Tag Archives: Noir

Kickstarter: FAMILY MAN by Jerome Charyn & Joe Staton

FAMILY MAN by Jerome Charyn & Joe Staton

The story begins in New York City…one hour into the future. Crime runs rampant, rogue cops patrol the rubble-strewn streets, predatory gangs steal anything that isn’t nailed down, and the once powerful mafia dons cower in fear in their tenement prisons. Someone is killing the mob chieftains one by one, and the last survivors call on Alonzo, The Family Man, to hunt down the murderer. But it won’t be easy – not when Alonzo’s own brother Charles, the gun-toting Monsignor of the corruption-ridden New York City police department, is a prime suspect.

Full page of original art by Joe Staton

Jerome Charyn (The Magician’s Wife) is one of my favorite writers. He is a one-of-a-kind visionary. Charyn has worked with some of the best cartoonists in the world and his work with Joe Staton (Dick Tracy) is no exception. Take a look at the examples in this post and it will give you a taste of the hard-boiled, multi-layered tale that is FAMILY MAN. A Kickstarter campaign is on now thru May 21st in support of releasing, for the first time, a collected graphic novel of this classic work. Visit it right here.

Jerome Charyn & Joe Staton

This is a project that Mr. Charyn and Mr. Staton worked on in 1994, during the heyday of Paradox Press, an imprint of DC Comics. Take a closer look at the artwork and marvel over the distinctive shading made possible with the Craft Tint duotone process. These special bristol boards were coated with shading underneath the surface. The artist exposed the shading as needed. Back in 1994, FAMILY MAN ended up as a three-part comic book series of 96-pages each. Thanks to IT’S ALIVE! Press, this stunning work of comics can now be given the best possible presentation as a graphic novel. That includes displaying each page as it originally appeared on the art board

Close-up view of Joe Staton artwork

I really can’t say enough about the remarkable talent of novelist Jerome Charyn. We will pursue that further in subsequent posts. What I’ll say now is that he was way ahead of his time, at least in American circles, by taking his literary skills to the comics medium. In Europe, for example, that has been well understood for decades. In America, we’ve had time to catch up. If you read a Charyn work in comics, you are treated to a vast world of intrigue with characters that will get under your skin. For FAMILY MAN, Charyn and Staton serve up a nice pulpy noir tale set in New York City “one hour into the future.” It is a story about two brothers on separate sides of the law caught in a dystopia they understand all too well and which will pit them in a bloody conflict.

It’s not too late to join in and reserve your copy of FAMILY MAN. This is a wonderful opportunity to own a shining example of comics at its best. Check out the Kickstarter and learn more about rewards, including original art by Joe Staton, right here.

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Filed under Comics, Crime Fiction, Dick Tracy, Drew Ford, graphic novels, IT’S ALIVE! Press, Jerome Charyn, Joe Staton, Kickstarter, New York City, Noir

Review: ‘Cousin Joseph: A Graphic Novel’ by Jules Feiffer

Panel: Where Did America Go?

Jules Feiffer tackles drawing a page of comics much in the way that a painter tackles a canvas. He gets in there with a muscular expressive line and then it’s all, wow, Feiffer has landed another punch, all with such graceful fluidity. You most likely know Jules Feiffer as the writer of one of your favorite books from childhood, 1961’s “The Phantom Tollbooth.” Well, Mr. Feiffer maintains quite an output of stories both drawn and written or strictly in prose. One of his most celebrated plays, and a favorite of mine, is the 1967 dark comedy, “Little Murders.”

I’ve always admired Feiffer’s work and his quirky style of drawing. When he said in an interview that he is only now mastering the art of drawing, I could understand the modesty. It was similar to Akira Kurosawa making a similar comment about filmmaking. Feiffer was adamant about it. Kurosawa was just as humble. Great artists are their own worst critics. Feiffer was saying this in regards to his entry into the world of graphic novels. With the recently released “Cousin Joseph,” Feiffer is midway through a noir trilogy with a spirited plot and a gritty vibe reminiscent of the work of Milton Caniff. I can assure you, the master is doing a fine job here.

Sam out on a job.

What you need to keep in mind about Feiffer is that he is equal parts writer and artist. Perhaps, if he had to choose, he would only be a writer. That’s just to say that his writing is of a caliber that it can certainly stand alone. However, the drawings cannot be denied. A graphic novel, at least a good one, results when the attraction between the words and images becomes so overwhelming that a union is inevitable, essential. That’s what I conclude from reading “Cousin Joseph.” I can see that Feiffer’s narrative is bubbling with ideas. Sometimes an extended prose passage needs proper venting. But, for the most part, this is a dance between word and image.

