In the Garden of Earthly Delights

I am a member of Rich Tommaso's Patreon page, where he publishes an anthology of comics called Black Phoenix. These comics feature all kinds of wonderful things, like a MAD Magazine riff, a book of what Dracula would have looked like if adapted by Walt Disney, and many different sorts of crime/noir tales. This book, a digest-sized graphic novella In the Garden of Earthly Delights is one of the latter. It is the first in a proposed series of books featuring The Tea Leaves, a duo of thieves named Trina and Dina.

Before this book begins they have pulled off a major jewelry heist, but there is a catch: the guy who was fencing them got robbed, and they will get nothing from their job. So, they then hatch a plan to rob a museum of some priceless works of art. 

When they get their shady father in on the deal, things go a bit south, and then things are further complicated when the person who plans to buy the stolen artwork is also the one who robbed their fence. 

I love a good caper tale, and that is exactly what this book is. Two things really make it fun: the suspenseful plot twists and the sumptuous artwork. Tommaso is one of the best artists going right now, and I love how he designs characters, orchestrates action sequences, and plots this story in a very compelling manner. If you like crime comics, this short book is a real treat. 

I could not find any other reviews of this book online, but the Copacetic Comic Book Company called it "a fun, throwback, semi-comic, art-heist story that is a drawn by Tommaso in a slightly tweaked variation of his trademark clean line cartoon style that brings in hints of Dan DeCarlo mixing it up with Darwyn Cooke – and that also provides an opportunity for him to provide crisp comics renderings of some classic/famous works of art."

In the Garden of Earthly Delights was published by BP Communications, and you can find a copy to purchase here. You could also subscribe to Tommaso's Patreon page and get a bunch of great comics, too.

The Knives: A Criminal Book

The Knives is the latest entry in the Criminal series, a stand-alone graphic novel that works on its own and also displays all the hallmarks of excellence of these comics. This particular volume is one that weaves together several tales and features characters who have appeared in prior stories, operating an as introduction to this world and these comics in advance of the premiere of the Amazon adaptation. One of the main plot threads is about a writer that mirrors some of Brubaker's experiences in Hollywood, and the others involve an orphan being raised by an ex-boxer/current bar owner/keeper of the peace, a kidnapping scheme, a doomed love story, and an ex-soldier falling back into a pattern of violence.

If have ever read Criminal, many of these themes and stories are familiar, but I still feel that good genre work done with skill and craft is worth reading. And this book features exactly that. There are suspense, intrigue, interesting character moments, sex, violence, and questionable moral choices abounding. The artwork is aptly atmospheric and expressive. I have consistently loved Ed Brubaker and Sean Phillips' collaborations, and this one is as good as any of their past work. If you are looking for some entertaining crime noir readings, this book is a good place to start.

The reviews I have read about this book have been mainly positive. Zac Owens called it "a book I truly loved to read." In a starred review, Thomas Batten summed up, "This ambitious and elegiac crime thriller is among the best of Brubaker and Phillips’s highly acclaimed collaborations." Steve Baxi has some issues with this book retreading familiar territory but also admits it is "charming more often than not."

The Knives was published by Image Comics, and they offer more information about it here. This book contains violence, sex, and profanity, and it is suggested for readers mature enough to deal with those things.

Out of Alcatraz

Originally published as a 5-issue series, Out of Alcatraz is a fictional account of what happened to the three men, Frank Morris and brothers Clarence and John Anglin, who engineered an audacious plan to escape from the penitentiary in 1962. It has largely been believed that all three perished in the treacherous waters of San Francisco Bay, but technically all three are still listed as wanted fugitives by the FBI. This graphic novel could have also been titled Out of the Frying Pan, because every chapter ends with a surprising escalation of their situation. Their quest for freedom is marked by people who try to profit from these outlaws, by getting them to perform forced labor or assassination. It is a wonderfully crafted narrative that ramps up suspense until the very last pages.

The artwork and pacing in this book are exceptional. I liked the use of watercolors to add ambience and tone, and it does a great job of portraying character's emotions as well as emphasizing explosive action sequences. The way that the plot unfolds leads the reader through multiple reveals while providing a good sense of mystery, the hallmark of a great thriller tale. 

I also very much appreciated the drama involving the two investigators, one FBI agent and the other an ex-federal marshal, who are trailing these fugitives. Their love story adds a different dimension to the fugitive narrative, exploring what it meant to try to exist as a homosexual during this time period, with many prohibitions against coming out and being able to live their lives in a free way. This book is not just a great piece of suspense, but also a moving story that will sit with you for a bit.

Out of Alcatraz was a collaboration between writer/producer Christopher Cantwell and artist Tyler Crook. Cantwell has written a number of series for Marvel Comics and also created and produced the TV series Halt and Catch Fire. Crook has drawn many comics series, notably the Eisner Award-nominated Harrow County and The Lonesome Hunters, which he also wrote. Cantwell and Crook speak about their work on Out of Alcatraz in this interview.

