W0rldtr33 #1 Review

 

Writer: James Tynion IV

Artist: Fernando Blanco

Colorist: Jordie Bellaire

Letterer: Aditya Bidikar

Cover Artists: Fernando Blanco; David Aja; Jenny Frison; Bill Sienkiewicz; Zu Orzu; Alvaro Martinez Bueno

Publisher: Image Comics

Price: $3.99

Release Date: April 26, 2023

 

A naked, tattooed blonde reaches into a computer case. Ignoring a dead man on the floor, she sits on the bed and opens a laptop. She watches a video of a young man using his cell phone to distract an older couple as he kills them. What new world is the young man speaking of, and why does the naked woman smile as she watches him? Let's jump into W0rldtr33 #1 and find out!

 

Story

Ellison and his girlfriend Fausta drive along a narrow mountain road. She urges him to keep his mind on the twisting asphalt ribbon and not look at him so much as they talk. He's worried about his brother Gibson’s internet use. Both have watched videos designed to shock and provoke, but Ellison believes his brother is immersing himself in something that could ruin his life. Fausta teases Ellison, calling him and his brother Edgelords. But then she looks at what Gibson has posted on social media and realizes Ellison was right to worry.

 

Meanwhile, Gabriel watches TV in his sleek, modern apartment. A report on Gibson’s actions prompts Gabriel to contact people he hasn’t seen in years. Once they worked together as software developers. They created something called W0rldtr33. While it gave the team members nightmares, Gabriel believes it might now be humanity’s only hope.

 

 

 

 

Art

W0rldtr33 #1 begins with an audacious first page. It's divided into twelve panels. Each conveys essential information about this silent scene. They introduce the dead man, the woman who killed him, and show her setting down her gun as she digs through his computer bag. She seems emotionless, yet she closes the man's eyes before she accesses his computer. A subtle hint of the story yet to come is that one row of three panels shows a glaring layout irregularity. More pages with tiny panels follow. She watches an online video of someone approaching a house, killing an old gentleman on the front porch, then walking inside and killing his wife. Fernando Blanco packs each of these scenes with photographic realism.

 

Jordie Bellaire casts the first scene in a pink glow, suggesting a motel room. The laptop casts a green tint on the naked woman's features. The killer shows the couple his cell phone, which shoots red and blue across their faces. Although the woman's coloring makes her look like a cartoon character imposed on a faded photograph, the scarlet blood spilling from her—and her husband--is shocking. Ellison and Fausta’s conversations begin with a gorgeous shot of his Prius navigating a wooded mountain pass. The car’s orange paint glows almost too much. Inside, Ellison’s face looks washed out. Unlike him, Fausta’s face shows more color and realism. Sadly, most of these panels in this scene only show green windows, reminiscent of a film set, and the special effects crew forgot to draw in the background scenery. The topics discussed--and the lack of backgrounds--made me wonder if I wanted to read further.

 

Gray dominates Gabriel's apartment. His long white hair falls onto his dark striped shirt and dark pants. Outside his modern apartment, nearby buildings blend with the overcast sky. The only color in his world comes from his TV, computer monitors, and memory. After you finish reading W0rldtr33 #1, return the opening quote by Harlan Ellison. It may address some of Jordie's coloring choices, particularly the final scene's lighting.

 

 

 

 

As W0rldtr33 #1's story pursues disturbing themes, I appreciated Aditya Bidikar’s easy-to-read-and-follow lettering. Bold words suggested inflection. Uppercase letters inhabited spherical dialogue balloons. (The only exception is Gabriel's memory when dialogue balloons are yellow). Big white letters introduce each character's scenes. Bidikar’s sound effects help us hear the computer accessing the internet and the (somewhat) naked woman's rumbling motorcycle. Gunfire seems more stylized than intended to help us feel the sound of the gun reports and the bullets striking their victims.

 

Final Thoughts

W0rldtr33 #1 tackles the increasing intrusion of Artificial Intelligence and our desensitizing addiction to violent entertainment in a mature manner. Visually arresting and thought-provoking, fans of Blade Runner and Terminator movies, and readers who still revere Isaac Asimov and Harlan Ellison, should not miss this powerful debut.

 

Rating 9.7/10

 

For more cover art see my review at Comic Book Dispatch.