Calm before the storm.

Feiffer is an artist in his eighties in good health and still creating marvelous work. Much like his dear friend and fellow cartooning legend, Edward Sorel, he continues to gain strength and joy from his work. Cartoonists, like many other artists, tend to live long lives. Cartoonists, in particular, seem to have really got it figured out. But getting back to the book, the story makes for a great stand alone, no prior knowledge of the first volume is needed. The main character is Sam, a police detective who seems alright with skirting the law in favor of working for a mysterious client.

All in a day’s work.

The mysterious client that Sam works for is simply known as, “Cousin Joseph.” He has a murky agenda that Sam has never questioned. In fact, as far as Sam’s concerned, the big guy in the mansion was actually doing some good, instilling solid American values. It’s America in the 1930s. Bread lines blur into persistent threats of Communists lurking in the shadows. Somebody’s gotta do something, right? That notion seems to stick for a while. Gradually, it dawns on Sam that the big guy is not the patriot he makes out to be. Feiffer paints a compelling portrait of Sam, a man with his own dark side.

Another flawed character is Valerie, the teenaged daughter of the owner of a factory who is none too keen on unionizing. Valeries’s weakness is a sex addiction. She can’t help herself from preying upon any underage boy she can get her hands on. Later, she turns to any man who she can entice. While a little older than the boys she lures into her web, Valerie is nothing more than a child herself. She, and the boys, provide an opportunity for Feiffer to do what he does so well, to speak to the often betrayed and wounded heart of childhood. The story, as a whole, speaks to betrayed and wounded hearts everywhere.

‘Cousin Joseph: A Graphic Novel’ is a 128-page hardcover, black & white with tones, published by the Liveright imprint. For more details, visit W.W. Norton & Co. right here.

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Filed under Comics, Crime Fiction, Graphic Novel Reviews, graphic novels, Jules Feiffer, Noir

Interview and Review: David Pepose and SPENCER & LOCKE

SPENCER & LOCKE #1

One thing that you need to know about David Pepose is that he’s energetic and dedicated to his work. I know David from the time we both contributed to Newsarama. That was a good time. David was in New York and actually working at the home office. It was a full fledged job for him. He began as an intern at DC Comics, then came Newsarama, and other positions followed. All the while, David was considering what he wanted to do with his very own comics project. As he stated to me, “Writing is a skill that everyone has a chance at learning. In a lot of ways, it’s just like building a chair. You go out and do it.” Ultimately, what David did was create a noir mashup tribute to the work of Frank Miller and Bill Watterson. Okay, the “Calvin and Hobbes” influence is unmistakable. But just one page in, and the Dark Knight Miller influence is quite evident as well.

A subversive mashup!

Let’s take a look at the comic in question. The first issue of SPENCER & LOCKE is available at your local comics shop as of April 12th. What can you expect? Well, as I began to say, this is definitely a mashup of two distinct and very different sensibilities. Going back to that first page, I think it’s safe to say that it will be emotionally jarring for some loyal readers of the “Calvin and Hobbes” comic strip. Here you have a similar little boy and his stuffed animal (alive and real companion only to him) but they are trapped in a dysfunctional hell! The mom in the Pepose comic book doesn’t cuddle up to her son at all. No, she smacks him across the room! That’s pretty subversive to say the least. It does get our attention, and deservedly so. Onto the very next page, and that little boy, Locke, is all grown up. So is his stuffed animal, Spencer, a very much alive blue panther, at least in Locke’s eyes.

On the case.

So, you get the conceit. Now, where does it go from there? Well, that’s the beauty of this comic. As David told me during our chat, this is a wonderful opportunity to deconstruct what is going on in a dynamic involving a person who relies upon an inanimate object for support. Our hero, Locke, is a young man who has chosen a career as a police detective. He’s got that hard-boiled swagger about him, a la Dashiell Hammett. And yet he also carries around a stuffed animal toy. It’s PTSD. Locke has got it bad. And it goes back to not having a mom who cuddled with him but, instead, smacked him across the room. It’s this experience that gives Locke a sixth sense about others who have been abused and actually helps him on his way to solving cases.

Something about gumshoes and greasy spoons.

