got numerous statues adorning my studio and I can answer trivia with the best of them! It’s weird doing conventions with some of the actors like Juliet Landau, who I’ve become very friendly with, because I look at her out of the corner of my eye as a fan and I’m still a little afraid of Drucilla, which is funny because Juliet the person couldn’t be nicer—and I find myself asking a lot of questions about her dad.

HORROR YEARBOOK: Who’s your favorite character to draw?

GEORGES JEANTY: This answer has shifted quite a few times. I started out really comfortable drawing Xander, and I have to say now I can draw Buffy in my sleep, but many people seem to think I handle Willow the best. I’m gonna have to stay with the girl I came to the dance with and say Buffy.

HORROR YEARBOOK: There’s been some criticism to you that when you draw The Scooby Gang, you don’t meet the likeness of the actors. What do you say to that?

GEORGES JEANTY: What?! I hadn’t heard that! I thought I was so well insulated as to not hear the criticisms… okay, now I’m depressed! I’ll be the first one to say I don’t get it right all the time, but I can say with absolute honesty that I do make an effort to draw the in question. I never just fake it. As bad as some of the likenesses might look, I never skimp. So please, bear with me if a stray drawing doesn’t meet up to standards.

I will say Joss said something to me early on that put me in the right frame of mind when drawing these characters, he told me he wasn’t as interested in it looking like Sarah Michelle Gellar as he was in having the drawing looking like Buffy. That did it for me.

HORROR YEARBOOK: About how long does it take you to complete an issue of Buffy?

GEORGES JEANTY: Well, isn’t that the 50,000 dollar question? In theory it shouldn’t take more than a month to finish a book. In reality I struggle with that every day. I’ve blown my share of deadlines, but I’m constantly working so it’s never dire. It only becomes dire when the assistant editor Sierra Hahn sends me an email asking where the pages are—that girl cracks a mean whip!

HORROR YEARBOOK: Is Joss gonna freak out if I don’t use the entire BTVS title?

GEORGES JEANTY: Just so long as the letters still stand for Buffy The Vampire Slayer, and not something like “Bodacious Tatas Visibly Shown”, I don’t think you’ll have a problem.

HORROR YEARBOOK: Is there ever a time you want to tell Joss or Drew Goddard (Cloverfield, Lost), “No, I will not redraw this scene?” If so, which one?

GEORGES JEANTY: Who have you been talking to…?! In the beginning there were a few pages that I elected to redraw. Such as the double page spread I issue #3 between Willow and Amy. In that case it was so my fault. I got the characters in the wrong position and didn’t realize it till I finished the page. In these cases Joss and Dark Horse have been incredibly supportive and tried to think of ways around it, and it’s been me who’s said y’know what, it’ll be easier if I just redraw it. I haven’t liked it at times but I know how important it is to fans. And years from now when all is said and done, I want Joss to be leafing through the books and feel real proud about the work we did.

HORROR YEARBOOK: What were your feelings on Buffy sleeping with another female slayer, Satsu? Was it hard or easy for you to draw?

GEORGES JEANTY: This was the thing that I thought was going to be the climax. I mean how do you come back from that? And we’re only in the 12th issue! I knew how important this was going to become so I was thinking about this issue months before I was to draw it. When I did start to draw it I thought that first page of Buffy and Satsu in bed was something we were going to have to handle very delicately so there would be a lot of back and forth about what should be seen—or so I thought. I read the script from Drew, who is an absolute joy to work with, and sat down and drew out the page. I expected lots of changes when Joss, Drew and Scott saw it, but they thought it was perfect. Rarely do I hit something on the first try. I was on a high the whole day after that!

HORROR YEARBOOK: Are you a fan of horror movies? Which ones?

