PHOENIX FORGOTTEN

PHOENIX FORGOTTEN

I’m a huge BLADE RUNNER fan, so I am excited to tell you about producer Ridley Scotts’s latest project, PHOENIX FORGOTTEN. The film hits theaters across the country this Friday, April 21. Our friends at Katrina Wan PR, in conjunction with Cinelou Films have released a featurette featuring Sir Ridley, alongside co-producers Wes Ball and TS Nowlin and director Justin Barber discussing the March 13, 1997 appearance of what has become known as “The Phoenix Lights,” which was the impetus for PHOENIX FORGOTTEN.

The movie relates the story of a trio of teenagers who, seeking to document the phenomenon, headed into the desert looking for answers. The three disappeared that night, never to be seen again. Much like THE BLAIR WITCH PROJECT, this new film uses found footage of their final hours, revealing the truth behind the teens’ ultimate fate. Check out the featurette before heading out to catch the flick this weekend:


UNCANNY

(RLJ ENTERTAINMENT/SHORELINE ENTERTAINMENT/EMERGENT BEHAVIOR-ACCELERATED MATTER PRODUCTIONS/AMBUSH ENTERTAINMENT (85 minutes; Unrated); 2015)

UNCANNY_DVD_HIC

As much as I love science fiction movies, I’m not big into the whole Artificial Intelligence (AI) thing; cyborgs, robots, androids are okay (Deathlok, that canned dude from LOST IN SPACE, the Vision) but, a lot of times, the attempt to make these types into a “normal” human-like construct just leaves me cold. With that as background, I wasn’t sure about UNCANNY and where it would fall on the spectrum; the advance publicity and trailer promised a creepy sort of stalker thing with the possibility of a very violent second half. Uh… kinda.

UNCANNY (David Clayton Rogers, Mark Webber) (publicity still)

UNCANNY (David Clayton Rogers, Mark Webber) (publicity still)

The story has a rather claustrophobic feel… it mostly takes place in one location (an apartment/suite/laboratory called Workspace 18) with only three characters for roughly ninety-eight percent of the movie. David Kressen (Mark Webber, who strikes me as a younger version of the brilliant Jeffrey Combs) is a reclusive (and amazingly well-adjusted) boy genius who has been left to his own devices for the past ten years, charged with creating the ultimate robotic AI; his roommate, Adam (David Clayton Rogers), is the result of Kressen’s work and has taken his creator’s last name. The introduction of a third individual, reporter (and failed roboticist) Joy Andrews (Lucy Griffiths), is initially met with trepidation and mild annoyance from David and confusion from Adam. Joy has been sent to conduct a week’s worth of interviews for a feature story on Kressen and his work. She is totally taken aback when David reveals the truth about Adam and, thus, the three embark upon an intellectually stimulating few days; as the continued interaction leads to more intimate feelings between Kressen and Andrews, Adam begins to exhibit some very human reactions: Love, jealousy, confusion and, finally, hate and revenge. By the fourth day, the situation has become a bizarre lovers’ triangle, with Adam infringing upon and, at times, outright sabotaging the others’ time together. Adam also develops some new voyeuristic tendencies, which come to a head when he gives a gift to Joy, in the form of a prototype robotic eye with, naturally (and completely unknown to the receiver), a camera. The better to secretly watch you mediate in your underwear, my dear.

UNCANNY (David Clayton Rogers, Lucy Griffiths, Mark Webber) (publicity still)

UNCANNY (David Clayton Rogers, Lucy Griffiths, Mark Webber) (publicity still)

The whole movie is very quiet and serene, three highly intelligent beings discussing the things that they enjoy most and interacting in the most reasonable fashion imaginable… until the final twenty minutes or so. When Joy discovers what Adam has been up to, she takes Kressen aside to let him know what his creation is capable of; Kressen tells her she shouldn’t worry too much… it’s just Adam adjusting his learning curve and adding new stimuli and knowledge to his matrix. David does, however, confront Adam about his actions; Adam apologizes and – as far as Kressen is concerned – the incident is forgotten. Adam hasn’t forgotten and, when he tries to stick his tongue down Andrews’ throat, she objects and David chastises Adam, sending him to his room like a misbehaving child; a very childlike outburst from Adam stuns creator and reporter alike. That’s really the extent of the violence, though there is a nice (if rather anticipated) twist-ending that delivers the “evil corporate construct” message like a very quiet sucker-punch to the solar-plexus. That message, delivered by Rainn Wilson as the deliciously sinister Simon Castle, Kressen’s benefactor/employer, will send a chill down your spine and have you looking over your shoulder as you conduct your day-to-day life for, at least, a few days. And, that, friends, is what a good piece of science-fiction should do… leave you questioning the reality of the subject matter at hand; first-time screenwriter Shahin Chandrasoma (who is a surgeon specializing in robotic urology) and acclaimed director/editor Matthew Leutwyler have certainly accomplished that.

UNCANNY (Lucy Griffiths, David Clayton Rogers) (publicity still)

UNCANNY (Lucy Griffiths, David Clayton Rogers) (publicity still)

UNCANNY succeeded in holding my attention and stimulating my mind much more than I would have thought possible, given the subject matter and the subtly delicate approach. This kind of story probably isn’t for everybody… teens and young kids will undoubtedly be bored out of their gourds waiting for something, ANYTHING to happen and, by the time it does, will probably have given up on the whole thing. However, if YOU stay with it, I think that you’ll be grateful you didn’t give up on UNCANNY too soon. The movie is available on DVD and as a digital download.


BEHEMOTH, NUMBERS 1 AND 2

(Chris Kipiniak/JK Woodward; 24 pages each issue, digital; MONKEYBRAIN COMICS, 2015)

BEHEMOTH

My new addiction is BEHEMOTH. In a nutshell, BEHEMOTH follows a young girl named Theresa, who is gradually transforming into a beast. She is sent to a government facility and is led to believe there is no hope; nor is there a cure. Thank you, Chris Kipiniak, for writing something so intriguing, but also that hits me right in my heart strings.

BEHEMOTH, issue 1, page 2 (Written by CHRIS KIPINIAK, art by JK WOODWARD)

BEHEMOTH, issue 1, page 2 (Written by CHRIS KIPINIAK, art by JK WOODWARD)

I would like to begin by saying kudos to series co-creator JK Woodward for the beautiful artwork done in this comic. The characters are very well done and wonderfully random; mildly terrifying but, I’m willing to look past that. There is also enough gore for a mature reader but, not so much where it is grody. Also, the layout of each page made it easy to follow and the lettering – by Jesse Post – is easy to read. This makes each comic fast paced, with no frustration.

BEHEMOTH, issue 1, page 3 (Written by CHRIS KIPINIAK, art by JK WOODWARD)

BEHEMOTH, issue 1, page 3 (Written by CHRIS KIPINIAK, art by JK WOODWARD)

My only issue with the comic is a certain lack of character development and “real” feels. It appeared as though the protagonist accepted her new life as a beast too quickly. Also, a relationship is formed within the first two issues making me somewhat not want them to be together at all; I would have preferred to see more small, flirtatious interactions hinting at a relationship in the future instead of one right off the bat.

BEHEMOTH, issue 2, page 3 (Written by CHRIS KIPINIAK, art by JK WOODWARD)

BEHEMOTH, issue 2, page 3 (Written by CHRIS KIPINIAK, art by JK WOODWARD)

I cannot wait for new additions to this story and am pumped to see what happens next. Already, I have been given the conflict (actually on the very first page of the first book) and I have been introduced to some crazy, but strangely lovable characters. Also, the action is intense and oh so suspenseful and was able to capture and hold my attention. And trust me that is not easy to do… I have the attention span of a two year old. I may or may not have a heart attack from all this suspense. Jeez! I highly recommend this comic to any reader who enjoys monsters and fight scenes. Both issues of BEHEMOTH are available digitally for an insanely cheap price at the Monkeybrain site or at ComiXology.


DEBUG

(KETCHUP ENTERTAINMENT/COPPERHEART ENTERTAINMENT (86 minutes; Unrated); 2015)

Debug 2D

When actor David Hewlett decided to write a Sci-Fi movie, I’m sure the concept looked pretty good on paper and – you know what? – even with a couple of black holes in the plot and unspoken back stories (due, no doubt, to time and budgetary constraints), the finished product looks pretty good, too. Hewlett’s script is equal parts 2001: A SPACE ODDYSEY, TRON, WAR GAMES and just about every slasher movie ever made; toss in some nifty KILL BILL style fight scenes and a cast of beautiful – if limited – actors and you have a rollicking good time of a space opera with DEBUG.

DEBUG (Tenika Davis, Jason Mamoa) (publicity still)

DEBUG (Tenika Davis, Jason Mamoa) (publicity still)

The concept is relatively simple: Convicts on a work release derelict spaceship clean-up detail (got that?) are dispatched for one final debugging assignment before returning to lock-up; the debugging is of the computer kind, as long dormant vessels with still-functioning systems tend to become infected with various viruses and need to be cleaned before a reboot and a return to active service. We get a glimpse of just how corrupt the system is in a prologue that sees the sole survivor on-board, one of 1,200 prisoners (a terror-fraught cameo by Tenika Davis), stalked by a physical manifestation of the infected security program (malevolently played by future Aquaman, Jason Momoa). Suffice to say, bad things happen. The cleaners are under the supervision of a no nonsense (though somehow good-natured) guard named Capra (Adrian Holmes), who gets hijacked by the virus, doing its gruesome bidding. Capra’s eventual demise is kind of a side-splitter.

DEBUG (Adrian Holmes) (publicity still)

DEBUG (Adrian Holmes) (publicity still)

Of course, each member of the convict crew has their own little secret: Lara (Sidney Leeder) and team leader Mel (Kerr Hewitt) are – if not romantically – sexually involved; Diondra (Jaydn Wong) is looking for a quick score, but ends up with a splitting headache for her troubles; Samson’s exit (and, by extension, CARRIE’s Kyle Mac) was so quick, I’m not too sure I can even tell you what his secret was or what happened to him; tough-as-nails scarey chick Kaida (who really has a heart of gold, much like – I’m sure – the actress who portrays her, Jeananne Goossen) is all business, as she hacks into the rogue system for a bit of virtual butt kicking; James (played by Adam Butcher, Momoa’s co-star in WOLVES) is a former cadet whose dreams were smashed after pleading guilty to a cyber-crime committed by his younger brother. Each, seemingly working against the others, are given their own little vignette, as they are assigned different sections of the ship to work on; most interact with various “creature comfort” programs, all under the control of the evil “I Am” (Momoa), leading to varying degrees of pain and suffering. The final confrontation with the I Am and the ultimate sacrifice by one team member is right up there with other such selfless gestures for which the genre is so well known (Spock’s final moments in STAR TREK II: THE WRATH OF KHAN remain untouchable in that area).

DEBUG (Jeananne Goossen) (publicity still)

DEBUG (Jeananne Goossen) (publicity still)

There are a plethora of direct-to-DVD Science-Fiction movies released every week, most of which are totally forgettable and many of those are utterly regrettable; DEBUG rises above the dross with an imaginative script and cold, antiseptic sets that add to the creepy machines-in-control aspect; the small blasts of color (the convicts’ orange jumpsuits and, yeah… a whole lot of blood) tend to be rather jarring against the bright lights and stark white of the spaceship. This is a movie that would have benefited from another 20 to 30 minutes. That’s something that I very rarely say about any movie but, here, the extra time would have definitely made an already strong feature into a great one, allowing the characters to be fleshed out more fully (we don’t really know why most of the crew are in prison or what motivates their actions on this mission), as well as offering a more in-depth examination of just how the ship’s computers became so corrupt.

DEBUG is unrated but, due to some strong language and some fairly brutal scenes of violence and death (a couple of which are quite imaginative), this one probably shouldn’t be viewed by anyone younger than, say, twelve. It’s not really a great date flick or family movie night fare… in fact, it may not be anything that the female of the species will find appealing at all. Having said that, it’ll play really well for a bunch of guys just hanging out in a man cave somewhere.


BLOKE’S TERRIBLE TOMB OF TERROR, NUMBER 11

(Mike Hoffman, Jason Crawley and various writers and artists; SELF-PUBLISHED; 2014)

TOMB OF TERROR #11

I came to the Bloke’s tomb late in the game… didn’t know the throwback horror title even existed until I saw something on another site about it. After contacting co-creator (and the Bloke himself) Jason Crawley, he was kind enough to send me issues 9-11 for review. As sometimes happens, I fell behind for a variety of reasons that will only be meaningful to me and, I am finally – late to the game again – getting the chance to tell you about one of the best genre titles today, rivaling even Warren’s CREEPY, EERIE and VAMPIRELLA for both storytelling and artistic excellence; the magazine-sized tome is blessed with the brilliant cover art of Mike Hoffman… sure, he ain’t Frazetta but, then, who is? The classic werewolf in mortal combat with what I’m guessing is an extra-large serpent (it has no perceptable beginning or end that I can identify) certainly sets the tone for the frights found inside.

TOMB OF TERROR #11 “PK's Family Diner” (written by ROGER MCKENZIE, art by RON MORAN)

TOMB OF TERROR #11 “PK’s Family Diner” (written by ROGER MCKENZIE, art by RON MORAN)

The first story, “The Ice Shaman,” is a tale of mysticism, enfolding the Inuit’s reverence for the essence and being of the animals they hunt for food, clothing and basic survival. When an evil spirit inhabits a member of the Inuit community, he tears their belief system to shreds but, as is often the case in such tales, revenge comes from a rather unexpected source. Mike Hoffman’s story is very much in the vein of the classic Warren Magazines style, while his artwork is reminiscent of the work of EC Comics horror legend, Jack Davis. It’s a pretty good start to a very promising issue. Former Marvel, DC and Warren scripter, Roger McKenzie submits “PK’s Family Diner” for your consideration. It’s a short story of eternal love in a post-apocalyptic world where an anniversary visit to the diner includes a very special gift from the Johnstone family. Ron Moran’s line work is an odd, though not unpleasant, amalgam of the styles of both Reed Crandall and Basil Wolverton… if you can possibly wrap your head around that concept!

