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HERE ARE SOME ISSUES THAT WILL NOT DISAPPOINT.Tyler’s Recommendation… Wild Storm #1
“Warren Ellis returns to the Wildstorm universe! I’m of the mind that any new Ellis book is worthy of my time, so I’m excited for this. I very much enjoyed his previous run on Stormwatch, and his work as of late has been fantastic, I would advise any curious minds to grab a copy of this on Wednesday“
Nearly twenty years ago, writer Warren Ellis teamed with artist Bryan Hitch to redefine superhero comics with the debut of their The Authority title, a reboot of the writers Stormwatch series set within the pre-established superhero universe. The Authority was a revelation for the introduction of wide-screen story telling in comics that would have ripple effects across the industry, starting at Hitch’s own Ultimates at Marvel and culminating into the Avengers films years later. Ellis himself continued to have a successful run with the publisher on his own with comics like Planetary & Global Frequency before the imprint was ultimately shuttered in December of 2010 in an attempt to consolidate it’s existing IP into the mainline DC universe during the publishers ill fated New 52 initiative. Ellis returns to the world he helped bring into existence with artist Jon Davis Hunt and colorist Ivan Plascencia in the imprints relaunch with what the writer has promised to be a modern epic retelling of the publishers mainline superhero universe in the debut of The Wild Storm, the first in a 24 issue series of four planned titles. It’s marked subtlety and measured beginnings introduces an intriguing architecture that feels analogous to the world we live in and reminiscent of the writers past work on the property.
The Wild Storm’s debuts in a world that feels nearly identical to our own until the book reveals slivers of it’s secret underbelly. The Wild Storm #1 is a relatively simple and straight forward story which hints at it’s complex mythology in it’s margins without announcing itself. Ellis uses his gift for engrossing dialogue to lead the reader down it’s rabbit hole to great effect while the books action centerpiece is a purely spellbinding comics sequence. Credit much of that to artist Jon Davis Hunt and colorist Ivan Plascencia, whose smooth streamlined visual storytelling feel’s like a cross between Gillen & Wilson with Plascencia’s Capullo collaboration on Batman. It’s incredibly fluid with a light but distinctive color pallete. Hunt & Plascencia go a long way in making The Wild Storm feel like an approximation of our own world while still firmly establishing the aesthetic of the series. There’s an inherent design sense in the work that perfectly captures the books tone and seamlessly blends the astounding with the mundane in the series debut.
The Wild Storm is a series with so much promise based on the creative talent assembled and their stated ambitions for the book. This issue is only scratching the surface but based on what they do here, it has the potential to be another game changer for Ellis and co.
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HERE ARE SOME ISSUES THAT WILL NOT DISAPPOINT.Josh’s Recommendation …
To celebrate Halloween, Nothing But Comics woke malevolent cosmic monster Cthulhu from its slumber to contact 14 comics creators on Twitter and ask them about their favorite horror movies.
The responses are provided below…
Clean Room is the third new Vertigo series to come out this month. I forgot to buy Survivors’ Club but Twilight Children was the best Vertigo debut in recent memory. (Sorry Effigy, it’s not you it’s me) Gail Simone and Jon Davis-Hunt continue the imprints recent success with Clean Room #1, a mysteriously creepy story about a woman suffering from a great loss and looking for revenge on an author with a supernatural gift. With the strong debuts from Clean Room along with Twilight Children, Vertigo Comics is back
The issue opens on a family walking to church with the focus on a cute little red head carrying a perfectly white teddy bear. She asks her father why they have to go to church to which he responds, “To keep the devil away, of course, darling.” The eeriness of the scene is apparent as the last panel of the page cuts to an angry water bottle delivery man yelling at his pleasant coworker. The panels cut back and forth between the family walking to church and the irrationally angry man who is now behind the wheel of his delivery truck and has begun driving like a maniac. The collision course is apparent which is why Simone and Davis-Hunt get to it almost immediately. The maniac driver pays no attention to his coworker yelling at him to slow down and watch out for the child, while the child looks up to see not a truck but a terrifying monster barreling at her with great pace. All the cuts in this scene make it appear fast and chaotic. There are only a few things that stick in your mind after the collision; the white bear covered in blood, the broken water bottles and the rook chess piece which is the logo on the side of the delivery truck. A horrific beginning scene sets the creepy tone as it appears the truck driver couldn’t help but hit the little girl and the little girl sees the world a little differently than others. The opening concludes with the little girl waking up in a hospital bed, it then cuts to blackness and transfers to a new character, Chloe.
We meet Chloe as she is attempting to end her life. She lost her fiancé she loved so dearly, there is nothing more for her in this life. Although, her attempt seems a little weak, and as she submerges herself into a lake late at night she thinks, “I wish I’d been less full of shit”. This phrase along with the drowning attempt make me think she wasn’t very sure about it. She wakes up in a hospital bed and is told she did die for a few minutes but they were able to bring her back. She is handed a book by the nurse, a self help book to get her back on her feet. But, this isn’t just any book, Chloe is familiar with this book and it throws her into a screaming frenzy. This is when we get the background story that her fiancé was reading a self help book by the same author, Astrid Mueller, three months before he stuck a gun to his head and pulled the trigger. Apparently her books had some sort of power that either enlightened you, or drive you insane. Chloe decided it’s time for revenge and she began her quest to find out what really happened to her fiancé.
Chloe gets a meeting in Astrid Mueller’s building but unfortunately doesn’t get the meeting with Astrid. As Chloe enters the building there is an odd amount of attention drawn to the moat that is inside. This seems like an off beat comment but when Chloe enters Astrid’s office there are only a few things in the office that draw attention. A black and white inkblot painting on the wall that looks like blood spatter to me, a chess board containing too many rooks and a white teddy bear. Gail Simone is messing with my mind! Chloe, a woman who has lost everything up against the supernatural writing powers of Astrid Mueller.
Finally I’ll comment on the art and colours of Jon Davis-Hunt. Brilliant. I already mentioned how the jumpy panels in the intro clued us into the eminent doom. Davis-Hunt is very effective drawing the creepy panels, whether it be the monsters that people are seeing or the dead husbands, he is dialed into the heebie jeebie zone. This is not what stands out for me in the issue though, what stands out is all the moments of innocence lost he creates. The blood spatter all over the teddy bear, the beautiful woman staring up at the full moon while she drowns herself under water, the young relatively good looking homeless man with tears streaming down his face. Davis-Hunt and Simone are a terrific pair on this eerie Vertigo debut.