Digital vs Print: my ever constant debate.

It's been a quiet week for me this week and by 'quiet' I mean so busy with work and life and so on that I haven't had time to read more than a single comic (well, only one).

Of course, this wasn't how I'd planned for my week to go. What I had wanted was to go through the entirety of Chip Zdarsky and the Terry Dodson's X-Men/Fantastic Four mini-series after picking up the final issue a week ago last Thursday. Alas, fate did not allow it to be so.

As a result, I find myself thinking about the differing benefits of digital against print for the umpteenth time. This is because X4 was a series where I had decided to purchase as physical copies. Unfortunately, especially since lockdown began in March, I have been finding it more difficult to carve out the time to just sit down and read with a comic in my hand (in this case an hour because 4 comics take 15 minutes each) due to work and familial familial responsibilities.

Reading digitally, however, has been quite an easier experience because even when I've had my hands full with other work, all I need to do is a simple swipe of my ipad screen and the will move to the next panel or page.

So, why do I find reading print comics more difficult? Well, this is down to the fact that, while I'm not a collector who's looking to get my comics slabbed or anything, I like to ensure that my physical comics are in a well kept condition (which is something I'm just not sure that is possible when small children or housework are involved). Therefore, carving out the time to safely (from the comics perspective) read an issue or two seems to be a more difficult task.

However, on the flip side (just to be annoying), I've been discovering as I've gotten older just how much I prefer having an actual, physical book in my hands. The immersion, the feel of the pages, the smell of a newly opened book, all of these things have made me realise how much superior reading in print is, although I wont lie that digital reading isn't something i avoid.

Therefore, when it comes to X4 and the choice of print vs digital, it's the print copies I want to read because they are there and I paid extra for the privilege. However, given that I can't find the time makes it all the more annoying.

In the end, I dont have some major point to make, this is just me rambling on for a change. When all is said and done, I didnt read anything from my pile and 'this' is the reason why (if I really need one).

Oh, and before I forget ...

Of course, while I haven't done any reading this week, I've still done a little bit of comic-related work. First of all is my Pipedream comic related posts which hit the world wide web at the tail end of last week.

The first article for the new look Pipedream Comics which I supplied, I thought I'd stretch my wings a little when I was given a fantastic opportunity to interview creator David Pepose (the writer for Spencer & Locke as well as Going to the Chapel) about his new Kickstarter Project, the O.Z.

I'll be honest, I've yet to read either of Mr Pepose's current titles (that damn funding issue again) but both are what I consider high priorities for my buy list. However, after having this great conversation about O.Z., I'm nigh on close to drooling for this title due to both the concept as well as the incredibly gorgeous art by Ruben Rojas and colourist Whitney Cogar. As such, I am now trying to find a way to circumvent my ever present funding issues and pledge (although I could say that about a great many kickstarters).

Please check out the interview (if you want) and, most definitely, take a look at the kickstarter (and maybe even make a pledge) as it seems like one of those things that doesn't deserve to fail.

Then, following the interview with David Pepose, I also had the chance to review Bete Noir #1 for Pipedream Comicxs. Now, the main crux of my thoughts you can find over in the review itself but, to summarise it, I enjoyed Bete Noir immensely, despite not initially expecting to. Though I wrote it off pretty quickly, I found the twists that Andrew Clemson included regarding the possible identity change quite engrossing. I'm of the theory that (spoiler alert) all of these characters are the same one and that with each 'death' an aspect of his personality dies (kind of like Hank Pym and his many costume changes). I also think that explains the title because Bete Noir is french for (person/thing you dislike), therefore, this guy is obviously a character who dislikes himself (both of these things I haven't included in the review because 'spoilers').

The art also struggled to impress me to begin with either but, much like the writing, it won me around by the end. I thought that the gritty, cold and dull colours really lended a credence to the idea that these are burned out characters living in a harsh world far removed from superheroes' worlds as we know them (or, more accurately, Batman 66).

Like I said, there's far more meat from this bone in the review proper but, on a personal note, it is probably an understatement that I really liked this comic and I have to say I look forward to the next instalment (whenever that may be).

So, in the end, that's been my week in a nutshell. The only other thing of note is that I've gone back to working on a project of my own again, early stages but something I'm hyped to try and make happen.

