Beneath the Trees Where Nobody Sees

I read this series on the Global Comix app, and it's also now available in a handy trade paperback. Beneath the Trees Where Nobody Sees is a title that has been very popular at my local comic shop, and I have been pretty curious what all the excitement was about. It's a beautifully drawn book, with characters who are depicted as anthropomorphic animals a la Richard Scarry's Busytown but who act in much darker ways. In my description below, I am purposefully being vague, because I do not want to give too much away.

The main character is Samantha Strong, a bear who runs the local hardware store in the sleepy town of Woodbrook and who engages in some pretty vicious deeds on the sly. When some of the locals get murdered, the ensuing investigations threaten her secrets, so she decides to take matters in her own hands to find the culprit.

Woodbrook is full of a vast array of inhabitants, including dogs, birds, mice, pigs, goats,cats, foxes, raccoons, turtles, and more. They are all panic-stricken by the murder and their small town is gripped by terror. Part of what is engaging about this book is seeing a sort of crime procedural plot occur in this picture book setting, but the mystery elements are well-plotted, and there are enough suspects and plot twists to make things interesting. Because of the dark subject matter, I suggest this book for more mature readers who can deal with gruesome murder, but there is also a touch of whimsy that comes with the watercolor artwork that sets this series apart. I found it a very entertaining and sumptuous reading experience.

Patrick Horvath wrote and drew this series, with lettering by Hassan Otsmane-Elhaou. Horvath has written and directed a number of movies, and this is his debut comics work. Otsmane-Elhaou has lettered books for many different publishers and also was a co-editor of PanelxPanel, an excellent, Eisner Award-winning web journal about comics. Horvath speaks about his inspirations and work on BTTWNS in this interview.

All of the reviews I have read about this collection have been positive. Publishers Weekly wrote, "Horvath’s charming picture-book artwork, rendered in bright painterly strokes and packed with visual detail, makes the gruesome subject matter all the more disturbing." Kate called it "one of the most unique graphic novel experiences I’ve had this year." Zack Quaintance concluded, "It all makes for a great spooky season read, and a fun addition to your comics bookshelf from a cartoonist whose work definitely bears following into the future."

Beneath the Trees Where Nobody Sees was published by IDW, and they offer more information about it here. For those who want more, a sequel series, Beneath the Trees Where Nobody Sees: Rite of Spring, which is set a decade after this series, is currently being published.

Nathan Hale's Hazardous Tales: Bones and Berserkers

The 13th book in one of my favorite graphic novel series, Bones and Berserkers changes up the format in that it features a collection of 13 tales rather than one overarching narrative. Still, all the major players are still here, and the range of horrific stories run a gamut of genres. There are folk tales like the Demon Cat, an adaptation of Edgar Allan Poe's "Hop-Frog," the real-life misadventures of pro-golfer Eben Myers with medicinal radium, and the terrible murders and arson at Frank Lloyd Wright's home/studio Taliesin. I felt that in some ways this book was a bit more documentary in places, like history mixed with true crime writing, which worked well.

This book is dedicated to Alvin Schwartz and Stephen Gammell, and it shares a real kinship to their Scary Stories to Tell in the Dark. It features some pretty graphic scenes, including a human head stripped bare by cancer treatments, a bunch of men dressed as orangutans who are set on fire, and butts being chopped off of people's bodies, so it is pitched toward an older audience than earlier volumes in the series. Still, there are moments of grim humor that punctuate the proceedings much like the Crypt-Keeper did in Tales From the Crypt. It's not a book for the squeamish, and I found it to be wonderfully gruesome and fun. This book is a treasure trove of horror for fans of both fiction and nonfiction.  

The Jersey Devil!

Bones and Berserkers was made by Nathan Hale (not related to the Revolutionary War spy), a highly accomplished graphic novelist. I love his work so much that I named one of my annual favorites list categories after him. Aside from his great success with this series, he has also published the fictional graphic novels The Mighty Bite,  One Trick Pony and Apocalypse Taco. He has also drawn a few others, including Rapunzel's Revenge and Calamity Jack. I learned some more about Hale's work on this book and his upcoming projects in this article.

The reviews I have read of this book have been positive. Kirkus Reviews summed it up, "Not all true, but truly nightmarish." Susan Harari wrote that it would be "perfect for reluctant readers in middle or even high school who are brave enough to handle both fictional and factual horror stories."

Nathan Hale's Hazardous Tales: Bones and Berserkers was published by Abrams Fanfare, and they offer more information about it here.

Golem Pit 224

It's October and to celebrate this spooky month, I am going to review a bunch of different graphic novels that fit the season. First up is Golem Pit 224, a book I got from a Kickstarter campaign last year. The plot revolves around a couple, Thea and Kelsey, who decide to go on a camping trip to explore an unusual land form, the not-at-all-creepy- sounding Exclusion Zone Golem Pit 224. Kelsey is a research professor who is treating the trip more like an opportunity to collect work samples, and Thea would like to actually have fun and spend time with her partner. Without spoiling too much, they end up having to deal with some psychoactive material and find themselves literally and figuratively on shaky ground.

