I doubt they will have made shedloads of copies of such an expensive item, but at the same time I would be very surprised if it sold out so quickly that you couldn’t get copies within a couple of months after release. Amazon UK still has it in stock and available to ship immediately.
Have you had the chance to read Royal City yet, Robert?
I hope you enjoy it
I think Kek-W & Dave Kendall managed to pull off a pretty unique atmosphere in that series. Not easy to do in a horror comic.
I have not. It doesn’t really look like my cup of tea.
Knowing what you tend to like I don’t think it is either.
I think @Christian might dig it as it is more a ‘slice of life’ book with maybe a small supernatural element.
Oh I’ve read most of the series up to the current bits right now. It’s what’s gotten me back into checking out some more recent Progs after a long while of falling off after Trifecta.
I think it’s pretty fantastic.
I did not know this.
I’m a huge admirer of early Image. I know a lot of it was terrible, but the energy and excitement still takes me back to being 13.
I forgot, I also read Shade the Changing Girl Vol. 1.
I liked it a lot at first, and then less and less when I realized it wasn’t going anywhere. All of these Young Animals books I’ve read have been weird and creative in that early Vertigo way, but they forget one thing: those early Vertigo writers could tell a freaking story. Sure the books were sometimes “weird” but within 2 issues you’d have heroes you can love, villains you can hate, and clear goals that kept you turning the page. The Young Animal line, as nice as it can be, seems to have forgotten that.
So, cool art, some inventive elements, but I won’t be reading on.
Yeah this is it exactly
Did you spot the trillium reference ?
Yeah it’s awesome
I had a long chat with Kek at the 40th anniversary - he was a really lovely guy
Totally with you on the Young Animal comment by the way
Such a pity
That’s great to hear.
The series is just completely off putting and eerie in all the right ways without losing the sense of camp that I always liked about Deadworld previously.
The line “Help! They’re trying to keep me alive!” solidified it as an instant favorite of mine.
Also, thirded about that Young animal sentiment.
Yeah, it very much sounds/looks like my cup of tea. Cheers for the note, I just ordered the trade.
I’ll keep the kettle on the boil. Cuppa tea is the perfect, fortifying accompaniment.
On the surface it’s deceptively delicate as the artwork but it will give you pause; it lingers. Ghost-like and unsettling rather than simply supernatural. It’s all about the history lived and experienced as opposed to the history read or tamely re-enacted on screen. Not all in the past can be truly tamed. The characters carry it, like the town itself - a further character - it all carries on. Carry on, my wayward son. You’ll need that cup of tea.
It’s all in the title: a depressive, disquieting Royal City that doesn’t hinge on kings or queens or dates, but the quiet, not so insignificant “small”-town folks. It’s Stephen King-like.
It’s Twin Peaks-esque lurking behind the white picket fence facade.
For me it lacked that indefinable x-factor 100 Bullets had. That there’s been bugger all info about continuation doesn’t incline me to giving it a second chance.
12% off at wordery using graphic24
Too bad they’ve screwed around with it by requiring at least two books to be bought, with cash taken at point of order, a week and a half ahead of Black Friday.
William Gibson’s Archangel. Starting in the year 2016, but the world is a burned out husk, and with far more advanced technology than we’d recognise, the action quickly flips to post-VE Day Berlin, at the point where the ruined city was a playground for spies, with the so-called allies all jockeying for position in the ruined capital. Turns out one of these worlds is not our own - in a last-ditch attempt to survive, the people of 2016 have built a machine called The Splitter, which has created alternate universes that diverge from theirs at subtle points, and the Vice-President of the US has just had cosmetic surgery to match his grandfather’s appearance, and has been sent to the alternate 1945 to guide this world to match the one they’ve destroyed, only maybe they won’t do that last part? But there’s a resistance movement looking to put a spanner in the works - that doesn’t quite work out, and a pilot from the future winds up working alongside some 40’s spooks, and insanity ensues.
Gibson has played around with alternate universe stories going back to his early career - his 1981 short story Hinterlands is a great mood piece with the concept at its core - and more recently with The Peripheral and its upcoming sequel Agency play with the idea of alternate quantum universes where the timeline diverges but can be interacted with. There’s at least a suggestion that the world shown in Archangel might be related to The Jackpot mentioned in The Peripheral, but there’s no solid links yet.
The plot here moves at a good clip - there’s a sense of urgency to the plot that works very well, it reminds me of the first arc in The Wild Storm, which takes place over the course of a day. The characters are very Gibson - everyone has a personality that’s well-defined with a minimum of effort; Naomi Givers, the lead character is quite in Gibson’s wheelhouse of a tough female protagonist, but even though it’s a common point in his books, Givers is different from Molly or Chevette or Cayce. She’s handy with a gun, but gets far more results from her drive and her social and scientific skills. Even The Pilot, who isn’t even given a name gets a lot of interesting details by virtue of his conversations with Givers and her US counterpart Vince Matthews. The only thing that seems off is that one of Givers’ informants is a gay man who avoided the death camps by catching the eye of a closeted Nazi jailor, and there’s some relatively frank discussionf of his sexuality that feels out of place for the setting - though that might be a result of the cultural lens we view WWII through rather than how out gay people behaved with friends.
From a technical standpoint, the book is excellent - the dialogue doesn’t have quite the same flair as Gibson’s prose, but there’s some great moments, like The Pilot explaining that his optical camoflauge is television, and Givers being bemused as she saw a prototype one at the World’s Fair. The art, by Butch Guice is very nicely detailed, both the 1945 and 2016 sections feel like real, believable worlds, the characters have gorgeous expressive features - but - the action scenes aren’t great, with no real feeling of flow between panels, even in a tight intricate fight. Maybe it’s just that Adam Warren’s page-by-page upload of Empowered is in the middle of a fight scene right now, and pretty much everything pales in comparison to his fight choreography.
Overall, this was a highly enjoyable read. It garnered an Eisner nomination and it’s well deserved. It’s not a perfect book by any stretch of the term, but well worth the $25 for the hardback. And it’s got me really excited for Agency in a few months.