This is a brief but exciting little thriller at sits some way between James Bond and Taggart. It pokes at all those uncomfortable things like racial hatred, domestic terrorism and black ops to deliver a most prescient story.
The art is pure black and white inks and certainly has a self-published feel. But it does have a full colour cover and ISBN number so things are certainly being done right.
Definitely an enjoyable read that is over all too soon.
This is a quiet volume for the most part. There are a couple of peaks but most of it is the gearing up for the future war. It is very much an ensemble of vignettes as people talk through the issues of the day.
Eugene starts a new arc and you can see Kirkman planting seeds that won’t sprout for several books to come. Negan also comes to the fore. You had forgotten just how interesting and unpredictable a character he is. Right up to the last page…
The art is great but there was nothing memorable or dramatic which complimented the ‘ticking over’ vibe of most of the book.
A superb Thumbs Up!
This volume explores grief and fear and the consequences of those powerful emotions. After the disaster of the last volume people are scared and it threatens to tear everything apart. There is also a subtext about how leaders and politicians prey on these fears and Negan, who has become the devil on Rick’s shoulder points this out.
The art is superb. Many of the panels contain large amounts of black, highlighting the sadness and trauma being felt. There are some superb silent montages too as you see the different ways people try coping.
If there is one fault it is more the medium than the creators. Kirkman has people talk through important issues and concepts which leads to a lot of extended talking heads. There are some good glances and facial expressions but this is definitely drama around the kitchen sink.
Obviously it is a Thumbs Up!
This superb literary fantasia continues, building on the high bar set in the last volume.
Vivek Headland who didn’t get much page time in the first book is the centre of this esoteric detective story. The other protagonists certainly aren’t forgotten about and this feels wonderfully holistic in terms of character. Whilst an intriguing whodunit sprinkled with action it really is a philosophical look at some quite highbrow concepts. Ellis manages to make it all eminently palatable however.
The panels alternate between widescreen and square intelligently as does the detailed and then the plain background. The colours are mostly subdued and occasionally monochromatic but there are unpredictably garish tints often going through a whole spectrum on a single page. For whatever reason this seems fine and reminds you slightly of a Powers issue.
The whole thing is exceptional and it is so refreshing to get a story for grownups.
This is a hardback volume that collects the first two trades (or the first ten issues) of the amazing Sex Criminals.
It is only slightly oversized but the hardcover and solid spine is excellent for reading on a table or your lap. Make sure you take the dustjacket off and laugh at the spoof cover underneath.
The extras are all the covers, including reprintings and bookplates and two pages on the artist’s method. There are also two pages of the sex tips – the little one-liners of sex advice sprinkled through the issues. Most valuable of all are close up pictures of the hidden background posters and in-jokes you have just spend the last hour squinting at hard enough to make you blind.
If you already have the issues or trades then there isn’t enough pull to buy this. If you are unsure about getting into the series then pick up the first graphic novel cheaply (you won’t be disappointed). But if you borrowed someone else’s issues and want to own it for yourself then this is definitely a good purchase.
This superb volume continues the outrageously high standards of character driven drama. There are some excellent call-backs to previous story points and you get to see just how deep and nuanced this tale really is. The drama is more personal than ‘end of the world’ but that makes it even tenser.
Tess Fowler has taken over art duties and although you can see a softer, more rounded style things hang together. The panels and layout are now more rigid and traditional however. Gone are Upchurch’s frenzied multipage action sequences unfortunately.
The Rat Queens special featuring Braga’s origin story is at the end of this volume and there are several pages of behind the scenes art extras.
This is a slightly oversized hardcover that collects the first ten issues and has a couple of extras.
The hardcover is extremely sturdy and opens and lays flat making reading a joy. There is no dust jacket but the silver embossing is very attractive. The art doesn’t really benefit from being 10% larger but the tactile experience is perfect.
Included is the Rat Queens special featuring Braga’s origin story and a couple of single page gags. There are all the covers, including unused ones and a few sketches. Unusually there is no editorial or even a forward. It would have been nice to find out more about the creation of this unusual title.
If you haven’t picked up the first two trades then this is definitely a good way to start reading.
This is another outing in one of the weirdest titles in comics.
It isn’t a bad little story, reminiscent of a Bond film or a clever 70’s heist movie. There are more double crosses than you can shake a stick at and the trademark timeline shuffling persists with a vengeance.
The art is the same pencil and block colour but we have dual tones now, and in some of the weirdest colour juxtapositions you will ever see.
This didn’t need another volume and in many ways it would be better off without a sequel to preserve the ‘lightning in bottle’ originality of the first book. But here it is and it certainly has a cool idea for Duncan.
Christos Gage returns to the Crossed franchise to revisit his character Smokey, the most intelligent seeming Crossed to date. Not only that, this story is almost a retelling of his original appearance with humans and Crossed collaborating. It does raise some interesting ideas as we explore the idea of a Crossed society.
We start off with a human protagonist who is narrating in the first person. But halfway through he is replaced by another protagonist who fulfils exactly the same role but we are left without a narrator. This is an unusual change in point of view and maybe could have worked in two related stories but switching abruptly mid-volume is quite mystifying.
The art is the usual vibrant red affair but the artists change halfway. There are plenty of covers, wraparounds and chapter breaks too.
Well shucks! This is fantastic volume but so sad it is so late. Structurally, narratively and artistically this is exploding with amazing ideas and techniques. It’s a shame that some of these couldn’t have been siphoned off to make the preceding volumes a bit livelier. It appears Sturgis does endings and beginnings well but the middle not so much.
The art is great with plenty of detail, bold colours exciting layouts and energetic guest styles. There is a really dramatic desaturated sequence that I haven’t seen anywhere outside photography.
Going out with a bang this is a strong thumbs up!