TOMB OF TERROR #11 “Set the Controls” (by TREVOR DENHAM)

TOMB OF TERROR #11 “Set the Controls” (by TREVOR DENHAM)

Blind dates, on a scale of “just kill me… kill me now” to “a pox upon you and your family for this set up,” generally tend to fall somewhere just this side of the zombie apocalypse. And then, there’s the “Date Night” set up by one of Belinda’s friends; apprehension turns to dread of being stood up turns to a pleasurable interaction turns to fear and pain and, then… David meets the kids. A wicked – if predictable – tale of an ill-conceived hook-up, “Date Night” is written by the Bloke his own self, Jason Crawley, and illustrated by Juan Carlos Abraldes Rendo, whose work is a bit pedestrian, though serviceable. “Set the Controls” is a descendant to one of those beautifully rendered (in a Paul Neary kind of way) science-fiction space travel stories that used to crop up occasionally in the pages of Warren books, particularly EERIE. The concept and story are almost always secondary because the art is just so incredible. In this instance, story and art are by the same person, Trevor Denham, with a basic premise that has a ship from Earth heading to another (presumably uninhabited) planet with an eye toward colonization. The locals, as usual, have a little something to say on the subject. The actual story may be a mite hard to follow but – Great Googley-Moogley! – that artwork is worth the price of admission alone… by far the best in what’s really a pretty good field.

TOMB OF TERROR #11 “Beware the Ripper” (by SAM ARGO)

TOMB OF TERROR #11 “Beware the Ripper” (by SAM ARGO)

The final story, Sam Argo’s “Beware the Ripper,” offers a new theory regarding the Whitechapel murders, as Constable Murdock comes face-to-face with ol’ Jack. Argo’s short piece is well illustrated and, believe it or not, features a definite sense of humorous whimsy. Aside from the 44 pages of story, there’s an update on the Bloke’s activities since the last issue, another amazing painting from Mike Hoffman on the back cover (this one featuring the Bloke) and two pin-ups from artist Nik Poliwko. This is a great jumping on point (there really isn’t a bad jumping on point, since there are no regular series) for BLOKE’S TERRIBLE TOMB OF TERROR and, after digesting this issue, you’re gonna want to check out the entire run. Crawley and Hoffman have made collecting all eleven (and counting) issues as tripping over a corpse in a foggy graveyard – they’re all available here, along with other gory goodies galore; you can also check out ComiXology, Amazon and the usual suspects for your horror fix. All issues are available in either physical or digital copies. Enjoy!


DEADLANDS, VOLUME ONE: DEAD MAN’S HAND

(Shane Hensley/Various Writers and Artists; IDW PUBLISHING/VISIONARY COMICS/PINNACLE ENTERTAINMENT GROUP; 2015)

Dead-Mans-Hand

What an absolutely beautiful book this is! Anyone familiar with Shane Hensley’s DEADLANDS role playing game will recognize the characters and the concept and will be immediately drawn into this world of gun-play and spiritualism. Likewise, anyone who remembers THE WILD, WILD WEST (the 1960s television series or the updated movie version starring Will Smith) will recognize the science-fiction/steampunk feel present here (especially in the first story, “The Devil’s Six Gun”) or, if you’re familiar with the early ’70s DC comic, WEIRD WESTERN TALES (home of El Diablo, a spooky Zorro knock-off with awesome art from Gray Morrow and, later, Neal Adams; the pages of WWT also saw the debut of Jonah Hex, one of DC’s most endearing western characters), you will definitely want to check out DEAD MAN’S HAND, a book that is filled with demons, spirits, monsters and supernatural happenings aplenty. Of course, these new era stories are more violent, more graphic, with far more blood than those earlier creators could depict. With that in mind, allow me to amend my first sentence to read, “What an absolutely beautifully written and illustrated book this is!”

DEADLANDS, VOLUME ONE: DEAD MAN'S HAND: "The Devil's Six Gun" (Written by DAVID GALLAHER, art by STEVE ELLIS)

DEADLANDS, VOLUME ONE: DEAD MAN’S HAND: “The Devil’s Six Gun” (Written by DAVID GALLAHER, art by STEVE ELLIS)

The majority of the collection compiles the original four issue run of Image Comics one-shots, beginning with “The Devil’s Six Gun” by the award-winning team of David Gallaher and Steve Ellis. The tale follows the life of scientific genius Copernicus Blackburne, a man driven to explore the unexplained. When the sewing machine repair shop he works for is given a military contract to develop new firearms, Copernicus creates and refines the protean pistol, the most accurate and deadliest weapon known to mankind. His efforts draw the attention of an American benefactor, Samuel Tygian, who commissions Copernicus to further refine his pistol, producing the ultimate weapon. As Blackburne immerses himself into his work, a series of unfortunate events robs him of his family, his home and… well, let’s just say that you should always read the fine print before signing any contract. Gallaher’s story is taut as a bowstring, while still adding little bits of personal information that allows the reader to develop an empathy toward the lead character, even as we follow his walk down the path to destruction; Ellis’ artwork is intricate and filled with a life that very few of today’s comic artists are capable of producing. The story sets the tone nicely for what’s still to come.

DEADLANDS, VOLUME ONE: DEAD MAN'S HAND: "Massacre At Red Wing" (Written by JIMMY PALMIOTTI and JUSTIN GRAY, art by LEE MODER and MICHAEL ATIYEH)

DEADLANDS, VOLUME ONE: DEAD MAN’S HAND: “Massacre At Red Wing” (Written by JIMMY PALMIOTTI and JUSTIN GRAY, art by LEE MODER and MICHAEL ATIYEH)

Massacre At Red Wing,” written by long-time Jonah Hex scribes Jimmy Palmiotti and Justin Gray, is a story about a girl and her dog. The young woman’s path finds her seeking her past and fulfilling her destiny; Clementime is searching for her mother, an Indian woman, who thinks that her baby daughter was put to death by her rapist, a white man who may have more than a touch of demon blood coursing through his veins. Having gained certain information that may lead her to her mother, Clementime is traveling to a small town called Red Wing. Along the way, she comes across a community beset by demons. She considers leaving demon and human alike to their own fates, but decides to intercede, using her mystical powers to defeat the demons and, with her dog’s help, gain additional knowledge as to the whereabouts of her mother. Once she reaches Red Wing, the story reverts to a rather standard tale of rescue and revenge. In this case, though, “standard” doesn’t mean bad or even particularly predictable… the title pretty much tells you where this story’s going; it’s just a well-used plot in the Western genre, whether in comics, movies, literature or any other medium. For the most part, the story is character driven, with some fairly graphic violence tossed in just to remind the reader what kind of book they’re reading. The art by Lee Moder (with colorist Michael Atiyeh working with a palette that’s far brighter and more inviting than most would use for such a tale) is very much in the style of the great Gil Kane, with beautifully rendered figures and graceful action sequences. “Massacre At Red Wing” is one of the most visually stunning pieces of comics work you’re likely to see.

DEADLANDS, VOLUME ONE: DEAD MAN'S HAND: "Death Was Silent" (Written by RON MARZ, art by BART SEARS and MICHAEL ATIYEH)

DEADLANDS, VOLUME ONE: DEAD MAN’S HAND: “Death Was Silent” (Written by RON MARZ, art by BART SEARS and MICHAEL ATIYEH)

The gritty, atmospheric “Death Was Silent” is an Old West take on the whole INVASION OF THE BODY SNATCHERS scenario. Hoyt Cooper arrives in town on a bleak, rainy day, a body draped over his saddle. Cooper, whose tongue was cut out by “savages,” wears a slate board on his chest. The board has had a spell cast on it, allowing Cooper to “speak”; whatever he thinks, appears on the board. The slate announces that Cooper has shown up to kill everyone in the town, which is completely infected by an alien being. With a little help from an unexpected source, Cooper goes about ridding the earth of the alien mother and her offspring in a brutal display of violence. Series editor, Ron Marz’s story has everything that you could ask for in a western yarn laced with science-fiction elements and just a touch of voodoo; the artwork, by Bart Sears, matches the feel of the script perfectly… dark and moody. Atiyeh is back, using much harsher colors… drab and dreary, evoking the gloomy atmosphere of an inhabited town, as well as the weather conditions the story takes place in. Of all of the stories in DEAD MAN’S HAND, this one comes closest to the feel of those early Jonah Hex tales.

