The Devil’s Cut #1

(W & A) Various

The Devil’s Cut is the first offering from DSTLRY, a new publisher that has the potential to take the comic book world by storm.  Completely independent of the Big 2 or any existing publishers, it has attracted some of the biggest names in comics, and installed them as founders of the label.  They will have complete ownership and control over their creations, and complete freedom to tell the stories they want to tell.  That founding creators line up?  Think Scott Snyder, Jock, Ram V, James Tynion IV, Tula Lotay, Mirka Andolfo, Brian Azzarello, Christian Ward, Becky Cloonan and so many more.  You can see why we as both a store, and as comic fans in general, are excited about DSTLRY.

With The Devil’s Cut, we have an anthology of 11 different stories from these creators, some being set up for their mainline titles that are coming soon, some being a one and done, but all existing as short stories showing off their level of craft and skill.  All wrapped up in one delightfully silly sized square bound comic book.

Anthologies can sometimes be a tough sell, as they are usually higher priced (as is the case here) and can be a bit scattershot in terms of storytelling quality.  There are usually fantastic stories in anthologies but they can often be balanced out by completely forgettable ones.  I have to say that is not really the case The Devil’s Cut, as each and every story had me engaged, and curious as to where they will go next.

It’s perhaps no surprise that my favourite one was Scott Snyder scripted and drawn by Francesco Francavilla (a quick shoutout for the recent Night of the Ghoul, collected in trade paperback by Dark Horse comics, as an example of just how great a team these two make when approaching horror.)  They weave a great tale on an ever-evolving boat, that shows no signs of escape.

We also have Stowaway, written and drawn by store favourite Jock, which is a prequel of sorts to the upcoming first full release from DSTRLY, the simply titled ‘Gone’.  There is a great deal of tension and world building delivered in this short story that has me even more excited for the full #1 when it drops on October 25th.

And a final standout is ‘Waiting to Die’, from the team of Ram V and Lee Garbett.  With the end of the world simply a matter of time (though no-one knows exactly how long, but only that it is inescapable and could be at any moment), what would you do in your final moments.  Who would you want to spend those moments with, and what would they be spent doing?  Very though-provoking, emotional and brilliantly executed.

The Devil’s Cut is the kind of storytelling that I can’t wait to enjoy more of.  They will be fully creator driven, by some of our favourite ever writers and artists, and they will have the freedom to do whatever they want.  There are different genres tackled in each of the eleven stories presented here and there really is something for everyone.  The larger format for the book means the art can be as experimental and rich as the artists want, having that bigger canvas to paint on.

We have a couple of copies left in store, only because I ordered big on it as I think this is the start of something special.  They have already stated that this will be a single print run, not to be collected in any other format again, so don’t miss out.  2024 really does have the potential to be the year of DSTLRY.

The Penguin #1 Review

 

(W) Tom King (A) Rafael de Latorre

Tom King just can’t stay away from the world of Batman can he?  And I am all good with that.  However, instead of focusing on the Caped Crusader, he instead is interested in one of Batman’s oldest foes, Oswald Cobblepot.  It’s not a secret that I genuinely hate the portrayal of The Penguin in Batman Returns.  The character of The Penguin should be resourceful, feared, highly intelligent and not afraid of getting his hands dirty, especially if he has to make an example of someone to make a point.  And that is what King and artist Rafael de Latorre establish quickly in this new series.  The Penguin is a man to be feared and by the end of issue 1 he’s out to remind everyone of that fact.

However, where we find Oswald at the start of issue 1 is rather different to what you may expect.  His children usurped his power and he faked his death to get away from Gotham.  We find him in Metropolis, the city of hope to Gotham’s corrupt cesspool.  He has a loving wife and by all accounts seems content.  And none of it appears to be a front.  It all seems genuine.  But can you ever truly leave the underworld life behind, especially when there are people trying to pull you back into it?

What is really striking about the structure of this series, is that King is not interested in this point at Oswald’s internal dialogue.  He is not interested in showing us what he is thinking, instead focusing on how people in his world perceive him. Some of them see a loving husband, a cuddly man.  Some, like his tailor, still feel the gravitas of the man, and live in fear of what he could do, especially when they say the wrong thing.  We get inside the head of a law enforcement officer who believes none of this new life he has set up for himself and that criminals never truly change.  It’s so interesting to see all these different viewpoints of the same person.  And all of them are earned perspectives.