This book was wonderfully weird and compelling. What I liked about it was that it worked as a horror tale as well as a relationship story. Kelsey and Thea have some unresolved tensions that they need to deal with, and the way those manifest both emotionally and physically throughout the story makes for suspense and high drama. There were also several scares, including one pretty gross one that involved possibly swallowing an alien life form. The plot was pretty unique, and at some points I honestly did not know how or if things would resolve. The artwork does not employ the typical panel borders of most comics, and the floating, amorphous way the figures and events are depicted makes for some interesting developments later in the book in terms of how transformations and mysteries play out. Also, the color palette dealt mostly in earthy, brown tones that create a murkiness that well suited the setting and events of the story.

Golem Pit 224 was written and drawn by Julia Gootzeit. She has mostly published her work in mini-comic form, and her more recent comics can be found on her Instagram feed.

Golem Pit 224 was published by Fieldmouse Press, and they offer a preview and more info about it here.

The Toxic Avenger

When I was growing up, there was a theater right next door to my dad's pizzeria, and I saw many a movie there. One of my formative experiences was watching the original Toxic Avenger movie, which warped my prepubescent brain with all its gore, violence, and "special effects." It led me to other films from Troma, and probably deranged me (in what I feel are mostly positive ways). I was not as big a fan of the 1990s cartoon revival of the franchise, though I was glad for the popularity and profits for the upstart parent company. A re-imagined version of the monster hero starring Peter Dinklage will debut in theaters this year, but before it arrived there was this five-issue comic book series collected here. 

This version of the Toxic Avenger operates independently of any of the movies, and new readers really do not need to know anything about them. Here, Tromaville, NJ is beset by a huge environmental disaster, and aliens and/or a shady corporation may or not be involved (I'm not going to spoil it). The entire area is quarantined, and a good number of the populace are exposed to something that radically transforms them into monstrous beings. Furthermore, there is a huge amount of misinformation coming from the government over both traditional and social media that obscures what is really happening. 

As you can see from this excerpt, this book follows the exploits of Melvin, once a scrawny weakling but now a strapping, grotesque hulk. Over the course of the narrative, he has to deal with physical battles from his former bullies who are also now monstrous, as well as the ethical dilemma of possibly becoming the public face of the huge cover-up fabricated to lie to the public about what happened in Tromaville. Among all of this action, horror, and intrigue, there is also a good dose of ridicule aimed at public and business institutions as well as some good old fashioned physical humor. I found this book highly entertaining, and luckily for those reading this trade paperback, they don't have to wait a month to see what happens in each subsequent chapter.

This book is the product of writer Matt Bors and artists Fred Harper and Lee Loughridge. Bors is a long time political cartoonist who also founded and edited The Nib. He has won multiple Eisner Awards and also writes the Justice Warriors series. Harper has a huge list of past clients, both comics and corporate. Loughridge is one of the most in-demand colorists in contemporary comic books. You can read more about these Toxic Avenger comics in this interview.

The reviews I have read about this book have been positive. Steven W. Alloway called it " weird, funny, sarcastic, satirical, sometimes violent, often gross, extremely campy, but ultimately good-hearted." Chris Coplan, who is a long-time Toxie fan like me, wrote that it "isn’t just a damn good comic, but it very much exceeds my kooky, totally awkward expectations."

The Toxic Avenger was published by Ahoy Comics, and they provide more information about it here. This book features body horror, gore, violence, and profanity, so I suggest it for readers mature enough to deal with those things.

And for those are enjoy this book, good news: there is more on the way.

Hell Phone: Book One

Sometimes, I just have to read a good, creepy story, and Hell Phone fits the bill perfectly. It's the story of a couple of hip (my word, not theirs) best friends and next-door-neighbors, Sissy and Lola, who happen upon a stray flip phone. Strangely the outdated phone continues to ring until they answer it, and when they do they get cryptic directives that lead them all over town.

Spoiler: Whoever the guy is, he's not a hermit, and he was not in that house. I won't spoil what was, but it was gross and horrifying. Of course, no one in authority believes Lola or Sissy, so they are left to their own devices in order to get to the bottom of things. 

As a fan of the teens-who-solves mysteries trope, I really like this well done and contemporary take, and a lot hangs on the two main characters. They are fashionable, savvy, sort of sensible, and darkly humorous. They are also graphically depicted in a wide-eyed, colorful manner that pops. They're cool. They know the kind of story that they are in, and they know how to game the rules. The problem is that the mystery starts taking more turns and involving more people they know, so things start to spiral out of control.

Hell Phone was created by Benji Nate, a comics artist and comedian. She has created a number of other graphic novels and comics, including Catboy, Lorna, and Girl Juice.