DEADLANDS, VOLUME ONE: DEAD MAN'S HAND: "Black Water" (Written by JEFF MARIOTTE, art by BROOK TURNER and C EDWARD SELLNER)

DEADLANDS, VOLUME ONE: DEAD MAN’S HAND: “Black Water” (Written by JEFF MARIOTTE, art by BROOK TURNER and C EDWARD SELLNER)

Black Water” is a tale of greed, lust and revenge, with equal parts Greek mythology, Scottish lore, ancient Chinese curses, TREASURE ISLAND, THE LAND THAT TIME FORGOT and THE TREASURE OF THE SIERRA MADRE. Harmon Rappaport, a rich and ruthless man, has been on a quest to find a woman he saw only once (and that, after being hit with a musket ball during the Civil War); after a visit to a spiritualist, where he learns that the woman is dead, Rappaport plans a voyage to the mystical maze of Shan Fen, where the seer says the woman can be found. The siren call of the woman leads Rappaport, his body guard Ian Fairfax and a gunslinger and self-professed “guide” named Lyle Crumbfine set out on a paddle steamer heading downstream, in search of the maze; also along for the ride are the vessel’s captain and several other interesting passengers. Three nights into the trip, the boat is destroyed by a waterspout, leaving the passengers to struggle toward the beach and safety. What lies ahead is an exciting journey of sea monsters, ambushes, death and revenge. Jeff Mariotte weaves a suspenseful yarn, exploring the extent and the deprivations that one man will go to acquire the one thing he cannot have; Brook Turner’s intricate art shows the influences of some of the legends of the field, including – most evident – Neal Adams, Joe Kubert and Rich Buckler. Visionary Comics honcho C Edward Sellner’s deft hand and astute eye turns in a brilliant color job.

DEADLANDS, VOLUME ONE: DEAD MAN'S HAND: "What a Man's Got To Do" (Written by MATTHEW CUTTER, art by ULISES ROMAN and DOUG SPENCER); "Vengeful" (Written by SHANE HENSLEY, art by SEAN LEE, MIKE MUNSHAW and C EDWARD SELLNER)

DEADLANDS, VOLUME ONE: DEAD MAN’S HAND: “What a Man’s Got To Do” (Written by MATTHEW CUTTER, art by ULISES ROMAN and DOUG SPENCER); “Vengeful” (Written by SHANE HENSLEY, art by SEAN LEE, MIKE MUNSHAW and C EDWARD SELLNER)

One of two new stories to this edition is called “What a Man’s Got To Do.” Written by DEADLANDS brand manager, Matthew Cutter, and illustrated by Ulises Roman (with colors by Doug Spencer), the short piece delves into Indian mysticism and spirit animals, as Lucas Pitt joins a posse that is, ultimately, massacred by the outlaws they were hunting. With Pitt, the only survivor, on the run from the villains, he and they quickly discover that Lucas is a completely different… animal when he’s sleeping. DEADLANDS creator Shane Hensley supplies the script for the other new story, “Vengeful.” A marshal’s idyllic retirement is shattered by an escaped convict, intent on exacting revenge on the marshal and his wife. As the outlaw and his gang sets fire to the couple’s home, leaving the bodies to rot, we are quickly reminded that, sometimes, even a righteous soul can want vengeance. The art, provided by penciller Sean Lee, inker Mike Munshaw and colorist Sellner, is spacious, befitting the wide-open land it depicts. Other unique bonus features include a roleplaying supplement for the DEADLANDS RELOADED game, character concept sketches from Steve Ellis, Lee Moder and Brook Turner and a preview of the first DEADLANDS novel, GHOSTWALKERS, written by Jonathan Maberry and due from Tor Books this fall. Whether you’re into the RPG or not, whether you’re into weird western comics or not, you are still going to love the storytelling and the magnificent art of DEAD MAN’S HAND… don’t miss out.


AMELIA COLE AND THE IMPOSSIBLE FATE, NUMBER 20

(Adam P Knave/DJ Kirkbride/Nick Brokenshire; 19 pages, digital; MONKEYBRAIN COMICS, 2015)

AMELIA COLE

The AMELIA COLE series follows the adventures of a young woman, raised in the magic arts by her aunt. Amelia uses her magic to cross between two separate worlds, one where magic is the norm, the other where science rules (the realm she believes to be her home world); in each world, the other discipline is unheard of. The series works in arcs of six issues each but, they are not self-contained… the finale of one arc leads directly into the plot and storyline of subsequent arcs. So, before getting on with specifics on this issue (the second chapter in the fourth story arc), let’s get a little bit of insight into the characters and the basic premise of the overarching story in this superb, tightly scripted series, shall we?

AMELIA COLE AND THE UNKNOWN WORLD (cover art: NICK BROKENSHIRE)

AMELIA COLE AND THE UNKNOWN WORLD (cover art: NICK BROKENSHIRE)

The first story arc, AMELIA COLE AND THE UNKNOWN WORLD, introduces Amelia, a young woman who suddenly loses everything she loves – her family, her friends, her world. She then loses her beloved aunt and another world and, now, she finds herself trapped in a third dimension that may or may not be her actual birth place. She quickly runs afoul of the law for using her magic powers in an unlawful fashion and, eventually, ends up fighting the authorities’ enforcer, a dark robed mage called the Protector. Defeating the well-meaning puppet hero, Amelia now finds herself the city’s new Protector.

AMELIA COLE AND THE HIDDEN WAR (cover art NICK BROKENSHIRE)

AMELIA COLE AND THE HIDDEN WAR (cover art NICK BROKENSHIRE)

Things really begin to heat up (as if the action in the first series wasn’t enough!) in AMELIA COLE AND THE HIDDEN WAR. As the new Protector of Otysburg, Amelia – along with her pet golem, Lemmy – goes about protecting and saving the populace, regardless of their social standing (mage protection is fine, non-mage protection is in violation of the city’s penal code), something that seriously ticks off the Magistrate, whose puppet strings are being pulled by a dark and mysterious wraith cabal known as the Council. Meanwhile, Hector Garza, the former Protector is fighting another war against other-dimensional demons with Omega Company, a military outfit he signed up with when he lost his job. Neither Amelia nor Hector realize that they are, in fact, fighting a common foe.

AMELIA COLE AND THE ENEMY UNLEASHED (cover art NICK BROKENSHIRE)

AMELIA COLE AND THE ENEMY UNLEASHED (cover art NICK BROKENSHIRE)

As the name emplies, AMELIA COLE AND THE ENEMY UNLEASHED sees the Council come out of the shadows and, after killing the Magistrate, begin to siphon off all of the magic powers on Amelia’s adopted world. Amelia (and Lemmy) and Hector (and the other two surviving members of Omega Company) team up and raise a valiant defense; ultimately, though, the two Protectors are thrown into the other two dimensions: Hector into the non-magic realm; Amelia back to the magic realm.

