The Damned #9 (April 2018)

The Damned #9

After The Damned reprinted–with color–the original Damned sequel now we’re getting a Damned prequel. Literally, it’s a prequel arc to the original Damned. And the first arc in this series. It seemed like the reprint of the sequel series–Prodigal Sons–was to set up the future, but it turns out it was to set up the past.

And it’s a fine past. I mean, it’s Bunn and Hurtt doing pre-Damned Eddie. He, Morgan, Wyrm, and Sophie (I really wish I remembered more about Wyrm and Sophie) are a thirties heist gang holding up the demons. But only Eddie and Morgan know about the demons. Their mom is still alive (albeit on her deathbed).

It’s a new kind of Eddie (an old kind) and some great back story for the relationship between him and Morgan. It seems world-buildy, something Bunn has always struggled with on The Damned. At least, until he got to this series.

The Hurtt art is gorgeous (and heart-breaking). The plotting’s good. It’s not what I was expecting, but it’s a good Damned comic. The Prodigal Sons reprint had me slightly wary. Not anymore.

CREDITS

Bad Ol’ Days, Chapter 1; writer, Cullen Bunn; artist, Brian Hurtt; colorist, Bill Crabtree; letterer, Chris Crank; editors, Desiree Wilson; publisher, Oni Press.

Advertisements

The Highest House #3 (April 2018)

The Highest House #3

Highest House #3 really is only twenty-five pages. I had to do a confirmation count because so much happens I was having a hard time believing it was only one issue. Not a lot in terms of events, just in terms of character introductions and character development. Carey really does a lot, including giving Moth a love interest–well, a crush, anyway–in the lord’s daughter. And then he introduces the lord. And one of the princess’s maids. And some family mystic who can tell Moth’s got something going on with a dark power.

And then there’s Obsidian explaining how Moth is secretly descended from a royal line, which is why Moth can free Obsidian. There’s also a bunch about the deal with Obsidian. And with Fless, Moth’s roofing boss; there’s a lot with her. There’s not much with the creep cook, who’s still alive. For some reason I thought he was dead.

It’s a packed issue, beautifully visualized. Gross’s art moves the story along at a brisk pace without ever hurrying it. And he always makes time for some gorgeous establishing shots.

Highest House keeps getting better.

CREDITS

Obsidian’s Bargain, Part 3; writer, Mike Carey; artist and letterer, Peter Gross; colorist, Fabien Alquier; editor, Denton J. Tipton; publisher, IDW Publishing.

Barbarella #5 (April 2018)

Barbarella #5

Kenan Yarar returns to Barbarella with the start of a new story arc. Barbarella has gotten her ship fixed, taken an unseen shower as the comic never gets piggish with its cheesecake, gotten almost a full night of sleep in a comfortable bed, and received a message from a ghost friend of hers.

Even though Carey goes in depth about the mineral Barbarella goes off to mine, the ghost thing is just a given. There are ghosts.

The ghost tells her to go to mine some R.U.S.T., which turns out to be a space-time mineral. A large amount has been found on some desolate planet. On the planet Barbarella encounters some redneck prospectors and a scientist sidekick. Carey’s got a lot of exposition about the R.U.S.T. for reader edification, which Barbarella’s pet can apparently “hear.” At least when it suits comic effect.

There’s a bunch of good art, a bunch of good writing, and the end of the issue comes way too fast.

Barbarella is a gem.

CREDITS

Hard Labor, Part One: After tge Gold Rush; writer, Mike Carey; artist, Kenan Yarar; colorist, Mohan; letterer, Crank!; consulting editor, Jean-Marc Lofficier; publisher, IDW Publishing.

Lazarus #27 (April 2018)

Lazarus #27

Lazarus is back. It hasn’t been entirely gone, but the regular series has been on hiatus for a bit. And now it’s back.

And it’s not exactly Lazarus. It’s a two-part prelude to the next arc and is all about brother Jonah’s adventures with the Danes. Forever didn’t kill him; instead she saved him and threw him in the sea. There some Danish fishers find him. They’re a family of fishers under a different capital f Family than Jonah–or his allies–and they nurse him back to health. He works with them, the daughter falls in love with him, his previous life is forgotten.

Until next issue.

The art’s great. Michael Lark doing a dystopian fishing village turns out to be great. The “action”–the fishing–comes off. Along with the drama as the family tries to figure out what to do with Jonah.

Rucka’s writing is fine. It’s all character stuff. Not exactly character work–there’s little character development outside summary panels; the daughter falling for Jonah is, so far, not neccesarily a bad thing. It’ll probably be a bad thing (for her) very soon. But for now, it’s a tranquil existence. In a dystopia.

It’s a sturdy, sure-footed–and very safe–return for Lazarus

CREDITS

Fracture, Prelude: Part One; writer, Greg Rucka; penciller, Michael Lark; inkers, Lark and Tyler Boss; colorist, Santiago Arcas; letterer, Simon Bowland; editor, David Brothers; publisher, Image Comics.

Kong on the Planet of the Apes #6 (April 2018)

Kong on the Planet of the Apes #6

Kong on the Planet of the Apes #6 is one of those shocking disappointments. When I got done with the comic, I had to page back through to make sure I’d read it right. It really does just serve as a connective tissue between the first Apes movie and the second one. None of the character development matters. None of the events matter. It’s all about moving chess pieces.

I suppose Ferrier does an admirable job moving them. I mean, it’s soulless work, but he does the work. He and his editors do prime the scene for the second Apes movie. They just don’t do anything else.

Oh, wait, there’s an Empire State Building reference. Because Kong hits the Forbidden Zone and this time it’s basically all of New York City, just underground. There aren’t the budget constraints of the second movie.

It doesn’t come off well, visually. Nothing comes off well.

What a disappointing book. Though I’m upset with myself I had any hope for it.

CREDITS

Writer, Ryan Ferrier; artist, Carlos Magno; colorist, Alex Guimarães; letterer, Ed Dukeshire; editors, Gavin Gronenthal and Dafna Pleban; publisher, Boom! Studios.

Dry County #2 (April 2018)

Dry County #2

Dry County #2 reveals the mystery and it’s rather unexpected. At least for me. I was expecting some noir. Instead, it’s a kidnapping thriller. Only not a very thrilling one.

The protagonist, Lou, finally thinks things are going to progress with the girl he likes. She’s moved away from her abusive boyfriend, he–Lou–is making things happen at work. Everything is coming together. Then she’s kidnapped. Her roommate is assaulted. She’s just gone. There’s a note with the newspaper cut out letters. Lou starts investigating.

Couple things there aren’t. There’s not a ransom demand. There’s not a followup with the assaulted roommate. The girl’s got another roommate who just goes along with Lou’s “let’s not call the cops and instead stage a different scenario for the assaulted guy” plan. The note says no cops.

Lou’s investigation in the rest of the issue is just him canvasing the city where he thinks the girl might be. Someone keeps trying to run him over, but not seriously. Lou’s always able to get out of the way. He brings along his dumb tough guy friend for muscle, which leads to some genial amusement.

At best, Dry County is genially amusing. It’s not dangerous–it’s not realistic enough to be dangerous–and, as a protagonist, Lou is way undercooked.

Tommaso does instill some charm into the book. But probably not enough to keep it going.

CREDITS

Writer and artist, Rich Tommaso; publisher, Image Comics.

Powered by WordPress.com.

Up ↑

%d bloggers like this: