43.13: Horns, by Joe Hill (paperback 2010)

I've been on a Joe Hill kick lately--reading all three of his novels in the last month. Horn's is his second novel, and it's actually my favorite of the bunch. It tells the story of Iggy Perrish, a young man who is the prime suspect in the murder/rape of his girlfriend. Without enough evidence to find him guilty, he is released to live his life under suspicion. One morning, however, he wakes up with the power to touch people and know about their past transgressions--and folks are compelled to share their darkest secrets with him. The results are both enlightening and horrifying, leading Iggy to the truth about what happened to his love. It's a compelling read, and one that kept me up reading well past my bed time.

41.13: Locke and Key (Volume 5): Clockworks, by Joe Hill (author) and Gabriel Rodriguez (artist) (2012 Trade hardcover, issues 1-6)

This is one of the most unsettling comics I read. The Walking Dead has zombies and The House of Mystery has surreal and dangerous characters, but the seemingly normal backdrop on which the magical premise of this series--a Keyhouse, with keys that unlock magical powers only for for children--is set, can prove both comforting and disturbing. Volume 5 takes readers further into the world accessible through the keys, as the Locke children confront their nemesis by venturing into the past with the Timeshift Key. This key allows them to see the history of the keys, including the role they played in their  father (deceased) and uncle's lives. Since all memory of such magic is erased once children leave the house and enter adulthood, these stories have been lost between generations, and Tyler and Kinsey's knowledge of their past use may offer the best hope for their own futures, and that of their little brother Bode.

When I picked up this trade, the clerk at the comic shop said something about the end of the series. I truly hope he was mistaken--or that we have at least one more story arc to come--as it's hard to imagine this world concluding at this point of the narrative. Stay tuned... 

39.13: Heart-Shaped Box, by Joe Hill (paperback 2007)

This is Hill's first book, and for an author's debut novel, it's not bad. Truthfully, though, if this was the first Hill book I had read--if I wasn't already a fan of Locke and Key comics and hadn't read his most recent novel--I may not have picked up another of his works. The book is average in development, although it gains momentum as it continues. I felt that the writing even improved within this one novel; at the beginning, I skimmed whole pages or sections I found extraneous, but later in the book things seemed more focused and relevant. I'm looking forward to reading his second novel, Horns, and watching him grow into the skilled author he becomes by NOS482.

34.13: NOS4A2, by Joe Hill (2013 hardcover)

I'm a huge fan of Joe Hill's Locke and Key comics, so I picked up his latest novel. Like his father (Stephen King), Hill is a remarkable storyteller--even of stories that are hard to engage in at first contact. I struggled to connect in the first 50 pages, but after that I couldn't stop: creepy but compelling, with great characters and surreal plot. (I'm catching up on my neglected blog, so these are short entries. Post a comment if you read the book--or are interested in doing so--and I'll share more!)

20-22.13: We Find Ourselves, A Larger World, and Something to Fear (Walking Dead Volumes 15-17), by Robert Kirkman, Charlie Adlard, and Cliff Rathburn (v 15 and 16 ComiXology digital versions; v 17 2012 trade paperback)

Many folks are familiar with The Walking Dead television show that debuted on AMC in the fall of 2010 with a short 6-episode season that has been renewed for two longer seasons since then. A portion of those viewers may know that the show is actually based on this graphic novel series, but I'm guessing that even fewer of those people have actually read the comics. I'm on the other end of the spectrum: a long-time reader of the comics that has not yet watched the TV show. It's in my sights, and I've recently set our DVR to record episodes that play, but I am still resistant of watching the TV show. Like most book-to-movie leaps, it has the danger of being disappointing: characters who aren't the way I imagined, changed plot lines, and too much focus on different elements. 

And, quite frankly, I'm pretty happy with the way The Walking Dead comic series has developed. Sure, a lot of folks may dismiss it as just another of many things written about zombies, but it might be worth pointing out that the book really isn't about zombies: it's about humans managing to live in a world where zombies exist, and that's not a very easy thing to do. As a  result, the characters developed in this series are interesting, resourceful, violent, and loving. Sure, I can get all metaphorical about the idea that all of us face zombies of some sort at some point of our life--and many are unfortunate enough to face off against monstrous things for long periods of time. But, you, my readers, are intelligent humans and know this already. 