The Scorched #17 Review

 

Writers: Sean Lewis & Todd McFarlane

Artist: Stephen Segovia

Colorist: Ulises Arreola

Letterer: Andworld Design

Cover Artists: Mark Brooks; Francesco Tomaselli

Publisher: Image

Price: 2.99

Release Date: April 26, 2023

 

As Space Shuttle Frontier returns to Earth, the flight crew notices fire in the skies over Europe. They report: "There's a shape to it." What happens when Frontier enters Earth’s atmosphere? What’s causing this atmospheric disturbance? Let’s descend into Scorched #17 and find out!

 

Story

On Omega Island, Monolith tells She-Spawn, Medieval, and Redeemer that Gaia has marked Earth for destruction. She-Spawn cries out when Frontier hits one of several lines of fire. Monolith tells her that this is just the beginning. Unlike them, he has seen this happen to other worlds. He doesn't want it to happen again.

 

Like Monolith, Urizen also views events on a cosmic scale. He sends Necro, Margaret Love, and Mandarin—these children who had thought to order him about—to spread a pandemic. Then, they hit the survivors with a monstrous plague. Forget about Gaia—can anyone on Earth survive with Urizen spearheading the apocalypse?

 

Either Sean Lewis and Todd McFarlane introduced characters and events more clearly this time or my growing familiarity with this series is granting me keener insight. Perhaps fewer team members—and the lack of pages devoted to infighting between the Scorched and Urizen’s group—also helped me better understand the story, the players, and the stakes in Scorched #17.

 

Art

Stephen Segovia’s heroes and villains remain bigger and bolder than life in The Scorched #17. The exception was Mandarin Spawn, who seemed thinner and less threatening. Has servitude under Urizen drained him? Among his fellows, Necro seemed the most powerful. His red eyes, and the electricity sparking across his metal features, never reminded me more of The Terminator.

 

After the damaged thermal tiles that caused the Space Shuttle Columbia disaster, I shared She-Spawn's heartbreak at Frontier's destruction. Segovia made that moment all too real. While Medieval and Redeemer seem immensely cool--and Monolith dominates every panel, single-page, and double-page spread--she's the most relatable of the Scorched.

 

I also liked the hungry space monsters Gaia created and how they compare with the plague Necro, Margaret Love, and Mandarin unleash on the pandemic survivors.

 

Shadows and highlights play across Monolith’s boulder-like muscles. Ulises Arreola enhances lines and inking to increase the depth and texture of our heroes' suits. The intricate embossing of Medieval Spawn's plate armor stands out. Lights dot apartment blocks in cities aflame, reminding us that people still cling to life. Perhaps Arreola could have added more nuance to the interior walls glimpsed beyond Urizen, but Segovia left them blank.

 

While many comics feature small lettering that shrinks to express feelings and intonations, Andworld Design treats readers of all ages (and eyesight capabilities) to big uppercase letters. He provides adequate spacing between letters, words, and lines of text. Yellow words in brown narration boxes lead us through these cataclysmic events. Colored letters, colored balloon outlines, and the shape of each linking arrow suggest each character's emotions. Amid all the destruction, Andworld Design reserves sound effects for an otherwise quiet scene showing who Urizen worships.

 

Final Thoughts

Scorched #17 hits readers hard with memories of the 2003 Columbia disaster, our recent Covid-19 experience and tribulations prophesied in St. John’s Book Of Revelation. Audacious and energizing, this team book will remind you how Image revolutionized comics in the '90s.

 

Rating 9.3/10

 

For more cover art see my review at Comic Book Dispatch.

The Deadliest Bouquet Trade Paperback Review

 

Writer & Letterer: Erica Schultz

Artist: Carola Borelli

Colorists: Gab Contreras & Tom Chu

Cover Artists: Adriana Melo & Cris Peter

Publisher: Image

Price: April 12, 2023

Release Date: $16.99

 

Poppy awakens early in the morning, the day after Valentine's Day. She picks up her ringing phone on her bedside table. Her sister Rose tells her that their mother died. She's just found Jasmine’s bloody body on the floor of her flower shop. What happens next? Let’s dig into The Deadliest Bouquet trade paperback and find out!

 

Story

Poppy flies from California to New Jersey to comfort her sister. That evening, their remaining sister Violet arrives from Europe. While the police discuss the evidence—and a tattoo on Jasmine Hawthorne's hand—the sisters try to cope with their loss. Instead, childhood issues arise. They nearly come to blows, and Rose throws a knife to prevent Violent Vi from storming out. Poppy's husband arrives, accompanied by children Aster and Holly. As an attorney, Derek Winterberry wants to help. But Poppy wants him and the children to stay at the hotel. Her mother's death brings back memories of her abusive father and how he died.