GEORGES JEANTY: I grew up with a steady diet of horror and Sci-Fi. For a while there, I didn’t know there were any other types of movies. I’ll admit I’m not a huge fan of gore for gore’s sake, like SAW—I like my horror more intellectual. Favorites? We could be here all day. I have to say I consider The Exorcist one of my all time favorites, but the ironic thing is I don’t consider it a horror film but more of a study of three characters. The Omen (the original) is also a good one, and Rosemary’s Baby. Fright Night, Nightmare on Elm Street 1, Hellraiser, Halloween (the orignal), John Carpenter’s The Thing, most of Hitchcock’s films, and so on . . . I just love cinema.

HORROR YEARBOOK: What comic book besides Buffy would you like to draw?

GEORGES JEANTY:I always see this question like asking an actor what role would he like to do. Actors like to act, no matter the role, and I feel the same way. I love to draw no matter what the title. But I don’t want to seem like I’m copping out on the answer. I was a Marvel fan growing up so I’ll say Daredevil, or the Fantastic Four—any of the second rate characters of the ‘70s.

HORROR YEARBOOK: Any other projects in the works? Pimp it now, bud!

GEORGES JEANTY: I wish I had more to say on this, but no. I’ll be on Buffy for another couple of years, which really doesn’t leave time for a whole lot else. I will be doing conventions so please, ask your readers to stop by and say hi if they get a chance. I would like to plug my web site if I may: www.kabalounge.com where all the groovy people go.

HORROR YEARBOOK: Thanks for stopping by Horror Yearbook, Georges. Any last words to all those Buffy fans out there?

GEORGES JEANTY: If you’re a Buffy fan and you’ve been reading the book, I don’t think there is much left to say . . . only that you haven’t seen anything yet!

Read all Mike Fish’s Articles in his Archives

ASCEND – Special Edition
Written by Keith Arem Art by Christopher Shy
Ascend Website
IDW Publishing

I’ve waited a long time to read this book. I remember seeing Ascend on the shelves a few years back, just amazed by the beauty of an angel spreading transparent wings in a sea of green. I’m fascinated with angels, which probably explains why Marvel’s Archangel is my favorite character. (That and the fact I could probably write Warren better than anyone who has tried.) Anyway, I read through some of Ascend at the store, and was immediately lost. There was no hook in the writing, and I couldn’t concentrate with the angels looking so life-like and dreamy. Also, I couldn’t read it all because the guy at the counter had an iron claw in getting folks to buy the book or leave the store… for good. So, I never bought it, mainly because of the price. Blame my inner bargain hunter and Kohl’s clearance prices, but I do have limitations to what I buy. For this book, I felt it best to come back and read it like I have now. Luckily for me, there’s a special edition to help me out a bit this time around.

Ascend is one of the most beautiful graphic novels to exist. Christopher Shy releases a multitude of inspiration and emotion into this book, causing readers not only to admire his craft, but appreciate it in a way that can only be explained in that moment of silence a person has when viewing a painting at the city art museum. It’s a long stare, feelings rushing to the head and heart like a freight train on fire, and ideas of how the picture came to be created and what it essentially means. Ascend does this to the reader, and it’s a feeling endured page after page. A continuous barrage of artistic expression from Christopher Shy, filled with Heaven, Hell, and Humanity. A true piece of modern art.

Unfortunately, the writing is where the book falters. Writer Keith Arem proclaims this book to be based upon a dream he had, awaking and telling his wife before the dreaded memory loss kicks in. (I’ve been a victim to that way too many times!) For starters, that’s pretty freaky to dream up a war of angels in Heaven, Purgatory, and human souls being harvested to continue mankind’s evolutionary downfall of war. I would think either the drugs he was taking at the time were very, VERY good, or Arem had just returned from a David Lynch film festival to dream this stuff up. That’s not to say it’s impossible, but when you look at Christopher Shy’s art and the complexity of the idea, it does become admittedly far-fetched. But the idea is a good one, and it’s initially what grabbed my eyes away from the Marvel and Top Cow section on the comic book shelf to see the interior of this angel-infested tale.