All of the reviews I have read of this book have been glowing. In a starred review from Library Journal Thomas Batten summed up, "Atmospheric, beautifully rendered, and psychologically rich, this is a standout thriller." Justin Munday called it "a phenomenal fictionalized take on a true event." The reviewer at Turn & Work wrote, "The story is taut and compelling, tackling the social prejudices of its time with more nuance and depth than I expected from a five-issue series."

Out of Alcatraz was published by Oni Press, and they offer a preview and more information here. You can also read the entire first chapter of the story here. This book features profanity, violence, and some sexual situations so it is suggested for readers mature enough to handle those things.

Light It, Shoot It

 

I love a good noir story, especially one that features excellent artwork like Light It, Shoot It. It follows the travails of Billy Bonney, a young man who has just gotten out of prison for arson. He has troubles getting along with his peers as well as just fitting in to society. Luckily, his older brother is in the film business (on a low rung, but still), and he helps him get a gig being a actor's assistant. Mainly that involves him making sure the older alcoholic leading man is in working shape and on time to the set, not very glamorous work.  

As you can see from the excerpt above, the artwork is very expressive and lovingly portrays the gritty realities of 1970s Hollywood. The excerpt also features a lot of characters and moving parts, which are a hallmark of this book. There is a lot going on and lots of people with their own motives. Billy is trying to fit in; his brother is trying to get laid; one of the producers has a plan to recoup shooting costs through insurance fraud; some people are trying to make a movie; some people are trying to get famous, and still others just want to bask in the glow of showbiz. I am not going to say that the plot is the most original I've ever read, but I think that this book hits its story beats hard: a quintessential exploitation tale in graphic novel form. It's clearly a labor of love, and I got very much caught up in the enthusiastic way this story was told both through its narrative and art.

Light It, Shoot It was written and drawn by Graham Chaffee, who mainly works as a tattoo artist. He has published a couple of other graphic novels, including To Have & To Hold and Good Dog. He speaks about his work on this book in this interview.

All of the reviews of this book I have read highlight its strengths. Publishers Weekly wrote, "Chaffee’s pastel washes, clear affection for the period, and well-stocked gallery of colorful hoodlums and reluctant heroes make up for the lack of suspense." Jason Green called it "an excellent example of noir storytelling at its finest, soaked in a uniquely 1970s mood." Paul Dunne opined, "Drawn in bold brushstrokes, and hand-painted in subtle washes, Chaffee brings vintage LA to the page in a propulsive adventure."

Light It, Shoot It was published by Fantagraphics, and they provide a preview and more info about it here. This book is suggested from mature readers.

(Cover Not Final)

It's tough to make a book that is simultaneously high-concept, inventive, and laugh-out-loud funny, but that is exactly what Max Huffman pulled off here in (Cover Not Final). This collection of mini-comics portrays a world with a logic and rhythm of its own, a place where the madcap energy of Harvey Kurtzman comics collides with noir genre conventions and our contemporary world. It is a place where chemical companies send a message to a snooping private detective by leaving a modern art installation outside his apartment. It's silly and somewhat random, but also hilarious. The logic of the place makes for great story and dialogue beats. Just check out this sequence:

The line about Uncle Chest is gold, and this book has quite a few similar deadpan zingers that made me chuckle. There are a number of different stories in this book, and the glue holding it together is the nogoodnik Career Criminal who appears in each. He is an agent of chaos and mayhem, the snappy dresser who appears on the cover of the book. He embodies the book's energy and style. 

The illustrations remind me some of 1960s tiki art, which is part of what contributes to its retro feel. The geometric artwork adds to the ambience of the book, providing a strange, angular perspective that contrasts well with the madcap twists and turns. The size and format of this book also recalls a vintage paperback vibe, which adds to its charm. The stories in this book are relatively short and zippy, and taken together they constitute a brief visit to a zany world that invites multiple re-readings. Reading (Cover Not Final) is flat-out fun.

This book's creator Max Huffman is the Print Graphic Designer for Cat's Cradle and the Small Press Director at Peel Gallery. He speaks about some of the inspirations and process behind these comics in this article.

The reviews I found about this book have been positive. Brian Nicholson wrote that "the comic’s great. It’s constantly delightful, and the pleasures accumulate with each new short story." Ryan Carey opined that "works that defy conventional description or, at the very least, can’t be boiled down to the old reductivist 'elevator pitch', are often the most rewarding to spend some real time with, and, despite its admittedly short length, this comic definitely lends itself to re-reading and careful examination."

(Cover Not Final) was published by AdHouse Books, and they offer a preview and more information here.

Pulp

I have read pretty much every comic Ed Brubaker and Sean Phillips have created. Their past series, like Sleeper, Criminal, Incognito, Fatale, The Fade-Out, and Kill or Be Killed, have blown me away with their blend of action and intrigue in noir fashion. In the past, these books have been published serially as comic books and then collected as trade paperbacks, but with My Heroes Have Always Been Junkies, they tried their hand at a stand-alone graphic novel. I really dug that book, and it must have been successful in a number of ways, because the duo has embarked on publishing a series of individual graphic novels. The first is this one, Pulp.