By this point in time, the series is well underway, and volume 17 passes the magical 100-issue mark. I have reviews of a couple earlier trades posted here and here, but I was already on to volume 13 by the time I started this blog. You're simply going to have to trust me on the fact that this series is worth the time and effort involved. Plus, you won't have to wait between issues and trades if you do start now: you have an entire 102 issues to enjoy. Unless you're afraid, of course.

9-12.13: Welcome to Lovecraft, Head Games, Crown of Shadows, and Keys to the Kingdom (Locke & Key Volumes 1-4), by Joe Hill and Gabriel Rodriguez (2008, 2009, 2010, and 2011 trade hardcovers)

I picked up the first trade of Locke & Key at one of the first two Comic Cons I attended. Like a lot of my early comics, I started it because my sister Sarah recommended it. I remember finding the series interesting, and I read the first two volumes relatively quickly, but as I picked up more and more comics of my own, this one got side tracked a bit. However, at Comic Con 2012 I encountered Joe Hill, author of the series, when I attended a panel he sat on with Margaret Atwood (my favorite author of all time). I found him funny and interesting, so I decided to attend the panel he and Gabriel Rodroguez were holding and reacquaint myself with Locke and Key. Seeing the dynamic relationship and enthusiasm the pair had for the series--as well as how much the attendees admired the series--resparked my interest in reading it. Just after Christmas, I received a big box of comics I had ordered from Amazon, and volumes 3 and 4 were among them. Since it has been some time since I read the first two volumes, I decided to begin anew and read the series from the beginning.

Locke & Key is a horror comic that tells the story of a family beset by tragedy, beginning with the death of the male head of household. The first volume of the comic sets the premise, wherein a mother and her three children move to the east coast to live in a huge old house, full of mysteries. The mysteries relate to a collection of keys hidden throughout the house that open doors in unexpected ways. For instance, the first key young Bode finds and uses opens the Ghost Door: pass through it, and your ghost leaves your body and can travel unseen just about anywhere; return through the door and into your body. Each volume of the series focuses on a different key, woven within an overall story of magic, horror, violence, intrigue, and everyday life. The tale is extremely well told, and the premise that adults are unable to see and/or accept as real any of the magic created by the keys raises questions about imagination, age, and the line between real and imagined. Rodrigiez's art is beautifully detailed, providing a believable setting for improbable events. I'm happy I reconnected with Locke and Key, and I recommend it to mystery and horror enthusiasts.

5 and 6.13: Conception and Desolation (House of Mysteries, Volume 7/issues 31-35 and Volume 8/issues 38-42), by Matthew Sturges, Luca Rossi, and Werther Dell'Edra/Jose Marzan, Jr. (2011/2012 trade paperbacks)

Every time I pick up a new trade of this series, I consider going back to the beginning to read it again--perhaps a bit more carefully. It's complex plot and large cast of characters make it challenging to keep track of of what's happening. When getting screenshots of the cover photos from Amazon to make this entry, I found that my feelings are not unique. Customer reviewer Garietta Falls said, "I really liked this series in the beginning, but I am beginning to wonder what the point is. The story, concerning Fig usually, makes large jumps that are hard to follow." In Volume 7, the story quite literally jumps, as the house lifts off its foundation, leaving everyone but Fig and Cain behind. This provides the opportunity--or, as it so often turns out in House of Mystery, the challenge--of following multiple plot lines within what would more usually be a single story arc. In this case, we alternate between Fig and Cain's struggle through a series of increasingly smaller houses that reveal parts of her earlier life; the choices the characters left behind make in order to occupy their time and continue their lives; the efforts of her (estranged, and possibly dead) brother, father, and grandfather to find (and maybe kill?) their sister/daughter/granddaughter; and the origins of the still bizarre and increasingly confusing, creepy couple called the Conception. It's become equal parts confusing and compelling. Another Amazon customer reviewer, Jason Upton, explained, "The story started strong and now feels like there's no plan. It jumps around without following the stories teased out. I'm hoping the next one is better or I'll have to move on." I'm right there with him.
 

In fact, I'm just starting Volume 8 now, so you'll have to wait a short time to see what I conclude!

Update: It looks like Garietta, John, and I were not alone in our struggles to stay engaged in an increasingly pointless plot. Volume 8 of House of Mystery starts out with a typed summary of all seven previous trade collections, hitting on the main points that create a consistent storyline--but leaving a heck of a lot out. When it gets boiled down this way, it easier to see what the underlying premise is. However, it would have been much simpler to keep that idea at the forefront all along rather than cluttering it up with extraneous side plots. As it turns out, I need not worry about whether or not to continue with the series, as Volume 8 appears to be the end. And, while I can't say that it was tied up nice and neatly, at least there was an effort to conclude in come way that made sense of the whole thing. Overall, I wouldn't recommend this series unless you are a diehard horror comic fan, and even then I'd say you may want to stop after trade 3 or 4--when the ideas are still fresh and interesting but haven;t yet become a tangled mess.

