Graphic Content #11: Hellblazer and Killadelphia
Welcome back to Graphic Content where we cover comics, and this week we tackle Hellblazer and Killadelphia My initial impulse after the last article was to jump into another Swamp Thing retrospective. However, I also realize I have a bunch of titles I am actively reading so I figure it would be best to get back to those. Swamp Thing next time, I promise.
This week we continue with two super-star series we’ve been reading for a while. John Constantine, Hellblazer, now cancelled, and the fantastic Killadelphia.
John Constantine, Hellblazer #10
“The Wake Up Call,” the tenth issue of the 2019 run of John Constantine, Hellblazer, lays all the cards out on the table and establishes the central conceit behind the series: John is fighting guilt over the trail of broken and destroyed bodies, minds, and souls that come into his orbit. We’ve seen bits and pieces of it throughout the run, but the grim and bloody thesis is laid bare in this issue. The issue follows John Constantine and Old John Constantine who comes to John in a dream to mention their bargain and a new wrinkle; he wants John’s soul, of course, just not yet. What follows is a surge of dream logic that travels from John’s apparent death in the War of Magic from the mainline DC Universe, where he sold his soul to Old John, to the Dreaming. All the while, John’s allies Nat, Noah, Tommy, and even Vestibulan, the demon in his smartphone, are subjected to horror because they are his allies.
The writing is good, as it has been since the start; a kind of Hellblazer road trip across the mind of John Constantine, all presented through dream logic. John the Younger shows his wit and trickery, but it still outmatched by his older, asshole self. it’s all very fascinating and just raises further questions about the nature of what Old John wants – or his very nature. We see glimpses of Ravenscar Sanitarium, the Dreaming, and nightmarish places including a bar filled with Constantines of all kinds. The threads are fairly dense, however, having an expectation that the reader is familiar with Constantine’s current incarnation and the immediate past. Some periodic reminders of issues or runs would have been helpful here. It can be a lot to keep track of.
Bergara’s art here is wonderful, especially in dealing with the strange visuals of the dreamquest and the uncanny presence in the dream logic of the issue. The revelation of the “heart” of the matter is particularly stunning and is some fantastic horror imagery. The usage of light and shadow is particularly dramatic and something you’d only ever seen in comics, which is incredibly fitting. The brightness of The Dreaming also stands out as perhaps some of the most visually bright material in the run, but is nonetheless disturbing, given what exactly is at stake.
I have not finished Spurrier’s run, just yet. I’ve been taking my time and savoring it. With this issue, had I not know the series was coming to and end, I would have been thrilled about the long haul. Now, though? I dread that I won’t get my answers. I resolve myself to enjoy the rest of the ride as best I can, however.
(4.5 / 5)
John Constantine: Hellblazer #10, written by Simon Spurrier and illustrated by Matías Bergara, is available from DC Comics and your local comic shop.
Killadelphia #10
Killadelphia #10, aka “Burn Baby Burn, Part IV, Kill Them All,” while ridiculous in the title, continues the strong work laid out so far by writer Rodney Barnes and artist Jason Shawn Alexander. The issue mirrors the previous, only this time we look back at the wild west, Deadwood, specifically, and get to know “Toppy,” formerly Fergus. Toppy has been in the periphery of Killadelphia for a while, now, but this is the most complete picture we get of him yet. This issue continues the trend of revealing the vampires have their own tragic histories that feed into their vampiric lives. Structurally it is very compelling: we progress the current narrative, but take time to look at motivations and reasons. I did express apprehension in previous reviews about the pace of the series, the constant momentum, but I am pleased to see that things are slowing down a bit. The pieces are in place, the plot is moving – why not wind the clock back a bit? I really am appreciating getting to know the various vampires in Abigail’s orbit.
Meanwhile, the present-day narrative concerns the series of mass vampire attacks on the city, specifically following up on the Sangsters’ raid on a vampire brothel. It’s a small scene in the grand scheme of things, with the narrative importance falling on the aftermath: John and John Sr.’s relationship is still struggling, with Sr. snapping after a botched mission as Sr. is still raw from being deprived of rest alongside his wife a couple of issues back. Lastly, we also see a horde of vampiric prisoners escaping from prison, and “Jupiter” (don’t call him that) makes his way to Abigail’s home for a very specific purpose. To say much else would spoil a satisfying ending.