Although it is not set in the same universe as Criminal, it shares that series' feel and tone. The narrative here focuses on Max Winter, an aged writer of western pulp stories. Getting up in years, he is worried about money issues, heart problems, making sure his partner Rosa is squared away in the eventuality of his death, and the rise of fascists who support Hitler in pre-WWII New York City. Facing a lower page rate and also a thinning revenue stream as his publisher hires younger and cheaper writers, Max starts plotting a robbery. It turns out that the westerns he writes are not totally fictional, and what is more, a Pinkerton detective has noticed that these stories smack of crimes he once investigated. 

As you can see from the excerpt, one of the strong parts of this book is its intertwined accounts of different time periods. These shifts are clearly marked with changes in coloring, which is here done by Jacob Phillips. The artwork and storytelling are lean and mean, building a highly detailed and recognizable situation and characters almost immediately. This graphic novel is more of a novella in terms of length, but it's a dense, enjoyable read. Although the story itself may be treading somewhat familiar ground for a pulp-type tale, it is exceptionally well-crafted. Sometimes you just crave a great piece of genre fiction, and this book is just that.

The reviews I have read of this book have been largely positive. Publishers Weekly wrote, "The only disappointment in this tight, fast-paced homage to multiple pulp traditions is that it’s so short." Bruno Savill de Jong concluded, "Brubaker and the Phillips remain a fantastic team for satisfying and compelling crime stories. They might have remained in their comfort zone, but for the moment, they show little reason to move out." Tom Shapira wanted a little bit more out of this book, opining, "It gives you exactly what you expect, without challenging you in any meaningful way, while providing the illusion of challenge."

Pulp was published by Image Comics, and they provide more info about it here.

The Banks

Way back when the COVID-19 pandemic took hold of the country, the comic book industry shut down for a couple of months. In that time, the publisher TKO ran an initiative to both sell their books and also pay a portion from each sale to local comic book stores. That's when I got this book. 

 

I am sucker for a well-done heist story, and The Banks is exactly that, with an intriguing twist. The thieves in this story are a grandmother/mother/daughter team who operate in Chicago, three generations brought together by the family business. This is not to say that all goes smoothly. The youngest and oldest members of the team especially rub each other the wrong way, with constant posturing and calling into question each others' integrity/commitment to the task at hand. 

The Banks themselves are some interesting characters, and much of this book works because they are so compelling. The oldest member of the team, Clara, got her start in the early 1970s, and the flashbacks into her past are great period pieces that look cool and also inform the plot/characters in definite ways. In the present, these women are very selective of their jobs, and they only work with lots of planning and an intention to act as modern-day Robin Hoods. 

The granddaughter, Celia, lives the high-stress and privileged life of an investment banker (a legitimate sort of thief), but when she gets a lead on a high-roller who seems a great target she presents the case to her mom and grandmother. While they are doing their homework, they find they might have the opportunity to avenge Clara's husband, Melvin Banks, which makes this job inevitable for them. In addition to all these goings-on, there is also a hotshot detective who is onto the team of thieves, and she would just love to make her career by taking them down.

As I said, the characters make this book unique, but what makes it work so well is taut plotting replete with great twists and a huge cliffhanger at the end of each chapter. The action is excellently paced and plotted. I just had to finish reading this book once I got started. The artwork is very lively, especially in the flashbacks, conveying emotion and affect even in its more dialogue-heavy sections. I highly recommend this book for any fans of heist/noir stories.

This book was a collaboration between high-profile, accomplished creators, including best-selling author Roxane Gay, illustrator Ming Doyle, and colorist Jordie Bellaire. Gay is best known for her novel Hunger, and has a slew of other publications. Doyle is best known for her work on the series Mara and The Kitchen. Bellaire is a multiple Eisner Award winner with too many credits for me to list here.

All of the reviews I've read about this book have been positive. Caitlin Rosberg called it "an engrossing, interesting read and would pair perfectly with last year’s film Widows for a celebration of unexpectedly emotional female-focused heists." Matt O'Keefe wrote, "Unlike most heist stories, the plot isn’t the central element, the characters are. The comic will ultimately be remembered for its three leading ladies, the lessons they learned, and what readers themselves can take away from the series." LaNeysha Campbell called it "a great graphic novel that also makes a refreshing addition to the heist genre."

The Banks was published by TKO, and they have a preview and much more available here. There is some profanity, violence, and sexuality in this book, so it is recommended for more mature readers. A film adaptation is in the works.

Maria M.

If Maria M. were a movie, it'd be more than three hours long and with an ending that would put Scarface's to shame.

