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God of Comics – Glitterbomb: The Fame Game #1

God Of Comics, Reviews

September 19, 2017

Glitterbomb: The Fame Game #1 (Image Comics)

The Industry is vicious.

Let’s get that out of the way now. It’s vicious and arrogant enough to call itself the Industry, and anyone that works in it knows exactly what it looks like. You get offered good money for work but it devours you, eats you up and leaves you with nothing but the Industry. For those of you both lucky and unlucky enough not to know, we’re talking about film here – television, movies, web series, all of that.

You will get paid and you will create but it will cost you. Life, dignity, maybe your soul. It might leave you a broken hollowed excuse for a life, but it will laugh and whisper and dare you even as you heed the warning and the call: if you never try, it whispers, how will you ever know?

The process is corrupt. We know this and we see it and that corruption had hollowed out even the industry itself: in the wake of this year’s blockbusted failures, a few luminaries stand out and Hollywood will learn all the wrong lessons from what little worked and the tired tripe that did not. We don’t want white-washing, we don’t want sausage fests, we don’t want caricatures or tired rehashes or blatant fascist misogyny masquerading as legends worth our time.

And here’s the thing: that’s what we know. That’s the end product we see. The stuff that goes on behind the silver screen? The terrible ways people are treated and keep silent because the Industry whispers you keep your mouth shut or you’ll never work in this town again. The town is the Industry. It sounds like an empty threat, it sounds silly, but then someone opens their mouth and the Industry recoils from them and that’s the end of it. Keep silent. Keep your head down.

Let Britney be a joke, Kesha be an afterthought. You think that only happens in music, where starlets are drugged and contracted? Those are starlets. Smiling for the camera, out in public. What about the camera people, the makeup people, the ones struggling to find a break in any part of the Industry? What are their lives like?

Jim Zub wanted to know, and he asked a woman named Holly Raychelle Hughes about it. The two of them talked and put out one of the most brutally honest stories about what Hollywood does to the people it feeds on you’ll ever read, a little title called Glitterbomb. Holly used to work on a number of productions but has since been erased from the Industry.

It’s okay, though. Holly will tell you what happened. In detail. And then she and Jim will spin a tragic horror for you that deals with all that anger and toxicity that the silvery sheen of flickering fiction tries to hide.

This is the second of the Glitterbomb stories. The first followed a single-mother and former sci-fi actress struggling to find her dignity in the aftermath of the Industry. She made contact with some thing and it nestled itself in the hollowed space where her heart had been. It found other people the Industry had hurt and then took a terrible revenge on all of them before dying.

Now, there were survivors of what happened there. One of them is a girl named Kaydon Klay and she wants to be famous more than anything in the world, and the horrific tragedy that just happened might give her the in she’s looking for. All she has to do is explore the twisted gutters that lead some to fame and others to failure and sometimes both. The Industry laughs in the dark and urges her onwards, playing to insecurity and desire and fear – not knowing that there is some thing lurking and waiting for its turn.

Djibril Morissette-Phan and K. Michael Russell both return, the former with a clean sketch style of inks that speak more to silhouettes, and the latter with washed out colors that bleed into shadows. Both of them are the perfect choices for a story this heavy and rife with monsters pretending at humanity.

Some of us are fighting to tell stories outside the horror the Industry has become. Some of us even manage that within it. It’s a fight, though, and if you’re looking to see what that fight is all about this is the comic you should be reading.

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God of Comics – The Realm #1

God Of Comics, Reviews

September 13, 2017

The Realm #1 (Image Comics)

I love that urban fantasy has become a thing, this weird hybrid of taking high fantasy concepts and applying them to the modern world. Shadowrun was the first time I’d seen a heady mix of modernish sci-fi and fantasy, but there’s been plenty of attempts and builds since, from Dark Sword to Dresden to Birthright to that Netflix thing with Will Smith.

The trick of it lies in balance – the reader/audience doesn’t need to know the details of the mythology for the story to work, but the writer does. Where does the magic come from? How does the world work? What is the depth of science and magic, and, when they fight, who wins? Every writer is going to bring their own answers to these questions, and the success of the narrative is decided by how detailed those answers are.

Seth Peck is the writer in question for this tale, and given his work on Sorrow, Deadline, and Bad Karma, I’m willing to bet that he has volumes detailing those questions, whole tomes that his characters have never seen and may only learn snippets of. They have to live in a world they can either discover or die, and death seems much more likely.