But beyond that, that's it. Hopefully, I'll have something more analytical and less waffle next week, but I guess that's dependent on whether I can finally crack open those X4 comics.

In the meantime though, if I don't then it gives me another chance to improve on this kind of format a little.

Lazarus: Risen #4

So, after the heaviness of X-Men #9 and what I hoped to say using it (although I suspect if I re-read up to this point, it's all just waffle), I thought I'd talk about something a little simpler.

If by simpler I mean a complex socio-political action thriller set in a dystopian future.

I finally made time and read Lazarus Risen #4 (which, given their now digest format, is no easy feat), which saw the focus of the series move away from Forever's journey and refocus on two of the supporting cast. A year ago (prior to the events of Lazarus Risen #1), Casey Solomon is newly promoted to the 'Daggers', Carlyle's top special Forces unit, and the Lazarus' right hand. This promotion (as well as being shared with her family) not only sees new responsibilities but also new privileges as she is offered a one-time 'favour' from the Lazarus herself, one which Casey cashes in to dispense justice for a long ago tragedy during the time of her lift.

 

Meanwhile, Casey's boyfriend, gifted scientist Michael Barrett, continues his own entry into the Lazarus inner circle as he continues to seek a cure for the control her family has over her. However, Michael find just how dangerous his new position is when his lab assistant, who has her own connection to the Lazarus, puts him in an impossible situation.

So, as always, I really enjoyed this issue, although I can't help but feel that this was more of a fill-in entry. Of course it doesn't reduce this issue in anyway regarding its quality, especially in regards to the artwork as Michael Lark once again knocks it out of the park. I have absolutely loved Lark's style and this installment is no exception as he once again does all the story telling through his art with such tremendous panels which lack dialogue. I don't think anyone has done this sort of thing as often and as skillfully and that's all I think I need to say to justify his work.

As for the story, I've really believed since the beginning of the Risen series that Greg Rucka has change the format from a story focusing mainly on one character to a story focusing on an ensemble and this issue further confirms it. This is because, while the issue feels like filler, it does actually pick up on so many threads from the entire run that you could almost say were left dangling. These include;

-The return of Cady Rosales, whose father was murdered by Forever in the first arc.

-The Barrett's uncomfortableness with serfs life and their desire to leave (as per the X+66 mini series).

-Leigh Barrett's death from the Lift arc 

-The ongoing relationship of Mike and Casey and their respective 'secret' responsibilities to the 'family'.

Of these plot points, while most involve Forever in some way, none are actually a part of her story. In fact, she I thought she is little more than a master of ceremonies, almost being flitting in and being a part of the ride.

Of course, this is no bad thing as it A. Gives what is already an expansive world even greater depth while B. giving more focus to the non-family/serf characters, something that is brought up in the letters amongst the backmatter.

And then there is the prose story, in the Blood, by Rucka and Lark (illustrations) which follows wayward brother Jonah after the events of his two part story which capped off the original series. Once again, this was a plot thread left open from previously but, unlike the others (which isnt to say any others are bad), I'm really invested in this tale as I'm really intrigued to see Jonah's reintroduction to the series proper. With this tale, it's not officially happened, but seeing further upheaval for the Carlyle black sheep just makes me more intrigued about when he finally returns to the fold.

I had originally planned to fold this into the bottom of the X-Men post as a sort of 'in other news' item. However, so much appears to have come to mind about it that it has gotten a post of it's own and that isnt exactly undeserved. This issue may have felt like a disconnect to the main story and possibly the narratively weaker issue thus far but, like movies in the MCU, it seems even the weakest Lazarus issue is still a strong competitor to other comics.

I still have two questions which need answering; why did Forever cut her hair and is anything ever going to happen about that email from the first issue? Howe er, I get the feeling that we are into the home stretch and, while it'll be sad to see Lazarus end, this issue (like all others) has me pumped about what happens next.

Its just a shame about the wait for this almost quarterly title.

X-Men #9 a.k.a. Can you jump into a series at any point?

For as far back as I've been reading comics, I've always wondered if the medium is built to allow readers to jump on at any point.