But what prevents this book from being a classic and immensely popular like other independent greats such as Sin City and The Crow is the production design of how to tell the story in words. There are no caption boxes. No word balloons. Just two fonts. The main font tries to tell the story for more than six different characters, and using italics in the felt-tip pen font is not going to distinguish who is talking at the moment. I can’t tell you how many times I’ve started and stopped reading this book because my head was just spinning half the time. “Who the hell is speaking?” It’s like trying to read Ben Templesmith’s art on 30 Days of Night without Steve Niles. Caption boxes were essential to this book or different fonts if caption boxes were not an option; or at the very least, different colors for the font that was used. Without any of those, the dialogue clutters into one voice, causing the story to be very introverted and distant. This also triggers Arem’s voice to become monotone like a poetry slam and doesn’t open to bringing the reader into the luscious environment, which is something I would have definitely enjoyed with Christopher’s beautiful work. Arem claims that he “didn’t want to spoon feed the audience”, but with this type of story, you kind of have to be the spoon. It’s epic and controlling, and without clear direction, causes many to lose consciousness during the trip, and that’s a shame because I really want to love every part of this book. But it’s difficult when the story is lost because of technical decisions in the lettering, and in my opinion, a certain stubbornness from the writer in not allowing his audience to truly grasp the characters and the ultimate message of this angelic war.

I still admire and enjoy this book because I can’t stop looking at it. Christopher Shy should be rewarded for his masterpiece, and not dragged down by the other issues that plague Ascend. Maybe this book is meant to be read in pieces from your coffee table. Maybe it was never meant to be read at all. Or maybe in the end, it’s being accurate to the dream itself: Beautiful, alluring, angelic, and nonsensical. Just enjoy what you see and don’t comprehend what it means until your eyes open to the morning light.

GRADE: B

Read all Mike Fish’s Articles in his Archives

Our last day ends on 30 Days of Night, the graphic novel that has spawned many sequels, a short film series, and the major motion picture. This is Steve Niles most successful piece of literature, and has set the new standard in telling the tale of the vampire. Special Thanks to Steve Niles, IDW Publishing, and Dark Horse Comics for their help in bringing this Horror Yearbook special, 5 Days of Steve Niles, to life. And now for our Comic Book Spotlight: The world as we know it has changed. Vampires are no longer hiding underground thanks to a book written about them. Humanity is on the brink of being swallowed into the shadows as the feeders of flesh make their presence known in a small town known as Barrow, Alaska. Hope is now a dream and the day falls short as a savior. Welcome to the longest of nights…

30 DAYS OF NIGHT
Written by Steve Niles Art by Ben Templesmith
IDW Publishing

The graphic novel. This is where it all begins. The most brilliant idea of all vampire ideas if you ask me. Reality finally crosses the fiction line with a subtle doubt of safety toward real areas in the world hosting nothing but moonlight, days on end. Writer Steve Niles and artist Ben Templesmith create the perfect location for their vampire tale, 30 Days of Night, causing readers to once again be afraid of those fanged monsters that feed on our innocent blood. The town is Barrow, Alaska, where every year, thirty days of night encloses the town under a blanket of darkness. Some leave and go to a place where daylight still comes everyday, but many stay and endure the month of visual hibernation. So what better place to let vampires roam free, feeding off helpless and weak humans as if they were at a Chinese buffet? The book inspired the movie, but they’re two slightly different entities. Both carry similar tones and pacing, but display different relationships amongst the sheriff and his wife, as well as the vampire clan attacking the town. The book showcases a strong marriage between Eben and Stella, but the movie shows they’re estranged in some way. Both scenarios actually work in their respected formats, and it actually makes more sense for the film taking that left turn to explore a more sensible dénouement. The vampire clan is much more modern in the book, using email to communicate and also speak English whereas the film vampires are feral and speak another language. Again, it’s unique, and a suitable approach for the transition to film, giving fans something more while keeping with the dark tones and atmosphere so finely tuned by Niles and Templesmith. 30 Days of Night is a vampire classic, and a must read for fans looking for more bite in their fanged fiends.