Here’s the set-up: the modern world went as the modern world does until about fifteen years ago, when a mythic army appeared and threw the world into chaos. It’s hard for a modern military to fight, say, a dragon, or an army of orcs, or any of the other sorcerous abominations that crawled from fantasy to reality. Nations fell, civilizations shattered, warlords both human and not rising from the ashes to carve the world into ownable chunks.

And that’s where this starts, in the ruins of shattered echoes, the fading dream of an old world conquered by an even older one. The champions of this new world are those that can remember the old and struggle to adapt, those that have the grit to stand against a tide of eldritch darkness and keep their memories safe.

Thing is, these horrors are not the kind of monstrosities to sit and wait for humankind to find their strength. A sorcerer is taking action and who knows what his end goal is? It’s probably isn’t good. A band of warriors learn of that madness and set out on their own journey, hoping to save the world from the darkness that swallowed it whole.

Will they succeed? Can they?

Depends on how much they understand and what they are capable of.

Their actions while be chiseled into history by the pen of Jeremy Haun, whose work you should know from the Beauty, and the heady colors of Nick Filardi. This comic sounds like all of the good times combined into an unrelenting battle between worlds lost and worlds gained, a place where one cannot know without understanding the post-apocalyptic fantasy our realm has become.

My summoning circle is ready. Let’s do this.

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God of Comics – Genius Cartel #2

God Of Comics, Reviews

September 11, 2017

Genius Cartel #2 (Image Comics)

Funny story, depending upon who you talk to. Goes like this:

Conservatism and isolationism combined to cripple the world economy leading up to World War I and then straight through World War II, and it was the New Deal that started things moving again – new jobs and chances for life advancement, the American government investing in its people and creating the biggest economic boom and economy in the history of the world thereafter until conservatism and isolationism and xenophobia started dismantling those programs to fulfill a warped objectivist manifesto.

Thing is, the New Deal specifically did not allow African Americans to partake in it. Affirmative Action was literally allowing African-Americans to get into the deal that other Americans had enjoyed for decades at that point. Before that, of course, American had kept African slaves and the American South was so adamant about slavery that they based their whole economy on it and then betrayed America to keep slaves.

I bring this up because it’s important that people understand where African-American poverty comes from, an institutional process that strips away chances and dignity with unrelenting malice. Hell, a Nixon aid once noted that they produced an effective propaganda campaign to associate African-Americans with heroin, because they couldn’t make the former illegal but they did the latter, and they could arrest anyone associated with having the stuff.

Even those times that African-Americans managed to build themselves up in spite the systems around them, they saw their worlds destroyed. Look at what happened in Greenwood, OK. Look at what’s happening to black people as they’re murdered by cops for no reason and dubbed thugs by news media, despite video evidence showing the murdered to be innocent of any wrong-doing.

So, African-Americans are damned if they play by the rules and damned if they don’t. And that’s just one section of the people being mistreated by conservatism every single day. Some people have realized that if they’re going to get blamed for doing bad shit, they may as well do the bad shit and reap the rewards for doing so. After all, white corporate America does terrible things and they make fortunes doing it. Why shouldn’t everyone else get in on the act?

And that brings us to today’s comic, Genius Cartel. The conceit of the comic is that once every few generations, a military genius is born/ In the case of this comic, that genius is a young African-American woman by the name of Destiny. She united a ghetto and nearly took over a city, knowing that those she surrendered to would help her refine her studies and give her access to things she didn’t have and couldn’t get because of poverty and racism.

She was right. The idiots started refining her skill and think that they can manipulate her, which only goes to show that they have no idea what they’re dealing with.

It’s not that they’re dumb. The villains in this book are scary and as competent as they can be. The trouble is that they do not understand what Destiny is, and how her very presence changes the game all of them are playing. They killed her friend to try and keep her in line, and then offered her a carrot to offset the stick: she gets to lead a mission down south, into Mexico, to take out a drug cartel.

The cartels are only in power because the War on Drugs did for them what Prohibition did for the Mob. Anyone who studies this knows it, can trace it, understand it. Destiny certainly knows it, as do the people that think they control her – but it stands to reason that Destiny is considering her options and has more in common with the cartels than the people that seek to enslave her to their cause.

Should be interesting to see how this plays out.