This book was named one of the 2023 YALSA Great Graphic Novels for Teens, and all of the reviews I have read have been positive. Alenka Figa commented on the "cute, appealing visuals and humorous dialogue." Arpad Okay gushed that this "book is establishing new territory in comics and crime pulp fiction." Publishers Weekly called it "a quirky and stylish supernatural mystery that still hits her sweet spot of slice-of-life friendship comics."

Hell Phone was published by Silver Sprocket, and they offer a preview and more info here. You can also read the entire story (so far) online and free at Webtoons. I have not seen Book Two solicited yet, and I hope to see it sometime soon.

Crash Site

I was intrigued when I saw this title solicited, and reading it was a beguiling and bewildering experience. Crash Site is a strange and provocative book that definitely makes an impression. It is ostensibly a survival tale starring three protagonists: Rosie, a young, white, British woman who is vapid and self-centered; her devoted dog Denton, whom she uses as a drug mule, and Pants Dude, the most sinister anthropomorphic pair of underwear ever. 

After plane crash left the trio as the sole survivors stranded in the Amazon, they have to deal with the elements as well as a each other. A self-centered woman, emotionally needy dog, and murderous pair of panties that wants to pocket the entire score for itself make for a whole lot of drama.

This survival plot is intriguing and captured my imagination, but there are many aspects in this book that make for curious juxtapositions. The main narrative is a harrowing tale where one character is literally a cute pair of panties wielding a knife. There is an ongoing exploration of colonialism, from the practice of smuggling drugs to racist stereotypes in video games to the artwork of the book, which borrows heavily from the conventions of horror manga. It is also somewhat cartoonish and kawaii, which belies so many of its situations and commentaries. There are also several scenes that look at the intersections of sexuality and violence, such as when Rosie and her friends practically murder a lifeguard who tells them they cannot sunbathe in the nude and when Denton gets caught masturbating to a magazine called Woke Girls.

This is a book that lets readers have their cake, but the cake is a tough one to swallow, a mixture of disparate and clashing flavors. Instances of fan service are combined with horror imagery. Almost every joke accompanies scenes of violence and murder. Social commentary appears and is overwhelmed by absurdity. I think this is a surprisingly complex book, one I appreciated and enjoyed, though I imagine it is not to everyone's taste. So much about this book made me feel uncomfortable and off-balance, but in such compelling ways.

I could not locate much information about this book's author Nathan Cowdry, but I plan to check out whatever he publishes. He has put out a few other zines and comics, including Shiner and Western Voyeur.

The reviews I have read about this book wrestle with its complexity. Publishers Weekly concluded, "Cowdry’s mix of rock-solid gags, horrifying imagery, and surreal satire makes for an unsettling and indelible experience." Nicholas Burman wrote, "Crash Site is a comic that tickles your ribs and also strikes them a few times with a hot poker." Hillary Brown opined, "I kept teetering between annoyance at Crash Site and liking it, which could be what Cowdry is striving for."

Crash Site was published by Fantagraphics, and they offer a preview and more information about it here. If you have even skimmed this review, you should glean that it is suggested for mature readers.

BTTM FDRS

BTTM FDRS is a complicated, thought-provoking, and entertaining book that melds social issues with a horror story. Its protagonist is a young black woman named Darla, who has graduated art school and is trying to break into the fashion industry. She moves into a building in "the Bottomyards," a fictional section of Chicago that was once a thriving community but is now a burnt out shell of dilapidated buildings and poverty. It's the perfect place for bohemian, artsy lofts, and when Darla moves in she is accompanied by her opportunistic, trendy, white friend Cynthia. While in this building, they meet a Latinx DJ named Julio, who ironically dresses up and performs as a pilgrim under the name Plymouth Rock. Darla also encounters a worker from the electrical company who is paranoid about an invasion of reptile people and also bent on solving the mystery of why the building manages to power and heat itself without drawing on any outside utilities. That's when they discover what lives in the plumbing/walls, and the whole enterprise turns into a sci-fi/horror show.

It only gets worse :)

My description of this book does it no justice, because it's got so many disparate aspects going into the plot. What does stand out to me are a few things: 1) The genre aspects of horror and sci-fi play out in suspenseful and delightfully gruesome ways. 2) There is plenty of overt and subtle exploration of how multiple identities are employed, exploited, and co-opted in terms of popular and everyday culture. 3) The characters are complex and interesting. 4) The artwork highlights the horror with detailed, grotesque creatures and unreal coloring. 5) After about 50 pages in and some basics were established, this book turned into a page-turner I could not put down.

BTTM FDRS is an excellent book that can be read as an action-thriller, but it's also a smart commentary on contemporary racial, gender, and class issues. It's the best kind of sci-fi: a fantastically entertaining work that makes you look at the world from different angles.

This book is the creation of writer Ezra Claytan Daniels and artist Ben Passmore. Daniels has worked in multiple media and is probably best known in comics for his Dwayne McDuffie Award for Diversity in Comics-winning Upgrade Soul. Passmore is known for the Ignatz Award-winning comic Your Black Friend, as well as Sports is Hell, DAYGLOAHOLE, and his regular contributions to The Nib. Both creators speak about their collaboration on BTTM FDRS in this interview.