 

Their obsessive mother trained them in self-defense. Like Gamora and Nebula, competition and family dynamics drove them apart. Poppy tried to remake her life by marrying Derek and moving across the United States. While she’s raising two fun-loving children, Poppy’s secretive nature leads to constant arguments with Derek. Violet left home even earlier, and her violent life remains a secret. As in the parable of the Prodigal Son, Rose remained at home to assist her mother in the Hawthorne flower shop. She blames Poppy and Violet for abandoning her, forcing her to play caregiver to their troubled mother.

 

The Deadliest Bouquet trade paperback also introduces us to Police Detective Bayani and Officer Gutierrez. Their investigation into Jasmine’s death will raise questions about an unresolved murder twenty years ago, as both bullets came from a Nazi pistol. While I wish I'd seen more of these two, Erica Schultz keeps her sights on Poppy, Rose, and Violet. She interweaves present-day discussions and fights with poignant and painful flashbacks that show why the girls grew up as damaged--and yet as strong--as they've become. It's a talky book, but the drama never seemed overdone. The story speaks to essential truths regarding family dynamics and behaviors that lead to dysfunctional ones. Plus, while these three little girls never went to the Police Academy, they've mastered enough self-defense techniques to work for Charles Townsend. They display those many times in The Deadliest Bouquet Paperback.

 

Art

While the story is set in 1992--during the years in which the British comedy Keeping Up Appearances aired--Rose and Violet look nothing like Hyacinth Bucket's sisters. They may have the same names, but Violet's slim features and flowing hair resemble a supermodel. She's also got a supermodel's prima donna temperament and outlook. Rose's hairstyle kept reminding me of Wilma Flintstone, the woman Lister and Cat (aboard the Jupiter Mining Corporation’s Red Dwarf) called The Most Desirable Woman Who Ever Lived. Poppy resembles your typical Got It Together mom, even if that gradually proves untrue.

 

The rest of Carola Borelli's characters are attractive if drawn with less verve and personality. The exception is Jasmine Hawthorn, who often appears slightly unhinged and appears in flashbacks. The family house reminded me of the Halliwell sisters' Victorian San Francisco home on TV's Charmed. The home's interiors--and glimpses of New Jersey--always appealed. Overall, the art suggests an Archie comic or a daily newspaper strip.

 

Gab Contreras & Tom Chu paint The Deadliest Bouquet Trade Paperback with bright and bold colors. Their broad palettes combine well, and the characters stand out. Shadows and highlights lend realism. Indoor lights glow. Numerous flashbacks, while faded, are equally attractive. One could argue the differences between Contreras' first three issues and Chu's #4 and 5, but they're minor.

 

Apart from an abandoned subplot and an abrupt ending, my main complaint is with Erica Schultz's lettering. Her uppercase lettering may be too small for easy reading in print. I like how she embeds sound effects like Sniff and Koff into her dialogue balloons and how she suggests intonation with bold letters. Still, I wish she had not frequently faded the already-small lettering for lowered voices. What should have proven a triumph--matching offscreen dialogue with a flower and matching border color in rectangular dialogue balloons—kept confusing me. The yellow flowers belonged to Rose, yet I kept linking them with Violet's hair. I also wished she had made the red poppy orange, symbolic of Poppy’s adoptive state. (I kept confusing flowers with sisters as I wrote this. Hopefully, I stated all this correctly). Still, I had no trouble linking the orange shield with Detective Bayani, and Shultz’s frequent sound effects enhanced her story.

 

Final Thoughts

Family secrets and dysfunctional relationships lead to tragedy for the three sisters in The Deadliest Bouquet Trade Paperback. Erica Schultz and company deliver a buoyant story filled with likable and relatable characters that—while probing and truthful—never loses momentum to sink into a pool of misery.

 

Rating 8/10

 

To view more cover art from the series see my review at Comic Book Dispatch.