The issue also presents another installment of the werewolf story “Elysium Gardens.” I’m never quite sure how to address it in these reviews as it is its own entity. May I will need to review the bunch of them assembled as their own release eventually. It’s good stuff, a nice companion to Killadelphia. It of course also makes me wonder what else might Barnes want to tackle in this horror universe. I’d love to see Barnes and Alexander work on zombies next; the news report and set-up presented in the first few pages give me Night of the Living Dead and Dawn of the Dead vibes.
Speaking of Jason Shawn Alexander, his work is consummately professional. Issue after issue Killadelphia looks great. When the series first rolled out I had expressed concerns with some of the artistic choices, but since then the style has refined itself. The splatter of ink feels a little more pointed now, like a flourish or signature. The likenesses and character designs feel more consistent overall. The carnage of vampiric slaughter is appropriately messy but never ill-defined. I find it can be a challenge to write about the art from week to week when the work is so good. I do wonder about some staging, however. The emphasis on Abigail’s posterior on one page practically served as the center mass the panels orbited around. A little cheeky, but may not the best decision thus far. I can see this choice possibly biting the title in the ass when the inevitable streaming series happens. Only hindsight will tell.
Alright, enough butt puns.
Killadelphia slows down a bit to take in the sights and memories of one of the vampire crew in a fun issue that gives us just enough forward momentum while rewarding long time readers who ask: “what is with the vampire in the top hat?”
(4.5 / 5)
Killadelphia #10, written by Rodney Barnes and illustrated by Jason Shawn Alexander, is available from Image Comics and your local comic shop.
Again, Swamp Thing next time, I swear. In the meantime, please let me know what you think about these comics, the review, or please suggest titles you want to see reviewed. You can also find me on Twitter where I pick fights with nerds. See you next week for Graphic Content #12.
Book Reviews
Vermis II: Mist & Mirrors, a Book Review
Vermis II: Mist & Mirrors is a graphic novel by Plastiboo, acting as the “official guide for a game that doesn’t exist.”
Vermis II: Mist & Mirrors is a graphic novel by Plastiboo. The team behind the work includes Plastiboo as the artist, Hollow Press as the publisher, Michele Nitri as the editor, Christian Dolz Bayarri as the graphic designer, Marco Cirillo Pedri as the graphic supervisor, and E.R. as the English editor and proofreader. The Vermis collection seems sold out in its current editions, but I still recommend ordering from the original publisher, Hollow Press.
Who stares back from the dark glass? The Wayfarer travels–cursed and haunted by their past–through the distant lands and places within the Mist & Mirrors. Endure a corrupt world and struggle to fend off the curses that mark you. Venture forth, Wayfarer, and perhaps find peace and salvation.
What I Like about Vermis II: Mist & Mirrors
The premise remains an “official guide” to a game that does not exist. However, one key distinction that stands out is the corrosion of this “official guide” mark, suggesting Mist & Mirrors centers itself as a graphic novel. In this sense, it more accurately hits its vision while providing an engaging story.
Mist & Mirrors places its character selection at the end of the graphic novel, instead, choosing a character and allowing the reader to follow that journey. While this moves away from the “official guide” concept, it better fleshes out the world and creates a more independent product.
Where Vermis I held a heavy retro-game aesthetic, Vermis II takes this to the next level while adding a wider range of color than the original. Not only does this add more aesthetic variety, but it also vastly improves readability. My greatest critique of the first graphic novel was the general lack of readability that impacted the experience, but Mist & Mirrors seems to take this to heart. Beyond the variety and improvement, the design changes the color themes to match the distinct lands the “Wayfarer” embarks on, giving a direct purpose to the changes.
On starting the graphic novel, I half expected a spiritual successor set in a new world. While its setting certainly differs from the original, Mist & Mirrors expands on the lore and history. In fact, the exploration of Mist & Mirrors adds value to the original and encourages a re-read. Honestly, that’s what all sequels strive (or should strive) to succeed.
Despite the colorful innovation, Vermis II: Mist & Mirrors delivers that same bleak horror popularized by Dark Souls. It still wears its inspirations on its sleeves while better communicating its “game mechanics.”
