Review: Count Crowley: Reluctant Midnight Monster Hunter – Part Four
Well, here we are. Issue four of four. Does Count Crowley: Reluctant Midnight Monster Hunter present a satisfying conclusion to the story, or does it lean too heavily on building a sequel hook? How fare David Dastmalchian (writer), Lucas Ketner (artist), and Lauren Affe (colorist) in delivering a final issue? Let’s find out.
The Story
The final issue is perhaps the best of the four. The vital elements are all in place and Jerry has her first self-imposed mission and the plotting fires on all cylinders.
We also get some clarification on some other issues; namely why Jerri’s life seems to be such a mess. It comes down to unresolved trauma. The situation Jerri deals with is very much timeless in the sense that it is something women still deal with today and it adds a lot of weight to her actions throughout the series as a whole. She starts off as a mess, but by the end of this series, she is, well, still a mess, but just better at it. Fright’s inquiry of “what kind?” to Jerri’s question about killing monsters is absolutely on point and perfect gallows humor.
In her big fight with “the Billy,” we see Jerri at her absolute best; confident, improvisational, and focused. The reveal of her having taken gymnastics feels a bit sudden, but it isn’t outside of the realm of possibility. The most important thing is that in this moment she finds clarity that ultimately helps her to move forward. Her going to A. A. is one of those nice dualities of character development; monster hunting and A. A. at first blush don’t seem like they have correlation, but it’s more about her own personal journey and bonding with her brother. It’s all very sweet.
As far as the ending, we get progression. Jerri has something steady in the hosting, she has mostly made up with her brother, and things seem to be on the right track for her. That is until a figure from her past shows up at an A. A. meeting and a mysterious figure in New York opens up a letter with two scrawled words: “Count Crowley.”
The ending works, but in the sense that it is not quite a resolution to a complete story. It’s just a stopping point, a chapter’s end. On the one hand, I could use a break from ongoings, but on the other, who am I to complain about getting more of something that I like?
The Look
Week to week, the art of Count Crowley has been a pleasure to look at. I’ve commented at length on some of the classic horror comics the series sometimes evokes, but one area I’ve not really mentioned is the certain cinematic quality to the pages.
Dastmalchian’s background as an actor definitely has a hand in this. Staging comics is different in many ways to staging shots in the film, but there are some universalities. Knowing film allows a writer to lean in and apply some of those techniques to the visualization process. One, for example, is the copious use of the establishing shots used throughout the four issues to create what feels like very real spaces where action can play out in. I am not sure if it is strictly Ketner who is thumbnailing the pages, or it is a more collaborative process between Ketner and Dastmalchian, but however it is done, it absolutely works.
The comic also has a strong and consistent visual pacing. For the most part, the paneling is fairly standard across the book, but there are some moments where there is a lot of energy simply through breaking margins and straying from geometric boundaries. It gives the series a real sense of energy just when needed. Certain moments require a rigidity that others do not and it is a good sign to see a comic handle those panels so well.
Final Verdict
Basically, Jerri does end up in a different place and some would argue not necessarily better, but there is still some satisfaction in the journey. It doesn’t quite feel like a self-contained story though, merely the first chapter of something larger. I enjoyed the ride, but I expected something a little more self-contained.
(4.5 / 5)
The comic is good, damn good. But it also feels like a pitch for a television series as well. Most comics these days are usually keen on developing an IP for adaptation so I have no issue with that. It’s a smart move, especially if the comic itself is a lot of fun.
Who knows what the future may bring?
Overall, Count Crowley was a treat and I am waiting for the inevitable follow-up. Feel free to check out our other comic coverage as well.
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.