The title of this arc is “You Can’t Go Home Again.” Maybe you can’t go home again. But why is it that the past can still come back and haunt you? Doesn’t seem fair, does it? Returning home? Nope. No way. Haunted by the past? Yeah, that one you get to play with whether you care to or not. And so it is in this comic. Locke is on a case that forces him in confront his past big time: the murder of Sophie Jenkins, his childhood sweetheart. You can’t get much more cruel in a mashup of Sin City with Calvin Hobbes!

David Pepose is our creator and writer for this four-issue comic book series published by Action Lab Entertainment. As David told me, he sees the role of the creator/writer as a leadership role. It’s up to him to keep the project moving forward and finding the best talent to jump on board. David is very excited about the creative team he has assembled. David says it was a long search to find just the right artist. Once he saw his portfolio, David knew he’d found the perfect match with Jorge Santiago Jr. Another long search finally led to just the right colorist, Jasen Smith. And, of course, a spot on letterer, Colin Bell, rounds out the team. Well worth the search indeed! Overall, readers will find this comic to be that something different they’ve been looking for: a tribute to comics in general and a solid story with compelling characters.

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Filed under Action Lab Entertainment, Comics, Comics Reviews, Crime Fiction, Dashiell Hammett, David Pepose, Newsarama, Noir

Review: THE DREGS, published by Black Mask Studios

Arnold on a metaphysical hunt for clues.

Arnold on a metaphysical hunt for clues.

THE DREGS, published by Black Mask Studios, is one of those ideal experiences in comics: a work that lifts you up with something to say, whispers it as if only to you, and then sets you back down all the better for it. The script by Lonnie Nadler and Zac Thompson crackles with wisdom and originality taking you places you might never see along with places you don’t want to ever see for real. The artwork by Eric Zawadzki is so full of humanity and keeps you turning the page. The colors by Dee Cunniffe pull it all together with shades of melancholy and grit. This is a weird story and so much more.

The concept is an intriguing riff on the legend of Sweeney Todd, the London barber who murdered his clients and then sold meat pies made from their flesh. In this case, gentrification has run so far amok that the homeless are not only being squeezed out of space, they are being dispatched and turned into gourmet delicacies for all the new trendy boutique restaurants. No one is going to eat the rich, as Rousseau once championed. It’s the homeless who are going to be eaten in this story.

THE DREGS, published by Black Mask Studios

THE DREGS, published by Black Mask Studios

There’s no one who can stop these killings except perhaps for one intrepid homeless man. Arnold feels that he’s tapped into the mind of detective Philip Marlowe in Raymond Chandler’s novel, “The Long Goodbye.” One thing is for sure, Arnold knows to be a fact that three of his homeless friends have completely disappeared, most likely murdered. For the rest of what he needs to solve this mystery, he has to rely upon his own special brand of deduction.

This is an exceptional work in its boldness and intelligence. It has its gore and it’s guided by a plot that would make both Raymond Chandler and Dashiell Hammett proud. An interesting side not is the fact that Chandler and Hammett wrote some of their earliest work from the 1930s for the pulp magazine, Black Mask. It just seems quite fitting to have this work in comics published by a publisher undoubtedly aware of that history given the name it chose to publish under, Black Mask.

The first issue of THE DREGS is available as of January 25th. For more details, visit Black Mask Studios right here.

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Filed under Black Mask Studios, Comics, Comics Reviews, Crime Fiction, Gentrification, Homeless, Pulp Fiction, Satire

Review: DEAD INSIDE #1

DEAD INSIDE #1

DEAD INSIDE #1

DEAD INSIDE is a new crime noir comic book series, written by John Arcudi; art by Toni Fejzula; colors by Andre May; published by Dark Horse Comics. The main character is Linda, a deputy who has recently been promoted to detective. Linda is a hard case all to her own: does not play well with others, whether professionally or personally. Between the talents of Arcudi and Feizula, they have created a tough character, all sad and lonely, you know, dead inside. Funny thing about death, it comes in many colors. The first thing to really bring Linda to life in years is all about death: a really twisted murder-suicide committed by a most unlikely character.

dead-inside-dark-horse-comics-2016

Detective Linda Caruso can’t let go of the fact that the murderer, so small and slight in stature, would have been able to bring down a bear of a man. This was supposedly an easy enough crime to solve as it took place inside a prison, a minimum security prison at that. This is the first case for Linda at the Jail Crimes Division of the Sheriff’s Office in Mariposa County. Nothing unusual is supposed to happen there. Except Linda now finds herself confronting a crime that becomes more bizarre the more she investigates.