Star Wars Yoda #6 Review

 

Writer: Jody Houser

Artist: Luke Ross

Colorist: Nolan Woodard

Letterer: VC’s Joe Caramagna

Cover Artists: Phil Noto; Lee Garbett with Marte Gracia; Takashi Okazaki;

Publisher: Marvel

Price: $3.99

Release Date: April 19, 2023

 

The Force showed Wookie Padawan Krrsish visions of Trandoshans attacking Wookies. One was Gheyr, his fellow initiate. Master Dooku interpreted these as a warning. On a padawan field trip to Corvair II, the Wookie takes the Trandoshan aside. Their conversation becomes an argument. They exchange blows. Krrsish draws his lightsaber and attacks. Will visions from the Force lead to tragedy? Let's leap into Star Wars Yoda #6 and find out!

 

Story

Gheyr insists she would never attack him, let alone turn to the Dark Side. Krrsish refuses to listen. When Jak’zin, the Tiger-like Togorian, intervenes, the Wookie attacks him too. While Yoda arrives in time to end the fight, this doesn't resolve the conflict.

 

The conflict between Krrsish and Gheyr in Star Wars Yoda #6 explores the rift opening within the Jedi Order. Yoda’s concern for his former padawan Dooku—who works in the murky world of politics and worries unduly about the future--prompted him to reassign Dooku to the Jedi Academy in issue #4. Yoda and Dooku taught Krrsishl. Yet the Wookie relied on Dooku’s advice. From a certain point of view, Krrsish and Gheyr pay the price for Yoda trying to save his friend.

 

 

In the absence of overt signs, I assumed this three-issue story arc transpired over a brief amount of time. Yet after Yoda brings the younglings back to Coruscant, he claims he spoke years ago with Krrsish about this matter and thought the Wookie had put it behind him. Is Yoda referring to the conversation in issue #5, in which Krrsish didn't tell Yoda about his visions? Or another conversation years before events in Yoda #4 that took place before the Force showed Krrsish these dark visions?

 

In any case, the duel has tragic results for the participants. Dooku and Yoda's reactions also resonate. Yoda’s takeaway reminds me that, while anyone can instruct, the best teachers care about their students and never stop learning.

 

Art

Luke Ross' first page of Star Wars Yoda #6 reveals the planet's tranquil beauty, the students honing their control of the Force, Krrsish’s rage, and Yoda’s realization that something on Corvair II is very wrong. After this impressive start, the art falters. Faces remain highly detailed. Minimal penciling suggests grass, plants, and backgrounds. Direction lines imply movement. Often background scenery fades away, and silhouettes stand in for characters. Nor does Ross reveal Jak’zin’s injury. The Togorian covers it immediately. Krrsish’s lightsaber sliced through a tree! Yet on Coruscant, clothing covers Jak'zin's arm, or he holds it. It seems the Force is strong with this one's arm.

 

Nolan Woodard paints Corvair II in purples and pinks. He shades and highlights clothing without delving unduly into gray. Blank backgrounds receive eye-catching colors. Yet some panels—such as when he paints Gheyr’s body and clothing green, or Krrsish entirely blue—resembled initial color holds. After the highly detailed tropical beauty of Alaris Prime in issue #5, I expected more from the Jedi students' field trip. While the Coruscant imagery returns to near-past efforts, the minimal foregrounds and backgrounds of Corvair II robbed me of willing disbelief in these fantasy worlds. That probably explains why Gheyr and Yoda didn’t quite seem to inhabit the practice yard by the yellow-striped tree at the Jedi Academy. 

 

 

 

No blue block letters locate scenes in space and time in Star Wars Yoda #6. Thankfully, uppercase letters in spherical dialogue balloons still make for easy reading. Krrsish’s growls and roars burst from white balloons like exploding TIE Fighters. Lightsabers hiss like Gheyr, hum like Aunt Beru’s blender, and whoosh like Luke Skywalker’s speeder. On the final page, blue letters in white balloons lacking arrows suggest someone shares Yoda’s thoughts and wishes to speak with him.

 

Final Thoughts

A battle between students highlights a growing rift in the Jedi Order. Star Wars Yoda #6 reveals the legendary Jedi Master's concern for others, how hard he works for the institution he loves, and how harshly he judges himself.

 

Rating 7.4/10  

To preview interior art see my review at Comic Book Dispatch.