It’s clear from this first issue that the action will shift from Metropolis and inevitable end up in Gotham with a new and improved version of The Penguin, but the journeys getting there is going to be very interesting.

The art team on this book is firing on all cylinders.  De Latorre is perfect at capturing all these different sides of Oswald, whether it kind and caring, or menacing and ruthless, without it ever feeling like a different character each time.  The backgrounds are rich and detailed and the action moves along at a great, but deliberately thoughtful pace.

The colours from Marcelo Maiolo are just as important to the feel of the book, as they capture the mood of each scene.  Whether it’s conveying the bright and hopeful feel of Metropolis, or the barren, gray tones of a police station.  The last few pages in particular are very impressive as we get treated to a demonstration of how dangerous Oswald can be when pushed.

Overall, an absolutely excellent #1 and a series that looks like it will only grow in terms of pull lists in our store as word spreads as to just how good it is.  We started with 8 people on this title requesting the #1, that went up to 14 people for #2 and now it’s up to 18 for #3.  Don’t miss out while we’re still early in the run.  Another home run for the Cult of King!

The Sacrificers #1 Review

(W) Rick Remender (A) Max Fiumara

A new Rick Remender series will always have my attention.  In terms of Independent comics, I’m not sure there has been a writer who has delivered more consistent quality in the last decade, whether it be Deadly Class, Low, Black Science, Tokyo Ghost or Seven to Eternity amongst others, he is an expert craftsman when it comes to world building, and therefore is able to attract the best artists.  The titles I just mentioned include work from Wes Craig, Greg Tocchini, Matteo Scalera, Sean Murphy and Jerome Opena.  Well, you can now add The Sacrificers and Max Fiumara to that distinguished list if Issue 1 is anything to go by.

The Sacrificers #1 opens in the evening on a farm. Against this peaceful backdrop, we hear a prayer thanking the Great Fathers and Mothers for the perfect and harmonious world that is theirs in return for obedience and sacrifice. A family of humanoid birds is seated around the table as the father leads this prayer. This world is not ours, but it is not unfamiliar.

A noise at the window interrupts. It is a young man, and it turns out this is one of the sons. But instead of living with the others, he is banished to the barn. For making himself visible to the family like this, his father storms out of the house, scolds him, and beats him. Why this hostility? Why is he singled out? But at least he is not completely unloved – his little sister sneaks out at night and gives him food she tucked into her pocket at dinner, and she thanks him for some reason.

The scene shifts to inside a castle where a young woman with flaming hair grudgingly studies history. Her skin is grayish, and on her face, there is a lighter mark in the shape of a crescent moon. A bell rings in the distance, and she runs from the library and down to a doorway. In the room beyond, Rokos converses with his mistress, Xia. She is getting jealous of the time he is spending with his wife, Luna. But the Rejuvenation is at hand, and a gala. For this, he must keep up appearances.

Rokos is also aware of the eavesdropper, his daughter Soluna. She is now eighteen and wants to join the gala. He insists she must wait until she is older. He only seeks to protect her. What could be so dangerous about a celebration? She storms out, declaring she is determined to get what she wants. But Rokos must start his work for the day. With much grinding of gears and movement of blazing plasma, it looks like his job is starting up the sun.

Dawn comes to the farm. The mother sniffles into her pillow. Couldn’t their son have had one meal in the house with his family? The father goes downstairs and sits in silence. Then the smaller children see something out the window. A couple of strange beings are there with several children in irons. One of them, perhaps a priest of sorts, says it is time for the harvest. The father states they have no sacrifice to give – he died. But he is stared down. He brings the boy from the barn. It is a difficult parting. Even though he has been ostracized, none of the family really wants him to go. But the only other option would be to give up a different child.

Remender is exploring the age old question here of what would you sacrifice for peace.  Is sacrificing the few acceptable for peace for the many?  How do you live with that decision?   And having read further ahead to issues 2 and 3, I can tell you that there are many twists and turns to this idea, and whether the sacrifice is all that it seems.

The art by Max Fiumara is immediately striking.  It is detailed and rich in texture and depth.  It is a world that is definitely not ours, but it is familiar enough that we feel straight at home with how it all works, certainly with regards to the farm.  Rokos castle feels grand and otherworldly, and even a little steampunk in terms of aesthetic.  The character designs throughout are varied and interesting.  It achieves a hell of a lot in one single issue, and again it only gets better as you read further issues.

Highly, highly recommended.