All of the reviews I have read about this book have been positive. Philippe Leblanc declared it "one of the best graphic novels I read in 2019... a thoughtful meditation on not just gentrification, but inequality." Alex Hoffman wrote, "With its biting social commentary and fascinating worldbuilding, plus Passmore’s vibrant illustration and otherworldly colors, BTTM FDRS is the book of the summer. An absolute must read." Austin Price called it "a delightfully and rightly angry polemic," though he was disappointed by its lack of scope.

BTTM FDRS was published by Fantagraphics, and they offer a preview and more here. It is also available on Comixology Unlimited, which is how I read it. It features mature themes, violence, and horror scenes, so it is recommended for mature readers.

Woods

Woods is a book I picked up from the same Kickstarter campaign I got Eddie's Week. I had really enjoyed the author's prior book Monkey Chef, and I was eager to see what his new work was like. Whereas that book, and most of Mike Freiheit's other comics work has been autobiographical, this book is a work of fiction. Woods is one of the creepier books I have read of late, and I mean that as a compliment. It's a subtle horror story that combines current events with mental health concerns, mixed with some basic archetypes of scary fiction.

The main characters in this book are Jason and Beth. Beth experiences a mental break after the presidential election of 2016, paranoid about the state of the world and the hate/misogyny she sees everywhere. After convalescing, she and her husband Jason decide to sublet their apartment and move to a cabin in the woods. Jason has a dark complexion (and is meant to be African-American, I think, though it's not explicitly stated), which brings him unwanted attention from the rural locals. They make "jokes," but they also seem menacing. 

All of these aspects coalesce into a terrible scenario. Jason begins to suspect slight instances of sabotage to their land. Beth may or may not be taking her meds faithfully, or perhaps they are not effective. Add to this mix a cold winter, a faulty generator, and an unreliable truck, and what you have is a horrific scene. 

What I admired most about this book was how it establishes a tone of unease and terror through it's raw-feeling artwork and small cracks in the veneer. Beth's descent into paranoia is at once slow and then sudden, and the clues have been dotted along all the while. The artwork indicates these shifts with its use of black and white and a spectrum of lines that run from relatively smooth to more frenetic and jarring. The ways that the local animals are depicted in the background, environment, and also interacting with the main characters add nuance and menace. Overall, I think this book is very effective in creating an ominous tone that touches on horror both in contemporary and classic ways.

The reviews I have read about this book have been positive. Publishers Weekly wrote that he "achieves a claustrophobic sense of threats from both inside and out. Freiheit disconcertingly draws readers into paranoia in this cooped-up cabin fever–dream." John Seven stated, "Freiheit’s artwork in Woods mirrors the frantic nature of the situation the couple is in — stark black and white, sometimes scratchy as if the sanity of the panels are fraying along with Beth and Jason’s perception of the world around them." Ryan C. wrote that "this book excels at making you think. About where we are as a society, how we got here, how or even if we can possibly get out."

 Woods was published by Birdcage Bottom Books, and they offer a preview and more here.

In a Glass Grotesquely

2020 has been a turbulent year, full of turmoil and tragedy. One of this year's biggest losses for me in the world of comics was the sudden death of Richard Sala. I love his distinctive art style, which was reminiscent of many influences, an amalgamation of Mad magazine details and Expressionism as well as elements of Charles Addams and Edward Gorey. He was excellent at creating tone and crafting punchy, creepy, compelling stories.

 

In a Glass Grotesquely contains one large story and three shorter, black and white pieces. The three final stories are more emblematic of Sala's general style: dark, claustrophobic spaces full of terrible and weird characters. The lead tale, "Super-Enigmatix," originally serially published as a webcomic, contains many elements of what made Sala's work so memorable and exciting. Tonally, it's like a old-time movie serial, packed with plot and powerful visuals. It features a mysterious genius figure bent on murder, conspiracy, and sowing chaos. There is an army of armed female assassins, giant killer plants, and many red herrings/plot twists. It also strikes me as being a story that at once recalls the past in terms of genre but in terms of theme speaks to contemporary matters such as reality television, fake news, and government manipulation. It plays as both loving homage as well as biting satire. I find it fascinating just how timeless and timely this book is. 

But, this being a work by Richard Sala, for me it's biggest selling point is the artwork. The main story is rendered in color, and it contains a number of fantastic elements, including a wonderfully disguised antagonist, a bevy of evening gown-clad women, monster plants, monster-masked villains, and some psychedelic, dreamlike layouts. He was masterful at designing worlds for bold characters and bombastic action.