GRADE: A HIGHLIGHT? When Vicente attacks the helicopter, I pooped a little in my camos.

30 DAYS OF NIGHT – DARK DAYS
Written by Steve Niles Art by Ben Templesmith
IDW Publishing

With such a success on the original 30 Days of Night, it was only natural for Steve and Ben to follow up with a sequel. Dark Days continues on from Barrow, Alaska with one of the remaining survivors, Stella, the widow of our hero-turned-vampire from the first book, Eben. Only one thing on the mind of Stella as she travels to the most likely place of all vampires, Los Angeles, and that’s to let the public know that bloodsuckers do exist, and hey, kill ‘em if you see ‘em. Thing is, she’s not the only one looking for revenge as one of Marlow’s more likeable kin, Dane, is looking to bring Eben back to life so he can kill him for killing his master. Not only that, but Vicente’s wife, Lilith, is pretty pissed off as well, and wants Stella’s head. All of the elements are in place for a successful sequel, and for the most part, it is. The dynamic between Stella and Lilith is strong, keeping the parallel of both husbands in sight while drawing the lines of good and evil. Dane’s character is likeable as a vampire, but hard to grasp when every other vampire in the book appears mindless. It’s a length that sometimes stretches too far, especially when Dane and Stella get busy with the fleshy parts. What hurts the book the most is The Matrix inspired posse Stella carries around with her, even going so far in creating a character just like the albino Switch and quoting her before she changes over to the dark side. “Not like this…not like this.” It’s both disruptive and sigh-inducing to what is mostly solid storytelling for a sequel. Especially in the beginning when the vampires are flushed out at UCLA during a book signing, I really got involved with the atmosphere Ben Templesmith created. But then Neo and the Gang would show up, and make me laugh a little. Overall, it’s a good follow-up, and I really enjoyed the usage of 30 Days of Night as being the book Stella writes. Steve Niles appears to live vicariously here with Stella throughout Dark Days, and it’s a nice twist at the end. But if this were to be the basis for a true film sequel, then some things would need to be adjusted. Especially no Underworld or Matrix influences.

GRADE: B+ HIGHLIGHT? UCLA beatdown was a great buildup, creating a nice tension to the reader in a place that scares us all. Hell-A.

30 DAYS OF NIGHT – RETURN TO BARROW
Written by Steve Niles Art by Ben Templesmith
IDW Publishing

If it’s December in Barrow, Alaska, then you know what time it is; Vacation time for the vampires! Yep, it appears the first incident made such an impression on the bloodsucker race that every year, vampires head up north for the special thirty odd days of darkness and dine like Vegas whales in their jammies. The hard part to believe is that people still live in Barrow, especially family members of those that bit the dust the first time around. I guess that just shows how stubborn humanity can be at times, flirting with death until it bites them in the neck. Either that, or we’re a sucker ourselves for cheap property and easy to obtain jobs. Brian Kitka returns to Barrow to become the new sheriff. He was born there and was brother to William Kitka, the poor sap that basically killed his family in the first book. Brian feels he owes it to his brother to continue on in his hometown, and return it to a nice, normal place to live. But right away, he’s introduced to the new yearly ritual the townsfolk carry, and that’s fending off vampires returning home for human presents on Christmas. And guess who returns? Agent Norris, whom many thought became a jigsaw puzzle at the hands of Stella, heads on up to Barrow for some fun. When he gets there, he meets up with a temporary leader that lacks strategy, and together, they find holes in what is now a fortress of a town. Thing is, others have come up to play, including vampire Dane from Dark Days, and some special guests. Niles does a great job at keeping the guests special, and it’s not a surprise as to who they are, but it’s a fun way to reel them back into the picture. What I didn’t like is the fate of Dane, as it’s abrupt and dissatisfying. I kind liked the slickster, but something was wrong with his character this time around. Just didn’t feel like him. Ben Templesmith continues the 30 Days of Night style, and it’s much clearer and enjoyable than his run on Criminal Macabre. I guess it must be the snow, adding extra lighting to his work. This is a good return to Barrow, but some holes in the plotting and character arcs prevent it from being great. Vacation time is never complete though, is it?

