This week’s main review is The Exorcism of 1600 Penn #1, a horror story set in the White House. add, The Wednesday Comics team typically lists new #1 comics, finales, and other noteworthy issues from non-Big 2 publishers, all of which you can find below…enjoy!
The Exorcism of 1600 Penn #1
writer: Hannah Rose May
artist: Vanessa Del Rey
Colorist: Jody Bellaire
Writer: Hassan Otzman Elhou
Publisher: IDW Press
Comments by Jared Bird
In this new horror comic from IDW Publishing, recently elected President of the United States of America Kelly Doyle looks stretched. Trying to balance raising two teenage daughters, preventing global conflict, and navigating the ever-changing media battlefield is already a lot to handle, but when arguably the most famous house in the world becomes a demon between good and evil While at the center of the war, Doyle must try to make it all work and keep her world intact.
As you can imagine from the premise, this is a very timely book. It tackles very modern issues like social media harassment and climate change doomscrolling. Some of the best horror elements have little to no supernatural impact, especially an incredibly graphic scene in which Mara falls down a dark internet rabbit hole. This comic has 46 pages and covers a lot of ground. Not everything is fully fleshed out in this issue, but it’s likely that it will be detailed in more detail as the series continues. This is a narrative-intensive first issue, with a lot of moving parts and things going on. It does feel like too much at times, but that almost feels like an intentional creative decision rather than a flaw.
Written by Hannah Rose May (Thieves Gallery), the dialogue in this issue is intense and lively. it often reminds me Brian Michael Bendisin which characters talk about plot-important information in a casual, almost imperceptible way, unless you really read carefully and grasp all the details. It’s not a style that suits everyone, but I think it works here. The glimpses into more traditional horror elements are the best parts of this issue, as the serious breaks with real-world politics and issues make them stand out and really make a strong and shocking impression.
Illustration by Vanessa Del Rey (Ha ha), the art is moody and atmospheric. The style is more expressionistic, in contrast to the dense narrative and dialogue, which feels looser and focuses on creating emotionally moving images. Color by Jody Bellaire Complementing the feel nicely, the art gives a gothic feel even in a sleek, modern setting. Hassan Otzman Elhou continues to shine in every book he writes and once again proves that he is one of the best lettering writers in the industry today.
comprehensive, 1600 Pen Exorcism #1 An informative but informative read. I’m looking forward to seeing how it develops over the remaining four issues, as I think this book is timely and will connect with many readers who want to see the real world reflected more accurately in the comics space. This is a great book for fall reading that is both unique and compelling.
Alternative #1
writer: Ryan Parrott
artist: Eleonora Carlini
Colorist: Mattia Iacono assisted by Luca Mattioni
Writer: Becca Kelly
Publisher: Prosperity! studio
Comments by Jordan Jennings
In the near future, mind-walking has become the hottest underground trend. Mind walking or agency means inhabiting a person’s mind to feel the feelings and emotions they feel without being able to control them. exist Alternative #1we meet Justin Bright, a man who seems down on his luck but, by chance, becomes an agent himself. However, Justin’s life is not what it seems.
Ryan ParrottThe new series is off to an interesting start. The premise is Alternative #1 Not exactly a new concept. The act of living someone else’s life has been explored in other media, including comic series agent or movie be john malkovich. What sets Vicarious apart is the following. First, it does lean into the concept of streaming (especially lifestyle streaming) that we see in pop culture today. It’s not quite like “Surrogates,” in which rich people live their lives in perfect robot surrogates. It’s more like modern streaming and, as the series’ title suggests, living vicariously through others. The second thing that sets it apart is the twist ending. I won’t reveal it in this review, but the last few pages turned the story on its head and left me curious for more.
That said, the issue is filled with exposition at times, which, while necessary, kind of hurts the comic reading experience because there isn’t much action happening at the time. Parrott plays with narrative structure ideas, including repeating the opening narration, but from the protagonist. While this does sound repetitive, Parrott clearly wanted to make this all more sinister given the reveal on the final page. It’s effective, but it doesn’t help with the comic’s pacing issues.
Eleonora CarliniThe art is a wonderful style that makes the characters dynamic and expressive. There’s a sense of energy on the page that really helps sell the story early on, as it’s definitely a comic that helps establish the world through a lot of exposition at times. One standout sequence is when protagonist Justin Bright is deputized for the first time and experiences an extreme parkour moment across rooftops. The panel layout Carlini uses is crazy and helps sell the dynamic action on the page.