Back when I first started reading single issues, my first issue of an ongoing series was Fantastic Four #551. The first part of 'The Beginning of the End' this three issue story was the final entry of the Dwayne McDuffie run as he had cleaned up the mess the First Family was in after Civil War and as he made way for Mark Millar and Bryan Hitch to take the reins with their own stories.

Looking back, I don't think it was really the smartest choice to pick up a series, with the issue number itself (551) probably giving a lot of indication that there is a significant backstory and the fact that it begins the final story of that particular creative team meaning that if I did enjoy the issue then I wouldn't be long to enjoy that specific style (although that probably wasn't high on my mind at the time). That said, it did turn out to be a rather fantastic (pardon the pun) decision as with about 200 of the full 667 issues now in my collection as well as the Fantastic Four being my all-time favourite characters (and McDuffie and Pelletier being amongst my favourite creators), it's fair to say that this random issue was as good a jumping on point as any.

However, while that was a comic book from nearly 13 years ago, can the same be said for the comics released in today's climate? In a universe (or multiple universes) of constant new first issues and complex storylines, can a reader (whether old or new) really jump onto a comic series at any random point or is it now simply a case of waiting for those (seemingly) ever more frequent run conclusions?

Luckily, fortune favoured me the opportunity to find out when, several weeks ago, an error occurred in my comics pull list. Towards the beginning of the UK COVID-19 lockdown, my local comic shop started to post out customers pull lists. As my list was (and still is) a little on the short side and so if was a rather simple task to get them to me (or so I thought). However, due to my inability to look at the provided photo of my stack properly, I accidentally ended up purchasing a copy of X-Men #9, which I had (wrongly) assumed it was the final issue of X-Men/Fantastic Four.

However, rather than dwell over this costly (and, when on a budget, I think $4 is costly) mistake, I decided to use this to my advantage and see if this random comic purchase could convince me to jump on board the series proper at this precise moment in the story.

X-Men #9, the cover by Leinil
Franis Yu

So, X-Men #9 by Jonathan Hickman and Lienil Francis Yu continues the story of Mutants first team in this post HoX/PoX/Krakoa Marvel Universe. This issue finds the Summers Brothers, Jean Grey and Broo (who?) Travelling through deep space attempting to escape Brood space whales as they find themselves in the possession of the King Egg, a Kree developed super weapon which will grant the wilderness control over all of the Brood in the galaxy. However, the Kree want this weapon back l, utilising the Starjammers (and daddy Summers) as leverage for its retrieval. Of course, all plans are off the table when these two factions collide, resulting in the arrival of an unexpected new King.

Now, I've read Jonathan Hickman titles for as far back as I can remember. The Nightly News, Fantastic Four, Secret Warriors to name a few. So to say I wasn't sure what I was expecting as I went in is an understatement to say the least. Also, it's been a long time since I've read an X-Men comic (I'm not sure if Uncanny X-Force counts), with the last being the Utopia/X-Men/Dark Avengers event. Therefore it is fair to say that, while I like the X-Men, the series has never been one of my top favourites.

However, despite being unsure what I was going to get, or even what has happened up to this point in this current series, I have to say that I found myself very much engrossed. From the beginning, where we were treated to a prologue which showed us the origins of the macguffin-like King Egg, I found the tale to be very unlike how I've come to expect Hickman to write, with the story quite straightforward in its depiction. Of course, there were a lot of unanswered questions, like ...

How did the X-Men acquire the King Egg?

Who is this Broo character?

How are those Whales Brood and not looking like regular Brood as per the beginning?

Who is Sam's (Cannonball) wife?

What's the deal with Da Costa (Sunfire)?
... but none of these impeded my enjoyment of what I read nor did it reduce how much i got into it and enjoyed it's intrigue and it's pace.
 

As for Lienil Yu's art, I've always enjoyed his style but initially never found much special ir noteworthy about it. However, that all changed in the third act of this issue as I saw what Yu's style brought to the table with some very horror-esque scenes which I thought really sold the Brood as a credible threat.

So, by the end, I think that it was safe to say that picking up and reading this relatively random issue was a worthwhile read. This is because, despite the number of questions the issue gave me as to what is going on at the beginning, I felt I was still able to pick up the general vibe the this installment gave to the point I am genuinely intrigue about not just what cam before but what comes next (like is there a second King egg like the backmatter suggests?)