AMELIA COLE AND THE IMPOSSIBLE FATE, issue 19 (cover art NICK BROKENSHIRE)

AMELIA COLE AND THE IMPOSSIBLE FATE, issue 19 (cover art NICK BROKENSHIRE)

Which brings us to AMELIA COLE AND THE IMPOSSIBLE FATE. With Amelia back in the magical realm, it doesn’t take long for the gendarme to come a-callin’. Hector, trapped in a world where magic doesn’t exist, is enjoying the simple life with… Amelia’s best friend from that dimension. Back in the third realm, the Council has turned Otysburg into a war zone, with Lemmy, Omega Company and their friends the only resistance. So, now you’re pretty much up to date as we move on to a more in-depth review of Part Two of …THE IMPOSSIBLE FATE.

AMELIA COLE AND THE IMPOSSIBLE FATE, issue 20, page 1 (Written by ADAM P KNAVE and DJ KIRKBRIDE, art by NICK BROKENSHIRE)

AMELIA COLE AND THE IMPOSSIBLE FATE, issue 20, page 1 (Written by ADAM P KNAVE and DJ KIRKBRIDE, art by NICK BROKENSHIRE)

As the issue begins, Amelia is pondering the unavailability of magic tomes on audiobook; Hector is enjoying a quiet meal with Laura, Amelia’s friend; and their friends back on the blended world have come up with a plan: Since the Council are not too particular about their victims, the group will recruit the entire city – non-mage and mage alike – to wage war against their conquerors. While this issue isn’t as action-packed as most of the previous nineteen, there’s still enough action to keep things interesting: Lemmy and the rest are on the run from the Council and trapped in their own home; Amelia has a run-in with a police officer back at her Aunt Dani’s shop but, eventually, she wins him over to her cause, as they begin a city-wide search for Hector; Hector and Laura are assaulted and, while Hector ineffectively waves his wand at the guy, Laura takes control with some moves she learned in a self-defense class; later, however, Laura is amazed as Hector’s powers return full-strength and he saves a man from certain death.

AMELIA COLE AND THE IMPOSSIBLE FATE, issue 20, page 2 (Written by ADAM P KNAVE and DJ KIRKBRIDE, art by NICK BROKENSHIRE)

AMELIA COLE AND THE IMPOSSIBLE FATE, issue 20, page 2 (Written by ADAM P KNAVE and DJ KIRKBRIDE, art by NICK BROKENSHIRE)

The rest of the book deals with how everybody is handling being in a very different world than the one they woke up in earlier in the day. The characters, the worlds and the story created by writers Adam P Knave and DJ Kirkbride are all so vibrantly real (yeah… I realize that I just said that about magicians, evil wraiths, dimension travel and golems… but, it’s true), that you get caught up in the story and the lives of these characters and can’t wait for the next issue to get here. Nick Brokenshire’s artwork fits the story perfectly… look closely through all twenty issues and you’ll see sly little nods to some of the comics greats (there are several storefronts with names like Frazetta, Toth and Eisner; the heroic leader of Omega Company is named Kubert) and some very recognizable characters from the big and small screens (Wimpy makes an appearance on a Tuesday; Shaggy shows up in a scene, as does the Monopoly dude; Eddie Murphy’s character from THE NUTTY PROFESSOR and Gene Wilder as Frankenstein appear in a research lab). The supporting cast are each drawn with a specific personality in mind, with no short cuts, especially the brilliantly conceived Lemmy. The various worlds are all familiar enough that they could be this Earth, but with enough differences to let us know that we ain’t in Kansas anymore. Nick colors his own pages (with an occasional assist from Ruiz Moreno), working with a very bright… well, actually, more of a pastel… palette that is extremely effective on this strip, proving that a book like this doesn’t necessarily need to be dark and gloomy (though there are those types of scenes, as well).

AMELIA COLE AND THE IMPOSSIBLE FATE, issue 20, page 3 (Written by ADAM P KNAVE and DJ KIRKBRIDE, art by NICK BROKENSHIRE)

AMELIA COLE AND THE IMPOSSIBLE FATE, issue 20, page 3 (Written by ADAM P KNAVE and DJ KIRKBRIDE, art by NICK BROKENSHIRE)

And, let’s talk about the depiction of our title character. Amelia isn’t a typical female lead. She isn’t waif thin with an impossibly large bust. She’s just… beautifully average. Amelia Cole is the kind of girl next door that you always had a crush on when you were growing up and the kind of young woman that you could fall deeply in love with and want to be around as much as possible. And, that is definitely one of the things that makes this book so appealing… the fact that the lead character seems so utterly normal and approachable. With the major publishers killing off all of their characters and starting over every few months, you really can’t afford to become too invested in any of those books; the story and art of AMELIA COLE melds beautifully to create one of the best ongoing series that I’ve read in a good little while.

Individual digital issues of AMELIA COLE, as well as the first three six-issue collections are available from Monkeybrain and comixology.com; graphic novels of the first three story arcs, each with unique bonus material, are printed and published through IDW and are available there and from all of the usual suspects. I heartily suggest that you pick up this series from the beginning, in whatever form you like. As the title page of issue 19 says, “If you haven’t, read previous issues. This issue will be here when you’re done… ”


FRANKENSTEIN VERSUS THE MUMMY

(IMAGE ENTERTAINMENT/RUTHLESS PICTURES (114 minutes; Unrated); 2015)

Box art

This flick follows, fairly accurately, the accepted Hollywood take on Frankenstein: A doctor, after years of research (and an overwhelming God complex), has discovered the secret to reviving dead tissue and, intent on creating life from death, hires an unscrupulous, borderline psychotic to procure human remains from the medical school’s freezers for his experiments. As the creature nears completion, all that is needed to conduct the experiment is a relatively fresh brain; the “procurement specialist” finds one so fresh that the homeless man it belongs to is still alive, so… he kills him, delivering the organ to the doctor, demanding more money to buy his silence. Of course, the two argue, the brain is damaged beyond use during a struggle which sees the doctor forced to take fatal defensive action against his associate. Suddenly, the problem of the useless specimen has been solved; the recently deceased felon will supply the final piece to the doctor’s cruel attempt at reincarnation. Oh, yeah… there’s also an ancient mummy in this version.

FRANKENSTEIN VERSUS THE MUMMY (Ashton Leigh) (publicity still)

FRANKENSTEIN VERSUS THE MUMMY (Ashton Leigh) (publicity still)

This flick follows, fairly accurately, the accepted Universal Monsters take on the Mummy: An archeology professor has unearthed the tomb of a long-forgotten pharaoh of a minor Egyptian dynasty, a cruel ruler whose soul, as the result of a curse, is trapped forever in his body, after having his senses physically removed… first his tongue was cut out, then his ears were cut off, then his nose; they let him keep his eyes long enough to force him to watch them whack his tally (which, I suppose, is where the term “tallywhacker” comes from). The archeologist and his scientific dig-buddies return to the school’s Ancient Studies building, mutilated, mummified (but, then, weren’t they all) king in tow, to better study what is a prime specimen of the ancient art. Of course, the department head is enthralled by the spirit after finding and removing the cursed talisman from the well-preserved corpse, leading to several wickedly violent murders by, not only the mummy, but also the professor. Naturally, one of the professor’s assistants is a beautiful young Egyptologist who just happens to be the spitting image of the priestess responsible for cursing the senseless pharaoh. Oh, yeah… there’s also a chain-smoking, smack-talking modern day reanimated creature in this version.

