Believe it or not, we’ve only got two first issue this time out, so we’ll start with those, and then delve into the other stuff —
Mary Shelley : Monster Hunter #1 hit LCS shelves this past Wednesday courtesy of the writing team of Adam Glass and Olivia Cuartero-Briggs Briggs and line artist/colorist Hayden Sherman. I suppose the conceptual and artistic triumph that was Alan Moore and Jacen Burrows’ Providence was impetus enough for other creators to give the “famous writer who knew what they were talking about all too well” premise a whirl, and while I won’t pretend for a second this is anywhere close to being in that class, it was a fun and well-paced introduction to a world where — well, the title proves to be literally true. The story didn’t blow me away or anything, but the esteemed Mrs. Shelley comes off as being strong, likable, and more than competent, and Sherman’s art and colors are as well-suited to these period atmospherics as they are to the sci-fi vistas of Wasted Space. I had the same reaction to this as I’ve had to any number of other Aftershock series, which essentially boils down to “can’t say I’m committed to it for the duration, but I’m game to give at least a couple more issues.” In a pinch, I suppose, that’ll do.
American Gods : The Moment Of The Storm #1 is a debut issue in name only, as any publisher other than Dark Horse would probably just keep the numbering going and label this as precisely what it is : the start of a new — and, as it turns out, the last — “story arc” in this particular series. We’re at the point now where the chess pieces are being moved into place for the big final meeting/confrontation between the various largely-dormant gods that’s been building for some time, so if you’ve been digging P. Craig Russell and Scott Hampton’s very literal adaptation of Neil Gaiman’s best-selling novel, there’s no reason why you shouldn’t enjoy this installment, as well. Kind of an ugly cover from Glenn Fabry and Adam Brown this time around, but that particular “art crime” is more than made up for by the fact that Russell handles the layouts in here as well, of course, as the script, giving the proceedings a very fluid feel. And I still really dig Hampton’s art. I’ve come this far, so rest assured, I’ll be sticking with it to the end.
Gideon Falls #12 is, in fact, the “proper” beginning of a new “arc” in Jeff Lemire and Andrea Sorrentino’s vaguely Lynch-ian horror series from Image, and frankly this is starting to have a feel of finality about it, as well. Sorrentino’s endlessly inventive art is always a marvel to behold, and ditto for Dave Stewart’s amazing colors, but if Lemire isn’t ramping things up toward some sort of climax here, I’ll actually be kind of disappointed, seeing as how everything seems to be coalescing/dove-tailing in terms of the two formerly-separate plot threads now becoming one. I’m not in a huge hurry to put this book in the rear-view mirror or anything — it’s been, and remains, quite good — but it’s hard to see where things would be headed if, in fact, they were to go on for much longer. I’m more than willing to be pleasantly surprised, though — and this comic usually manages to do precisely that.
Port Of Earth #9 is likewise the kick-off point for a new “arc,” and this series from Image/Top Cow had been sidelined for so long that I was beginning to wonder if it was ever coming back. Writer Zack Kaplan seems to be alternating between this and his other sci-fi book, Eclipse, and the same is true for artist Andrea Mutti vis a vis this and Infinite Dark, and what the hell — the de facto “rotation” works for all of ’em. The premise of alien/human relations becoming strained over Earth setting up a landing port for various intergalactic travelers and traders who then proceed to bust every rule in sight feels new again by dint of its absence — even if the TV segments that Kaplan over-relies on are starting to seem anything but — and characters and events have “moved on” in directions that make logical sense. Mutti’s stylish and “loose” art continues to get stronger and stronger, as well, which is indeed high praise as it was pretty goddamn good to start with, and Jordan Boyd’s color work is always serviceable, if well shy of spectacular. Glad to have this one back.
And that was the week that was, so now the only remaining order of business is to remind you all that this column is, as always, “brought to you” by my Patreon site, where I serve up exclusive thrice-weekly rants and ramblings on the worlds of comics, films, television, literature, and politics. Lately, in fact, it’s been a lot of politics. Your patronage there not only keeps things going, it also ensures a steady supply of free content both here and at my trashfilmguru movie site. There’s a whole lot of stuff posted up there already, so you’re sure to get good value for your money, and needless to say, I’d be very gratified to have your support. Please take a moment to check it out and consider joining up by hopping on over to https://www.patreon.com/fourcolorapocalypse