All of the reviews I have read about it online have been positive, though I feel they don't quite account for how much bitterness is mixed in with its sweetness. Jason Sacks called it "a classic Sala style delight that brings new treats on every page." Graham Johnstone called it "an enjoyable romp" that will sweep readers along with its "joyful energy." Sala speaks more about all of his works, but "Super-Enigmatix" specifically in this interview.

In a Glass Grotesquely was published by Fantagraphics, and they offer a preview and more here.

Something is Killing the Children, Volume One

A million years ago when I was a wee ankle-biter in a comic shop, I remember Vic Bertini, the owner of Iron Vic Comics ("He rules Poughkeepsie with an iron fist!"), saying about Neil Gaiman's Sandman series that it was the only book that brought "Vassar girls" into his shop. From what I've read, the series whose first five issues are collected here, Something is Killing the Children, has similar drawing power for non-typical comics shop goers. After reading this trade paperback, I can see why. It's got an intriguing premise, compelling characters, and scenes that are genuinely horrific.

The setting for the story is the small town of Archer's Peak, where, as of the start of the book, at least 15 children have either been killed or gone missing. And by killed, I mean butchered, chopped up, and left in pieces. The entire town has been traumatized and is desperately searching for answers. One boy, James, who somehow survived a monster attack contacted a woman named Erica Slaughter. She has monster-killing expertise and a mysterious backstory. Not to mention that she carries around a stuffed octopus toy that she has regular conversations with. Her methods are unorthodox, to say the least, and I found her absolutely compelling.

Erica knows how to make an entrance...

As for the rest of the town, it is filled with a complex set of characters. James is sort of an outcast, and many students at his school suspect he is a murderer. Tommy is a manager of a local restaurant whose sister is missing, and he begins to tail Erica and complicates her work. The local police department, populated via nepotism, is flummoxed to the point of accepting unorthodox help. All of these various motivations and characterizations are what make this book work so well.

The artwork is appropriately spooky, with horrific monsters and lots of great storytelling that helps build suspense. This book does not show all the gory details, but it shows enough to get the reader to fill in the gaps in ways that elevate the horror. Plus, there are some very cool visual designs, particularly Erica's "work gear," complete with its creepy mask and power tools.

I have to admit I am not typically fan of horror comics, but this series is utterly compelling. I put it in the pantheon of superb, frightening, and unsettling horror comics with Southern Cross and Wytches. This volume collects the first five issues of the series, which was originally meant to be a limited series but has since been made ongoing.

This series is a collaboration between writer James Tynion IV, artist Werther Dell'Edera, and colorist Miquel Muerto. Tynion IV is known for his GLAAD Media Award winning series The Woods as well as writing a large number of Batman-related titles for DC Comics. Dell'Edera has drawn a number of titles for DC's Vertigo imprint. Muerto is a colorist with many credits for companies such as Boom! Studios, Vault, DC, and IDW. Tynion IV and editor Eric Harburn speak about the series in this interview.

All of the reviews I have read of this book have been positive. Jenny Robins wrote, "While there’s nothing earth-shatteringly original in the story, there are more than enough strands of intrigue to keep you turning the pages, from the mysterious Slaughter family Erica belongs to, the efforts of the local police, and of the relatives of the missing kids and their already layered stories." Justin Monday wrote, "The unique plot, excellent character writing, and nailbiting presentation are sure to excite, intrigue, and scare the hell out of you." Gregory Paul Silber opined that the series's "slow start may discourage some readers, but its first volume has loads of promise for patient ones."

Something is Killing the Children was published by BOOM! Studios, and they offer a preview and more info about the series here.

Lon Chaney Speaks

Lon Chaney was notoriously private during his life, once even stating, "Between pictures, there is no Lon Chaney." This book, Lon Chaney Speaks, takes a shot in filling in some of the gaps about his private life, but as is written in the author's note that opens the book, it is more of a "imagined biography."

For those who don't know, Lon Chaney was an actor who began working in vaudeville, transitioned to silent movies, and finally made his speaking debut in a movie just before he died. He is renowned as "the man of 1,000 faces" for his pioneering make-up and special effects work. He was famous for portraying monsters and other gruesome creatures in his films, most notably The Hunchback of Notre Dame and The Phantom of the Opera. This book recreates movie posters for most of his films and also provides adaptations for his more famous roles. It also portrays events from his private life, including a rocky first marriage, an uneasy relationship with his son Creighton (later known as Lon Chaney, Jr.), and a happier second marriage. It also shows behind the scenes glimpses of how he slowly built his career into one of the most notable in Hollywood history.

This book is a clear labor of love that is very well researched and referenced. I adore the scenes and adaptations of the films, and the personal moments are all well staged as executed in terms of portraying strong characters and memorable events.The bold storytelling is reminiscent of the art style often employed by illustrators of the day (especially Syd Hoff), which adds to the historical tone of the story. A variety of colors are used, though each vignette is rendered mono-chromatically, which helps with shifts in time and space as well as indicates what is "real life" and what are movie scenes. I am a big fan of comics, old Hollywood movies, and monsters, so this book is right up my alley. It's gorgeous and informative, a must have for any monster or movie fans who are into comics.