All Eight Eyes #1 Review

 

Writer: Steve Fox

Artist: Piotr Kowalski

Colorist: Brad Simpson

Letterer: Hassan Otsmane-Elhaou

Cover Artists: Piotr Kowalski and Brad Simpson

Publisher: Dark Horse

Price: $3.99

Release Date: April 19, 2023

 

When his roomie throws him out after four months of nonpayment of rent, Vin wanders through the park in the early morning hours. He spies a homeless man hammering another man in the head. The homeless man grabs him and pulls him over. Vin sees a giant spider lying beside the corpse. What happens next? Let's brave a look inside All Eight Eyes #1 and find out!

 

Story

Vin had thought to report the man. Now all he wants to do is get away. But the homeless man chases him and bashes him with his hammer. The dog licks him. He jerks awake. The dog backs off and growls. The man crouches before him and thrusts his hammer in his face. "Don't scare my dog," he says.

 

A patch on the man's jacket reads Reynolds. Once again, he shows Vin the spider. He shares how his discovery has changed his life. He shows Vin his journal, in which he's recorded his adventures. Most people never see this menace, he claims. If Vin sticks to well-trodden areas, he'll likely never see one again. He advises Vin to forget about the spiders if he can.

 

All Eight Eyes #1 shines a light on the homeless community in the United States. As Kim Stanley Robinson does in his novel Green Earth, Steve Foxe posits that some vagrants might contribute more to the public good than their more socially acceptable neighbors. He also reminds us how easy it is to merely see what we expect to find. His story asks: How much more might we discover if we broadened our vision and explored more of our world?

 

 

Art

Piotr Kowalski draws interiors with incredible detail, imbues his characters with personality, and packs outdoor scenery with realism. Brick walls reveal cracks and surface imperfections. Clothing show texture, creases, and shadows. Like Vin and Reynolds, the spider-warrior’s dog overcomes his breed’s bad rep to become a sympathetic character.

 

Kowalski limits panels to individual pages rather than working across pages horizontally. Even pages with big reveals sport several panels. My only quibble was Reynolds’ journal. He shows it to Vin, who holds it while they talk. Then we never see it again. Did Vin take Reynolds' journal or not? At least we can read two pages of his adventures at the end of All Eight Eyes #1.

 

The hall of Vin's former apartment reveals color differences in peeling wallpaper and shadows cast on walls and floor by an inadequate overhead light. Vehicle headlights illumine darkened streets beneath the violet sky. The green of grass, shrubs, and foliage contrasts with Reynolds and Vin's earth tones in the early morning light. When Reynolds' dog licks Vin awake, he sees brown brick walls that show color differences, highlights, and shadows. While Kowalski draws lines beneath each character, Brad Simpson shades the area to deepen shadows. His coloring is never harsh or garish, and he uses gray sparingly. Intriguingly, he colors the spiders purple, blue, green, and yellow. It's not as psychedelic as James Stokoe’s coloring in Orphan and Five Beasts, but it reminds me that Vin’s seeing something that shocks him.

 

Hassan Otsmane-Elhaou uses uppercase letters in spherical white dialogue balloons. Inflection makes words grow bold. Rectangular narrative boxes overlay scenes of spider infestation as Reynolds relates his adventures. Sound effects include the dog's growls, the giant spider landing on a brick floor, and the Whoosh of erupting fire. Words combine with art to help us see sound in All Eight Eyes #1.

 

Final Thoughts

Grounded in cultural relevance and monster lore, All Eight Eyes #1 is a fast-paced, thought-provoking read that may make you look at the world differently. The beautiful art, additional story pages, and journal entries make this lovingly detailed comic a must-buy for all but the most ardent arachnophiles.

 

Rating 9/10

 

To preview interior art see my review at Comic Book Dispatch. 

Creepshow TP Vol 1 Review Part 2

 

Creepshow Volume 1 Review

Writers: Chris Burnham, Paul Dini, Steve Langford, David Lapham, Maria Lapham, Steve Foxe, L Marlow Francavilla, Francesco Francavilla, Ariela Kristantina, Kyle Starks, Henry Barajas, Steve Orlando, Clay McLeod Chapman

Artists: John McCrea, David Lapham, Erica Henderson, Francesco Francavilla, Jorge Corona, Fran Galán, Dani, Marianna Ignazzi, Anwita Citriya

Colorists: Adriano Lucas, Mike Spicer, Trish Mulvihill, John Francois Beaulieu, Brad Simpson, Fabiana Mascolo, Jordie Bellaire

Letterer: Pat Brosseau

Cover Artists: Chris Burnham & Adriano Lucas

Publisher: Image Comics

Price: $14.99

Release Date: March 22, 2023

 