You know what's crazy? How fast time goes by. The first half of this book was published in 2013, and I wrote a review of it here. I have to say that looking back at my past reviews often makes me cringe a bit, but I think that one is pretty well composed and captures what I still think about this book. So go check it out. The only thing I could not say then but can now: Gilbert sticks the landing, and there is a lot of blood along the way. Whereas the first half of the book is a story of an immigrant trying to find her way in a sleazy world, the second half is more a concentrated crime drama with lots of intrigue and double-crossing.

Also, abdominal walnut cracking!

This book is an excellent one, showcasing an accomplished creator's range of skills in fine fashion. There is so much plot packed in the visuals, it's a testament to economical storytelling. It's a good read for those unfamiliar with his work or his Palomar tales, but it's also highly rewarding for readers who have been enjoying those comics over the years as well. The only people I cannot recommend this book for are younger ones, as it features sex, violence, and profanity. But if you are mature enough to handle those things and enjoy a gruesome crime tale that pays tribute to classic exploitation/B-films, this book is right up your alley.

This book's author is Gilbert Hernandez. He has been creating comics for about four decades now, most notably the Love and Rockets series with his brothers. He is prolific and considered one of the great American comics creators of all time. He talks extensively about his life and works in this interview.

All of the reviews I have read of this book have been positive. Publishers Weekly wrote that "the pulp plot is executed with style, strong and sensitive character development, practiced casual linework, and the kind of gonzo weirdness—such as Maria’s talent for cracking walnuts with her abs—that defines the Hernandez ethos." Andy Shaw opined that "anyone else with an interest in sharp, sexy, violent but sophisticated stories can still enjoy it for what it is: a B-movie homage that takes the genre above and beyond our expectations." Robert Rea summed up, "Every writer should be so lucky to have the imaginative chops that Hernandez shows in Maria M."

Maria M. was published by Fantagraphics, and they offer a preview and much more here. Also, the publisher is having their big annual Black Friday/Cyber Monday sales soon, so check those out. They publish lots of excellent books!

Ms. Tree: One Mean Mother

To celebrate Noirvember this year, I dug into the latest compilation of Ms. Tree stories, One Mean Mother. And when I say latest, it has been some time in coming. Ms. Tree is a series that begin in the heyday of independent comics, the early 1980s, when it bounced around a couple of different publishers during its 50-some-odd-issue run. In the 1990s, the series ended up at DC Comics, where it was published as a series of larger-size, self-contained quarterly stories. This volume collects the first six of those tales.

Michael Tree is a classic, hard boiled detective. She runs her agency with a few trusted allies, and she is at constant war with the Muerta crime family, who were responsible for the death of her husband. Here, the family appears to be moving into more legitimate ventures as it is trying to extricate itself from crime altogether under the leadership of the latest young hotshot Don Donnie. Ms. Tree is not so sure that this clean streak is for real, and of course there are lots of conflicts, double crossings, and subterfuge.

Adding a different wrinkle to the works is that Ms. Tree gets pregnant and has a baby in the middle of this volume. Never one to shrink from conflict, she finds herself in new territory in having to think differently before throwing herself into violent situations. It is interesting to see how she adjusts her life after becoming a parent while still being a kick-ass heroine.

These stories are well crafted crime tales, with snappy dialogue and a good share of action and violence. Tree is a tough as nails woman who has her own code of justice, and I very much enjoy following her adventures. Occassionally, this book has a few dated references to things like Thirtysomething, but they do not really detract from the general timelessness of the tales. If you like classic crime stories told and drawn in excellent manner, this is a book for you.

Ms. Tree was created by Max Allan Collins and Terry Beatty. Collins is a mystery writer with years of experience writing short stories, comic books, novels such as his Quarry series, the Dick Tracy newspaper strip, and the graphic novel Road to Perdition, which was made into a major motion picture. Beatty has drawn lots of comics over the past four decades, including the co-creating the Wild Dog series with Collins and inking many issues of Batman Adventures. Both creators speak about the return of Ms. Tree to publication in this article.

I have not been able to locate many reviews of this book, but the ones I have seen are positive. C.J. Bunce wrote, "As you’d expect from Max Allan Collins, this is another great read.  It has good characters, nicely plotted mysteries, and Terry Beatty brings in a classic noir style." You can find more reviews at Goodreads, where it has a 4.12 (out of 5) star rating as of this writing.

Ms. Tree: One Mean Mother was published by Titan Books/Hard Case Crime, and they offer more about it here.

Tyler Cross Volume 2: Angola

I reviewed the first collection about Tyler Cross here, but do not worry if you missed it because Angola stands on its own. Here the veteran criminal/smuggler gets set up during a supposedly simple job and sent to the worst prison in America. Surrounded by swamps, kept by sadistic, corrupt guards, and pursued by the several members of a crime family, Cross is beset by hardships. His daily struggle to survive is further complicated by the price on his head and the lascivious warden's wife. So, of course, he starts to plot an escape plan.

Tyler Cross is a character in the vein of Richard Starks' Parker, a tough, violent, and crafty criminal who is not going to undergo any transformation over the course of the story. He's in a spot; he's going to get out of it, and it's not going to be pretty. Still, I feel the plotting and artwork are both well executed, and I very much enjoyed the book. If you are seeking a suspenseful, action-noir story, this one has a lot recommending it.