This book's creator Pat Dorian is a filmmaker and cartoonist who has worked on high-profile projects for AMC and Adult Swim. He also teaches animation at the Pratt Institute. This book is his graphic novel debut, though he began the project as two mini-comics titled "Lon Chaney Talks."

All of the reviews I have read of this book have been full of praise. In a starred review, Kirkus called it a "dazzling debut" that "captures the voice and soul of Lon Chaney." Publishers Weekly called it a "spirited homage." Steven Thompson wrote, "It capsulizes his life just enough. He’s depicted as a less than perfect man, getting along as well as he can in a less than perfect world."

Lon Chaney Speaks was published by Pantheon, and they offer a preview and more here.

Bitter Root, Volume 1: Family Business

Bitter Root is a breath-taking piece of historical fiction/horror. It takes place during the Harlem Renaissance of the 1920's and stars the Sangeryes family, the world's greatest monster hunters. They are a motley bunch, including the hulking Berg, his diminutive cousin Cullen, elder stateswoman Ma Etta, and the disgruntled Blink, who feels she is being held back because she is a woman. There are other members of the family, too, and they are memorable both for their personalities and the unique roles they play in the family and the family business.

 

When humans become corrupted by fear and hate they devolve into creatures called Jinoo, and the Sangeryes specialize in battling and curing these monsters. However, in the course of this book they learn that there are things worse than Jinoos out there, things even more crafty and evil, and that is where much of the action and intrigue derive. This book contains the first five issues of the series, and I could not read it fast enough. Each chapter is a page turner, and each one ends with a compelling cliffhanger.

However, this book is multi-faceted. Not only does it feature superb action and plotting, it also provides a strong dose of scholarship. It contains bevy of historical analyses and essays from scholars in diverse discipline that give much context to the goings-on in the book. It offers much material to visit and revisit upon further readings, both in terms of an excellent story and its supplementary essays.

Bitter Root was written by David F. Walker and Chuck Brown with art by Sanford Greene and Rico Renzi. Walker is known for his work on multiple comic books series from different publishers, though I am partial to his runs on Power Man & Iron Fist and Luke Cage. Brown has been self-publishing comics for years now, and he also has worked for major publishers like Marvel and IDW. Greene has done lots of covers for Marvel Comics and has collaborated with Walker on the Power Man and Iron Fist series and with Brown on a webcomic called 1000. Renzi has worked as a colorist on a ton of comics series, most notably Spider-Gwen. Brown and Walker both share their thoughts on the Bitter Root series in this interview.

All of the reviews I have read have been glowing. Publishers Weekly concluded, "Comics fans will look forward to future volumes of this energetic dark fantasy that effectively mixes thrills and scares." Thomas Maluck wrote that the story "explodes off each page with thoughtful plotting, unique character designs, thematic color palettes, and shape-shifting lettering that always fits the bombastic and gentle moments alike." Tonya Pennington commented that "the characters won me over with their personalities, personal strengths, and weaknesses."

Bitter Root was published by Image Comics, and they offer more information about this trade paperback here. The series is ongoing, with a summer special already published and a sequel series promised to drop soon. Also, the series has been optioned for motion picture rights by Legendary Pictures.

The series does feature monsters, blood, and some gore, so I suggest it for readers mature enough to handle them.

Blackwood

Blackwood is a fun book, if you are into tales of horrific, otherwordly creatures trying to break into our world to devour and subjugate all of humanity. It is about four misfit teenagers who have been recruited to attend Blackwood College. Nothing seems to unite them except series of strange life experiences and some ability to either perceive or interact with supernatural entities. Campus life is eerie and weird, and soon everything escalates into an apocalypse-level event. The four motley teens need to find ways to unite their abilities in order to figure out what is happening and also save the world.

 

This book had a pretty interesting mystery that unfolded in intriguing and gruesome ways. The characters are more types who do not have much space for development, but they are sympathetic in the same way teens trying to survive 1970s/1980s horror movies were. The book had some cool features along the way, including professors trying to decipher arcane texts, a two-headed chimp mummy, giant mutated insects, and people infested with inter-dimensional tentacle beings. It was a fun read, and I think it ended in a satisfying way that also leaves things open for a sequel that will be published next year. I know I'm looking forward to seeing more stories set in this world, which is well detailed and has a lot of possibility for more grotesque supernatural hi-jinks.

Originally published as a 4-issue limited series, Blackwood was a collaboration between writer Evan Dorkin and artists Veronica and Andy Fish. Dorkin is a multiple Eisner Award winner most known for writing Beasts of Burden, but I am also partial to his work as writer/artist of the series Dork and Milk and Cheese. Veronica Fish is a painter who has done a lot of different work for Marvel Comics (Silk and Spider-Woman) and Archie Comics (Sabrina the Teen-Aged Witch and Archie). Andy is Veronica's husband who did the coloring artwork here and has worked on a variety of other comics, including ones about Batman and urban legends. All three creators speak about their work on this series here.