GRADE: B HIGHLIGHT? While it’s not a highlight, it’s extremely memorable as Agent Norris confronts Dane for the very last time… I think.

30 DAYS OF NIGHT – BEYOND BARROW
Written by Steve Niles Art by Bill Sienkiewicz
IDW Publishing

Beyond indeed. It’s a good thing this was only three issues because I barely made it through, especially when a speed-bump section of issue three turns into exact copy of Neil Marshall’s The Descent. On top of that, we don’t know what the heck is going on until the very last page, and I mean last. That’s not a surprise. That’s slapping the reader in the face. Steve Niles doesn’t normally do that, but man that slap hurt pretty badly. Basically, the vampires still vacation here every year, but now they become prey to something outside the town lines. No, it’s not Eben and Stella either. Somehow, this evil has been around for a long time, and just now has made its presence. Somehow, after reading so much 30 Days of Night, I’m supposed to believe this too. I’m frustrated with this series, and not even legendary artist Bill Sienkiewicz can ease the acid on my toes. Sometimes his art is great, sometimes it’s a blur of colors that remind me of looking through a fogged-up windshield at the murder of the Lucky Charms leprechaun. So it’s a mixed bag artistically, but for Steve, this story seems forced and challenging. One where I feel only the new 30 Days of Night reader might like, and hasn’t read any of the other books. This is a forgettable series, and I recommend ignoring it as much as possible unless you’re a completist. Then leave Beyond Barrow last on the list.

GRADE: C- HIGHLIGHT? People arrive to Barrow for sport, which is not surprising and very believable. Yeah, some highlight.

30 DAYS OF NIGHT – RED SNOW
Written and Art by Ben Templesmith
IDW Publishing

A Soviet, a Nazi, and an Englishman walk into a bar. No, that’s not right. They walk into a town filled with vampires? There we go. Still kind of funny though, right? Ben Templesmith flies solo here on Red Snow, chronicling vampires during the second World War as they continue to wreak havoc in snow-covered Russia. It’s basically a parallel to the original 30 Days of Night, not really continuing the story but retelling it during a different era. While the mechanics are there to tell a great story, the construct gets caught up in crossed character paths and misdirection. Half the time, the reader is trying to figure out who is who and why three soldiers are working together even though they all hate each other on the inside. For the first half of the book, I was wondering what the point is for all of this. Niles absence is definitely felt. Then the vampires finally attack, and I’m wondering how Anne Rice got involved as a little Claudia-like girl appears to lead a pack of vampires against the warring nations. It’s an interesting idea that is combining too much influence from previous tales. Sort of a “What if 30 Days of Night met Interview with the Vampire during World War II?” And while Hollywood producers might enjoy that kind of quick spit, graphic novel readers are more atoned to originality and relativity. Red Snow is not all bad, but it’s nothing new. Templesmith continues to pour on the gritty paint style with starbright lighting, and it’s stylish and scary as usual, but the writing could use some polish. So for fans looking for a decent story that only slightly expands upon the 30 Days of Night universe, then Red Snow might be a worth a shot. For those that want to stick around in continuity, you can skip this.

GRADE: C+ HIGHLIGHT? A little boy chooses to end his mother’s life when she turns. It was a bold move by Templesmith. Very bold.

