Image © Dark Horse Comics.
A new crime series, as cover featured, begins in this issue, reusing the name of a comics series from the 1940s-50s. Is that a result of Dark Horse licensing the name? If not, do they think it will help sell the feature? In any case, it’s a mob story by Phil Stanford with a very violent and modern feel if you like that sort of thing. The art by Patric Reynolds is kind of loose dry-brush with almost impressionistic coloring by Bill Farmer. Looks a little odd in places, but is generally effective. (The cover art is by David Lapham.)
I don’t care for the next two stories, a chapter of “Aliens” and one of “The Girl with the Keyhole Eyes.” Following those is the beginning of another series, “The Deep Sea” written by Jimmy Palmiotti and Justin Gray, art by Tony Akins and Paul Mounts. It’s about a deep sea research vessel mission from decades ago, as recalled by the one surviving crewmember, who didn’t make the descent into the very deep ocean because he broke his leg in an accident right before the dive. The dive failed, and all aboard were presumed lost, but new evidence seems to suggest something different! Well done, and I think Paul Mounts is a fine inker for Tony Akins, the art looks great.
Carla Speed McNeil’s “Finder” continues to be strange and at the moment baffling, but I like it anyway.
“Concrete Park” doesn’t appeal to me.
Then we have Richard Corben doing a very odd but very Corben adaptation of “Berenice” by Edgar Allan Poe. Loved it.
I’m also enjoying the goofy humor of “Buddy Cops” by Nate Cosby and Evan Shaner, and the unusual horror tale “Riven” by Robert Tinnell and Bo Hampton, which is becoming a psychological horror story now.
Finally we have “Dead Air,” a memoir of sorts by Chad Lambert, with art by Apri Kusbiantoro, about Chad’s career as a radio disk jockey. Entertaining, if not really a story per se.