This book is another collaboration between writer Fabien Nury and artist Brüno. Nury has written a number of historical comic books and graphic novels, including The Death of Stalin. Brüno has drawn several comics series, including Commando Colonial, many which seem to be historical pieces as well. The duo have also collaborated on a prior comic, Atar Gull, a tale about slavery.

The reviews I have read about this book have been positive. Publishers Weekly concluded, "As intricately woven as the first installment, this brutal, cool series remains recommended reading for crime thriller enthusiasts." Benjamin Welton called it "a classic crime caper told in the hardboiled style." Andy Shaw wrote, "The story isn’t as dynamic as the first, trapped as it is in a prison, but it’s just as intense and dark."

Tyler Cross: Angola was published by Titan Books/Hard Case Crime, and they offer more about it here. There is a sizable preview available here.

A third Tyler Cross series just wrapped up here.

Bastard

Bastard is an interesting take on the typical caper/runaway tale. It features the fall-out of a criminal plot where 52 simultaneous robberies have been  planned and perpetrated, and now the mastermind is culling some of the associates to consolidate the earnings and get rid of some of the less trustworthy crime partners.

 

 

What May (or is her name April?) and Eugene have going for them in this situation is that they look out for each other. May is in her 20s and is Eugene's mom. He is 10 but wise to the world and how to keep safe and ahead of the law and shady characters. After a few attempted double-crosses and an accident, the duo find themselves allied with a trucker named Augustus McRae who has a checkered past of his own. I am not going to share much more about the book, only to say that there are multiple complications and revelations, which make life stressful for the characters but a thrilling plot for the reader.

What really worked for me in this book was the stark and economic storytelling. The page layouts were all very clear, and the line work very clean. This tale was told in a very efficient and exciting way, and it did not seem that there was a superfluous single line or word in the whole book. Also, the characters are strongly defined and surprisingly likable. Despite their criminal inclinations, May and Eugene are easy to root for and care about. Their relationship and love for each other is pure in a way that makes them sympathetic, and I also loved just how pragmatic they could be faced with outrageous circumstances.  

This graphic novel is the creation of Max De Radiguès, a Belgian comics artist who tweets updates about his works here. His other graphic novel work includes the adolescent drama Moose (one of my favorite books of 2015) and the biography Weegee. This book was originally published as a series of mini-comics from Oily Comics, and Bastard treads similar ground to Oily's publisher Charles Forsman's TEOTFW, only with a much different tone. He speaks about his work in general in this interview with The Comics Alternative.

All of the reviews I have read of this book have been positive. In a starred review, Publishers Weekly concluded, "Rich in storytelling despite its deceptive simplicity of style, the surprising plot twists and character development make this a must-read." Oliver Sava wrote, "de Radiguès’ stark, understated storytelling keeps the focus on this central relationship while surrounding it with suspense and action." John Seven highlighted the love between May and Eugene and called the events in this book "the world's sweetest crime spree."

Bastard was published by Fantagraphics, and they offer a preview and more here. Because of violence and some profanity, this book is suggested for mature readers.

My Heroes Have Always Been Junkies

If you have read this blog for any length of time, you know I will read any comics Ed Brubaker and Sean Phillips create. I have been blown away by their past efforts, like Sleeper, Criminal, Incognito, Fatale, The Fade-Out, and Kill or Be Killed. Their brand of action and intrigue in noir fashion has captivated and excited me over various iterations. This book is their return to the world of Criminal, only it's in the form of one self-contained graphic novel. Even though it builds on the series, I think that this book is affecting and accessible to readers who might not be familiar with the creators' other works.

The main plot here follows Ellie, who is technically a teenager but has been out on her own for a while. She finds herself drawn to musicians and artists who have addiction problems. When the book opens she is on a beach, ruminating about her life. Then, she flashes back to the recent past to see how she has ended up in her current situation. She was entered against her will into a rehab program, and she is a discontent in various areas, including being a poor participant in group therapy sessions and also frequently sneaking out after hours to have a smoke. She finds a co-conspirator in Skip, a young man in his 20s who is trying to break out of some old patterns.

Aside from the fact that romantic relationships are frowned upon in such settings, the duo has other problems that arise from factors from their outside lives. I am not going to spoil things, but their relationship takes a few turns before the end of the narrative, with a bunch of negative consequences. What I loved about this book was how it played with my expectations about characters and plot by slowly dropping revelations and twists. By the end, I learned a lot more about the story's context that involved characters and stories from the Criminal series, which I found rewarding. Even so, I feel that this tale works for readers who are new to this world, because the plot twists still work with what you do see about these characters. I love a good crime/mystery yarn that keeps me guessing, and this book definitely delivers in that territory.

