Sadly things are going downhill. After seven books with no new ideas things have become stale. Not even the reappearance of Harry at the end of the last episode can redeem things.
The art style appears to have changed too, becoming less detailed.
There are some nice touches here and there but not the great mystery that still appears in the series title.
There is also another Halloween special but cameos like Constantine just seem like elongated adverts for other books.
Things settle down a bit and some of the stories of the supporting cast are quirky and interesting but because the House of Mystery is no longer mysterious this tale has lost its edge sadly.
The art is excellent with some really interesting guest styles and great colour choices for the main plot.
There is a 3 page prose story written in the most unreadable handwriting font you can imagine. If you can struggle through it then its dark ending will reward you.
Thumbs Up – just.
After the awkward non-ending of the last instalment it is virtually business as usual. Sadly the tension of characters trapped in an unknown location has evaporated. What we have are characters who look to jump about every few books and get visited by plot. Maybe like an inverse Dr Who.
The main story art is fine and the guest artists are generally good at fitting in with the gothic template. But then Sergio Aragonés turns up with his cartoonist style and things feel a little jarring.
The whole thing feels like a page out of a writer’s notebook whose portmanteau of stories fit together more by happy accident than design. Not enough to persuade you to stop reading but enough to make you cross your fingers for future episodes.
Thumbs Up – for the minute.
This is the volume where the cracks start to appear. There is an ending of sorts in this volume but it isn’t exactly revealed making you wait till next volume for the cliff-hanger. The short stories also become more diversionary and their relevance, if they have any, is most obscure.
The art is great and plenty of ghostly blues are employed effectively for an otherworldly effect. There is also some clever panel use with each frame representing a room of the house.
Included in this book is the Halloween special which features appearances by Constantine, Merv Pumpkinhead, and Madam Xanadu (barely), etc. Sadly these are not about the content, but more about the cameos.
There is no reason to stop reading but the shine definitely wears off.
This is another superb volume because even when it makes decisions that have you feeling unsure they turn out for the best. It delivers plenty of answers and new developments and switches neatly between believable characters with realistic emotions and the weaving of a fictional backdrop. Unlike Fables not having a knowledge of elderly literature isn’t a drawback.
The art is great and you are now used to the guest artists and embrace the, sometimes unusual, styles they bring. There are plenty of ways to depict the unease and tension of psychological horror. And a little puzzle page by Sergio Aragonés.
The neat little touches make this work stand out. In issue thirteen all the pages are numbered 13. That sort of care and attention rewards your faith in this tale. Long may it continue.
Double Thumbs Up!!
If you weren’t sure if this is the mystery for you after the last volume then persevere as this book really kicks up the pace. Its starts with a bittersweet love story and then goes into terror. We get some backstory on Harry so you aren’t left clueless and some about Fig too.
There are stories within stories and their guest artists really contrast with the noir house style. The creepy basement scenes and shadowy corridors are depicted superbly and the matt paper stock really adds to the dank vibe of the haunted atmosphere of this volume.
Double Thumbs Up!!
If this seems familiar to you then it was written by the team that wrote Fables and Jack of Fables. It’s kind of an anti-Fables with real characters going into a fictional world as opposed to the other way around.
The currency of this fictional world is stories so the main plot will halt for four or so pages while a gothic and macabre short story is unveiled. This title was based on the DC supernatural horror anthology House of Mystery that began publication in 1951. The story within a story format works quite well and the whole tone is very surreal. Think of it as a mix of Alice in Wonderland and Hammer Horror. It is reminiscent of Grant Morrison’s 7 Soldiers of Victory.
The art is typical Vertigo fare with a little detail going a long way. Each short story is drawn by a different artist which really helps separate the narratives and showcases some bold and vivid styles.
It does feel like more of the same from these two writers but they do say write what you know. Although there is enough of a hook to keep you going till volume two.
We have a four issue and a two issue story by Crossed new arrival Max Bemis.
The longer one examines the relationship between two brothers. You figure there is a twist coming but it keeps you on your toes. The art is the usual high-gloss affair typical of the franchise.
The shorter one takes place in a comic book store and features a comic within a comic. You get the feeling the subtext of the first tale is for the more academically inclined and the subtext in this (note the shorter length) is for the YouTube generation. Whilst more in your face its message is more forgettable sadly. The art, despite being by returning artist Erramousepe, looks more casual. You also have another artist to do the comic within a comic which is neat.
Bemis seems to be highlighting the treatment of women in these stories, both in comics and life. The Crossed universe might not be the best place for that or it might be the perfect place for it. Either way the shorter format doesn’t do him any favours as it’s easy to miss the social commentary in the rapid delivery. Having both stories the same length might have improved them both.
Thumbs Up! I guess.
Horror comics veteran Wolfer both writes and draws this volume.
There is a lot of T&A and full nudity and it can be easy to write this off as bait for the immature. But as you read on you realise that some characters are weaponising sexuality to gain an advantage. The whole story is about manipulation and you are soon hooked by an intriguing and realistic power struggle between survivors.
The art is good. The faces are distinctive but not particularly expressive. Gore fans have been increasingly underserved over the years as the Crossed have been relegated to mere plot device or pathetic fallacy. If you like your genital mutilation close up this book is the most eyebrow raising since the dolphin blowhole incident.
It has a shaky start as you aren’t sure if the sex is just for juvenile marketing but you quickly realise this is a mature story with a dark undercurrent. The Crossed are vocal and lucid which is how Ennis originally designed them but not something we have seen in a while. The inclusion of “zombie” discussions is kind of a bump against the fourth wall and a bit postmodern but definitely a strong idea.
The last book set up one of the most intriguing and deadly threats encountered so far. This book runs with it.
It’s the 1960’s and that means outer space and nuclear bombs. Both of which are effortlessly folded into the story in a way you couldn’t imagine. The sense of jeopardy has never been greater either and you are really worried at how many, if any, of the characters will survive.
Albuquerque is with us through the whole book and is on top form. Lots of drama in the action scenes and a brooding matt palette throughout.
Double Thumbs Up!