Unfortunately, the ever troublesome lack of funds makes buying future issues difficult, although there is always future Comixology sales. However, regardless, reading this issue does kind of prove the point that maybe reading a random issue can hook you to a series.

... well ... maybe not.

Unfortunately, while it might be easy to leave it there with my point made, it might just be a little more complicated than that. This is because while it might happen with one issue of one series, who is to say that would always be the case. On this series alone, reading one issue ahead or behind might have been a whole different ball game.

Also, who's to say that the same would have if Hickman and Yu weren't on the book, or even just one of them? And then you could argue that the characters involved could have affected it or even the rate at which a new issue comes out (for instance, small press are known to have a long wait time between issues).

I guess the point I'm making is that, jumping onto a series isn't always the easiest way when it is a random issue, because it is all about enjoyment.

... However, I think I've proved that, while it is still difficult for 99% of comic series, it is something that can be done as long as it is the right comic series for you.

And there are an awful lot of comics out there for you to choose from.

MI666

I'm back to the regular posting slot that I'd planned after the previous mid-week post about Rebecca: Tales from Resonant. Of course, while I had planned to fit my thoughts on that comic into this post, I just had so many thoughts in my head that I just needed to get them out as soon as possible.

Since then, I've reached the weekend and, with it, my wedding anniversary which, along with regular life activities, almost forced me to miss out on reading another comic. It also didn't help that my youngest decided to stop sleeping at night, forcing me to live the entire weekend as so tired that information just wasn't entering my head.

Fortunately, despite this rather crowded and sleep-deprived lifestyle, I did manage to find time to read one comic, which also managed to bring a lot of thoughts to my head.

The cover to MI666.

And that comic was MI666 by Vince Hunt and Andy Bloor. MI666 tells the story of three supernatural investigators working for the Governmental department responsible for defending her majesty's commonwealth (or at least London) from occultist and demonic attacks. However, when the MI666 team are called into assist with a raid on a possible terrorist cell, what they all find is on has them all concerned that some darker and deadlier power is amassing for an attack. Now, with little to go on, the three must threat this attack, which may only be the beginning of something much bigger.

Now, I've always been a fan of both Vince and Andy's work. Andy Bloor's art is some of the most gloriously striking that I've seen, while Vince's scripts, particularly the recent Murder Road, have been some of the most captivating and enjoyable stories. Therefore, seeing something by the two of them had me convinced that this had to be a sure fire winner.

And, for the most part, it is. Andy Bloor's art, as it was in Wolfmen, Andythology and Midnight Man, is stunning in just how gorgeous it is. His style makes me think of the old Universal horror movies, with their black and white look perfectly mirrored by Bloor's work and pretty much confirming himself (at least in my eyes) as the person any comic adaptation of those movies should be drawn by. In fact, looking over every panel of this comic once again made me realise that Andy Bloor is an artist who does not get nearly as much praise as he deserves. Of course, there was one question I had and that was 'whatever was going on with Barlow's glasses and it's alternating dark lens?'

As for the writing, well, I've enjoyed everything I've read of Vince Hunt's (as I previously mentioned), but with MI666 there feels like a serious growth from when I first read his Red Mask from Mars series. Hunt's script felt tighter and sharper and far more suited to the horror genre, just like Murder Road previously said to me. In fact, Hunt's dialogue, like Bloor's art, really feels at home were someone to make Universal monsters comics as it really gave me the sense that this was a more cerebral and thriller-esque story. I also have to say that the entire set up of this story had me thinking it was influenced by the opening scene of the original Hellboy movie, with very English sounding occultists being escorted by a military unit with no understanding of what's going on, but maybe that's just me connecting dots that don't exist.

Of course, Hunt's input doesn't stop there, as his lettering was also phenomenal, specifically with regards to Barlow's 'lesser' half which was equal parts creepy and chilling in my book and really reminded me (in some small way) to the lead character's dynamic from Ken Reynolds and Sam Bentley's Cognition (incidentally, another Beth English horror themed comic). Of course, there is one query from the lettering in that what is Wyvern's surname; Cross or Collins?

So, all in all, I really enjoyed this comic and thought it was very good.