Page from DEAD INSIDE #1

Page from DEAD INSIDE #1

This is a series that will have special appeal for fans of crime and prison television, such as Law & Order, NCIS, Orange Is the New Black, American Crime Story, or Making a Murderer. This is a new series from Rumble writer John Arcudi and Veil artist Toni Fejzula. DEAD INSIDE all adds up to a great study in character and a compelling murder mystery full of gritty style. This resonates with the reader. An intriguing case. And an intriguing detective. Who could ask for more?

Page from DEAD INSIDE #1

Page from DEAD INSIDE #1

DEAD INSIDE #1 is available as of December 21st. For more details, and how to purchase, visit Dark Horse Comics right here.

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Filed under Comics, Comics Reviews, Crime, Crime Fiction, Dark Horse Comics, John Arcudi, Noir

Review: MIDNIGHT OF THE SOUL #1 by Howard Chaykin

Howard Chaykin

It’s always good to read a comic by Howard Chaykin. I can tell that Mr. Chaykin is having a grand time writing and drawing his latest comic, “Midnight of the Soul.” It wasn’t very long ago that I was marveling over another of his works, “Satellite Sam,” also published by Image Comics. As long as there are good comics being made, I’ll be writing about them. And this one inspires my own creating of comics. I admire many things here. Chaykin has a naturalness about him. He has an enthusiasm to share with you as much as possible.

Howard Chaykin wants nothing less than to drench you in the era his story is set in, wants you to appreciate that people ate, slept, shit, fucked, yelled, cried, murdered in this time he’s taking you to. And maybe they did things a little differently back then from the way things are done today by a new generation. A little more blunt and raw, not so pretty. But, one thing is for sure, they lived!

The time for this story is 1950, five years after World War II. The boys, now men, must find their way. For many, the war had never left them. It certainly messed up one Joel Breakstone, former GI and liberator of Auschwitz. Joel thought he might find the answers as a writer. But, too much booze and little discipline have soured his pipe dreams. Maybe he was never cut out to be a writer. Patricia, his girlfriend, tries to get him to wake up. All around him, everything is falling apart, including his relationship with Patricia, including Patricia herself!

Chaykin Midnight Image Comics

Few cartoonists embrace the old school tradition as well as Chaykin: both writing and drawing his work consistently over decades in his distinctive style. To do that, and do it so well, that makes you a legend. But what makes you someone to remember is real passion. Chaykin has such a crisp style, its stark beauty creates a certain distance between the reader and his characters. It is sort of like he doesn’t want you to get too close to these people he creates. Mostly, these are not very nice people to begin with. There’s a very intriguing dark world that Chaykin wants to share with you. These people are broken and are apt to do ugly, even unspeakable, things. Disconnection. Dissonance. Ah, the stuff of noir!

Image Comics Midnight Chaykin

Creating the right mood is so important. Chaykin is such a masterful draftsman that he can easily use the same drawing, even the same set of panels, again in the same issue. If the artwork is strong and interesting enough, and it lends itself to a satisfying reverberation, then why the hell not? Anyway, it is done to great effect here. This whole first issue to a must-read. For fans, you’ll find Chaykin just as gritty and tough as ever. For new readers, you’re in for a wild ride.

“Midnight Of The Soul #1” is available as of June 8th. For more details, visit Image Comics right here.

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Filed under Comics, Comics Reviews, Crime Fiction, Howard Chaykin, Image Comics, Noir

Review: DARK PANTS #1 and #2

I find artist Matt MacFarland quite the kindred spirit as he makes comics coming from a fine arts background. Think of it this way, most of us out there love a David Lynch movie because it has all those extra layers of ambiguity. Well, that’s Lynch’s fine arts background at play. Some of us cartoonists began as painters and/or hybrid artists working in various forms of expression: writing, drawing, film, acting, photography, and so on. When you take all that activity and bring it into comics, it can result in some mind-blowing art like MacFarland’s ongoing comics series, “Dark Pants.”

Reading DARK PANTS at Canter's Deli

Reading DARK PANTS at Canter’s Deli

What sets apart one alternative comic from another is this fine art sensibility. You don’t necessarily have to go to art school for it–but it helps. Imagine that, art school actually does have value! I kid you not. It is what you make of it. Here’s another comparison. Try to achieve the comedic chops of Tina Fey without ever joining an improv comedy troupe. It ain’t gonna happen. You need to flex comedic muscles you don’t even know you have–and you need to be around like-minded people in order to really stretch yourself. In time, with the help of others, you’ll realize how much you suck and what you need to do to improve. And so we find ourselves with this comic which unabashedly displays its motif, those dark pants.

