There have been approximately over ten stories to the undying 30 Days of Night franchise and with each subsequent series brings new artists brings their tale on the iconic vampires of the original series.
In this new series 30 Days of Night: 30 Days ‘Til Death with story & art by David Lapham, the Elders are tired of the ripple effects of the incident that happened in Barrow, Alaska (the original series) and believe that the American vampires need to be thinned so that all vampires will know what real fear is. The Elders send a death squad to America to kill all the “cowboy” vampires (so-called because they are descendents from the first vampire turned in America which was a cowboy).
This story takes a departure from the other stories as it puts a vampire at the forefront of the story. Rufus is a vampire who knows that the only way to avoid being detected by the death squad is to blend in with the humans, so, he gets a lame dog for a pet, takes a junkie woman as his fiancée, and decides to forego killing any humans (at least within city limits) all for the sake of blending in. His plan begins to work perfectly to the point where he begins to like the humans who share his apartment complex. His tranquility is threatened when other vampires from his past decide to crash in on him.
Now Rufus must prevent these new vampires from his past from destroying everything he created before the death squad comes pounding on his door.
I didn’t really care for Lapham’s story as it was so far removed from the original 30 Days of Night series. Although there is a lot of blood flowing throughout (which will keep the fans happy), one of the things I liked most about many of the previous series is the sense of “location” which this series does not have. Most of the story takes place within Rufus’ apartment complex.
Another thing I didn’t like about the series were the cliché characters. I just never became vested in the characters and therefore never really got into the story. It feels as if the series is finally running out of steam and that it should be laid to rest for a time before another series is crafted to cash in on the current popularity of vampires.
CITY GARDEN - "The Old Woman & The Park"
On the set of the short film "A Gift"
Friday, February 5, 2010
Graphic Novel Review: THE DEATH OF SUPERMAN
In 1992 DC comics decided to do a bold thing and shake up the comic book world in a big way. They decided to alter the course of one of their most beloved and flagship characters. They decided to kill the Man of Steel. Superman.
Over the course of seven comic book issues and five separate titles Superman (with the help of the Justice League of America) would do battle against an unstoppable force of evil which would soon be called Doomsday. This storyline made all types of headlines and broke all kinds of sales records and the graphic novel The Death of Superman reprinted it all in one volume for fans of the iconic character. The graphic novel would become one of the biggest selling graphic novels of all-time with over 14 reprints currently in release.
It took me almost twenty years before I bothered to pick up the story despite how famous the story is. I’m not a big fan of Superman and, in fact, I was actually glad when DC announced they were going to kill him off (but I always knew it would be short lived). He was never a character that interested me like Batman or Green Arrow or the Green Lantern Corps (a far superior group to the abysmal Justice League). The only reason I picked up the graphic novel now is because I was finally curious about what the fuss was about).
Although written and drawn by a multitude of artists, the storyline does read fairly well as one cohesive story. Although the creature known as Doomsday is a formidable foe, he lacks background and purpose that would truly make him a Superman villain in the way that The Joker is to Batman. The creature is a force of pure unstoppable evil and destruction which works throughout the seven issues of the story because he is revealed slowly in pieces as the story progresses (he starts out completely covered in costume in the first two issues of the story). If he had been fully revealed in the first issue the story wouldn’t have had the impact that it did,
The story’s worst aspect is that the whole story is seven issues of one of the longest fights in comic book history which in my opinion makes it feel as though they stretched out the story only so they could make more money by selling more issues. I believe the story could have been stronger if the entire story could have been limited to maybe four issues within the same comic title (although I am very aware that the “crossover” is used to boost sales among several titles at the same time).
Since we all know that Superman is no longer dead, the events depicted in this story didn’t have as profound affect on the title in the long run (although its events did make for many subsequent changes over all the Superman titles of the time). The story strived to be as profound as Batman’s Year One or A Death In The Family or even The Long Halloween but it suffers from the simple fact that there is no subtext to this story. It is simply a bare-bones, knock-down fist fight that goes on for seven issues that was marketed extremely well.
Over the course of seven comic book issues and five separate titles Superman (with the help of the Justice League of America) would do battle against an unstoppable force of evil which would soon be called Doomsday. This storyline made all types of headlines and broke all kinds of sales records and the graphic novel The Death of Superman reprinted it all in one volume for fans of the iconic character. The graphic novel would become one of the biggest selling graphic novels of all-time with over 14 reprints currently in release.