FRANKENSTEIN VERSUS THE MUMMY (Brandon DeSpain) (publicity still)

FRANKENSTEIN VERSUS THE MUMMY (Brandon DeSpain) (publicity still)

Okay… I couldn’t resist the two-pronged introduction and, while it may seem that I am not a fan of FRANKENSTEIN VERSUS THE MUMMY, it does retain enough of the classic horror movie feel to make it worthwhile… even enjoyable… despite the flaws (most of which will be discussed throughout the course of this review). The two plots weave in and out of each other, leading to the all-too short climactic duel, as the two main antagonists are not only on staff at the college, but are also lovers, reconnecting upon the return of Egyptology professor Naihla Kahlil (portrayed by a magnificent specimen in her own right, Ashton Leigh). The slightly unhinged (at least, in the beginning of the story) anatomy professor is only identified once, as he writes his name on the chalk board as, simply, Professor F. Naturally, Naihla calls him by his Christian name, Victor (played by an equally magnificent specimen, Max Rhyser). As Professor F’s “assistant,” Carter (played to the oily hilt by John Pickett), begins to exhibit more of the homicidal traits that made him perfect for the job, Professor Walton (a VERY creepy performance from Boomer Tibbs… a guy who was obviously built to be in horror movies) is well on his way to becoming the pharaoh’s conduit for collecting human sacrifices and, in general, its all-around toady. With the body count in the Ancient Studies building steadily rising, Carter meets his demise at the hands of Professor F, who certainly knows a good thing when he sees it (or maybe not, since he blew off a date with the delectable Professor Kahlil to work on his pet project), confiscating the felon’s brain to complete his set of human remains and placing it in the cranium of the lifeless creature he has constructed.

FRANKENSTEIN VERSUS THE MUMMY (Constantin Tripes) (publicity still)

FRANKENSTEIN VERSUS THE MUMMY (Constantin Tripes) (publicity still)

Unfortunately, for Victor, Naihla follows him to his sewer sanctuary, where his experiments have all taken place and where the VERY upset Carter discovers what he has become. So, distraught and confused, Naihla decides to clear her mind with a visit to the mummy, Userkara (a combination of digital trickery and an amazing make-up job on actor Brandon DeSpain, courtesy of writer/director/special effects make-up artist Damien Leone). Walton, having fed the pharaoh’s need for blood, is caught off guard by her sudden appearance and, more so by Userkara’s fascination with the beautiful Egyptologist… it seems that he believes her to be the sorceress who cursed him to an eternity stuck in his current form. As things go from bad to worse – in the sewer and in the examination room – Carter, in the body of the creature (Constantin Tripes in a make-up that leaves something to be desired), has beaten Professor F and chained him to some pipes (the very pipes the professor had only recently chained the Carter creature to) and is off to exact his revenge by raping and pillaging Professor Kahlil; while this is happening, Naihla has convinced the pharaoh that she will remove his curse if he kills Walton (before Walton can kill her), leading to that gentleman’s gruesome demise.

RANKENSTEIN VERSUS THE MUMMY (Max Rhyser and Constantin Tripes) (publicity still)

RANKENSTEIN VERSUS THE MUMMY (Max Rhyser and Constantin Tripes) (publicity still)

Naihla heads for the sewer in search of her beloved (if just a tad maniacal) Victor, Userkara in lumbering pursuit, at about the same time that Professor F’s creature is making his way out of the sewer; naturally, the two monsters meet for an impromptu throw-down. From there, things happen rather quickly, leading to a not unexpected ending (at least, not unexpected if you’re familiar with the nearly 85 year history of the Universal movie monsters). Overall, I gotta say that I found FRANKENSTEIN VERSUS THE MUMMY as much fun as any monster movie I’ve seen in a while but, as mentioned, it is not without its flaws. I’m sure that you’ll pick up on most of them yourself but, there is one that I just have to rant about: Victor’s creation appears unfortunately cartoonish. The facial make-up makes it look like a comedic approximation of the face paint – a skeletal white – worn by ex-Misfit Michale Graves during his tenure in that band and, it looks even worse against the buff and tanned body that makes up the rest of the monster; if the white make-up had been present from head to toe, the effect would have been much better. It may not seem like a big thing, but it was all I could focus on in virtually every scene the creature appeared in. The movie is quite brutal and bloody in parts and, though unrated, should probably be considered at least an “R.” Parents should take that into consideration before buying it or renting it for anyone younger than 17.


IN SEARCH OF THE COSMIC SNAUSAGE: THE GREG MCCRARY INTERVIEW

PART ONE: AN INTRODUCTION (OR, HOW THIS THING ACTUALLY CAME ABOUT)

Greg McCrary creates a unique piece for a fan (uncredited photo)

Greg McCrary creates a unique piece for a fan (uncredited photo)

Sometime after Jeremy and I launched the Mule, we wandered into Star Clipper, a great little comics shop in the Delmar Loop in the University City area of Saint Louis. As fate would have it, there were several members of the creative consortium called Ink and Drink plying their wares out front, as was their wont at least one Saturday a month. We left them our contact info and… didn’t hear anything from them. Fast forward to late December, 2014 and another visit to the Clipper. This time, the sole representative of the comics guys was Greg McCrary, creator, writer and artist of the wildly insane LASER DOG. I cornered him (actually, I walked up to his table and introduced myself) and told him that we were interested in doing a piece on the local scene. He was stoked… I was stoked and, after a couple of small bumps in the road (from both of us), we decided that e-mailing our questions and answers would be the quickest, most efficient way to introduce you to the creative side of the Saint Louis comic book scene. Somewhere in there, Greg mentions that he’ll sell you a copy of LASER DOG if you see him on the street; that’s true. In fact, he’ll draw an entire LASER DOG strip on your arm if you ask him to… that’s how much he loves to draw and create. Ya gotta like a guy like that. Oh, and in case you were wondering, the other guys of Ink and Drink are insanely talented, too. You can check ’em out here: inkanddrinkcomics.com.

PART TWO: THE INTERVIEW (OR, THE RESULTS OF PART ONE)

An original Laser Dog piece (art by GREG MCCRARY)

An original Laser Dog piece (art by GREG MCCRARY)

THE MULE: LASER DOG is like a sci-fi free for all – a little loopy, with a bizarre sense of humor, and yet, there’s plenty there to make you think… little social commentaries rolled into the story and art. Where did the idea for LASER DOG come from?

GREG: The very idea of Laser Dog manifested itself while I was at work. I used to work at Six Flags, drawing caricatures and, during the later years, my time there was quite mind numbing, boring. On one particular day, my co-worker, a very talented artist, Harrison Weathers, was requested by a patron of the park to draw a caricature of her dog from her phone. So, Harry does so and when he was finished, the lady very much enjoyed the picture and paid and left happily. When she left, I turned to Harry and told him, “that drawing was terrible… ” Which he replied, “Yeah, I know. I’m going to try that again.” As he was beginning to draw his second attempt of a caricature dog, it was pretty much turning out to look exactly the same as the first drawing. Harry noticed this as well and gave up prematurely before filling in the eyes. When I saw the empty void in the drawing of that dog’s eyes, it hit me like a kick in the nuts. “It looks like lasers should be coming out of those eyes,” I proclaimed out loud. And, from there, my body took over and colored what has come to be known as LASER DOG. The other co-workers and I were instantly obsessed and we all relentlessly began to draw and write our very own stories of Laser Dog. However, I was the only one out of all of us who was dedicated/insane enough to follow through and make a comic about our obsession, created out of our maddening boredom. (That was very long… sorry.)