Issues 1 and 2 of DARK PANTS

Issues 1 and 2 of DARK PANTS

Like Cinderella slipping her bare feet into glass slippers and transmogrifying into a regal beauty, there is something enthralling about a story of transformation. This is certainly not lost on MacFarland as he has one hard luck character after another in his series find a break from their routine when they happen upon a mysterious pair of tight black jeans. In the first issue of this comic, Diego, a drab little guy, becomes a hot lover when he buys these jeans at a thrift store and puts them on. But he soon finds that his newfound sex appeal is far more than he bargained for. By our second issue, the jeans have found their way into the hands of Milena, a lonely virgin who writes a sex column for her college paper. Once those jeans are on, she too is over her head.

Diego's story set on Miracle Mile, 1992

Diego’s story set on Miracle Mile, 1992

It’s interesting that both Diego and Milena were already struggling with their lives before they crossed paths with the sexy jeans. It just stands to reason that these jeans were just as likely to wreck, instead of enhance, their existence. But, who knows, maybe the right sort of loser, like the sort portrayed by Don Knotts or Jerry Lewis, would make the most of a cosmic makeover. So far, MacFarland’s characters are doomed, with or without sex, and that’s just as well for this humorous noir. This is a rare treat. I love MacFarland’s wit and vision.

Milena's story set in Glendale, 2002

Milena’s story set in Glendale, 2002

MacFarland has a very accessible style which goes well with his less commercial, and darker, vision. That said, the darker stuff is not always the less marketable. Overall, I see MacFarland’s work as assured with a refreshing approach and zest. It is a cartoony style that makes me think of ironic cartoonists from the ’90s like Ward Sutton and Michael Dugan. It is a sturdy yet elastic style that makes you think you could poke at the characters and reshape them a bit. With that in mind, it is a style that lends itself well to laughs and/or drifting in and out of reality. Our next victim of the traveling tight dark pants will be a kid named Philip in the upcoming third issue. I look forward to how things develop there.

To learn more, and to purchase comics, visit Matt MacFarlnd right here.

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Filed under Alternative Comics, Comics, Humor, Independent Comics, Indie, Matt MacFarland, Minicomics, Noir

Review: GUN #1, published by Reckless Eyeballs

Gun-01-Jack-Foster-comics

GUN is a new superhero crime noir comic, written and drawn by Jack Foster. Both the deadpan humor and light touch to the artwork remind me a bit of Matt Kindt. This is a story with its fair share of irreverence while still sticking to the reality that bullets and punches hurt, especially bullets. The premise here is that of a number of comics that take superheroes off the grid: in a world overflowing with superheroes, and super villains, is anybody just plain normal?

GUN-Jack-Foster

The search for normalcy hangs heavy over our super characters. Maybe one last bank heist, so to speak, would solve everything. Just run away with the loot and enjoy margaritas on the beach. I love the quiet grace to this comic. Our hero is not a hero. Actually, he’s technically a villain. To listen to his story, you’d think he’s just some mixed up kid with superpowers. You can call him, Twist. That’s what the media calls him. It wasn’t his idea. That’s just how he moves. He would have preferred “something cool like King Crimson or Doc Hangover.” Do you get a sense here of silly fun, of bubblegum superhero mythos? It is fun and it works.

GUN-Fighting-Is-My-Monday-comics

I’ll tell you something, covering comics is built on one work of comics at a time. It can’t just be the big two publishers all the time, although there’s much to cover there as it is. And it is fun to see how iconic superheroes going back close to a hundred years still remain relevant. In fact, Foster is tapping into the swagger and pulpy goodness of yesteryear. Anyway, covering comics is very similar to covering any other art form. As a reviewer, I look for new talent right along with checking out established names. What’s great about Foster’s work is that he’s having a blast. His love for the old school approach is apparent in every hand-drawn and hand-colored panel. This is a character-driven narrative with room for subtilty and wry wit.

This is a beautiful comic, hands down! Rounding out the talent is the lettering of Greg Sorkin and the editing of Nolan Smith. This is the first issue of GUN, entitled, “Fighting is My Monday.” The next issue will be entitled, “Strange Bedfellows.” For more details, and to preview the first issue, visit our friends at Reckless Eyeballs right here.

