Graphic Content #16: Alien and Ultramega
Welcome to the 16th installment of Graphic Content and the third in almost as many weeks. We’re returning to the machinations of Alien‘s Weyland-Yutani and the kaiju chaos of Ultramega this time around. I’ve been very critical of Alien‘s first two issues. Can the third issue redeem the series? Will Ultramega continue to impress? Let’s find out.
Alien #3
Alien #3, continuing an untitled story-arc, takes place immediately after the Xenomorph attack on Gabriel’s woefully small strike team. The previous issue had the team encounter a survivor whom Gabriel seems distrustful of, be it corporate paranoia or deeper. We continue to get a trickle of the backstory of events 20 years prior, emphasizing the role of Bishop, the android. Throw in some ugly alien goats, a double-cross, a surprise character reveal, and you wind up with a fairly decent story.
The writing feels better here. Phillip Kennedy Johnson’s storytelling feels more focused and seems to be leading to something. I feel like I have a pretty good idea of what will happen, but I won’t spoil that here. Predictability isn’t a bad thing, though. If the direction of the comic is what I think is being set up, the series may actually be doing something interesting with the Alien concept. Too bad Gabriel is just so bland as a protagonist, and the surviving marine is just a Hudson-lite.
Salvador Larroca’s art, still, is a huge problem. What should be exciting action scenes feel devoid of motion. Gabriel still looks like Jeffrey Epstein at times, and the Xenomorphs, while technically drawn, have virtually no menace to them. In truth, cover artist Lee InHuyk, who has done the covers for the first three issues so far, would be a much better choice for the internal artwork. At least the covers depict actual menace, motion, and a Gabriel who doesn’t look like a murdered sex trafficker. The coloring by Guru-eFX does a lot of the heavy lifting in creating menace and atmosphere. But the shading style still does not work with the inking style of Larroca.
Bottom Line?
Potentially interesting lore developments have kept me reading past the third issue, my normal “drop point” on a title. The art is still the weakest component of the book and does not make for a pleasant read.
(3.5 / 5)
Marvel’s Alien #3, written by Phillip Kennedy Johnson, illustrated by Salvador Larroca, and colored by Guru-eFX, is available from Marvel Comics and your local comic shop.
Ultramega #3
Ultramega #3 continues the repercussions of the Masked Ultra’s (actually a kid named Noah) actions. Now is sold out by the people of Avalon for his actions against Red Gara, a Kaiju enforcer. Now Noah finds himself in the “Koliseum,” where he must fight to survive wearing an oversized Ultramega head. Beth, dumped in a pit the last issue, encounters a group of not-so-hostile Kaiju. Red Gara, injured and delirious, has his belongings picked through by his underlings. We learn more about the relationship between the Kaiju and Ultramega. This time from the perspective of the Kaiju in their elaborate ceremony.
It’s a fascinating world of Kaiju politics. The monsters are practically humans themselves in their motivations. The grasping and grubbing for power and influence – almost like Game of Thrones. And just like Game of Thrones? Anyone can die.
The series is good, but I’m noticing the pacing is a bit scattershot. The issue breathlessly tosses in developments. Some of these cool moments could benefit from some additional context. I think the writing is fine, and I expect I’ll be getting the explanations I want by issue #4. But honestly? This issue felt exhausting in a way. A lot happens in one storyline, but some characters only get the briefest of check-ins. I think my greatest concern is that we don’t really have a point-of-view character. Someone who is inexperienced or can at least serve as an entry point to the world. Many readers are bound to get lost.
Visually, Ultramega is still a real winner. The art is gory, ridiculous, and the monster designs are incredible. The action is well done. You get a real sense of physics and motion in the panels. Not much else to say here that hasn’t been said in the prior two reviews.
Bottom Line?
Ultramega #3 continues the streak of brilliant storytelling, worldbuilding, and art established in issue #1, but the pacing and number of developments may throw some readers.
(4 / 5)
Ultramega #3, written and illustrated by James Harren with color contributions by Dave Stewart, can be found at Image Comics and your local comic shop.
Check back later this week as we finally get back to covering the first run of Swamp Thing. Exciting times ahead! I also hope to add a new book into the rotation after we wrap up Ultramega. I may include the most recent Swamp Thing run.
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)
