Graphic Content #2
Welcome back to another installment of Graphic Content where I dive into some horror comics. This week we continue our ongoing reviews of Hellblazer and Killadelphia, but we also introduce a third comic into the mix. Might it become an ongoing read for Graphic Content? We’ll see…
John Constantine: Hellblazer #4
It’s a new age of magic in the fourth issue of John Constantine: Hellblazer, “Scrubbing Up, Part One.” John is finally trying to give this new world a go after his experiences opening up the series in the first arc, but he immediately gets razzed for his new look and encounters a new time of magician in Tommy Willowtree. This issue has the new standard of John at work, Noah driving him around, and introduces the wrinkle of Yoga magic through Tommy. Tommy plays on the kind of Millenial magic that you find on Instagram and Pinterest and while John takes the piss out of it Tommy’s brand of the “mystic arts” (his words, not mine) are pretty effective. Especially fun is John’s complete disdain for “Pun Magic” and pretty much being bested by this new guy at every turn.
The art has changed with this new storyline. As much as Aaron Campbell’s art evoked classic Hellblazer in the first arc, this new arc is doing something new. Artist Matías Bergara presents a brighter, more exaggerated style that may initially seem off for Hellblazer. However, it totally suits the current story and still has that underlying edge of grunge, such as the details around John’s eyes or the magical attack on foreign folk made by the ravens of the Tower of London.
Overall, this has been a welcome start to a new arc and maybe even a new era of Hellblazer. The previous arc, “A Green and Pleasant Land” felt very much like an evocation of a previous era to bring in the Hellblazer diehards. Hopefully, they stick around for this new shift in the series. I do worry Tommy Willowtree is being written a bit too broadly and is going to end up both a punching bag and a victim as a “take that” but time will tell.
(4 / 5)
John Constantine: Hellblazer #4 was written by Simon Spurrier, illustrated by Matías Bergara, and colored by Jordie Bellaire.
Killadelphia #5
We return to the exciting world of Killadelphia with “Sins of the Father, Part V: The Sun Will Rise.” I have been pretty effusive with my praise for the series since it launched and it still deserves every bit of praise. As excited as I am about the potential of it becoming a TV show I am also a bit bitter that such a unique comic, something that really represents the height of the art form, is going to probably become more known as a show. I would have preferred the series to remain a gem in comics for a while, but I do not begrudge the creative team their success. But hey, these are my hang-ups as someone who came into the series and appreciated it immediately; I just want to be that guy, again, the sort of “I knew about it first” hipster. Like it was with The Walking Dead all those years ago.
Sigh.
Anyway, Killadelphia is still good, damn good. This issue follows the aftermath of the prior’s mass vampire attack on Philadelphia. It is very much a “rallying the forces” moment in the series. We catch up with the larger cast of the story, particularly making time for the vampires of all ranks within Adams’ organization. We also learn that there are more ancient connections to Africa in the strain of vampirism, as illustrated by vampire Tevin, who is quickly turning out to be one of the best and most sympathetic characters in the series. We also spend a good deal of time with the little girl vampire, Brittany who lived during the slavery-period of the United States around the time of the Civil War.
Perhaps the biggest wrinkle to all of this is the introduction of a figure known as Seesaw, who seems to have an ability that has already made the Killadelphia form of vampirism even more interesting. I won’t be spoiling that here, but pay very close attention to Brittany’s storyline. This could be a game-changer in a series that already does some fantastic and interesting things with vampires. Hell, even Carl Kolchak makes an appearance.
Jason Shawn Alexander’s art still sings and the coloring choices by Luis Nct are absolutely on point. Brittany’s scene with a group of cops is particularly visceral and worth a few looks. Brittany’s bleeding eyes and heart-icon shirt create a very strong image when in silhouette.
The romance between two key characters still feels a bit forced to me, but the emphasis on it in this issue is limited to a few touches, glances, and a very brief acknowledgment. I am not anti-romance at all, but when the cast of the characters has such a small pool of women it feels a bit too much of a throwback to immediately pair her off with someone. Thankfully she still maintains her agency.
(4.5 / 5)
Killadelphia #5 was written by Rodney Barnes, illustrated by Jason Shawn Alexander, and colored by Luis Nct.