Writers Marc Bernardin and Adam Freeman are pulling no punches and have promised a fatal strike is coming, and we have every reason to believe them. There’s an intelligent viciousness to this narrative that is at once terrifying and true, a simmering fury touched upon that informs every page and word. Throw in the Rosi Kampe artwork and you’re looking at one of the best comics currently on the shelves. Do not miss this. It’s incredible.

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God of Comics – Kingsman: The Red Diamond #1

God Of Comics, Reviews

September 6, 2017

Kingsman: The Red Diamond #1 (Image Comics)

Another movie tie-in, only this one is tied to a movie that was a comic first.

Yeah, the original Kingsman was a pretty good comic with an awesome concept that made a great movie. For those of you that missed it – either the comic or the movie – the Kingsman are a private group of oldish white men that decided that colonialism was bad and so they were going to launch a counter-conspiracy built of themselves as they tried to save the world from the evils the British inflicted on the world and the retaliation that resulted from those evils.

Or, here, I’ll let them explain it:

It’s kind of a family thing, where they sponsor potential agents as they get on in age and put them through the ringer and teach them the ins-and-outs of assassination, combat both close-quarters and far-off, poisons, wine tasting, fine dressage, and manners. Especially manners. Because manners maketh man.

Yes, they’re the good guys, but they are still very, very British.

The movie was a lot of fun and, as noted, much better than the comic – a common thing with writer Mark Millar (with the glaring exception of Wanted, which was a terrible movie that missed the point of the comic). This one isn’t being written by Millar, though, but is rather the dream of scribe Rob Williams. Willaims is mostly known for expanding upon the world of Mega-City One and Judge Dredd, though he’s written some incredible Robocop, Indiana Jones, and Star Wars based comics, though none of the latter include Marvel’s recent works.

As the movie sequel is prepared for release, this comic sees former good-for-nothing-layabout turned super spy Eggsy still being a little less stiff-upper-lip than the other Kingsman, which is true to his heritage of being, well, a good-for-nothing-layabout that had to grow up with a horror of conservative policies that have stripped the nobility from Britain and left only a noted cruelty aimed at both itself and the rest of the world.

Sounds like the very thing that the Kingsman are very much against. What?

Anyway, Eggsy wraps up saving Prince Phillip while being rejected by his high-school crush before being handed another mission to go out and save the world from terrorists, fundamentalists, and the forces of evil. You know, Tories.

Simon Fraser adds art to the whole of the six-issue mini-series. You might know him from his work on Nikolai Dante, and if you don’t you need to go and read Nikolai Dante right now. He’s also done some Judge Dredd work, but that seems like something that all the best comics-related people in the UK do at one point or another. It’s like a rite-of-passage.

The movie sequel, as noted, is due out soon. This is going to be good reading until the sequel hits, and if you liked the movie you’ll love this.

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God of Comics – Elsewhere #2

God Of Comics, Reviews

September 4, 2017

Elsewhere #2 (Image Comics)

This comic is the best kind of weird.

Exhibit A for this would be last month’s issue, where two furry prisoners escaped from a floating island and came across Amelia Earhart, who was stuck in a tree by her parachute. They rescued her, she came to terms with being on an alien world with flying islands and nabbed herself a flying beast before being captured as part of a plan by the former prisoners. From there, she was taken to the prison by soldiers in service to the Great Dark Lord and was given a cell to share with someone who looks like Dale Cooper from Twin Peaks.

He’s not Dale, though. Or even Dougie. His name is Dan and he prefers to go by DB. His last name is Cooper, though, and if that name sounds familiar, good on you for knowing your history: DB Cooper was the name given to a man who hijacked a plan back in 1971 and then vanished from the face of the Earth.

Literally, or so this comic would have you believe.

Writer Jay Faerber isn’t one to keep that sort of thing hidden. He’ll tell you immediately that every human in this fantasy world he’s put together is from our world, a refugee brought over by forces unknown and forced to survive in some very out there circumstances. This is a series that he’s been planning for a while and he’s got some secrets and some tales to tell in a series of four-issue arcs, depending on how this one goes.

And it should go well. That last issue was amazing.

A good chunk of that amazing can be placed at the pencils and inks of Sumeyye Kesgin, a Turkish artist with a knack for wild imaginings. All her strengths are highlighted with the script that Jay has given her, and then both of their works combined are given a shining sheen of colors moody and heroic by Ron Riley.