The Bridge

Writer: Ariela Kristantina

Artist: Jorge Corona

Colorist: Jean-Francois Beaulieu

 

When Alexis visits a Malaysian island with her friends, her boyfriend breaks off their relationship via cell phone. Incensed, she doesn't wait for her friend to translate their guide's warning. She crosses a bridge and discovers an ancient temple surrounded by Banyan trees. Her friend translates the caretaker's warning, but Alexis storms past him too. What she finds inside the temple will haunt her forever. I like how Alexis’ fixation on social media blinds her to reality. Jorge Corona’s art and Jean-Francois Beaulieu’s soft, appealing colors conjure an exotic landscape reminiscent of 1974’s The Man With The Golden Gun and The Phantom movie of 1996. Fans of Clive Barker's stories, and European comics like Leo’s Aldébaran and Christin and Mézières’ Valerian and Laureline series, should check this one out.

 

Come Out, Come Out, Wherever You Are

Writer: Kyle Starks

Artist: Fran Galán

 

A yellow-orange glow suffuses panels as Nancy remembers exploring the woods with her childhood friends. They find bodies drained of blood, but no one heeds their warnings. So, the kids decide to clear out the local vampire nest. The art and limited color palette give this story an all-ages appeal. While I missed the story's logic, I enjoyed the meditations on adulthood and giving into fear. Mix Stand By Me, Buffy the Vampire Slayer, garnish with Night of the Living Dead and serve.

 

La Mascara Del La Muerte

Writer: Henry Barajas

Artist: Dani

Colorist: Brad Simpson

 

When rising star Lupe Lopez loses a Luche Libre bout, she steals her father’s mask from her grandma and returns to the ring. Too late, she discovers it retains the same power that ended her father's career. Dani’s blotchy, smudgy style art suggests backgrounds. Characters and proportions sometimes look out of skew. It’s almost as if she draws the negative spaces rather than the positive ones. Simpson's vibrant coloring gives her intriguing style energy and a heightened sense of reality. Sadly, this story in Creepshow Volume 1 seemed familiar and predictable. Still, Venom and Carnage fans will like how the mask manifests its power.

 

 

Thirst Trap

Writer: Steve Orlando

Artist: Marianna Ignazzi

Colorist: Fabiana Mascolo

 

Parker does a deal with a demon. In return for taking regular selfies with his cell phone, he gets his youth back and doesn’t age. But what happens if he loses his phone? Ignazzi’s art gives this story scope and Mascolo’s coloring atmosphere. Still, the scene that tripped me up only had limited coloring. I had to flip back and forth several times to understand Steve Orlando's story better and find clues as to who did what and when. Still, aspects of the story spoke to me, and I liked most of the art.

 

Husk

Writer: Clay McLeod Chapman

Artist: Anwita Citriya

Colorist: Jordie Bellaire

 

Sally’s parents value traditional Southern heritage in their lavish plantation home. Her mother trains her in etiquette, dancing, and deportment. Yet, as her rite of passage nears, Sally believes she doesn't belong. The art ranges from adequate to impressive. Bellaire's limited coloring schemes changed with each panel. Citriya hints at Sally’s struggle for identity with her bedroom decor, while other panels hint at her origin. Still, I needed more backstory to prepare me for the shocking reveal at the debutante ball. As exciting as it is, the revelation lacked emotional resonance.

 

Final Thoughts

Like a candy haul after a long night’s Trick Or Treating, Creepshow Volume 1 is a mixed bag of scary sweets. Some stories I’d happily give away. Others I will treasure. My favorites were The Gorgahmorahh Tree, Creator’s Rites, and The Bridge. You'll discover your favorites when you delve into this horror anthology.

 

Rating 8/10

 

To preview interior art from the story Take One, and see more cover art, see my review at Comic Book Dispatch.