Sink #1
This indie book was a suggestion by my friend Robert Livingston, creator of the webcomic Tom n’ Artie (be sure to check it out). Sink isn’t necessarily straight-up horror, being more of a crime book, but there is some rather horrific stuff going on within so it seems like a good fit for Graphic Content.
Set in Glasgow, Scotland, Sink is definitely a great example of that old adage, “well, that escalated quickly.” It’s a dirty, violent book. The kind of shit you would hide in your pile of comics away from the prying eyes of your parents. If vigilante violence with a fox-head mask and a shovel against a roaming gang of snuff filmmakers seems up your alley then Sink should be worth a read.
And that’s not even covering the psycho clowns in a blue van.
Not being a Glaswegian I am definitely missing out on a few references initially, but that’s what the internet is for. Much like how John Constantine, Hellblazer tackles modern London, Sink seems to be doing the same with Glasgow. As far as the narrative goes, I am still a bit on the fence. The first issue’s story is perfunctory at best but it establishes the waking nightmare of its own Glasgow, so it at least has me intrigued in that regard.
As far as the art goes, kudos to Cormack for illustrating some of the most violent material I’ve seen in a couple of years. The violence and gore rides that fine line of cartoonish exaggeration and grotesque realism and then dumps a bucket of blood over everything for good measure. Good thing the comic seems to be digitally colored because I would worry about the cost of red markers Alex Cormack faces week to week.
I am on the fence if I want to slot this title into my Graphic Content ongoing reviews, but at six issues I am likely to do so. We’ll just need to see how I feel about Sink #2. The first issue leans heavily on style over substance and the messaging about violent and marginalized neighborhoods could probably be handled a bit more elegantly, but overall I am intrigued enough to continue the ride.
(3.5 / 5)
Sink #1 was written by John Lees and illustrated and colored by Alex Cormack.
If you want to suggest a title for me to cover, please drop me a line on Twitter or leave a comment on this post. Stay tuned for more Graphic Content next month.
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)
Well, you won’t get rid of me that easily… Ha ha, I lied about coming to the end and the afterlife in the Creepy Comics Collages segment, it was just an opportunity for rebirth. Besides, it’s World Collage Day! So having come into another comic book to rework, here we go again…
Creepy Comics Story 9: The Voice (of God or Reason or perhaps an homage to my ex)
“Come to me my children, the voice of God awaits!… Don’t let them escape!” Please beam me up out of this weird comic collage alternate reality. “God I am your hand! Lift me… to your place. I commend my spirit!” I want to go back to dreaming about starfish.
The computer programmer behind the scenes turns to face us and smiles. “Guardians! This is a place of God!… Come to the true voice of God!” “I am everything.” “Come to the voice!” And the horrific AI generated creatures abide by his every coded word.
Just like last night in the — signs posted for Nightmare, No Exit. The deer spirit faun screams in surprise, “Eeek!” “No! I defy you!” She returns to the form of a little girl with arms outspread to the open sky. “Y’know, a day like today makes all the stuff that happened last night seem just like a bad dream!” The dream seems so real…
Somewhere in the city, the computer programmer sits up at night in pensive monologue, “You try to make a difference… But it doesn’t really matter.”
Creepy Comics Story 10: The City (Metropolis becomes self-aware)
This segment is brought to you by Dead Artists and Talking Dinosaurs. No really, wait for it…
Woooooo Uhhhh Wooooooo Uhhhh… Wump! Uff! Wump! Uff! “She belongs to The City!” The Glenn Fry 1985 hit single looms ominously overhead as Metropolis becomes self-aware. “The City… will live!… The City… will breathe!” The City gasps for air, “Got to… breathe!… Got to… Breathe!“
Her breath is the wind… Her eyes are windows. Her heart pumps fluid through buried plumbing… “I’m The City!” Her mind is The City!
And we have a celebrity appearance by Rich Koz “Son of Svengoolie” WFLD 1973: “I take a nap for 10,000 years and look what happens… some-body builds a city!” Kerwyn chimes in, “Geez! Somebody’s been busy!” And we cut out to a scene of Svengoolie standing alongside his coffin.
Well, that’s all folks. Or is it? For now, any way… until I get more comic books… Duh duh DUHHHH…
If you want to see more art, check out more of Jennifer Weigel’s work here on Haunted MTL or on her writing, fine art, and conceptual projects websites.