Check out more 30 Days of Night tales at IDW Publishing!
www.idwpublishing.com

Read all Mike Fish’s Articles in his Archives

Day 1: Quickie Interview With Steve Niles
Day 2: 30 Days of Night DVD
Day 3: Criminal Macabre Book & Comic Reviews
Day 4: Thursday Thirst – The Comics of Steve Niles

Day 4. Steve Niles is probably the busiest horror writer these days with comic books coming out almost weekly. This Thursday Thirst showcases some of the current books Steve has coming out monthly on comic book shelves now.

Day 1: Quickie Interview With Steve Niles

Day 2: 30 Days of Night DVD

Day 3: Criminal Macabre Book & Comic Reviews

SIMON DARK – Issues #1-5
DC Comics
Written by Steve Niles Art by Scott Hampton

Simon Dark needs a spotlight, and not just from me. This character just keeps pouring on the boyish charm and delicate do-gooder personality that causes most people to shed their tough exterior and show that softer side of Sears. Steve Niles finally pulls away from the pursuer character mold like Cal McDonald and Stosh Bludowski and writes about a character that everyone wants to go after. Even the reader. It’s a folk tale come to life, and though Simon’s roots can easily be compared to Frankenstein’s monster, he can still stand on his own. Especially with The Crow exterior, Simon does show some parts are borrowed, but the rest is refreshingly new. The supporting cast keeps the mystery intact with Simon while slowly allowing the reader to learn more about this new, unconventional costumed-hero hanging around in Batman’s hood. It’s pacing like this that keeps readers hanging around outside the comic book store every week, waiting for their Simon Dark fix. Co-creator, Scott Hampton, does a great job on the art, making all of these characters one step closer to reality. Facial expressions and movement especially. This creative team appears to be on the same level, delivering a top notch read every month, and having fun along the way. I’d say Gotham City better watch out. Batman might be out of a job soon.

GRADE: A CONTINUE READING? This is a classic character in the making, so jump onboard before you have to sell your kidneys for the first couple of issues.

CITY OF OTHERS – Issues #1-4

Art by Bernie Wrightson

I previously reviewed issues one and two last year, with dramatic differences I might add. The first issue was a great set-up to what seemed like a hitman going against hordes of zombies and being caught by a clan of vampires. It hooked me, and I was excited for issue two, however, when I got it, the set-up was sending me down a confusing road. The main character went from badass, “take no prisoners and no shit from nobody” to a crybaby that wanted to feel pain. Trust me, we don’t want to feel pain, so when the rock falls into the grinder, we grimace because we feel it. Issues three and four complete Stosh “Blud” Bludowski’s purpose and transformation, turning from heartless hitman to the all-feeling vampire. I guess adrenaline will do that to a guy without a girlfriend. The funny part is, Blud does get a girlfriend towards the end of the series, and it’s fitting that he no longer roams the country alone in his pathetic desperation to feel alive. And that’s where the rub appears. Mortality sometimes can only be felt in time of loss or death. It’s a smart theme that had trouble sending the message. Still, this series delivered some intriguing additions to our classic monsters along with great art from Bernie Wrightson, keeping in tone with the creepy, classic style back when horror was more film noir than gorefest. But don’t read this per issue as I fell off the wagon after issue #2. City of Others can only be appreciated as a whole story, so get the trade paperback to really understand where Niles is taking this story. So what happens from here, and I’m assuming we’ll be seeing more City of Others after this four issue mini series that will determine whether or not Blud’s character will be one favorable to other Niles creations like Cal McDonald and Simon Dark.

SERIES GRADE: B HIGHLIGHT? The learning process of being a vampire. I liked how Blud didn’t know a thing and kept making mistakes with his new life. Very human, yet ironic.

GIANT MONSTER – 44 Page Preview
Read it here for free!