Tired Tropes and Triggers
Again, there aren’t many points worth mentioning regarding tropes or triggers. As the graphic novel takes themes and trends from the Soulslike genre, it’s dark and bleak but not overwhelmingly so.
Payment and delivery (for American audiences) still come with a 15 to 45-day wait period with little room for verification or updates. The process through PayPal remains seamless, and I received the novel within the timeframe, but it’s a consideration.
What I Dislike about Vermis II: Mist & Mirrors
While there are notable points to mention in this section, Mist & Mirror vastly mitigates Vermis I’s core issues. However, that isn’t inherently the same as fixing them in some cases. For example, readability remains a slight issue. I will emphasize it as a slight issue with the vast improvements implemented.
For those fans of the specific niche that Vermis aims to deliver, Mist & Mirrors tones down the “official guide” aspect. Instead, it favors a more straightforward narrative that follows a specific character. This brings life to the “game world” and makes an independent product but limits Vermis I’s game guide concept.
On a more personal note, I did enjoy the concept of Vermis I’s classes over the classes of Mist & Mirrors. Naturally, there are some interesting concepts, but nothing haunts me like the Infant Seeker or Rat Man. However, the new choices seem to provide a stronger narrative and backstory.
Final Thoughts
Vermis II: Mist & Mirrors vastly improves in many aspects of the original, telling a story set in its bleak and fascinating world. While it does veer from the original concept, it does so to make a more independent product. If you are looking to lose yourself in a strange world or dive deeper into Vermis’ underexplored lore, Mist & Mirrors seems tailor-made for you.
(5 / 5)
Published in April of this year, Bad Dreams in The Night is a collection of horror comics by the artist and author Adam Ellis. With the description stating that it is a graphic novel version of Scary Stories to Tell in the Dark, I had to get my hands on it. And it did not disappoint.
The stories
Bad Dreams in the Night consists of eleven short horror stories. I honestly don’t think there’s a bad one in the whole bunch. So let’s just highlight a few.
Easily my favorite story in the book was Little House in the Sea. It’s a sweet, eerie little tale that seems like a pinprick view into a dark and horrifying world. It left me with so many questions that I fear will never have answers. The story is about a young woman and her mother, who live on a little island all alone. The young woman is never to ask about what is on the other side of the sea. Then, her mother dies. And everything changes, but not by a lot.
Green Ribbon was another great story. It’s a retelling of the classic Girl With a Ribbon story from the original Scary Stories book, in which a man is confused and eventually angry that the love of his life wears a ribbon around her neck and won’t tell him why. I liked this updated version. It’s a stark reminder that just because we marry someone, we aren’t owed all of their secrets.
What worked
Of course, the first thing I have to point out about Bad Dreams in the Night is the fantastic artwork. Ellis was a cartoonist first, and it shows.
The artwork is part of the storytelling as well. The best example of this is the story Better Kate Than Never. The younger sister character, Taffy, has such an animated face during the scenes with a ‘studio audience’. When she is just herself, her face is flat, and far more mature than we’d expect for a girl her age.
Though, I suppose based on the story, she might be any age.
Another really enjoyable thing was the mini-essays at the end of each story. As a creator myself, I love the little peeks into the creative process. I know how I come up with stories. But it’s different for everyone, and the story behind the story is often just as fun.
Finally, I have to praise a feature that applies to Ellis’s work overall, not just this book. Whenever he writes scary stories (and he has posted quite a few on his social media) they are a fascinating blend of cute and horrifying. The artwork always has a lovely, innocent, cartoonish look. The children always look like cartoon children, with exaggerated large heads and wide circular eyes.
At the same time, Ellis doesn’t pull any punches when it comes to the blood and gore. One story in particular, Milk Door, is a perfect example of this. I don’t want to spoil the ending for you, but it is graphic, horrifying, and wonderful.
What (kind of) didn’t work
I only have one issue with this book. If you follow Ellis on social media, you’ve likely seen at least some of these stories before.
Though, even as I say this, I’m not sure what could have been done about it. Only the beginnings were shown on Instagram. This was a marketing tactic and an effective one. You get the setup for free, but you have to read the book for the punchline.
Bad Dreams in the Night was a really enjoyable way to spend a few hours. In the end, my only real complaint is that it could have been longer. But of course, that is one of the chief rules of entertainment. Always leave people wanting more.
