H.P. Lovecraft's "The Dunwich Horror" gets a modern spin in IDW Publishing's reworking of the classic tale of cosmic horror. At the same time, this comic book also introduces new readers to this authors work in a series of essays broken up into chapters. Each comic features a one-page summary of who Lovecraft was, the importance of his works, and the influence he had across generations of fans.
With this comic, it reveals a tale set in the 21st century. A mysterious figure by the name of Jason has witnessed the unfathomable. In his attempt to warn his contacts with his iPhone, he loses his life. Four friends, Frank, Bobby, Janet and Tim, are members of some kind of organization, and they have to put to right whatever has escaped from the old Whateley farm.
The barn they find has exploded and has unleashed some enormous beast. What they discover nearby looks like the remains of Tetsuo from Akira, after he has become one with the universe. But the mound of flesh is more of a mystery than anything else, and readers have to wait for next issue to find out what's going on.
In issue two, they flee from the farm with a dark formless figure in pursuit and headless cows falling from the sky. Apparently the gang finally show themselves as familiar with the cosmic terror. With strange tomes like the "Book of Doches" and "The Mysteries of the Worm" simply laying about, perhaps a greater question that should be asked is if this team is out to prevent the nightmares from coming to life? Or will one of them become an unwilling participant to bring them across?
With two more issues left, the wait can be maddening. "The Dunwich Horror" can easily be told in two comic books than four. These days, many publishing houses are trying to maximize their dollar intake. Comic book tales are either graphic novel one-shots or story arcs that spans three, four or six issues within a series. At least in this product here, they are offering two exciting stories and a well-written introductory essay for the price of one.
And writer Joe R. Lansdale ("Bubba-hotep," "Leather Maiden") does a good job in updating the classic. He has done far too many books and comics to mention, but with his adaptation, of an old work, he misses out in not inserting some necessary details like in what Tim’s group serves. Readers acquainted with the original tale will know where these people are from, and what their role is. But new inductees to the world of Lovecraft will be lost.
While there is no denying Lansdale's ability to create an engrossing story, that does not give him the excuse to not include some exposition. In issue #2, he does hint at what Tim and crew does for a living. But more telltale facts can serve to help a first time reader to knowing why these investigators are trying to save humanity. At least they have some character.
Even artist Peter Bergting ("Strange Girl," "The Sorcerer") could have provided some facts, but the product is only as good as the script he's given, and how he wants to interpret it artistically. While his artwork is crisp, perhaps what is interesting about his style is his use of rustic earth tones throughout the comic.
That makes for huge contrast in Menton3's illustrations of Lovecraft's The Hound. This tale is about two grave robbers who, instead of finding a treasure for their museum of artifacts, they have unearthed a beast more sinister than their own greed would allow. When considering how the narrative is split up, the tension building to that moment of revelation is far more interesting than the title to which this comic book is supposed to focus on.
The way this artist works with black and white is always beautiful to look at and it’s worth collecting, especially for his front-page covers. The only real distraction is with how his work is lettered. A digital font is used instead of having a monk copying Lovecraft's word over the art character by character. If only those loops in the "f’s and g's" only had some wavering characteristics—to see them consistently perfect is far more distracting than complementary. Menton3's work rarely disappoints, but this is one time he is slipping by choosing to do the lettering himself. This begs the question of whether or not the role of a letterer is being phased out. Let's hope not. They are graphic artists as well because of how they organize the text to work within the spaces in each comic book panel. But just as important is an organic quality that is more often found with the comics from a different era than now.
If these letterers are out of a job, just what will they do next? Taking on graffiti sounds promising.
| | |
Advertise Here - Contact me Michael Allen at 28DLA
Subscribe to 28 Days Later: An Analysis Email Subscription
With this comic, it reveals a tale set in the 21st century. A mysterious figure by the name of Jason has witnessed the unfathomable. In his attempt to warn his contacts with his iPhone, he loses his life. Four friends, Frank, Bobby, Janet and Tim, are members of some kind of organization, and they have to put to right whatever has escaped from the old Whateley farm.
The barn they find has exploded and has unleashed some enormous beast. What they discover nearby looks like the remains of Tetsuo from Akira, after he has become one with the universe. But the mound of flesh is more of a mystery than anything else, and readers have to wait for next issue to find out what's going on.
In issue two, they flee from the farm with a dark formless figure in pursuit and headless cows falling from the sky. Apparently the gang finally show themselves as familiar with the cosmic terror. With strange tomes like the "Book of Doches" and "The Mysteries of the Worm" simply laying about, perhaps a greater question that should be asked is if this team is out to prevent the nightmares from coming to life? Or will one of them become an unwilling participant to bring them across?
With two more issues left, the wait can be maddening. "The Dunwich Horror" can easily be told in two comic books than four. These days, many publishing houses are trying to maximize their dollar intake. Comic book tales are either graphic novel one-shots or story arcs that spans three, four or six issues within a series. At least in this product here, they are offering two exciting stories and a well-written introductory essay for the price of one.
And writer Joe R. Lansdale ("Bubba-hotep," "Leather Maiden") does a good job in updating the classic. He has done far too many books and comics to mention, but with his adaptation, of an old work, he misses out in not inserting some necessary details like in what Tim’s group serves. Readers acquainted with the original tale will know where these people are from, and what their role is. But new inductees to the world of Lovecraft will be lost.
While there is no denying Lansdale's ability to create an engrossing story, that does not give him the excuse to not include some exposition. In issue #2, he does hint at what Tim and crew does for a living. But more telltale facts can serve to help a first time reader to knowing why these investigators are trying to save humanity. At least they have some character.
Even artist Peter Bergting ("Strange Girl," "The Sorcerer") could have provided some facts, but the product is only as good as the script he's given, and how he wants to interpret it artistically. While his artwork is crisp, perhaps what is interesting about his style is his use of rustic earth tones throughout the comic.
That makes for huge contrast in Menton3's illustrations of Lovecraft's The Hound. This tale is about two grave robbers who, instead of finding a treasure for their museum of artifacts, they have unearthed a beast more sinister than their own greed would allow. When considering how the narrative is split up, the tension building to that moment of revelation is far more interesting than the title to which this comic book is supposed to focus on.
The way this artist works with black and white is always beautiful to look at and it’s worth collecting, especially for his front-page covers. The only real distraction is with how his work is lettered. A digital font is used instead of having a monk copying Lovecraft's word over the art character by character. If only those loops in the "f’s and g's" only had some wavering characteristics—to see them consistently perfect is far more distracting than complementary. Menton3's work rarely disappoints, but this is one time he is slipping by choosing to do the lettering himself. This begs the question of whether or not the role of a letterer is being phased out. Let's hope not. They are graphic artists as well because of how they organize the text to work within the spaces in each comic book panel. But just as important is an organic quality that is more often found with the comics from a different era than now.
If these letterers are out of a job, just what will they do next? Taking on graffiti sounds promising.
| | |
Advertise Here - Contact me Michael Allen at 28DLA
Subscribe to 28 Days Later: An Analysis Email Subscription
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