All of the reviews I have read about this book have been positive. Forrest Hollingsworth called it "one of my favorite horror comics of the year." Dustin Cabeal wrote, "To have a book that’s entertaining, horrific and enticing makes Blackwood a comic no one should miss." Joe Grunenwald opined, "Dorkin, Fish, and Fish are at the top of their game here."

Blackwood was published by Dark Horse, and they offer a preview and more about it here.

Apocalypse Taco

If you have been reading my blog for any length of time, you'll probably know that I love Nathan Hale's comics and graphic novels. His nonfiction series Nathan Hale's Hazardous Tales is the gold standard for historical graphic novels, as far as I am concerned. I loved his takes on fairy tales and the southwest, Rapunzel's Revenge and Calamity Jack. And I really liked his original sci-fi graphic novel One Trick Pony. With his new book Apocalypse Taco, not only does he win the prize for best original book title, he also provides a gripping, tense, icky, and fun sci-fi/horror tale.

The set-up of this book starts before a school theater production of Brigadoon, when the students are creating the set. A trio, including 11-year-old twins Axl and Ivan and 16-year-old Sid make a late night fast food run to energize the minds and bodies of the crew. Not only do they not get the food, the food tries to get them.

At first they think they have been transported to some alternate, hellish dimension. Then they find that their school and town have been transformed into imperfect replicas. Everyone and everything, including their families, friends, and homes have turned to goopy creatures that are chasing them. Not only that, they encounter other strange lifeforms, including one made up entirely of arms and another made up of teeth. All of this is clearly unsettling and horrific, but luckily they meet up with a graduate student (!) who starts to make sense of things.

I will not reveal more, as I don't want to spoil things, but clearly this is a book with a lot going on. I enjoyed how horrific and original it was, and I admire just how much it is genuinely a thriller that does not insult anyone's intelligence. The situations are strange and compelling, and Hale definitely establishes a mood throughout the book that builds suspense and has multiple payoffs in terms of the plotting. As much as I love his nonfiction work, I also really dig the fiction he has written. His takes build on common genre tropes, but he extends them to interesting, unique places. Hale is one of the best comics creators out there, for all audiences, in my opinion. Apocalypse Taco is a satisfying, gruesome tale that should appeal to readers looking for fun, sci-fi/horror.

All of the reviews I have read about this book have praised it. Publishers Weekly summed it up as "Weird, freaky fun." J. Caleb Mozzocco concluded, "Young readers, particularly those who are easily freaked out, may want to proceed with caution. More adventurous readers can plunge right in, with one caveat: There’s a pretty good chance their minds might get blown in the process." Sam Wildman wrote, "Apocalypse Taco has great crossover appeal for both adult readers and young readers – at least those who can appreciate a trippy surreal trip into the world of grotesque body horror." Kirkus Reviews called it "A well-balanced mix of sci-fi, horror, and humor."

Apocalypse Taco was published by Abrams, and they offer a preview and more info about it here.

I finally had the honor and pleasure of meeting Nathan Hale at the Denver Pop Culture Con last month, and he was gracious enough to sign my copy. HE ROCKS!

Mars Attacks!

What better way to celebrate Independence Day than with some fireworks? I am not the biggest fan of licensed comics series, but I have gone on the record saying I'd buy anything Kyle Starks makes sight unseen. And I am also a big fan of Chris Schweizer's work. Plus I have a fascination for the gruesome trading card series this comic is based on. So I decided to check this series out, and boy I am I glad I did.

The story begins when lifelong loser Spencer Carbutt decides to hit up his father, who is a retired marine living in a retirement village, for some cash. Just then a giant alien invasion happens, and instead of staying to die, the duo hit the road. Along the way, Spencer and the Major meet up with a militia, befriend a dog, hook up with the military, and work out a lot of personal issues. Seeing them resolve their relationship in the midst of the brutal slaughter of humanity makes for an interesting juxtaposition. It also makes for some curious and funny situations.

Like many of Starks's other works, this book is full of action, snappy dialogue, and interesting events. Schweizer's artwork here smacks of Harvey Kurtzman's classic war comics, and it is full of character, energy, and pathos. Both creators really seem to revel in all the action, gore, and aliens zapping things, but they do not sell the book short because they also offer decent characters that are easy to relate to and root for. Mars Attacks! is a fine piece of entertainment, a fun summer blockbuster in comics form.

Two-time Eisner Award nominee Starks and three-time Eisner Award nominee Schweizer are two of my favorite comics creators. They previously collaborated on the series Rock Candy Mountain. I have also enjoyed Stark's other works, including Kill Them All, Sexcastle, and The Legend of Ricky Thunder. He is currently writing the series Assassination Nation. Schweizer is also an accomplished graphic novelist whose series The Crogan Adventures and The Creeps are personal favorites. Starks speaks more about working on the Mars Attacks! series in this interview.