The reviews I have read of this book have been very positive. Shareca Coleman wrote that it was "incredibly written, drawn, and composed." Anelise Ferris called it "affecting and thought-provoking," and added,  "It’s a perfect read for a quiet autumn afternoon." Chris Terry opined that "Sean Phillips’ artwork is as beautiful as Brubaker’s story is haunting." Joe Gordon called it "
simply brilliant," adding, "And you’re really, really going to want to make a good playlist to go along with your second reading." Derek and I also recently spoke about the book on the Comics Alternative podcast.

My Heroes Have Always Been Junkies was published by Image Comics, and they offer a preview and more information here.

Tyler Cross: Black Rock

I first saw this graphic novel a few years ago while I was in the Netherlands for an academic conference. I loved the format and the artwork, but it was in Dutch, so I did not buy it. I did snap a pic of the cover with my cell phone, so I could look for it in English, and lo and behold all these years later, it's finally here. And published by one of my favorite book imprints, no less! I have read a bunch of prose novels from Hard Case Crime, and in recent years they have moved into publishing graphic novels, too, which is exciting to me. Is that more than you wanted to know from me? I hope not, and now onto the book...

Tyler Cross: Black Rock seems almost tailored made for me. It is a lot like Richard Stark's classic Parker series, about a hardened criminal who largely keeps to himself and works many a job with similarly minded crooks. The set-up here is that Cross agrees to do a robbery/hit job, and it goes south. He ends up stranded on foot in the Texas desert with 20 dollars in his pocket, a gun in his belt, and a bag full of 17 kilos of uncut brown heroin. Eventually, he finds himself in Black Rock, a town owned and ruled by the corrupt Pragg family. Seeing a suspicious stranger and the chance to make a potential buck, they make life very difficult for him.

I am not going to spoil things much with giving out more specifics, but suffice it to say that there are a lot of plot twists, gun violence, and explosions that result from these actions. Also, there is a very bite-y snake. The artwork is cartoonish, which is slightly reminiscent of Dick Tracy to me, but I think it suits the story well. Also, I am glad to see a few wordless passages that clearly contribute to the storytelling. There are distinctive, compelling characters and situations that are well defined with the bold imagery and atmospheric coloring.

This book featured the best kind of crime story for me, with a morally dubious protagonist going up against some terrible people, with sparks flying at every turn. I read it in one sitting, then re-read it that very night. If you are a fan of comics and also mid-20th century American crime fiction, this graphic novel is for you. It's got strongly defined characters, snappy dialogue (which is a huge plus from an excellent translation), and lots of action.

This book is a collaboration between writer Fabien Nury and artist Brüno. Nury has written a number of comics and graphic novels, including the historical drama The Death of Stalin. Brüno has drawn several comics series, including Commando Colonial, many which seem to be historical pieces as well. The duo have also collaborated on a prior comic, Atar Gull, a tale about slavery. You can learn more about their work on Black Rock in this interview with Nury.

All of the reviews I have read of this book have been very positive. In a starred review, Publishers Weekly summed up, "This ongoing series is sophisticated stuff, featuring some notably nasty moments in a hard-hitting genre winner." Scott VanderPloeg wrote, "I was thrown off the first few pages by the exaggerated physical appearances of the characters, but it’s a consistent look that plays with Nury’s exaggerated characters." Andy Hall added, "It took a while for me to warm up to Brüno’s art style, but once it grew on me, I couldn’t envision the book looking any other way."

Tyler Cross: Black Rock was published by Hard Case Crime/Titan Books, and they offer a preview and more about it here. This book features violence, profanity, and sexual situations, so it is recommended for readers mature enough to deal with those things.

This volume collects the first three issues of the series, and (happily for me) there will be a sequel available early next year. There is also another third series that just wrapped up here.

Ringside, Volume 1: Kayfabe

Kayfabe collects the first five issues of the Image Comics series Ringside. It's an interesting set-up, a noir story about an ex-professional wrestler named Danny Knossos. Danny used to parade around the ring in an elaborate costume as the Minotaur, but time has caught up with him. Now he is an older, beaten up man with some savings and not much else to his name.

 

 

He's burned a lot of bridges in the business, and he's come back into town looking for the ex-boyfriend he abandoned to pursue his wrestling career. Finding a huge mess and a lot of shady dealings, Danny decides that he is going to go after the bad guys and get his revenge. The problem is that he is old and not very focused. He gets saved a couple of times by a bail bonds agent named Terrence who is smart and calculating, not to mention savvy about dealing with violence and violent people. The two form an unlikely and shaky alliance, and a lot of the fun in this book comes from their interactions. I am not going to spoil all the plot twists, suffice to say that Danny's actions bring a lot of fallout and exciting drama. This is the first of three books in the series, and it definitely has me hooked for the duration.

Ringside was written by Joe Keatinge. with art by Nick Barber, Simon Gough, and Ariana Maher. Keatinge has written a bunch of series across lots of different genres including Glory, Shutter, and Flavor. Barber is fairly new to comics, and as far as I can tell this is his only published work as yet. Gough is the colorist and Maher the letterer, and both of them have multiple comics credits to their names. Keatinge and Barber offer more insight into their work on the series in this interview.