1 and 7.13: American Vampire, Volume 3 (issues 12-18) and Volume 4 (issues 19-27), by Scott Snyder, Rafael Albuquerque, and Sean Murphy/Jordi Bernet (2012 hardcover trades)

These are the third and fourth trades in the American Vampire comic series, so it's a good idea to check out my reviews of the first two volumes at this link if you're interested in the saga's background. (Reviews will be in reverse order, so start at the bottom of the page for the earliest.) Asa I explained earlier, I originally picked up the first trade because Stephen King was involved, but the series continued on (improved) without him in the second volume and continues to build strength in these collections. One other thing I really like about the series is that each trade consists of 7-9 single issues--often comprising two story arcs--which makes the investment in the hardcover releases less daunting. 

Volume 3 begins with a single issue starring Skinner Sweet, the first vampire of the American species, who settles some scores in the old west. From there, we move forward in time to World War II, first with a story arc entitled "Ghost War" starring Pearl (Skinner's first offspring), her husband Henry Preston (of the non-vampiric persuasion), and Skinner Sweet. In this tale, the Japanese are breeding a line of vampires to take on the Allied forces, and Henry and Sweet (posing as a human soldier) are dropped onto the breeding island with a special force to battle the evil military scientists. Of course, as these things go, even if this wasn't Japan, it would be an island, wouldn't it? Where would evil scientists be without islands?  

The second story arc in Volume 3, entitled "Survival of the Fittest," involves the same war and the Axis/vampire alliances, but this time a couple years earlier--and behind the German lines. I mean, if the Japanese are breeding vampires, we must assume that the Nazis have even more diabolical plans. In this case, two agents working for the Vassals of the Morning Star--a secret agency seeking to eliminate vampires--head to Berlin under the premise of supporting the research of Dr. Pavel, rumored to be developing a cure for vampirism. Their cover is easily blown, and the two enter into a fight for their lives--and likely the lies of all of humanity.

Volume 4 includes stories told in three distinct American time periods: the mid to late 19th century, when pre-vampiric Skinner Sweet was a boy; the late 18th century when the west was being explored; and the 1950s, with new music and big cars. Throughout the book, we're introduced to both a Native American and African American vampire, learn Sweet's origins, and meet a rebel-without-a-cause vampire hunter. One of the things I love about this series is the recursive storylines which move forward and back in time to fill in pieces of the stories that have not yet been told. Albuquerque's artwork is amazing as well, creating distinct settings and scenes across the time periods that assist the reader in making shifts in time. This is both a beautiful comic with a complex plot, and one I highly recommend.

98.11: American Vampire, Volume 2, by Scott Snyder (writer), Rafael Albuquerque and Mateus Santolouco (artists) (trade hardcover, issues 6-11, 2010-11)

When reviewing Volume 1 of American Vampire (link to full entry 46 here), I commented on Stephen King's contribution to the series: "Snyder's chapters are better written. . . . King is a gifted storyteller, and I'm sure that more practice will lead him to excellence in the comic format as well. In fact, the second trade was just released, so I'll soon be able to report on his progress." I'm sorry to tell you this, but you won't be getting that report. Having given his name and clout to the series, it appears King dropped out of the project after concluding the first story arc.  While it's disappointing not to have the opportunity to see King develop as a comic writer, in reality it's not a loss to the series. If anything, the narrative consistency provided by Snyder as sole storyteller--and the high-quality illustration provided by Albuquerque--make volume two of the series that much better than its debut collection.

Having established the premise for a new breed of daytime vampire in volume one, volume two moves forward a bit in time. Still in the American west, the main storyline it set in Las Vegas in the mid 1930s, when the town is beginning its boom in gambling and prostitution in order to meet the interests of the 3,000+ workers involved in the construction of the Hoover Dam. Skinner Sweet is still evil vampire number one, but his progeny, Pearl, lets her claws out after years of domestic bliss, and Pearl's own offspring, Hattie Hargrove, is released from the prison she's been held in for years. With three American vampires on the loose, volume three promises to be killer.

