As Episode 3 builds tension between characters, confrontations and interactions keep us on edge and in anticipation for some hefty climaxes. Characters previously involved in separate storylines cross paths, such as Inspector Kido (Joel de la Fuente) visiting Juliana’s parents (Daniel Roebuck and Macall Gordon) and Obergruppenführer Smith (Rufus Sewell) questioning Juliana (Alexa Davalos). As we hold our breath, characters must not slip up in order to avoid potentially dangerous consequences. The music in this episode is loud and poignant, which also heightens the intensity and makes each scene even more dramatic. The dangers seem more real as some characters teeter on the brink of their breaking points.
Be careful who you love. That line might work as the tagline of The Shadow Glass from Dark Horse. Written and illustrated by Aly Fell, with letters by Nate Piekos of Blambot ®, this lush and beautiful graphic novel brings us to the time of the Golden Age of England (1500s), where magic and lust are intertwined.
“Love creates. Love heals. Love gives us hope.
“Love is Love.
“And my heart overflows with love for you all.” -Marc Andreyko, New York Times best-selling writer and organizer of Love is Love
In Episode 2, a withered Ed McCarthy (DJ Qualls) returns and is reunited with Frank (Rupert Evans) who now owes the Japanese. At this point, Frank’s plot doesn’t seem to have anything to do with Juliana’s (Alexa Davalos), but I imagine that what he builds for the Japanese will ultimately connect to the other main storylines. It seems likely that Joe (Luke Kleintank) will run into Juliana again too, even though he currently thinks she’s dead. Misinformation and deception are so common in this show that the characters really shouldn’t trust anything that anyone tells them.
Found within the tome of this new collection of horror stories, you’ll find Richard Corben spinning tales inspired by the likes of old EC series like The Vault of Horror or Tales from the Crypt. Calling it a tome is a bit hyperbolic, but this is thirty-some pages of a fun throwback to when horror was far more innocent.
Mag the Hag is our storyteller, and much like the Cryptkeeper, he introduces us to all the stories and has a clever turn of phrase at the end of each. In one story, two puppets are actually tiny, little creatures. In another, two people are stranded on an island after a plane crash and run across horrific roots. In the third, a wife unintentionally finds a way around 'till death do us part, and the final tale is an ancient story about gods and a man who has great strength that will continue in issue two.
The stories are a fun romp. I can’t say anything scared me or gave me chills, but I did smile with fondness whenever our protagonists stumbled unknowingly towards their wretched fates.
The thing that makes this most worthwhile is the simply stunning black-and-white art from Corben himself. He’s a master of bringing life to the absurd, weird, and horrific, and he gives himself plenty of opportunity to do so in this first issue. His work as an artist is epic and surreal through his characters' long faces and eyes that seem to come to life. It’s a haunting landscape, because the humans are warped ever so slightly, almost as if they were mocking the reader with how closely they resemble us.
Is this comic going to be worth it for just anyone to pick up and buy? Most likely not, but if you’re a horror fan or a fan of Corben, you really can’t go wrong.
As Cullen Bunn lets the roots of his mythology in Harrow County grow ever deeper, he hasn’t forgotten about the human element. Emmy may not be who we or even she thought she was, her real family may be made of monsters and people with god-like powers, but she’s still Emmy. She still has a father that raised her as a daughter, she still has neighbors, and there still is a world full of humans outside Harrow County.
The Life and Death story arc has quite literally been everywhere, and it’s quite literally about surviving every circumstance. That’s the only through line I can make of it. It’s like Dan Abnett was given all the ingredients and just started stirring. There doesn’t seem to be any larger function or endgame here, just a push to get through to the next cool idea. The unfortunate thing is without that endgame, the story that tethers the cool ideas together isn’t always the strongest, and the characters aren’t always the most intriguing. They end up being shuffled around like chess pieces, simply reacting to what’s coming without a goal beyond survival or without an anchor point to make them relatable.
Although I don’t read many, I like a good mystery. I like watching a tangled web un-weave. I like watching our protagonist being dragged through the darkest, dankest, dreariest caverns of the human psyche to solve a puzzle. I’m not sure if Dead Inside by John Arcudi is going to match my ideals for a good murder mystery, but it’s off to a strong start on the writing side.
The disturbingly beautiful rendition of “Edelweiss” by Jeanette Olsson in the opening credits of The Man in the High Castle brings us to the alternate reality where the Nazis rule eastern America and the Japanese have control of the west coast. Adapted from Philip K. Dick’s short novel of the same title, The Man in the High Castle shows us an America that lost World War II; however, this world is not as simple as an alternate version of history. When videos inconsistent with this reality are discovered, showing America winning the war, the characters risk their lives trying to get their hands on the films. Season 1 left us wondering whose side characters were really on, with growing tensions between the Nazis, the Japanese, and a secret group called Resistance. The sci-fi element throughout Season 1 has been subtle but present enough to raise questions as to whether these characters can recover the history that we know. Season 2 provides similar suggestions of alternate realities coexisting, and the first episode, “The Tiger’s Cave,” leaves us anticipating another great season.
It’s a dark time for Brownouts everywhere. While this week will see the release of Serenity: No Power in the ‘Verse #2 (written by Chris Roberson and featuring the art of Georges Jeanty), with the plot thickening in many positive ways, all things Serenity and Firefly are immersed in the shadow of the passing of the incredibly talented actor behind our beloved Shepherd, Ron Glass. Ideally, there’d be something incredibly poignant or moving that I could write at this time, but it’s all already been said by the other members of his “crew,” so if you’re looking for comfort or to remember this warm and generous man, I’d point you in that direction.