So – talented people behind the book, interesting premise that has been brilliant realized, and a solid schedule that involves four issue arcs, a month off, the release of a trade, a month off, and then the start of the next arc. A self-contained high-fantasy story involving historical figures that could come from any point in time, given that Amelia vanished in 1937 and DB vanished in 1971 and they both look to be about the same age as when they vanished – and DB looks like he got to this world before Amelia.

We’re in. We love this. Adore it. And we urge you to pick it up and give it a shot, as one of the world’s best pilots teams up with a notorious hijacker to escape from a tyrannical warlord’s flying island fortress… which is, conveniently, where the wreckage of Amelia’s plane was taken.

Stuff like this is why we love comics and why we write this articles. Do not miss it.

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God of Comics – Planetoid Praxis #6

God Of Comics, Reviews

September 1, 2017

Planetoid Praxis #6 (Image Comics)

There might be a more vicious look at colonial capitalism dystopia sci-fi out there, but you’d be hard pressed to find it.

A group of people – human and otherwise – were enslaved by a corporation through debt, and then enslaved again to a species of aliens that took their inspiration from the American South as much as from Nazi Germany. They conquered and enslaved people, wiped out whole solar systems, took the corpses and still-living captives to make art, all that horrible stuff. A small group of their victims rebelled and took advantage of a random planet’s radiation field to get away from everything and build their own isolationist civilization, only to be found and explored by the corporation that had enslaved them way back when, a corporation that has since made peace with the aliens that were doing so much damage to everyone else.

There’s a lot to unpack here – a generation that remembers the horror of being enslaved not once, but twice. The sheer conditions they’ve had to live with and the sacrifices they’ve made to get there, followed by a younger generation that knows nothing of that horror and only sees the cool technological advances that the corporate incursion has brought with them. Never mind that the corporation is doing what colonialists do – engaging in sabotage to destroy indigenous life and trying to take advantage of the supposed naivete of that life to better themselves.

As proof of concept, look no further than when the corporation starts charging the survivors for use of the sun, and then uses their technology to block it off.

Sign our contract,” they say, “we need you to sign this thing you don’t understand to protect you.” Ask any of the unjustly imprisoned people in the far east how well that works, or any of the First Nation tribes of North America. Thing is, our heroes are plucky and savvy and they know their shit, though they are sometimes working at cross-purposes because they are all people and they are all dealing with their trauma as best they can. There’s a lot of survivor’s guilt here, a lot of complexity and a lot of characters coming from different experiences and education. This is a meaty, meaty comic.

It’s the child of a man named Ken Garing, who handles all the writing and art. This is his masterpiece, the narrative that he’s devoted his life to, and it shows. Every issue and page bleeds some new moment, either a quiet reflection or deep meditation or tragic aftermath. There are undercurrents here that will follow you long after you put the comic down and try to move on with your day, undercurrents that will find you picking up the comic to read it again and again and maybe one more time. Stakes get raised and the consequences are obvious, the cost insidious.

Highest possible recommendation.

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God of Comics – the Hard Place #1

God Of Comics, Reviews

August 22, 2017

The Hard Place #1 (Image Comics)

Nothing deep about my initial reason for choosing this comic: I liked the cover. It’s beautiful. Look at this:

We get into a lot of depth when talking about comics here and I feel like we sometimes gloss over that comics are a visual medium. Good story does not work without complimentary artwork in comics – it’s one of the reasons that some rather good nineties stories make for unreadable comics now because the art is just terrible.

Art isn’t everything, though – it’ll get people interested but will not hold them if there isn’t enough of a story to keep people on point. Back in the Nerdcouver days, Jenna and Nathan and myself all picked up a comic because of the eye-catching cover and then talked about how the story was lacking. I don’t even remember the comic, which I think proves my point.

This comic doesn’t look like it’s going to suffer a lack in either department, though: on the writing side of things you’ve got Doug Wagner, and the art is being handled by Charlie Kirchoff and Nic Rummel. Cover artist Brian Stelfreeze isn’t handling the interiors, sadly, but Charlie Kirchoff and Nic Rummel aren’t anyone to just pass over, either. Charlie’s been doing some interesting color work over on Doctor Who, and you might not know Nic Rummel’s inks now, but you will. Soon.

Doug Wagner is the warped mastermind behind Plastic, a serial killer romp that you should be reading, and Average Joes – and if you’ve read either of those then you know what sort of quality you’re getting into here. Moving away from supers and psychopaths, Doug is flexing his cranial muscles and introducing us to former wheelman and living legend, AJ Gurney.