It took me almost twenty years before I bothered to pick up the story despite how famous the story is. I’m not a big fan of Superman and, in fact, I was actually glad when DC announced they were going to kill him off (but I always knew it would be short lived). He was never a character that interested me like Batman or Green Arrow or the Green Lantern Corps (a far superior group to the abysmal Justice League). The only reason I picked up the graphic novel now is because I was finally curious about what the fuss was about).
Although written and drawn by a multitude of artists, the storyline does read fairly well as one cohesive story. Although the creature known as Doomsday is a formidable foe, he lacks background and purpose that would truly make him a Superman villain in the way that The Joker is to Batman. The creature is a force of pure unstoppable evil and destruction which works throughout the seven issues of the story because he is revealed slowly in pieces as the story progresses (he starts out completely covered in costume in the first two issues of the story). If he had been fully revealed in the first issue the story wouldn’t have had the impact that it did,
The story’s worst aspect is that the whole story is seven issues of one of the longest fights in comic book history which in my opinion makes it feel as though they stretched out the story only so they could make more money by selling more issues. I believe the story could have been stronger if the entire story could have been limited to maybe four issues within the same comic title (although I am very aware that the “crossover” is used to boost sales among several titles at the same time).
Since we all know that Superman is no longer dead, the events depicted in this story didn’t have as profound affect on the title in the long run (although its events did make for many subsequent changes over all the Superman titles of the time). The story strived to be as profound as Batman’s Year One or A Death In The Family or even The Long Halloween but it suffers from the simple fact that there is no subtext to this story. It is simply a bare-bones, knock-down fist fight that goes on for seven issues that was marketed extremely well.
Graphic Novel Review: WEREWOLF BY NIGHT: IN THE BLOOD
Marvel has re-envisioned one of their earliest characters Werewolf By Night for a new age and they do an excellent job of it in the new series WEREWOLF BY NIGHT: IN THE BLOOD, which finds Jack Russell, a man cursed into a werewolf when the moon is full, trying to live a normal life despite his wolf-like tendencies. When the story begins Jack is awaiting a newborn child with his girlfriend Cassie. He secretly steals away for the three days in which he wolf’s out to lock himself up in an impenetrable cage so that he doesn’t hurt anyone.
After the latest full moon, Jack returns home to find Cassie dead and his child ripped from her womb. Fearing that his wolf personae may have been the cause he flees just as the police arrive to see him with his dead wife. With nowhere to run Jack hides away in obscurity until he learns a cabal of secret agents are after him and may be able to help him. Now Jack must unravel the mystery of the death of his wife while also unlocking the secrets of his past which will shape his future.
Written by Duane Swierczynski with artwork by Mico Suayan, IN THE BLOOD is a violent and horrifying story as can only happen in Marvel’s MAX line of comics. Fans of horror comics will love how the werewolves are updated Marvel style as Suayan’s art is lush and made even more relentless by Ian Hannin’s colors.
This could have been a fairly routine story and series but together Swierczynski, Suayan, and Hannin create one of the highlights of the MAX comics line. This is work that will put the Werewolf By Night character back into the minds and hearts of horror fans everywhere.
As an added bonus, included in this graphic novel are reprints of Tomb of Dracula #18 and the original Werewolf By Night #15 which is the character’s first encounter with Marvel’s version of Dracula.
After the latest full moon, Jack returns home to find Cassie dead and his child ripped from her womb. Fearing that his wolf personae may have been the cause he flees just as the police arrive to see him with his dead wife. With nowhere to run Jack hides away in obscurity until he learns a cabal of secret agents are after him and may be able to help him. Now Jack must unravel the mystery of the death of his wife while also unlocking the secrets of his past which will shape his future.
Written by Duane Swierczynski with artwork by Mico Suayan, IN THE BLOOD is a violent and horrifying story as can only happen in Marvel’s MAX line of comics. Fans of horror comics will love how the werewolves are updated Marvel style as Suayan’s art is lush and made even more relentless by Ian Hannin’s colors.
This could have been a fairly routine story and series but together Swierczynski, Suayan, and Hannin create one of the highlights of the MAX comics line. This is work that will put the Werewolf By Night character back into the minds and hearts of horror fans everywhere.
