I guess I’ve been at this long enough to see when de facto themes generally, if inadvertently, present themselves within the “framework” of any given week’s releases, and when Image Comics has four horror books (all priced at $3.99 each, so keep that in mind as you evaluate whether or not these are worth the dent to your wallet) come out on the same Wednesday, well shit, it’s pretty obvious what we should be talking about, isn’t it? Doesn’t really take a “veteran” critic at all, as a matter of fact —
I had been cool to Jeff Lemire and Andrea Sorrentino’s Gideon Falls to this point — so much so that I had been intending, most likely, to drop it after the conclusion of its first “arc” — but with issue number four, now I’m no so sure. Lemire is (painfully) obviously going for some sort of low-rent Twin Peaks rip-off here, albeit with a smaller, more insular cast and a “Black Barn” instead of a “Black Lodge,” and things had been coming together frustratingly slowly up to now. A switch really seems to have been flipped this time, though, as a rough outline of where the story is headed is finally coming into view, and Sorrentino’s inventive page and panel layouts, which had delivered more intriguing “misses” than direct “hits” previously, are now much more “in synch” with the narrative flow. In fact, there’s a double-page spread in this issue that will absolutely knock your sock off. So — I’m intrigued enough to give this book a little more rope.
The fourth installment of Pornsak Pichetshote and Aaron Campbell’s Infidel pulls a pretty gutsy move by essentially sidelining the protagonist we’ve come to know and at least like over the course of the first three issues and shift the focus squarely onto her best friend, but it works : the horror they’re all facing hasn’t “moved” (hell, that’s everyone’s problem), but seeing it through another pair of eyes makes it seem even creepier. Pichetshote’s dialogue is generally fairly authentic although it can veer into wooden territory at times, but any occasional deficiencies in the writing are more than compensated for by Cambell’s stunningly creepy and evocative art. This issue, as you can clearly see, also has the added bonus of featuring one of the year’s most jaw-droppingly awesome covers.
Don’t ask me why Evolution works, because it probably shouldn’t given its “assembly-line” production, but it does. The series returned this week with issue number seven, which kicks off a new “arc,” and while Joshua Williamson appears to have departed from the stable of writers (honestly, not a tremendous loss), James Asmus, Joseph Keatinge, and Christopher Sebela are more than capable of picking up the slack, and do so here admirably. Who are we kidding, though? Much as the various subplots are barreling ahead full-steam and moving into some truly cringe-worthy (and I mean that in the best possible sense) territory, it’s Joe Infurnari’s exquisite, harrowing, Euro-influenced art that is the star of the show here, and is so well-suited to the Cronenbergian body-horror that is this book’s stock in trade that it’s damn near painful (again with the “best possible sense” here) to behold. Probably the best-looking comic coming out under the Image banner these days, but also, surprisingly, one of the best-written. Grab the volume one trade if you haven’t and start following this in singles now.
Brian Azzarello and Eduardo Risso have been, to their credit, trying something enitrely different with Moonshine than the crime-noir they had going with 100 Bullets — and it’s probably just as well given how that series went pretty well off the rails after about issue 30 or so — but with 11 down and only one to go, it’s becoming apparent that whatever magic this team once had is well and truly lost, and that the blame for that lies squarely on the shoulders of only one of the, to wit : Risso’s art is better than ever — sleek, stylish, fluid, and eminently well-suited to this tale of Prohibition-era lycanthropy — but Azzarello’s script takes an intriguing premise and makes almost nothing out of it. His characters are caricatures, his dialogue cliched, his story “beats” poorly-timed and often just plain flat. He’s a writer that’s been “trending down” for a solid decade or so at this point, and while this isn’t “rock bottom” for him by any means (we’re talking about a guy who participated in both the Before Watchmen and Dark Knight III debacles, after all), the sheer laziness of his approach in recent years gives every indication of a dude who’s simply “mailing it in.” There’s little drama or intrigue on offer here, and when you’re ramping up to your big finale, shit — don’t you want (hell, need) plenty of both?
So yeah, one publisher, four horror comics, three solid buys, one solid pass. I’m no math expert by any means, but that seems like a pretty good batting average. Next week we’ll be taking a look at — I dunno what, I’m gonna let my shop, as well as the USPS, surprise me. Hope to see you back here in seven days, when I’ll hold forth on whatever the hell it is that I ended up liking. Or not liking. Whatever the case may be.