Theron Couch
Looking to try new indie books? Mad Cave Studios has these first issues and graphic novels available for pre-order in September.
The Phantom #1
W: Ray Fawkes | A: Russell Olson | L: Taylor Esposito
THE GHOST WALKS AGAIN! The Phantom returns! Created by Lee Falks in 1936, the Phantom is one of the first costumed super heroes in history, with untold influence on pop culture. Now, critically-acclaimed creators Ray Fawkes and Russell Olson revive the character for fans old and new. When a violent gang of smugglers stubbles on an idyllic Bandar village, the peace that the Phantom has brought to the African nation of Bangalla will suddenly shatter. It will take all of the Phantom’s many skills — and allies — to restore it. The most exciting series of the year starts here!
This feels like a blast from the past in many ways. Olson’s art is reminiscent of classic Phantom comics, especially where the titular character is concerned. There is some additional detail relative to the character’s earliest appearances, but none of the art would be considered “updated” in any meaningful way. None of this is to say that Olson’s art is of poor quality or somehow not up to the task. Characters are still expressive without being exaggerated (which can sometimes be a problem with limited facial detail). Additionally, the action throughout the issue is dynamic. This minimalism is a double-edged sword. On the one hand, additional detail could add intensity to a classic character being presented to a modern audience. On the other hand, it allows The Phantom to retain a timeless quality.
The Phantom #1’s story feels similarly classic for most of the issue. The final pages ratchet up the tension considerably, though. And Fawkes delivers more character oriented sequences which prove to be the highlight of the issue. Despite the fact that this issue isn’t the most gripping out of the gate, by the time it’s over, the Phantom and the story is compelling.
Updated classics seem to be all the rage right now. The Phantom definitely fits that bill. But readers should expect, at least at first, something that hews more to the classic than the modern.
Final order cutoff: September 1 / In stores: September 24
Gunpowder Prophets #1
W: Justin Jordan | A: Patrick Piazzalunga | C: Roman Stevens | L: Taylor Esposito
Huck and Marley help people for money. Well, in theory anyway… For some reason, their ‘help’ always seems to involve massive amounts of property damage, a somehow guaranteed collision with the supernatural, and if Marley has his way, a huge body count. They’re the Gunpowder Prophets, and a simple job rescuing a girl from a backwoods cult turns weird when the super groovy leader’s supernatural powers turn out to be very, very real. It’s seventies-style horror mixed with grindhouse action in Gunpowder Prophets. Gonzo over-the-top action horror from Justin Jordan (The Strange Talent of Luther Strode), Patrick Piazzalunga (Monsters are My Business), Roman Stevens, and Taylor Esposito.
Gunpowder Prophets #1 opens with a strapped-down Huck smiling at the prospect of being cooked and eaten. That one moment sets the tone for a wildly off-kilter and unapologetically gore filled adventure story. Huck and Marley make for a strange duo with one coming perilously close to being a charmer while the other is a much quieter and much larger man who would just as soon stick a knife down someone’s throat. The supernatural elements are limited in this issue, driving curiosity for future installments more than contributing heavily to the story at this point. In that way the horror elements here are more slasher/gore than anything else.
Piazzalunga straddles the line between true slasher-horror and camp from first page to last. Part of this, again, is Huck’s introduction on the first page. He’s not really smiling, but he does appear very unconcerned. The gore is exaggerated which is where the issue leans toward campiness. But because the issue knows what it is, the campier moments are welcome (as opposed to a book trying to be so overserious that it falls into unintended campiness).
This book is a winner for anyone who likes bloody, campy horror. Perhaps the best part about it is that it knows it’s over-the-top. That opens up tremendous creative freedom, and it’s hard not to wonder where the series will go next.
Final order cutoff: September 8 / In stores: October 1
Xero
W: Vaho | A: Felipe Flores | L: Felipe Flores
The adventures of Xero center on his search for his half-forgotten and pregnant girlfriend, Donna.
What’s worse is that he’s stuck in a doomed reality he doesn’t even know he’s trapped in: a subterranean Mall designed to incubate humans until they are sacrificed.
As Xero pursues Donna, he unravels a monstrous conspiracy spanning back before an apocalypse he does not even know happened.
Xero discovers that his life in the Endless Mall is really just a waiting game in a sacrificial bubble. His plunge down the rabbit-hole will lead him further away from his droll, comfortable life and challenge him to fight against this mega-structure and the malevolent forces behind it.
There is a lot going on in Xero, some of it good and some of it less so. The story is full of dystopian tropes, some so recognizable that it feels at times as if Vaho lifted whole storylines from existing books or movies. The original narrative elements that are present can easily get lost if readers start comparing Xero’s overall story to other dystopian works rather than judge the story on its own merits. Within that framework, though, there are some compelling existential ideas. Freedom from a constrained system that invites complacency is a key theme. Another significant one is an individual’s need to form connections.