Creepshow TP Vol 1 Review: Part 1

 

Creepshow Volume 1 Review

Writers: Chris Burnham, Paul Dini, Steve Langford, David Lapham, Maria Lapham, Steve Foxe, L Marlow Francavilla, Francesco Francavilla, Ariela Kristantina, Kyle Starks, Henry Barajas, Steve Orlando, Clay McLeod Chapman

Artists: John McCrea, David Lapham, Erica Henderson, Francesco Francavilla, Jorge Corona, Fran Galán, Dani, Marianna Ignazzi, Anwita Citriya

Colorists: Adriano Lucas, Mike Spicer, Trish Mulvihill, John Francois Beaulieu, Brad Simpson, Fabiana Mascolo, Jordie Bellaire

Letterer: Pat Brosseau

Cover Artists: Chris Burnham & Adriano Lucas

Publisher: Image Comics

Price: $14.99

Release Date: March 22, 2023

 

The 1982 Creepshow movie ripped through cinemas with stories written by Horror master Steven King. The movie spawned two sequels, a comic book novelization, and the TV series Tales From The Darkside. After owning the ‘80s, Creepshow refused to die, returning with a web series, a streaming TV series, and Scholastic tie-in books. It's even returned to comics courtesy of the good folks at Image. Are you ready for ten new terrifying tales? Then let’s dig into Creepshow Volume 1 and brave what we find inside!

 

Take One

Writer & Artist: Chris Burnham

Colorist: Adriano Lucas

 

When three Trick Or Treaters ignore written instructions—and memories of draconian punishments awarded by the former owner of a shuttered house—they discover that Death still has its sting. Burnham’s story reminds us of society’s current trend away from traditional Trick Or Treating, and the ending highlights the sometimes twisted ethics of horror stories. Detailed penciling, tilted camera angles, silhouettes, textured coloring, and excellent shading and light sources give this comic a film noir appeal. The over-the-top violence and gore make Take One a fitting companion to Spawn: Unwanted Violence. Strangely, the morning after welcomes an October sun. Did the boys get their dates mixed up? Was that why we saw no other Trick Or Treaters on those dark streets?

 

 

Shingo

Writers: Paul Dini & Stephen Langford

Artist: John McCrea

Colorist: Mike Spicer

 

A daughter’s birthday party becomes the latest battleground for separated parents. Shingo asks: when parents refuse to get along, how does this affect their children? The circular nature of the story suggests how parents can initiate a cycle of dysfunction and abuse that lingers for generations. Its lighter, humorous tone allows readers to recover from the last story's graphic excess. The art’s more Golden Age than Modern and reminds me of the EC horror comics that the United States Senate called a Comic Book Menace in 1954.

 

The Gorgahmorahh Tree

Writers: David Lapham & Maria Lapham

Artist: David Lapham

Colorist: Trish Mulvihill

 

Dysfunctional families enrich the soil in which horror stories grow. The way Lapham draws people in The Gorgahmorahh Tree reminds me of his 90s Harbinger run. Each panel compels as Lapham contrasts the majestic, ancient tree with Daphne’s cluttered, disordered home. How much of what occurs is real? How much does Daphne imagine? This third story in Creepshow Volume 1 evokes classic episodes of The Avengers, Night Gallery, and Doctor Who. It also reminded me of Patrick Ness' novel A Monster Calls and the 2016 movie. An unreliable narrator, a tortured daughter, and mesmerizing art turn an old gardener's adage on its head in this unique take on an oft-told story.

 

Creator’s Rites

Writer: Steve Foxe

Artist: Erica Henderson

 

Creator’s Rites tackles elder abuse: a subject most don't want to face. Compare the years it takes to become a doctor or nurse with the weeks of preparation (perhaps via the Internet) to work in a nursing home. We may never become luminaries in the comic world, but if we live long enough, we’ll all need help meeting our basic needs. Do Henderson's Old School TV animation style and vibrant coloring blunt the edges of Foxe’s story or make them sharper? Seemingly ripped from the final days of Stan Lee, Creator’s Rites cuts deep.

 

Hair

Writer: L. Marlow Francavilla & Francesco Francavilla

Artist: Francesco Francavilla

 

Jimmy feels more kinship with wild animals than civilized people. The barber doesn't hurt anyone, but Jimmy’s actions aid the animals in the forest outside town. The character reminded me of activist Nick Van Owen (played by Vince Vaughn) in The Lost World: Jurassic Park. Scenes of town life evoke the Andy Griffith Show and Groundhog Day, with no newcomers saying "Heavy" or asking for a Pepsi Free. Francavilla's carefree, heavy inks and limited palette--greens, yellows, and oranges—give Hair a faded appearance. Hair combines a love of nature with a yearning for a simple life in a mood piece that—while not surprising--lingers. 

 

To read this review in its entirety, and preview art from Take One, see my review at Comic Book Dispatch.