Is the monster movie making a comeback? With Cloverfield’s success last month, I see it as a definitely possibility. The “End of the World” movie appears to be dying fast, so Steve Niles and Nat Jones are pretty quick to get their monster movie on paper before Hollywood starts scrambling. What makes Giant Monster stand out from the rest of the monster madness is the birth of it. A parasite melds with an astronaut on his way home, and causes the shuttle to explode. As the debris falls to the Earth, a monster is born. Crashing into the ocean, it finds food in a swarm of sharks, thirsting for blood. From there, the monster movie you know and love begins with it just tearing everything man-made to pieces. Artist Nat Jones appears to be having a blast with this book as his art really explodes onto the scene, mirroring classic monster movies like Godzilla and The War of the Gargantuas. Steve Niles also crafts a nice introduction of the monster (I was only able to read the free preview from CBR) though there’s a little too much talk about cheating husbands and wives. I’m curious as to why that is, but other than that, this book is solid monster movie. If they get this made into a big budget movie, I can definitely see it going up against Cloverfield while Godzilla sits in the audience, eating popcorn and watching the next generation of beasts take to the silver screen. Giant Monster is a fun time at the movies without leaving the house.

GRADE: B+ HIGHLIGHT? A great setup to the birth of the monster, mixing both space and the ocean as a birthplace.

STEVE NILES STRANGE CASES – Issues #1-3
D2 Comics
Image Comics
Written by Dan Wickline Art by David Hartman

Steve Niles presents a comic book not written by him? Holy schmoly! That’s a surprise. Nope, Dan Wickline does the writing chores for Steve Niles Strange Cases, and they’re quick little reads that could be developed a little more into full issues. Tidbits a plenty, and nothing concrete, Strange Cases is all about the introduction and nothing about a proper resolution. I’d like this book more if they did. Abrupt endings I’m not a fan of. The art is fun and cartoony from David Hartman, though I wonder why it’s like that when the Wendigo sketches in the back of issue 3 show he has a lot more to add artistically. Perhaps this series is geared more towards the PSP gamers with short attention spans to reading? And don’t argue too much on that because almost all my friends skip the cinematic scenes in video games. Why? Don’t know. Guess they just want to get to the shooting and blowing up cars and crap already. Me, I like the cinema scenes telling the story. So if this video game comic wants to be taken seriously, it will need to start fleshing out the idea a bit more and extending the page count to meet that goal. Otherwise, the title of the book will need to be changed to “Short Cases”.

GRADE: C+ CONTINUE READING? I’m curious to see where this series goes, but if I can somehow get my hands on a PSP to read these, I might have even more fun with it.

THE CRYPTICS
Image Comics
Written by Steve Niles Art by Ben Roman

I’m not convinced Steve writes this book because these short, cartoon stories are definitely living up to the title of “cryptic”. Ben Roman’s art is fun and addictive; using a colorful Calvin and Hobbes meets Rose is Rose palette while adding his own colorful vibrance to the pencils that could easily be on Nickelodeon or The Cartoon Network. It’s his art that shines in The Cryptics, while Niles writing appears to be channeling his inner crazy person, and not his humor. I thought I was missing pages half the time as some of the stories just didn’t make a lick of sense. So I’d read it again, and tried finding out what I’d missed, but instead, I only felt the same thing I did the first time: Confusion and disbelief. I still think I’m missing something here because I’m relatively smart. I could win Wheel of Fortune if I got on the show, maybe Vanna White’s heart, but I don’t understand the gist of some of these stories. If it’s just for kids, then I guess it makes more sense, but even then, some of these segments don’t have a funny tagline or reveal. I wish I knew because I’ve read a lot of Niles work before this review, and it just doesn’t add up like the rest. But like I said, it’s not all that bad with Ben Roman’s art, and heck, maybe I wasn’t supposed to read it as The Cryptics is exclusively for children between 8 and 12. But I did read it, and I’m just really surprised with how Steve is attached to this book. But hey, if it’s in your system, then get it out I always say.

GRADE: C CONTINUE READING? I actually want to because they’re fun to look at, but they just don’t make sense to me.

Tomorrow Day 5: Comic Book Spotlight – 30 Days of Night

Read all Mike Fish’s Articles in his Archives