97.11: Safe as Houses, House of Mystery 6, by Matthew Sturges, Luca Rossi, Werther Dell-Edera, and Jose Marzan, Jr. (tade paperback, issues 26-30, 2010)

I almost gave up on HoM after trade five, I must admit. It just got a bit too crazy for me, and that's saying a lot for a series that requires you to accept a LOT of craziness. It wasn't the appearance of sort-of-dead relatives, suicidal (or killed) poets, the fictional becoming real, or a house that is no longer a house that got to me, however: it was the chaos. I felt that I was losing my grip on the story line in the last arc; too many things were happening too quickly for me to follow. I just looked back at my review of trade five (Here's the link if your interested.) and am amused to note that I didn't comment on my befuddlement. Instead, I essentially summarized the basic premise of the series and left it at that. In retrospect, I recognize this as a classic strategy my students used when faced with a challenging task: deflect or backtrack to discuss something with which you are comfortable.

Fortunately, trade six slows down a bit and mainly follows a single story arc, with only a couple of tangents. Sure, that single plot might involve Fig (the main character, whose vivid imagination is responsible for the existence of the mystery house and multiple worlds) and the goblins being called upon by witches in order to defeat the Thinking Man, flying robots, huge carnivorous earthworms (think Dune), and an immense monster dampening the torch needed to keep the Summerlands alive.  And, yes, the victory comes when Turgis, a gay goblin, takes over leadership to lead the goblin army (explaining to the former leader as he kills him, "It takes great strength to be gay in this world.") and Fig invents a "big, swirly, cutty thing" (looking like an immense length of toilet paper with a smiley face on it, no less) to kill the monster. Still, this is imagination and mystery I can wrap my head around and follow, and even the few tangents clarified some loose strands from trade five. I'm glad to have things sorted out now, as the concepts of imagination, creation, and reality that originally attracted me to the series are so compelling.

One thing this experience underscores for me is a major difference between classic and modern comics. While characters in early comics did evolve and plots built, you could pretty much pick up any single issue and have a coherent story to read. This is not the case of most current adult series, which depend on readers having enough back story to muddle through some fuzzy parts, often reaching very-limited conclusions within story arcs. If I had picked up trade five without having read the earlier HoM issues, I would have put it aside within a few pages--convinced it was complete rubbish. And, I would have missed out on some thought-provoking ideas as a result. The bottom line: if a comic series appeals to you for some reason, start from issue one.   

96.11: No Way Out, The Walking Dead Volume 14, by Robert Kirkman (writer), Charlie Adlard (inker), and Cliff Rathburn (gray tones), (trade paperback, issues 79-84, 2011)

It recently become popular as a television show, but The Walking Dead began as a comic series in 2006. (Since I started this blog in 2011, only one other review can be found here, for trade 14.) I started following it shortly after encountering the authors at an Image signing table at Comic Con 2006. What started out from circumstance and curiosity--I was relatively new to comics and testing the waters as to what was out there--has grown into a full appreciation for a well-written and illustrated series.

In this story arc, the uneasy comfort and quiet the original cast of survivors have enjoyed in a walled city is shattered when gunshots draw an entire herd (hundreds) of the dead to their walls. The ensuing gore-fest is action packed. As human and zombie bodies pile up around them, the characters further their lessons of loyalty, risk, survival, and zombie ass-kicking (or skull smashing, as is actually the case). More importantly, despite the carnage and stress, the book ends with a feeling not evident in recent volumes: hope. Ultimately, I think it's that element that keeps readers reading.  And the zombies, of course.

92.11: Full Dark, No Stars, by Stephen King (2010 hardcover)

I'm not a fan of short-story collections, preferring full-length novels because of their richer character and plot development. There are a few authors, however, for whom I make an exception and check out their shorter fiction, and King is among those. I know there are many people who might not accept King's work as serious "literature" because of his frequent forays into the supernatural, fantasy, and flat-out weird, but I strongly feel that's a narrow view--and one all too commonly held when it comes to authors of SciFi and fantasy. In truth, I feel there are few writers today who have the narrative skill and storytelling power King exhibits again and again, across genre and format.

The four stories in this collection (called "long stories" on the book jacket) aptly demonstrate King's remarkable ability to engage readers and draw them through to the plot's conclusion--despite the fact that the tales told are dark and distasteful. As soon as the premise of each story became clear (murder of a spouse, betrayal of a best friend, rape and revenge, discovery of a spouse's horrible secret), I paused to think about whether I really wanted to continue. However, as any fan of King knows, that opportunity to consider turning back came a little too far down the road: having started the trip under King's skillful direction, I felt compelled to see the journey though. Even knowing there were likely no "happy" endings, and further burdened by the fact that there were no supernatural elements (which would at least allow me the luxury to discount them as improbable), I continued to the destination King set. And, as disturbing as those conclusions were, amongst my feelings of relief upon completing the book, I also experienced a moment of joy: the joy of having a light shone into the darkness to reveal what resides there--without needing to investigate it alone.