Flores’s art and color choices lean toward a pop art sensibility without living entirely within that world. In some ways the lively art runs counter to the main character’s heavily introspective inner monologue. That is not to say that there is a push and pull of story versus accompanying visuals. Nor is the entire book an exercise in juxtaposition. But the art is a definite highlight and at times saves the story from getting lost in narrative ostentatiousness.
Xero is a worthwhile read when all is said and done. Many story elements are derivative, but the original elements are intriguing and the titular character is compelling. It’s important to note that Vaho includes a one page foreword that describes a personal belief that might be intended to influence the interpretation of the story. Readers interested in shaping an independent opinion of Xero might find it best to skip the foreword until after finishing the story.
Final order cutoff: September 15 / In stores: October 8
Temporal #1
W: Stephanie Williams | A: Asiah Fulmore | C: DJ Chavis | L: Becca Carey
Once upon a time, Savannah and Marcus were the most skilled temporal thieves in the business, slipping through history to acquire rare artifacts. That was before they settled down, had a son, and built a quiet life together. Ten years later, as their son Harper celebrates his birthday, Savannah questions whether suburban bliss is enough. When Harper’s disappointment over a replica gaming console triggers memories of her former life, Savannah makes a decision that could jeopardize everything she and Marcus have built. Against her husband’s knowledge and her best friend’s warnings, Savannah steps back into the portal for ‘one last job’ – a simple mission to retrieve an original gaming console from the past. But nothing stays simple for long in a business where time is money.
From acclaimed writer Stephanie Williams (NUBIA & THE AMAZONS, MOON GIRL AND DEVIL DINOSAUR: WRECK AND ROLL, THE RAVEN BOYS GRAPHIC NOVEL ADAPTATION) and rising comic artist Asiah Fulmore (AMETHYST: PRINCESS OF GEMWORLD and BATMAN: THE BRAVE AND THE BOLD) comes a thrilling new limited series about family, identity, and the dangerous allure of who we used to be. TEMPORAL explores what happens when your past and future collide—and the ripple effects that follow when you steal more than just objects from history.
Time travel notwithstanding, this first issue is reminiscent of many stories of a criminal leaving the life to have a family (or such other reason) only to find an excuse to get back in. Williams does a good job building up Savannah’s relationship to her family in the limited space available. From this one issue, though, it’s unclear how reluctant Savannah really is to get back into life as a thief. The time travel comes off more as a plot device to make this story stand apart from similar ones. Williams doesn’t invest space in this issue to build up the world.
Fulmore is a particular master of facial expressions here. Temporal #1 is a sequence of relatively ordinary moments and is driven mainly through dialogue. At times Fulmore’s depiction of characters’ expressions and body language is spot on with what they’re saying. At others (primarily scenes with Savannah and her friend, Jamie), it runs counter to the dialogue, suggesting incredulity at Savannah’s expressed motives and goals.
Temporal #1 lives or dies with its perceived potential. The issue’s ending leaves open infinite possibilities for the series. Savannah is developed just enough to get readers interested in her, whether it’s because they believe everything she’s saying or highly doubt her sincerity.
Final order cutoff: September 15 / In stores: October 8
War Wolf #1
W: Steve Orlando | A: Marco Perugini | C: Pascal Tora | L: Lucas Gattoni
After he fends off an alien invasion, Thomas Bruin goes from a nobody security guard to Earth’s greatest hero! He’s got a supercharged launchpad and no ceiling. Bruin rises from celebrity to congress, then to the head of the planet’s first orbital security force. He’s married into one of the country’s most powerful political families, he’s surfing a wave of endorsements, and he’s the very symbol of human resilience. So why is Bruin nervous? Because only he knows his great victory is a lie. When the aliens return to Earth, stronger than ever, Bruin has no choice but to be the hero he’s fooled the whole world into thinking he is…or die trying.
This is a strange blend of serious and fun that shouldn’t succeed but somehow does. The issue opens with four pages of what would be considered a midlife crisis if it wasn’t for the fact that Bruin started having it as a teenager. In a lot of ways this opening belongs in another comic. But Orlando successfully balances it with over-the-top action for the entire rest of the issue–a kind of wishfulfilment for Bruin that actually happens. Later on, after the action has gone on for quite some time, the issue starts to stray into ridiculousness. But it somehow works as the natural endpoint of Bruin’s journey.
Likewise, Perugini’s art balances the relatively normal appearance of human characters with extreme action that might be considered slasher horror if it were human on human. Bruin’s facial expressions get intense but never stray into over exaggerated territory. This is in contrast with the action that would be at home in the most gratuitous superhero comic. It’s a strange juxtaposition that somehow works.
War Wolf #1 has no business working as well as it does. Trying to blend genuine real world serious character angst, over the top impossible action, and true ridiculousness into a smooth reading whole is not easy. But it succeeds here and promises a fun, off-kilter, and somehow very human story.
Final order cutoff: September 29 / In stores: October 22