As an added bonus, included in this graphic novel are reprints of Tomb of Dracula #18 and the original Werewolf By Night #15 which is the character’s first encounter with Marvel’s version of Dracula.
Graphic Novel Review: TRICK ‘R TREAT
Over two years ago a little film was produced to great acclaim at film festivals and screenings for those lucky enough to see the film. This film would then go on to sit on a studio shelf with no release date on the nearby horizon. The film in question is TRICK ‘R TREAT. Written & directed by Michael Dougherty the film is a Halloween anthology in the same vein as CREEPSHOW and as such Dougherty wanted to craft a graphic novel that depicted the film in all its gory detail and thus there is now this adaptation by Marc Andreyko with artwork supplied by Mike Huddleston (chapter 1), Grant Bond (chapter 2), Christopher Gugliotti (chapter 3), and Fiona Staples (chapter 4).
The graphic novel follows the film pretty faithfully considering how much has to be trimmed in order to accommodate the format and the four artists do a great job in giving each chapter a unique identity of their own. The who thing comes off as a nice little gift for the Halloween season.
For those of you not familiar with TRICK ‘R TREAT it is the story of several groups of people celebrating the traditions of Halloween and what happens when those traditions are not honored. To make sure that everything goes off as befitting those traditions is the enigmatic Sam, a small child-like person who wears a burlap sack over his head. He is the window through which all the stories are connected.
Although a brief and very fun read, this graphic novel doesn’t have the punch of the CREEPSHOW graphic novel which is partially due to the fact that all the stories interconnect in one way or another, so, each individual story cannot be viewed as such (even though a different artist focuses on each chapter). As a whole the project is not so bad and it may become another great addition to the CREEPSHOW, CREEPY, EERIE, or TALES FROM THE CRYPT mode.
The graphic novel follows the film pretty faithfully considering how much has to be trimmed in order to accommodate the format and the four artists do a great job in giving each chapter a unique identity of their own. The who thing comes off as a nice little gift for the Halloween season.
For those of you not familiar with TRICK ‘R TREAT it is the story of several groups of people celebrating the traditions of Halloween and what happens when those traditions are not honored. To make sure that everything goes off as befitting those traditions is the enigmatic Sam, a small child-like person who wears a burlap sack over his head. He is the window through which all the stories are connected.
Although a brief and very fun read, this graphic novel doesn’t have the punch of the CREEPSHOW graphic novel which is partially due to the fact that all the stories interconnect in one way or another, so, each individual story cannot be viewed as such (even though a different artist focuses on each chapter). As a whole the project is not so bad and it may become another great addition to the CREEPSHOW, CREEPY, EERIE, or TALES FROM THE CRYPT mode.
Graphic Novel Review: PINOCCHIO, VAMPIRE SLAYER
Whoever thought that Carlo Collodi’s original story of PINOCCHIO could be so much fun? Collodi’s original story is much darker than Walt Disney’s watered down version hence why Van Jensen & Dusty Higgins’ original graphic novel PINOCCHIO, VAMPIRE SLAYER. Unlike the Disney version the events in this story take place directly after the events in Collodi’s story.
Pinocchio does not become a real boy at the end of the Collodi story and in Higgin’s (who created the story) and Jensen’s story soon after returning to Nasolungo where his father Geppeto is killed by a race of vampires who have arisen in the town. Now, Pinocchio declares it his duty to rid the town of the plague of undead. To aid him are his two companions Master Cherry, a carpenter, and the Blue Fairy and his wooden nose which he uses to dispatch each of the vampires he comes into contact with (when he lies his nose grows and then he breaks it off and uses it as a stake to kill the vampires).
Jensen & Higgins craft a compelling story that’s both funny and romantic (since Pinocchio falls in love) and suspenseful and terrifying. No one is safe in this world and Higgins’ artwork proves this. His dark black & white artwork uses rich blacks in which the vampires hide before striking from the darkness to kill their next victim. Pinocchio is seen in such the same darkness as he is a character who is surrounded by death and is on a mission of vengeance to avenge his father’s death.