THE MULE: Were you one of those kids in school? The one that was always getting in trouble for doodling and drawing and making fart noises to make the other kids laugh?

GREG: I actually don’t recall being that disruptive or getting in that much trouble during my elementary and high school years. Although, I don’t think my teachers were entertained by the idea of me doodling during their lectures. But, I felt that I actually focused more while I was drawing and I listen better, believe it or not. But, I was definitely the wise cracking rascal out of the group and I still do make a fool of myself and love to hear people laugh at my expense.

LASER DOG, ISSUE ONE (cover art by GREG MCCRARY)

LASER DOG, ISSUE ONE (cover art by GREG MCCRARY)

THE MULE: Okay… here’s the major question: What breed of pooch is the cosmic hound? I’m getting the scent of a pekingese or, maybe, a bichon frise.

GREG: Well, Laser Dog is Everything. And yet, he is Nothing. So, I always say that he is Every Breed of Dog. And yet, he is No Breed of Dog (pretty much any question about Laser Dog can be answered through this motto).

THE MULE: You self-publish LASER DOG. What types of obstacles have you encountered with that DIY approach, if any? Conversely, what advantages are there to publishing the book yourself?

GREG: I think the biggest obstacle you face as an indie comic is the budget. I’m responsible for paying for everything so, unfortunately, I can’t print as many as I or the consumer may want. But as far as the benefits, there’s not much pressure. No “real” deadlines and I get the final say. Although, not putting deadlines on your project could also leave you to some serious procrastination.

LASER DOG, ISSUE ONE (page 7, by GREG MCCRARY)

LASER DOG, ISSUE ONE (page 7, by GREG MCCRARY)

THE MULE: There is so much happening in your layouts and art. I was concerned that the digest size may not do your work justice. However, after seeing the first issue digitally at webtoons.com, those scenes just seem to jump off the page… uh… the screen. In a perfect world, what medium does Greg McCrary feels best suits the free-wheeling style of LASER DOG?

GREG: I always imagined it as a comic, but honestly Laser Dog is very versatile. I can see it in any medium: web comic, animation, live action movie/TV show, whatever. And I encourage anyone who wants to see that happen to go ahead and do it. Laser Dog is a free marked; anyone is encouraged to make their own comic, oil painting or marble bust for Lasy-D. Laser Dog is like life, you can’t own it or take possession of him. You can only participate with Laser Dog and I welcome anyone to do so.

LASER DOG, ISSUE ONE (page 14, by GREG MCCRARY)

LASER DOG, ISSUE ONE (page 14, by GREG MCCRARY)

THE MULE: The covers are amazing pieces of art, as well. How do you feel about coloring the inner pages? Do you prefer leaving the inside of the books black and white?

GREG: Well, once again, this goes with budgeting mainly. It just makes more sense that I do black and white because it’s the cheapest and most affordable. I can see LASER DOG benefiting in color; however, black and white is all I can afford. But I love gray-scaling and working with black and white, so it doesn’t bother me too much. But, I can totally understand some people wanting some more visceral stimulation.

LASER DOG, ISSUE TWO (cover art by GREG MCCRARY)

LASER DOG, ISSUE TWO (cover art by GREG MCCRARY)

THE MULE: You’ve published two issues of LASER DOG and a third issue (the conclusion to the heart-stopping two-parter, “The Legion of Mullets”) is imminent. So, where does a fella pick up his very own copy of LASER DOG?

GREG: Well, you could have picked it up at Star Clipper. But, unfortunately, they’re going out of business, so you can only get a copy there before February 7th. I’ll find several locations to sell out of later this month, but you can order issue one or two on indyplanet.com and if you see me on the street, just holler at me and I’m sure I’ll have a copy for you.

LASER DOG, ISSUE ONE (page 22, by GREG MCCRARY)

LASER DOG, ISSUE ONE (page 22, by GREG MCCRARY)

THE MULE: Tell us a bit about your background and other projects. What drives Greg McCrary to do the things he does?

GREG: I graduated from Meramec Community College with an associate degree in Graphic Communications. I drew caricatures out at Six Flags for six years. I really honed my skills working out there, learning the art of exaggeration from a lot of great artists. So, a lot of my influences come from caricature artists: Joe Bluhm, Jeremy Townsend (aka Jert), Tomokazu Tabata. My earliest influence is Genndy Tartakovsky; DEXTER’S LAB definitely was a big deal in my childhood. But, later comic influence goes to SCUD; I love the character designs and the flow of the story and the paneling. But, as far as what drives me to draw, it’s nothing I can pin point. It’s almost as natural as breathing, I just need to do it (it’s more bordering on a curse or a compulsion). But I love drawing. I would die without my art.

LASER DOG, ISSUE ONE (page 23, by GREG MCCRARY)

LASER DOG, ISSUE ONE (page 23, by GREG MCCRARY)

THE MULE: There’s a small cadre of comic book creators in the Saint Louis area. Do you get together, like a support group, to work out ideas and collaborate on projects?

GREG: I’m a part of the group Ink and Drink. We get together and try to produce a comic twice a year. I sometimes get with friends and try to collaborate on a comic, either coloring or doing a cover or helping on backgrounds.

THE MULE: Aside from LASER DOG 3, what can we expect to see from you in the next few months?

GREG: I’m not sure if it will come in the months soon to come but, I’m working on two projects with a couple of friends that will hopefully be printed within the not too distant future. Marie Enger will be helping me out on a comic I’m making called SKITZO. It’s a POKE’MON clone type story, but it’s centered around schizophrenics who battle their illusions instead of creatures. And, I’m writing a story for my buddy, Michael Minter (aka Makuto) to draw. It’s called “Into the Dark.” It’s about a world of magic and three sorcerers that try to master the science that makes up the magic of that world.

LASER DOG, ISSUE ONE (page 24, by GREG MCCRARY)

LASER DOG, ISSUE ONE (page 24, by GREG MCCRARY)

THE MULE: Finally… what, exactly, is LASER DOG LIVE and where can one catch a performance of the same?

GREG: LASER DOG LIVE was an interpretive dance/show, based on the first issue of LASER DOG that my friend, Caitlin Hafer, put on in San Francisco. It was quite a show. Unfortunately, it was only a two night event. There are no plans for a World Wide Tour (at least, not yet). You can take a look at the performance on YouTube if you type in “Laser Dog Live” or, you can look it up on the Laser Dog Facebook page. I have it posted on the wall.

THE MULE: Thanks, Greg, for the peak inside your vast cranial cavity and for the insight into the world of LASER DOG.

GREG: Thanks for your interest in LASER DOG and… never forget: Laser Dog is everything. And yet, he is nothing…

LASER DOG, ISSUE ONE in-house ad (by GREG MCCRARY)

LASER DOG, ISSUE ONE in-house ad (by GREG MCCRARY)


EHMM THEORY, BOOK ONE

(Brockton McKinney/Larkin Ford/Jason Strutz; 129 pages; ACTION LAB COMICS, 2014 – collecting EHMM THEORY, issues 1-4, 2013)

EHMM THEORY, BOOK ONE

EHMM THEORY, BOOK ONE (from Action Lab’s Danger Zone imprint) collects the first story arc starring the recently murdered Gabriel Ehmm and his pet, a kitten named Mister Whispers, which died from starvation after Gabriel’s death. “Cat, Quantum and Contrition” starts, fittingly enough, in a cemetery filled with killer midget clowns, three days after Ehmm is shot by his jealous girlfriend. From there, the story starts to get weird. Gabriel – and by extension, Whispers – finds himself on a kinda existential journey of self-discovery involving talking animals (including the ball of gray fur sitting on Ehmm’s shoulder), murderous senior citizens, Saint Peter and his gas chamber teleportation device (except not really), deadly cyborg crustaceans, a team of oddball super heroes (who really aren’t), multiple realities and, of course, those knee-gnawing zombie midgets! In other words… What’s not to like?

EHMM THEORY, BOOK ONE: Issue 1 cover, page 18 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

EHMM THEORY, BOOK ONE: Issue 1 cover, page 18 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

After the brief introduction (which comes back around), writer Brockton McKinney brings things into focus where the whole thing started – Gabriel Ehmm’s origin story, if you like – as our intrepid hero returns home with a surprise for his girlfriend, Stacy; she, of course, has a surprise for him, too. Soon, Gabriel wakes up dead, with the adorable Mister Whispers sitting on his chest, asking “You okay, dude?” The befuddled pair are soon joined by a cigar-chomping Mafioso-looking guy, nattily dressed in white and sporting a well-trimmed white beard and perfectly quaffed and ponytailed white hair. Why would they question such a being when he introduces himself as God’s gatekeeper, Peter? Which brings us back to the beginning and the graveyard of tiny terrors. Gabe and Whispers are overpowered by the zombie horde and saved by an ax-wielding senior citizen, a woman named Alyona Tarasov who knew Gabe’s birth father and, so… the ride of Gabriel Ehmm’s young unlife is about to begin. A quick note about Larkin Ford’s artwork (and the besutiful color work by Jason Strutz) is necessary here: It is absolutely mesmerizing, especially the cemetery sequences and the murder sequence. This initial chapter (the first issue of the series) can be a bit confusing, with enough twists and turns to make your head spin but, with a promise that all eventually will be made clear, we move forward.

EHMM THEORY, BOOK ONE: Issue 2 cover, page 11 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

EHMM THEORY, BOOK ONE: Issue 2 cover, page 11 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

And, indeed, as chapter two opens, we find Gabe, Whispers and Alyona on the road, seeking the father he never knew, as the old Russian explains her relationship with Aaron Ehmm and why she didn’t bat an eye at the dead talking cat. It seems that she and her sister, Dominika, first met Aaron at college in 1982, where the brilliant young Ehmm was turning the heads of students and faculty, alike. A professor’s tale of a talking rabbit he encountered at the South Pole began to consume the elder Ehmm. Before Alyona could continue her story, the car is set upon by a giant, cybernetically-enhanced crab in another well-drawn sequence. The action comes fast and furious as, with the Russian being poorly over-matched, GODD shows up. Wait… who? The Guardians of Dimensional Defense, three super-powered beings and a pair of intelligent robots: Mindwolf, the team leader, who introduces GODD as “the good guys; the Thermal Ghost, a being of blue flame; Alchemist, who looks like a shabby, shaggy mummy; the Emp, a foul-mouthed, smart-aleck little robot, who’s kind of a cross between HERBIE (from those crappy old FANTASTIC FOUR cartoons) and Skeets (from the not-crappy BOOSTER GOLD comics), who has a serious problem with Mister Whispers (there’s a wicked funny exchange between the two); and an impressive looking female ‘bot called TAMMI (which stands for Technologically Advanced Mechanized Military Instrument). While Gabe and Whispers are dutifully impressed and more than ready to accept the team’s help, Alyona isn’t so easily swayed and pretty much tells ’em to take a hike. The final two pages of this chapter reintroduces “Saint Peter” and the true villain of the piece… ah, but that would be telling, wouldn’t it? McKinney, aside from writing a really great fight scene, has begun to unravel the plot twists with more answers promised for the third installment.

EHMM THEORY, BOOK ONE: Issue 3 cover, page 12 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

EHMM THEORY, BOOK ONE: Issue 3 cover, page 12 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

That third installment starts with another beautifully rendered sequence, as Alyona relates more of the story: Aaron, Professor Lanny Crowell (who had seen the rabbit at the South Pole), Dominika and she had traveled to the Pole in search of a possible reason for the talking bunny. What they found was a dimensional anomaly… a portal to other worlds and other realities. Again, the story is interrupted, though not in a fashion as dramatic as a cyborg crab and a super-powered dust-up. The trio has arrived at their destination: Jon Kaye Town Hospital, where an old friend of Ehmm the elder currently resides. Spoiler alert: Tym isn’t the drooling husk in the wheelchair. So, Tym joins the group on their journey and relates more of the story, with more talking critters and the introduction of Gabe’s mother, the Princess Emera, from an alternate dimension… the very dimension the portal chose to spit Aaron into. Tym’s story ended, the four arrive at the last known residence of Aaron Ehmm, where Gabe has a total meltdown at the prospect of seeing his father for the first time. From here, things are brought into clearer focus as the good guys begin to separate themselves from the bad guys, with the unexpected return of Gabe’s girlfriend, Stacy (who has, by this time, gained an “e” to become Stacey), and another wicked fight sequence between GODD and Alyona and Tym, ending in what, I suppose, would be called a “double betrayal.” Another well-written, beautifully rendered installment ends with an exploding door, an injured Alyona and a shotgun wielding Aaron Ehmm.

EHMM THEORY, BOOK ONE: Issue 4 cover, page 12 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

EHMM THEORY, BOOK ONE: Issue 4 cover, page 12 (Written by BROCKTON MCKINNEY, art by LARKIN FORD and JASON STRUTZ)

So, the fourth and final installment (issue four, if you’re counting) isn’t the action-packed throw down that you would expect… not to say that there isn’t an action-packed throw down, there is and, all you really need to know is this: “Robeartopus!” It is every bit as mammoth and weird as it sounds. There is plenty of exposition, explaining the whys and how-fors of everything that has happened and is happening. But, even so, you will find yourself so engrossed in the story and art that you’re really not even aware that every third panel isn’t some scene of carnage and mayhem. This issue is so densely written, with everything explained (while also setting up the next story arc), that I really can’t reveal much without spoiling the end of one of the most adventurous story-lines in comics history. Yeah, yeah, yeah… I know… hyperbole much? Well, boys and girls, I suggest you pick up this collection and decide for yourselves. Now… here’s the one problem with EHMM THEORY, BOOK ONE: The story and art are exemplary but, for some reason that eludes me, EVERY page from the original single issues is included here. That means that at the end of each installment, there are pages of in-house advertisements for then-upcoming Action Lab releases, including the next issue of EHMM THEORY (a total of at least 12 pages over-all). A minor complaint, but one that really seems to annoy me with all of the company’s collections. Both physical and digital copies are available at the Action Lab site, at ComiXology or, even cooler yet, visit your local comic shop.