But ...

There it is, the dreaded 'but'. Of course, it isn't a terrible thing this time and and it doesn't undo what I've just said 'but' MI666, for as get, engrossing read as it was just felt like it was missing something. After reading through it twice (admittedly, the first time in an exhausted state), it's niggled at me about what is missing in this issue and, I have to admit, I believe it is the notion of 'playing safe'. Tjis comes from the scene of Wyvern's 'interrogation' where the scene occurs with Bridgett and Barlow outside the room instead of treating us to what is happening indoors. Indeed, I thought this is a consistent trope throughout as we are only ever hinted at the trio's 'badassery' rather than seeing it in full view.

Which is a shame because so much is hinted at throughout this issue that really makes the team of MI666 feel like immensely compelling characters. These include:

What's going on with Barlow? Is he possessed/inhabited? How did that happen?

Cross has a unique look, makes me think there is a story behind him ( probably something tragic)

Is that jar going to be a thing later?

The reference to Blood magic, is that going to be a problem later set up for later?

And likely more besides which I probably missed.

This does sound a little too negative in truth (and something I swore I wasnt going to do anymore). However, while I guess it is, it comes from a good place because I really liked the concept and execution of MI666 and really want to know what happens next. I guess I'm just hoping that, with this first issue out of the way, they 'unleash the beast' so to speak and show this series and its characters as the powerhouses they undoubtedly are.

Because with a charm and look that this comic has, I'll gladly be back to read each and every issue.

Rebecca: Tales of Resonant

This week so far feels incredibly long, despite it currently being early Thursday morning as I write this, I could have sworn we had already reached the weekend.

So far I've found my job has consumed my life for three days running, to the detriment of planning for my upcoming wedding anniversary, and random new thoughts popped into my head for an old story idea, making me inspired. All adding to a very long week so far

Likewise, while I'd planned to talk about two or three comics on this post for Monday, I actually felt inspired to talk about the first to the extent that I'm up at nearly 3am (while trying to settling an unruly 1 year old) writing this.

Rebecca: Tales of Resonant with a
cover that is remarkably similar in tone
and style to the series proper.

So yesterday (as of when I wrote this) I read Rebecca: Tales of Resonant, a fan-fiction tale by Joe Donahue and J. Schiek set within the fantastic Vault Comics series, Resonant (a review of the first issue I did previously for Pipedream comics if you go check my Pipedream page). The story followed Rebecca as she attempts to escape what is, apparently, a very scary and seemingly dangerous man. However, as she makes her escape into the Chirper infested wilderness, Rebecca's thoughts seem to turn from escape to vengeance as the game of cat and mouse she is playing seems to change when their respective positions of predator and prey take a drastic change that.

Being a fan of this series proper (well, the first issue anyway. I've yet to pick up the rest), I have to confess that this homage to DB Andry and company's original series piqued my interest from the moment that I heard about it. Not least thanks to the similarly designed cover. However, I've got to admit that even I was surprised by how good this story actually is.

While the world that it is set in is one which I consider to be full of some serious intrigue, this tale actually adds additional layers without seemingly planning to. With the story itself, I'm not sure it's connection to Resonant improves it any. Donohue really produces a tightly paced, chillingly addictive plot in it's own right, one that is simple but highly effective. In fact, I feel that Rebecca is like the is the Cloverfield Lane of comics, a magnificent comic which takes another's name when it maybe doesn't need to. That said, I'm glad that it does for it deepens the Resonant world and leaves me with questions about Rebecca sudden change and if the Waves from the main series are a factor or if it's something more societal.

As for the art, while it took me a moment, I do absolutely love J. Schiek's style as its gorgeous gives it a nice subtle connection to Resonant while still making it look unique. What I really adore is the colouring, especially the use of red and blue tones as the story unfolds. As I read this, I did wonder if Donahue and Schiek were trying to subtly imply some change of position within the characters dynamic. This is because as her pursuer's panels got cooler, Rebecca's panels looked redder, which went well with her more aggressive monologuing. I also really loved the panel where Rebecca hides under a truck (a truly awesome page in my opinion).

I wont lie when I say that this story is still missing something, such as a better explanation as to the relationship between characters (are they 'together'? Is she his hostage? