P o l y g l o t between the two. Becker’s writing is just as interesting, but plotting comes to a screeching halt this issue. Killing Pickman is chock full of references to the great horror flicks of the late ‘70s and early ‘80s. Becker’s reverence for those stories comes through in his writing. Like those films do so well, Becker establishes an ominous tone in which dread is thick enough to hack up with a machete and a collision course with that which is evil, twisted, and horrible is inevitable. This inevitability pushes us through his world with our nerves scraped raw so that the resulting tension is palpable, even when there isn’t much happening. Rea’s artwork is multifaceted and unique. Once again, he composes pages that visually represent the noire tone of the story as well as the derangement of the story’s subject matter. He tends to blur the lines, both figuratively and literally, that separate the panels from the pages, the illustrations from the text, and in some cases the pages from reality. There are panels that are drawn to appear as if they are taped onto the page and there are pages that are drawn as if the panels are mounted on the game of Sudoku being played by the character represented in the panels. The most interesting element of the artwork is the diagrams, notes, and quotes found throughout that provide a literal subtext to the already complex and multilayered story. Some of these are funny, some of these are deranged, and all of them are enlightening. By blurring the lines between written elements and graphic elements, story and reality, writer and reader, and artwork and media Rea provides readers a creatively meta-fictional and fully immersive experience. Killing Pickman issue 2 is another successful example of the quality indie storytellers and artists can attain. This issue has a little less going for it with regard to plot and pace than its predecessor does, but it’s well-written, well-drawn and well-executed nonetheless. I see no signs of a third issue which is unfortunate because Jason Becker, Jon Rea, and the rest of their crew at Archaia Studio Press have a potential blockbuster on their hands.
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This track gradually moves from a airy beginning to slow drums with mysterious (and repetitive) electronic tones, and then erupts into the driving, percussive core of the track. For some reason, I feel that I should like this track more than I do. The "static" effects in the track are what put me off, I think; it almost sounds like a flatulent electrical socket is one of the primary instruments in the heart of the song. I suppose if your three-headed monster breathes lightning, you might appreciate those sound effects. The track is skillfully executed, but I find it to be mismatched with the tone I personally want to set at the gaming table. Then again, I usually play fantasy, not mecha/kaiju games, and that could account for the genre mismatch. Kaiju Rising by Bailey Records http://comics.drivethrustuff.com/ product_info.php?products_ id=77935&it=1&SRC=polyglot Price: $0.99 Rating: 3 out of 5 stars (from Christopher Heard)
In an era when comic books have the same relationship with zombies as ESPN has with football, it’s difficult to find something fresh about the living dead, no pun intended. However, Grim Crew’s Dead Future Issue 1 is an anthology comprised of three zombie apocalypse stories all of which offer an element of originality in this otherwise predictable comic book niche. The first story, Real Monsters, written by Martin Brandt II and Illustrated by Paul Petyo is a tale of day-to-day urban survival in a world overrun by zombies. This segment has all the trappings of the archetypal zombie paradigm as well as a few unique wrinkles. One of these is that the living can go about their business among the living dead provided they don’t upset the zombies’ routines and that these excursions take place during the day time. The most interesting and original aspect of Real Monsters is Paul Petyo’s approach to the illustrations. The panels are essentially photographs in which actors play the characters on various sets. These photographs have been digitally manipulated both to achieve a consistent aesthetic and to realize the details of the world in which Real Monsters takes place. The result is a creepy and realistic post apocalyptic cityscape come to life. The second story, Major Tom, written by Martin Brandt II and illustrated by Martinho Abreu is a conventionally composed comic book narrative the strength of which is its concept. Major Tom and his crew are aboard a space station awaiting word from mission control regarding the launch of a resupply ship. With only 10 days of supplies remaining on the station, time is ticking when the launch mission gets canceled with no reasonable explanation. As the days count down, the dire situation reveals itself to Major Tom. Grim Crew Presents: Dead Future #1 by Grim Crew http://comics.drivethrustuff.com/ product_info.php?products_ id=64482&it=1&SRC=polyglot Price: $0.99 Rating: 4 out of 5 stars (from Jason Thorson)
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