AJ Gurney has just spent five years in prison and has every intention of going straight. His dad has a garage and he’s feeling pretty good about going to work there and vanishing, letting the legend fade away as he goes about his life. Things seem to be going okay for him until he makes a stop at a bank and a robbery takes place.

Here’s where things get weird: he’s recognized by the robbers and they’re fans – such big fans that they want him to be their getaway driver. He refuses, so they take a hostage and threaten to kill her if he doesn’t do what they want – but she’s the daughter of a local Russian mob boss. And the police, well, AJ is a man of a color and an ex-con and they aren’t going to take his word on anything.

So now a man who paid his debt has been put in a situation where no one wants to listen to him and it looks like there’s no way out; the Russian mob is going to use their every asset to find him, and the cops assume he’s guilty the same way they do with most people of color. And, of course, there’s the two robbers who are also fans because nothing is ever easy.

Told you that Doug Wagner is a warped mastermind. He’s on a level with the likes of an Ed Brisson or Joshua Williamson or Brubaker when Brubaker is on a rant, so if you like their stuff you’ll dig this a lot.

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God of Comics – Southern Bastards #17

God Of Comics, Reviews

August 18, 2017

Southern Bastards #17 (Image Comics)

Let’s keep this going. Keep it going. Forever.

This is the sun-stroked tale of corruption in the American south, a tale set in those towns too small to have anything other than high school football and dreams of the failed confederacy to keep them going. To fully explain that and where this comic comes from, we need to delve into the Myth of the Lost Cause.

Some Americans will tell you that their Civil War was fought over patriotism and states rights and things that were not slavery. Don’t believe them. The Confederate States were literal traitors, the states rights were the rights to keep slaves, and their articles of confederation were all about slavery. Hell, their economy was based on using slaves for credit with banks, so even their banking system was slavery.

The question you should be asking now is why are they allowed to lie about it? This is trickier to answer. See, in the spirit of good will, the Union let the former Confederates write their own narrative of the loss, which became known as the Myth of the Lost Cause and led to all that shit about how the South will rise again.

Right now is as close as the South should ever get to rising again. Their racist, fascist policies were falling apart at the time of the war, and their anger that the Union was doing better than they were was a large part of what led to the war. The ongoing struggle between progressives (people looking towards the future) and conservatives (people that want to return to a mythical past) begins here.

The problem is that slavery and the ill effects of it – morally, economically, and especially morally – are brushed over in the American South due to the myth. As progressives progress and move forward, the American south is left behind and gets to see how far they’ve been left behind on television. They’ve become flyover states – places that people don’t go to so much as avoid or pass through between destinations. Even the bigger cities in these places are dying, relying on industries that no one uses any more and wondering why things can’t go back to how they used to be.

And the smaller cities? The towns and villages? They have even less as it all falls apart, stuck with an ever-decreasing economy, voting for politicians who work against their best interests because they’ve reduced voting to a sport-team mentality. Are you red or are you blue? Doesn’t matter what the issues are, you vote for your team. It’s why when girls get raped by football players in these places and come forward they get blamed and driven out of town. Nothing matters because these places have so little to be proud of and so little to do and high school football becomes everything, the only thing that matters and the thing by which all other things are judged.

Besides, it’s a chance to wage war again without having to really think about it. Fight your neighboring towns and prove you weren’t the weak link that led to the lost cause. Fight people from up north and prove that you would have won if you had been there. If you’re unfortunate enough to be a minority in one of these places, you can gain some fame by representing your town against all comers. You can find a limited acceptance, one that might help you escape the hellscape you were born into.

Your high school football coach is the closest thing to a god that many of those towns know. And when the town dies and can’t support football, well, sometimes people have to turn to crime to keep things going. That’s where this comic begins, in a town exactly like the one I’ve described, where the football coach has become a crime lord and no one will fight him because he keeps winning.

Thing is, it can’t last. There’s always going to be more competition, people willing to take things a little farther or do things that no one has ever seen before. Our local football coach and kingpin is having problems on and off the field, both with his team and the crime he uses to support it, and there’s all sorts of problems coming his way because the world outside the south keeps leaking into this weird little bubble.

Jason Aaron and Jason Latour co-created this comic and you can tell it’s the most honest thing they’ve ever done. They’re both escapees from the American South, writing this as a break-up letter to a terrible ex-lover who they’ve learned to truly see. There’s some sun-bleached beauty here, some hope, but the spiritual rot that has set in permeates every page of this comic.