82: Morning Glories Volume 2, by Nick Spencer (words), Joe Eisma (art), and Rodin Esquejo (covers). (2011 paperback trade, borrowed from Sarah)

In volume one, three teen boys and three teen girls enter Morning Glory Academy, a prestigious prep school with a sinister subplot and faculty.  Alternately fighting for their lives and with each other, the characters are further developed in volume 2, which consists of an "origins" story for each of the six main players.  While the stories do little to make the teens more appealing, they do deepen the evil nature of the school and lead the reader to fear the possible mission these kids could be sent on. It's dark horror dressed up in short skirts and prep ties--a delight for anyone who understands the malignancy of the teen years.

50: Morning Glories (Volume 1), by Nick Spencer, Joe Esima, and Rodin Esquejo (2011 paperback trade)

Comments at a later time.

48: The Walking Dead (Volume 13): Too Far Gone, by Robert Kirkman, Charlie Adlard, and Cliff Rathburn (2010 trade paperback, issues 73-78)

Humans versus zombies.

If you've made it past that bit and are still interested, I suppose I'll tell you a bit more. The premise is pretty standard--something caused some humans to become zombies, and they spread the disease by attacking other humans and eating pieces of them. You've seen it in every zombie book, film, or show. However, this series has been successful, I think, because of the interesting characters developed on the human side. The zombies rarely make an appearance--only enough to unsettle the survivors and complicate their lives.  To survive, the diverse crew of once-strangers must make difficult decisions, trust one another, and seek out ever-dwindling resources.

It's a long, stumbling road to the thirteenth trade, but well worth the journey of you are up for it. I didn't have the chance to watch it, but there was a TV series based on the series that was released last season and got pretty good reviews. Anyone watch it and/or know if it's been picked up for a second season?

47: House of Mystery: Under New Management (Volume 5), by Matthew Sturges, Luca Rossi, and Jose Marzan Jr. (paperback trade, issues 21-25/2010)

The House of Mystery exists at a crossroads between worlds, where creatures and characters from all dimensions, story lines, and fables may gather to relax and have a drink. The price of admission for customers?  Tell a story to the gathered guests. 

For the permanent residents of the House of Mystery, however, things are not so simple.  First off, they are trapped--able to go no further than the yard. They face regular visits from murderous entities; mysterious, faceless couples with unknown goals; and an indifferent fathers who is the house's architect.  Even worse, some find out that they don't even exist outside the house and face disappearance or reabsorption.  

The storytelling nature of this comic series provides the opportunity for a myriad of strange, creepy tales to be intertwined between the lives of the permanent characters: Fig, the heroine; her current love interest/bartender (Harry or Jordan); a saucy female pirate; a tough and sarcastic waitress; brothers Cain and Able, a la Neil Gaiman's Sandman comics; and a homosexual goblin named Tursig.  Occasionally one or two stories wanders outside my interest range, but the ongoing plot always draws me back in, or another traveler will tell a particularly compelling, gothic tale, and I'll be hooked again.  

46: American Vampire (Volume 1), by Scott Snyder, Rafael Albuquerque, and Stephen King (2010 hardcover trade, issues 1-5)

I like Stephen King, and I like vampires, so when I heard this comic was coming out, I eagerly awaited the release of the first trade. In this first story arc, readers are introduced to a particular species of vampire--the American Vampire--through the eyes of a young actress in 1925 Hollywood.  Young, beautiful, and naive, she is the perfect vampire target, so I needn't tell you that it doesn't end well for her.  Of course, I suppose that depends on how you feel about vampires...or becoming one.

In each comic, Snyder and King tell one half of the story, so in this collection of issues it reads as alternating chapters.  While King has had a few of his books made into comics, he's never written a story specifically for the format. Because of this, I'd have to say that Snyder's chapters are better written, but Albuquerque's artwork ties everything together vividly, and the combination of vampire lore and American expansionism is compelling.  King is a gifted storyteller, and I'm sure that more practice will lead him to excellence in the comic format as well. In fact, the second trade was just released, so I'll soon be able to report on his progress.