All of the reviews I have read of this book have been positive. Kay Honda wrote, "In short, on top of a very interesting first chapter to a larger story, the artistic team works wonders with the layout design team to create an airtight comic all around." Zedric Dimalanta called it "one of the more interesting comics in a year that has thus far been full of interesting comics." Benjamin Raven summed it up as "one heck of a read."

Ringside: Kayfabe was published by Image Comics, and they have a preview and more info about the entire series available here.

4 Kids Walk Into a Bank

4 Kids Walk Into a Bank was originally published this year as a 5-issue limited series. Its story focuses on Paige, a tough tomboy who is trying to keep her father out of trouble, only in perhaps the most terrible way imaginable. She may or may not have hatched a plan to rob a bank, so that he will not have the chance to do so first. Led by Paige, the rest of this unlikely quartet of tween wanna-be bank robbers consists of Stretch, who you might have guessed is tall, Berger, who is annoying and profane, and Walter, a soft-spoken science nerd who barfs a lot. Taken as a group, they are a motley crew, fascinating to observe as they interact and especially when they play together.

Of course, along the way are complications. Paige's uncle is a cop who is clearly onto what is happening. There are also multiple squabbles, including ones with bullies at school and ones with the bunch of ex-cons who want to wrangle Paige's dad into trying one more score. Also, the group is into using a CB radio, where they keep interacting with a shady fellow named Doctor Gloryhole, whose name might tip you off that this book is not intended for younger readers..

There are many reasons to recommend this book. The artwork is very attractive, crisp, and clean, and I feel like the characters are not only clearly detailed, they pop off the page they're so vibrant. Also, this book features a lot of snappy dialogue and clever narration. It's fun to read and often funny. The plot is intriguing and interesting. And not to spoil things but the story does not end happily, but I think I'd be disappointed if it had, because this whole situation is such a complicated mess. If I have anything negative to add about this book it's that the final chapter seems a little less well executed than the first four, but it still sticks its landing. Any book that leaves the reader wanting more is successful, I feel.

This story was a collaboration between writer Matthew Rosenberg, artist Tyler Boss, and letterer Thomas Mauer. Rosenberg has written a bunch of comic book series for Marvel and Archie. As far as I can tell this series is Boss's solo debut, though he publishes some of his work online. Mauer has worked in many capacities for several comics companies, and he had a hand in a number of Harvey and Eisner Award nominated and winning titles, including Image Comics’ POPGUN anthology series and the webcomic The Guns of Shadow Valley. Rosenberg speaks about his work on this series in this interview.

I was not able to locate many reviews for the book as a collection, but the ones I did find are very positive. Ben Snyder wrote, "I’m just going to spell this out and make it really simple, 4 Kids Walk Into a Bank is phenomenal and one of the best books that I have read all year. The ending is heartfelt and earned, Paige is one of the best characters in recent memory, and the art is stellar. Pick up this book." Heidi MacDonald called it "a virtuoso performance from the whole team."

4 Kids Walk Into a Bank was published by Black Mask Studios, and they have more info about the series here. You can access a preview of the first chapter (issue) here. This book features some puerile, profane humor as well as some violence, so it is recommended for readers mature enough to handle both.

Showtime

How I happen upon graphic novels is a varied thing. I read this one, Showtime, because someone I follow on Twitter recommended it as an antidote to "restricted nerd bullshit." So I decided to check it out and see what she meant by that. I have to say that this book is a pretty unique reading experience in terms of its scope, focus, and narrative. For starters, it's narrated by a rat who is pushing a can of Coca-Cola up a staircase. Secondly, it's about a weird car trip, a reclusive magician, and a trio of hitch-hikers who purport to be stranded wait-staff on the way to a gig.

The magician in question is in the mold of a David Copperfield or David Blaine, who trucks in grand public illusions, including a floating cruise ship. His works have made people question reality, which is also what this narrative does, and he is coming back for a comeback tour after years of being out of the public eye.

As you might guess from the high concept set-up, this tale is full of potential avenues for interpretation and existential exploration. It is thought-provoking and philosophical but also relatively fantastical. I will not say it is a book for everyone, but I do feel that it is expertly constructed and very satisfying to read in terms of intellectual and aesthetic experiences. It features a fascinating story and also creative and provocative lay-outs. Just check out this page:

Showtime was created by writer/artist Antoine Cossé. He has a few other works under his belt, including such titles as Harold, Mutiny Bay, and La Villa S., as well as several anthology entries. He also posts many excerpts from his various works at his blog. He speaks about his comics work in general in this interview.

All of the reviews I have read of this book have been positive. Madeleine Morley called it a "richly cinematic tale." Laura S. Hammond concluded, "Dark yet ironically funny at times the sinister elements and plot twists will enchant those who have a penchant for the uncanny and weird."

Showtime was published by Breakdown Press, and they have extracts and more info about it here. For those interested, you can learn more about Breakdown Press in this interview.