Sometimes it’s not clear what’s going on on the page. Panel transitions and character designs sometimes get mixed up. An example of confusing panel transitions is that there is a page showing Bright trying to interview to get a job. Each panel is intended to represent a different interview, but the homogeneous design of the background weakens the effect and it presents a caricature. Early stumbling blocks. As for the character design being an example of the problem, the big reveal at the end of the issue loses some of its impact because it’s unclear who this character actually is. I believe this is a character we’ve never seen before, but they are very similar to another character from earlier in the book. This may be an attempt to keep us from getting to know the character, but it left me scratching my head and double-checking.
comprehensive, Alternative #1 There’s a strong and interesting premise to begin with, but it’s hampered at times by its execution. The writing is solid but struggles to convey important messages in an engaging way. The art in this book is stunning, but it sometimes has problems providing clarity to the reader. I think there’s something here, especially given this twist, but this is probably a series best left waiting for a deal.
Monster Location: Cull-De-Sac #1
writer: Kyle Starks
Art: Peter Kowalski
color: Vladimir Popov
letter: Joshua Reed
Publisher: dark horse comics
reviewer Clyde Hall
Volume 1 where the monster is is a Kyle Starks The pop culture horror bonanza is filled with his signature humor and similar works from a range of horror films. In short, imagine an HOA with a community of serial killers and supernatural predators from the movies. Mixing variations on the final girl protagonist with twists and turns from the usual gory movie formula, this is a storytelling treat Starks Fans have become accustomed to it since then trigger keaton’s six assistants.
That said, the end of the series strikes an unusually hollow note that my horror comic friends have discussed. Great concept and execution, sticky landing, another problem may have been solved smoothly. that’s why see Monster location: Cull-De-Sac The call for #1 comes with a wave of Monster Boy joy. Connor Hayes’ journey continues.
The story doesn’t have much of a lead-up, so reading the first volume is highly recommended. Also, there are spoilers for the first volume.
In the first volume, we meet Agent Hayes, the sole survivor of a teenage encounter with a puzzle-playing psychopath. Since then, he has prepared, trained and built a law enforcement force to wage war against these crazy butchers. Quint has his shark, Ripley has her alien, Mulder has his UFO, and Connor has his machete.
At the end of the first series, many of the residents of a serial-killing gated community called Wilmhurst were dealt with, while others escaped. In true Nietzsche style, the agent who sends them on the run becomes himself a denizen of the abyss who stares back at them. As the story continues, the scattered community takes refuge in a second location. Yes, murderers have backup communities where they can hide safely during their spree. Zell was the HOA head of the eliminated Wilmhurst site, and he had to balance his leadership role with Barry, the manager of Site B. “Company” requirements.
In addition to co-managing such an organization of ruggedly individualistic murder machines, Zell and Barry must also evaluate new member Connor Hayes and his place in their ongoing legacy of destruction. Meanwhile, Connor has his own agenda besides his new community stance of protecting his wife and unborn child.
StarksThe power of being a character creator and guardian is on display here. It’s a perfect choice to get reacquainted with Zell and the Holiday Killer, as well as new characters Wilmos, Barry, and Barry’s zombie wife Kara Starks A scary and hilarious collage. The plot continuation presented feels like the setup for a B-movie sequel. In a nice way, the problematic elements from the first movie are dealt with simply enough to make you say, “Okay, course The story continues!
Reference character work and as much as possible Starks Giving them a crazy and menacing glow, credit shared with the artist Peter Kowalski. Reading this premiere, Season 1 fans may experience what I did: By Kowalski, I haven’t seen anything like this since my childhood nightmares after eating an entire bucket of Halloween candy. His style in this series is always reminiscent of the movies Nightcrawler Again, I call it “the shape of holding a butcher knife.”
There are plenty of creepy reads this Samhain, give yourself a wickedly twisted treat. Read the first series Where the monsters are. follow Monster location: Cull-De-Sac #1 Begins a promising next chapter.
progress report
AD 2403 2000 (Rebel Publishing): I’m writing this on the eve of my annual train trip to New York Comic Con, so I thought I’d check in this week for an article titled New York Nightmare. This article was written by the author Keck-Wand art John Burns, and letters Anne Parkhouse. Now in part four, it’s essentially historical fiction, set in the early days of New York City (think top hats, dirt roads, street urchins, etc.). So far, the core of this has been hard to pin down, but we have been looking at vulnerable people in a city going through a growth cycle. Of course, it’s timely, and it involves rats and sewers, escaping from street gangs, and being trapped beneath a collapsing building. It’s a comedy that sits somewhere between a Dickensian historical urban survival narrative and secret society-driven horror. To be sure, the story unfolds slowly here, but I found it to be a satisfying narrative. In this week’s fourth chapter, we get our clearest picture yet of what it’s really going to be about, and it’s certainly interesting. The artwork is excellent from the outset, however, it is a distorted representation of the imagery one might associate with the period. Burns’ character work is also emotionally charged, and he doesn’t shy away from depicting busy crowds or seedy backgrounds, both of which really add to the immersion of this story. Overall, I found Nightmare New York This is a strong comic so far, one with understated themes but still plenty of suspense. As always, you can get a digital copy of this week’s Avant-garde here. —Zach Quentins
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