Although the story rings of influences from Buffy, the Vampire Slayer, this story is darker because as Pinocchio continues on his journey he also is slowly learning about his true origins and purpose in the world. He did, in fact, come from a piece of magical talking wood. This adds another dimension to the story that by graphic novel’s end will have you wondering when the next adventure will begin. This is a great graphic novel not for just fans of vampires but fans of Collodi’s original vision as it is a great to see where the character has grown.
Pinocchio does not become a real boy at the end of the Collodi story and in Higgin’s (who created the story) and Jensen’s story soon after returning to Nasolungo where his father Geppeto is killed by a race of vampires who have arisen in the town. Now, Pinocchio declares it his duty to rid the town of the plague of undead. To aid him are his two companions Master Cherry, a carpenter, and the Blue Fairy and his wooden nose which he uses to dispatch each of the vampires he comes into contact with (when he lies his nose grows and then he breaks it off and uses it as a stake to kill the vampires).
Jensen & Higgins craft a compelling story that’s both funny and romantic (since Pinocchio falls in love) and suspenseful and terrifying. No one is safe in this world and Higgins’ artwork proves this. His dark black & white artwork uses rich blacks in which the vampires hide before striking from the darkness to kill their next victim. Pinocchio is seen in such the same darkness as he is a character who is surrounded by death and is on a mission of vengeance to avenge his father’s death.
Although the story rings of influences from Buffy, the Vampire Slayer, this story is darker because as Pinocchio continues on his journey he also is slowly learning about his true origins and purpose in the world. He did, in fact, come from a piece of magical talking wood. This adds another dimension to the story that by graphic novel’s end will have you wondering when the next adventure will begin. This is a great graphic novel not for just fans of vampires but fans of Collodi’s original vision as it is a great to see where the character has grown.
Graphic Novel Review: WHITEOUT (Vol. 2) – MELT
With the theatrical adaptation of the original WHITEOUT graphic novel comes renewed interest in creators Greg Rucka & Steve Lieber’s (writer and illustrator, respectfully) work and the second adventure of U.S. Marshall Carrie Stetko in the cold death of Antarctica. It this second series Carrie is enjoying a little R&R when she is called back into service to investigate a tragedy at a Russian research facility. Antarctica is a cold place and it is up to Carrie to use her experience to discover what happened before an International incident occurs.
It doesn’t take long before Carrie discovers that the Russian research facility is really an underground depot that houses illegal weapons and nuclear warheads which have been stolen by a group of professional assassins. Now Carrie has to form an unwilling alliance with a Russian official in order to stop the assassins from escaping the Antarctic and sailing the nukes on the black market. Carrie is racing against time and the harsh weather that the Antarctic brings with it and either the assassins or the weather may be the death of her.
Rucka & Lieber craft another compelling story of one of the most interesting U.S. Marshall’s in comic book history. Like the first story, Rucka crafts a story in which Antarctica is the true character and all the other people in the story are just animals finding a way a way to survive in one of the harshest places on the planet. Another great aspect of the story is all the history that Rucka puts in the story that creates not only the place in which the story takes place but the mood and atmosphere which helps ground the story in reality. Lieber’s artwork accentuates this and together the two craft a story that’s just as compelling as the original graphic novel.
Even though the film WHITEOUT was a sparse version of the original graphic novel it allowed these stories to find a wider audience and that’s a great thing.
It doesn’t take long before Carrie discovers that the Russian research facility is really an underground depot that houses illegal weapons and nuclear warheads which have been stolen by a group of professional assassins. Now Carrie has to form an unwilling alliance with a Russian official in order to stop the assassins from escaping the Antarctic and sailing the nukes on the black market. Carrie is racing against time and the harsh weather that the Antarctic brings with it and either the assassins or the weather may be the death of her.
Rucka & Lieber craft another compelling story of one of the most interesting U.S. Marshall’s in comic book history. Like the first story, Rucka crafts a story in which Antarctica is the true character and all the other people in the story are just animals finding a way a way to survive in one of the harshest places on the planet. Another great aspect of the story is all the history that Rucka puts in the story that creates not only the place in which the story takes place but the mood and atmosphere which helps ground the story in reality. Lieber’s artwork accentuates this and together the two craft a story that’s just as compelling as the original graphic novel.
Even though the film WHITEOUT was a sparse version of the original graphic novel it allowed these stories to find a wider audience and that’s a great thing.
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