Moonshine, Volume 1

Moonshine is a high concept series, a period piece comic with lots of horror aspects. The main plot deals with the Mob in 1920s New York City seeking to get a supply of choice moonshine for its nightclubs. The source they seek is Hiram Holt, a scarred patriarch who defends his property with extreme prejudice against anyone who threatens him. That includes snoops, thieves, and even federal agents. What is more, he has at least one large, furry, ravenous, and viciously powerful creature at his disposal.

Lou Pirlo, a gangster with an appetite for vice, is sent down to persuade Holt to sell his liquor to be distributed in New York City. He does not exactly fit in in rural Appalachia, West Virginia to be specific, which leads to some incidents. Also, he does not exactly get on well with Holt, but he does end up making a deal with his children, which rains down some pretty dire consequences. One of Pirlo's vices is an eye for beautiful, dangerous women, and he finds two that fit that bill. One seems to want to help him, and the other appears to have more sinister motives.

This book is full of bloody violence, double crossing, and murder, and the supernatural elements add a degree of heightened menace to the noir setting. I also very much appreciated the unresolved mystery behind the identity and intentions of the wolf creature (creatures?). This book ends on a quiet note after a huge confrontation, but it also left me yearning to see how certain events will resolve. Also, it does not hurt that the artwork is phenomenally executed, with strong lines and many cutting figures.

The duo behind this book are writer Brian Azzarello and artist Eduardo Risso. The pair collaborated on the long-running and influential comic series 100 Bullets, which won multiple Eisner and Harvey Awards. Azzarello has also written a number of other comic series for DC Comics, most notably Batman and the New 52 version of Wonder Woman. Risso has also worked largely at DC, on many books with Azzarello. Both creators speak about their work on Moonshine in this interview.

The reviews I have read have been mostly positive, with minor quibbles about the general pacing or the use of accents. Chris Tresson opined, "It was slow, but a good kind of slow." Sam Wildman wrote, "It’s a well written book with fantastic artwork that brings Brian Azzarello and Eduardo Risso back together to tell an intriguing story of werewolves and bootleggers. Despite the somewhat slow build up, it has a satisfying conclusion and really makes me believe in the potential of future story arcs." Benjamin Bailey encouraged people to "buy this book to see Risso unleashed and creating some of the finest pages he’s ever crafted."

Moonshine Volume 1 was published by Image Comics, and they have a preview and more information about the series here. This book collects the first six issues of the series, which is still ongoing.

This book features a lot of violence, some nudity, occasional profanity, and adult themes, so it is suggested for readers mature enough to handle those things.

Loose Ends

Originally a limited series published about 10 years ago, but not finished, Loose Ends was re-published as a 4-issue limited series earlier this year. It is subtitled "A Southern Crime Romance," perhaps to associate this work with the writer's more famous work Southern Bastards.Out of those three descriptors, the one that stood out the most for me was "Crime."

As you can see from the opening vignette, the protagonist Sonny is a drug-runner. Here he decides to take a detour to pay off an old debt, settling up with his ex with a good chunk of change for raising their son. Of course, things go south in an unexpected way, setting off a chain of events where Sonny ends up on the lam with a voluptuous woman named Cheri. He does not realize it at first, but she is an acquaintance from his adolescence. Together, the two share a kind of romance, though it's more like the best thing two desperate people can do to stave off loneliness, despair, and poor choices.

The two are pursued by double-crossed criminals, dirty cops, and the authorities, but they are also dogged by the past, which appears in many instances via flashbacks such as this:

In these, we are privy to what went on during the tortured duo's high school years. We also see Sonny's days as a soldier in Afghanistan as well as the pivotal moments when he turned to crime. This book is ambitious in that it tackles a great many social issues wrapped up in a pretty violent, compelling crime drama. I won't way that it sticks the landing in every case, but it is a good read, and a book I plan to revisit. The action is intense, and the drawings and colors are electric and spectacular.

Loose Ends is a long-term collaboration between writer Jason Latour, artist Chris Brunner, and colorist Rico Renzi. Latour is more known for his artwork on the Eisner and Harvey Award winning series Southern Bastards as well as for writing Spider-Gwen. Brunner has drawn a bunch of comics, usually working with Latour and Renzi. Renzi colors lots of comics, including Spider-Gwen and The Unbeatable Squirrel Girl. Latour and Brunner both speak about their work on this series in this interview.

The reviews I have read of this book have been pretty mixed, except for the universal praise for the artwork. AJ Zender called it "a visually and intellectually beautiful story that captures the extreme highs and lows of Sonny Gibson’s life." Daniel Vlasaty had a more tempered response, writing that it "felt some important pieces to the story were left underdeveloped, and just dropped into our laps without much explanation or follow-through." Jason Segarra concluded that it was "high on visuals, but a little rushed as a story."

Loose Ends was published by Image Comics, and they have previews and more available about it here. Because of violence, sexual situations, and profanity, I suggest this book for more mature readers.