(usr 5)
By the way, if you like this you might enjoy my haunted apartment novella, Quiet Apocalypse. The main character is a modern witch, and I share some real magic in this fictional story of an unexpected end of the world.
Vermis I: Lost Dungeons and Forbidden Woods is a graphic novel by Plastiboo. The team behind the work includes Plastiboo as the artist, Hollow Press as the publisher, Michele Nitri as the editor, Marco Cirillo Pedri as the graphic designer, and a mysterious E.R. as the English proofreader. While I found the book available across outlets, I would recommend going directly to Hollow Press as I am unsure of the reliability of these other options.
Which flesh is your flesh? Come traveler and pick between several distinct classes to explore the bleak world of Vermis. Catastrophe and calamity dictate the lands you travel to, warring to break all living here. Venture forth, but be forewarned, hope remains a distant memory.
What I Love About Vermis I
The premise of this book was that of “an official guide of a game that doesn’t exist.” I was reminded of countless nights studying such books for every drop of lore I could. It paid passionate respect to these guides, bringing to life a retro game inspired by Dark Souls but entirely its own. The concept creates an interesting and interactive fiction, requiring readers to build an understanding of mechanics and gameplay that doesn’t actually exist.
The art style evoked a green-saturated pixel-apocalypse in a fantasy setting. This premise likely evoked your interest or turned you away. Vermis I committed to this style, so that desire remained an important part of your enjoyment.
When I learned of the Infant Seeker class, I had to admit a curiosity. The “classes” are unique, painting a perspective and “playstyle” that fleshes out this imagined world. To be clear, this isn’t a “choose your own adventure” experience. The book is informative, with some options sprinkled in. However, these options are purposefully limited, revealing little for possible interpretations.
While Vermis I was not a large graphic novel, I couldn’t put it down. On the first day I held it in my hands, I finished it. There were sections and natural break points to help pace the material, but it kept me engaged throughout.
Vermis I evoked a bleak horror all too familiar to those of the Dark Souls fandom. While I couldn’t call this a Soulslike, as it doesn’t provide any mechanics associated with the genre, Vermis I follows the story trends and themes closely.
Tired Tropes and Considerations
Aside from the bleak world, there’s little to discuss in triggers and tropes. It’s worth mentioning that infants were considered a delicacy to witches in this world, but that’s not given much time or focus.
The biggest consideration was the purchasing process. It was largely seamless through PayPal, but American audiences would need some third party to convert payment. Wait time lingered between 15 to 45 days with no notifications to alleviate worries. I didn’t blame this experience on Hollow Press, but it was certainly a drawback.
For transparency, my purchase arrived ahead of the latest mark, ranging within 20 days. There was also an additional purchase option for a price increase that might have resulted in notifications.
What I Dislike About Vermis I
Readability remained my only major concern and issue throughout the text. This issue stemmed from creative decisions and art style choices that make reading certain sections difficult. The retro art also left some room for misinterpretation. Vermis I’s title represented this issue perfectly. Yes, it’s artistic and haunting but challenging to read.
Vermis I appealed to a rather specific niche. It had room to further develop this informative aspect but reached its intended goal in an arena of limited competition. In fact, the specifics made Vermis I the only such contestant in its arena. Outside this niche, there’s retro gaming art and a heavy influence of Dark Souls to appeal further. Regardless, it’s a specific experience that either sounds interesting or unappealing.
Though enjoyable, this wasn’t a perfect parallel to reading those official guides. Vermis I provided a more obtuse experience compared to other such books. However, this might better represent the Dark Souls influence. Vermis I’s “game” would be a linear experience with replay value. It’s a funny way of looking at the content, but that’s the premise one buys into.
As unique as this graphic novel turned out to be, and how enjoyable the content remained, Vermis I left much room to further explore a dynamic it partly founded. I do hope Vermis II expanded on the material as either a companion piece or an original setting.
Final Thoughts
Vermis I: Lost Dungeons and Forbidden Woods delivered a unique graphic novel experience. Part guidebook and adventure novel with sprinkles of Dark Souls influence, this graphic novel provided an enjoyable and haunting world that evoked the imagination. While it felt condensed for a sole project, it catered to a focused niche while creating a market.
(3.5 / 5)
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