It sometimes makes this a hard book to read, but it needs to be read.

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God of Comics – Genius: Cartel #1

God Of Comics, Reviews

August 17, 2017

Genius Cartel #1 (Image Comics)

Okay. So. Follow me on this. You’ll occasionally get a certain type of person that will say things like “You can’t abort those cells~! What if those cells grow up to be the doctor that cures cancer~?!?” or something along those lines. The corollary to their question has nothing to do with the cells but rather people; who is to say that the pregnant woman wouldn’t be the person to cure cancer but now she won’t because she got assaulted and pregnant or isn’t ready for a baby and now is stuck with one or about a billion other similar questions?

Following that train of logic, what if the cells (once they become a baby) do have the capacity to cure cancer? What happens when that baby is thrown into a world where they are unwanted and neglected, or given to parents that are unable to provide the education and environment that child needs to do that one specific thing? They’re not likely to be able to cure much of anything once they’re riddled with student debt or indoctrinated into a conservative mindset or otherwise crippled by Republican anti-science values.

A few years back, Image Comics published a comic that started looked at this, though not in the way you might be thinking. Genius posits that every generation or so, a mind is fostered on the cradle of humanity that possesses an advanced understanding of strategy and tactics. This is the tale of a young African-American woman named Destiny who was born with that gift but condemned to the poor ghettos that litter America, a result of decades of neglect and abuse fostered on an entire nation.

Using her gifts, she was previously able to unite the warring factions in South Central and waged war on the local cops, using military tactics and basically making the police look like idiots dressed up with military hardware. The military was called in and Destiny was defeated, although the implication was that Destiny threw the fight.

See, she knew that her enemies couldn’t resist the chance to use her intelligence and talent for their own gain, so instead of killing her they convicted her and threw her in a military prison for gifted youngsters. Their hope is to raise her in their image. Her goal is much more straightforward: she wants to learn everything they can teach her because the resources she had at her disposal were not enough to get her what she wanted.

The original mini-series was controversial and brutal, writers Marc Bernardin and Adam Freeman pulling no punches as they took a look at the gangland two dozen years of neoliberalism and Reagenomics fostered, on top of the two centuries or so of casual racism that hobbled a whole subset of American citizens. They then applied a chosen one to that modern hellscape and turned her loose, letting artist Afua Richardson out to play.

Afua’s not back for this installment; Rosi Kampe is taking over and if you’re not familiar with her artwork from her stint on Unknown Lands or Destiny, NY, well, you’re in for a treat. Her artwork is bloody gorgeous, and I’ve got the sense we’ll get to see plenty of blood before this tale is done.

Do not miss this. It’s going to be awesome.

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God of Comics – Redlands #1

God Of Comics, Reviews

August 10, 2017

Redlands #1 (Image Comics)

I don’t know a lot about this comic, not going into it. It’s being published by Image, it’s a horror book, and it’s being written and illustrated by Jordie Bellaire. That last one? That alone is enough to get me interested.

Jordie’s been working on some incredible projects for the past few years, adding her talents to comics like Injection, Pretty Deadly, Moon Knight… she’s in high demand. Her colors and inks are insanely good, detailed and deep without being overly cluttered, and you know when you pick something up and she’s worked on it that it’s going to be gorgeous.

You also know that the writing is going to be excellent: Jordie tends to work on stories possessed of high quality. Like, seriously: Magneto, Hawkeye, Nowhere Men, Zero, Vision – she’s in high demand and happens to be one of the nicer people in the industry, at least from the things I’ve heard. Inclusive, supportive, all that jazz. People want to work with her because of it.

I want to read her comics because I think they’re going to hit that level of quality right out of the gate.

She’s not in this alone, either. Vanessa Del Rey worked with Jordie on Zero (also from Image and worth hunting down), and is a talented writer and artist also, having worked on titles like Daredevil, Scarlet Witch, Deadly Class… and if you’ve read her run on those titles than you know that her work lends itself to the macabre.

And that brings us here: to Redlands, Florida. A sunny town in a state that condenses and amplifies the insanity of an entire country. Jordie and Vanessa have decided to cut to the quick of that state, that country, that madness: bible-thumping police are losing control of their small hamlet, and a coven of killer witches is swooping in to take over.

The Witch-ness Protection Program is probably a better option at this point, peoples of Redlands. Just sayin.’

Although, the only way to cut to the quick of this will be reading the comic. I’m planning to do exactly that, and you should, too.

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