All of the reviews I have read about this book have been positive. Steven Martinez wrote that it was "a really fun comic" that "captures the campy feel of the 1996 movie, and it tells a touching story about a father and son facing the end together." Kate Sánchez wrote, "I have fallen in love with this series and the unexpected emotion in it."

Mars Attacks! was published by Dynamite Entertainment, and they offer more info about it here.

Wytches, Volume 1

First, before I review Wytches, Volume 1, I have to admit three things:

1. I have been meaning to review this book here for a couple of years now, but I have always put it off. I wanted the review to land on Halloween, but some other title always cropped up and I laid it aside. It got to the point that I even deleted the draft (that was at least two years old) and the jpeg image of the cover I had. I just gave up on reading and reviewing this book. Then, a new one-shot (Wytches: Bad Egg) came out that Derek and I planned to review on today's episode of the Comics Alternative podcast, so I decided to do a little homework and read up on this series.

2. I am not the biggest fan of horror comics (or horror books/stories in print form in general), mostly because I don't really get the thrill of being scared when I read all that often. I'd rather watch horror movies or shows. I do love monster stories though, and the visuals that go along with them are some of my favorites (in comics and otherwise).

3. This book scared me like no other.

The tale here follows the Rook family, which consists of Charlie, the dad who writes children's books, Lucy the mom who was paralyzed from the waist down in a car accident, and Sailor, their daughter who survived a harrowing experience with a sadistic, psychopathic bully. Trying to start things fresh, they move to a town in New Hampshire, unbeknownst of strange things that are going on not only in the woods but in the town itself.

 

And this is only the first four pages. It gets much worse!

I hate to ruin anything that follows, so suffice it to say this story hits on pretty much any fear a parent, child, or paranoid person could have. This book is the definition of a page-turner, and I sped through it with an equal amount of anxiety and intrigue. The story is briskly told, the artwork gleefully grotesque, and the coloring adds dimensions of dread and despair. These are some great comics.

This book was a collaboration between writer Scott Snyder, artist Jock, and colorist Matt Hollingsworth. Snyder is best known for his work on DC Comics titles like Batman and Swamp Thing, but he also co-wrote (with Stephen King) the Vertigo series American Vampire. Jock is renowned for his cover work and also had a long run on Batman as well as a revival of The Losers. Hollingsworth is a veteran colorist with a myriad of credits. All of their work here contributed to a dark, atmospheric, truly frightening reading experience. Snyder speaks in this interview about his experience writing Wytches.

The reviews I have read about it have all been glowing. Trevor Van As wrote, "If you’re a fan of horror done right, without the cheap thrills, then Wytches is a must read." Emily Solomon gushed that "Snyder and Jock have revolutionized the witch mythology for a new generation of horror junkies." Victoria called it "fantastic and a must-read for graphic novel and horror fans." I also really enjoyed this review/article by Susana Polo, but be warned it contains spoilers.

Wytches was published by Image Comics, and they offer a preview and more info about the series here. This book features violence, profanity, and many disturbing images so it is recommended for mature readers.

A follow-up series is in the works, for publication in 2019.

My Pretty Vampire

My Pretty Vampire is a bloody, sexy book.It focuses on the tale of Clover, a gorgeous vampire who is easy to take for an ingenue. On the onset of the book she is struggling for freedom from the machinations of her brother, who seems controlling and obsessed with her in an incestuous manner.

Soon afterward, however, her powers of manipulation and murder come to bear as she orchestrates her escape and leaves a trail of bodies in her wake.What follows is a series of plot twists and turns as well as seductions, and if I had one criticism of the book it's that it is too short. I loved reading it and wallowing in the horrors its pages contain. I feel it is a wonderful choice for a horror fan who is into comics.

This book is the creation of Katie Skelly whose prior comics works include Operation Margarine, Nurse Nurse, and various Agent webcomics (NSFW) that were recently collected into hard copy. My Pretty Vampire is striking in her works because it is so much larger than her digest-sized books I have read in the past. The album-sized pages here feature the artwork quite nicely, and it is striking just how much they pop off the page. I hope to see more of Clover's (mis)adventures sometime in the future.

Most of the reviews I have read for this book have been positive. Publishers Weekly offered a mixed review, writing, "When the tension between Clover’s beauty and the violence that fuels her actions is the focus, the book is at its best. That said, it often feels like a first draft: certain page and panel transitions are clumsy, angles are often awkward, and the simplicity of Skelly’s visuals sometimes makes it difficult to discern what’s going on." Rob Clough called it "a book that matches up her exquisite color sense, delightfully lurid sense of humor, eye for style and aesthetics and acidly satirical, feminist take on gothic/horror tropes." Andy Oliver noted that it was "her most accomplished work to date."

My Pretty Vampire was published by Fantagraphics, and they offer a preview and more here. It features horror, violence, profanity, and sexual situations and is suggested for readers mature enough to handle those things.