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Filed under Comics, Comics Reviews, Jack Foster, Reckless Eyeballs, Superheroes

Interview: Bill Plympton and CHEATIN’

Ella and Jake in Bill Plympton's CHEATIN'

Ella and Jake in Bill Plympton’s CHEATIN’

Frank and Cora in 1946's THE POSTMAN ALWAYS RINGS TWICE

Frank and Cora in 1946’s THE POSTMAN ALWAYS RINGS TWICE

Bill Plympton Animation Available on iTunes as of April 2015

CHEATIN’ is Bill Plimpton’s seventh full-length animated feature. It is for adults who like an All-American gritty noir story and fans of great storytelling from such greats at Terry Gilliam and Federico Fellini. Read my review here. On April 3, CHEATIN’ opens in New York and then to selected cities throughout the month. It is also available online! You can see it on Vimeo. And you can see other Plympton features on iTunes starting in April. Yes, if you’re a loyal fan or are new to his work, Bill Plympton is here! For details, and to see the movie, just go to the CHEATIN’ THE MOVIE website right here.

Bill-Plympton-Cheatin-2015

A Gritty Tale and a Sexual Odyssey

CHEATIN’ is visually stunning and immersive. It features the journey one woman must take in order to find what she wants. In the tradition of noir, characters must go through the yin and yang to find their true selves. Light into dark. And then dark into light. Truly, a perpetual swirl of desire and searching. And you throw into the bargain a magical soul-transfer machine, and you’ve got yourself a Bill Plympton animated feature.

Disney Can Give Bill Plympton A Call

It is always a pleasure to chat with Bill Plympton. For this interview, we cover a lot of ground on the storytelling process. We chat about how CHEATIN’ and THE POSTMAN ALWAYS RINGS TWICE would make for a perfect double bill. And I asked Bill, the king of independent animation, if he’d ever consider working with Disney if the right project came along. Yes. Bill would take the call.

What if Hitler Opened a Theme Park Called, “Naziland”?

And we discuss some upcoming projects. You’ll want to listen to that.

Below is the podcast interview. Enjoy:

Be sure to visit the CHEATIN’ website right here. And, if you’re in the New York metro area, be sure to go to Village East Cinema on Friday, April 3, and you’ll see Bill Plympton in person! He will create a drawing for anyone who asks for one.

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Filed under animation, Bill Plympton, cartoon, Filmmaking, Independent Film, Indie, Interviews

Review: HIT: 1957 #1 (of 4)

Del-Rey-Boom-Studios-Hit-1957

Las Vegas. It’s a dead end for some and paradise for others. Maybe it’s a little of both for Bonnie Brae. It’s 1957. A lot of water under the bridge since things heated up a couple of years ago. The plan had been to go incognito, start a new life in San Clemente as Marie. But, no, Marie was not going to be left alone so easy. If you were a fan of Hit: 1955, or if you’re new to the party and looking for some good noir comics, this new Hit series is for you.

HIT-1957-Boom-Studios-2015

You’ve got the team of writer Bryce Carlson and artist Vanesa R. Del Rey back to deliver more. Each page is teaming with intrigue graced by Del Rey’s fluid line and Carlson’s gritty narrative. Los Angeles is one big corrupt mess. We find our anti-hero Detective Harvey Slater pushing back on Domino and his Syndicate. He can’t catch a break from the boys in Internal Affairs. And Bonnie Brae is missing. But that is only the beginning. We have ourselves here a deep and dark tale unfolding. Much transpires. A new killer on the loose. And, of course, you didn’t expect Bonnie to just sit still all this time, did you?

Good crime fiction needs to establish a rhythm quickly and then maintain it. Set up your hooks and beats. Cue the atmosphere. Lower the shades. Carlson loses no time creating a pattern and evoking a certain kind of melancholy. You need doomed characters who don’t know they’re doomed. Carlson rolls out our ongoing theme: “Things change. But people don’t.” Del Rey works wonders with her brush: scribbles here form a shadow, overlapping lines there build up to loose crosshatching signifying lust, despair, and a cavalier stare back at death.

BOOM-Studios-HIT-1957-Del-Rey

“HIT: 1957 #1” is available as of March 25. For more details, visit our friends at Boom! Studios right here.

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Filed under 1950s, Boom! Studios, Comics, Comics Reviews, Crime Fiction, Los Angeles, Noir, Vanesa R. Del Rey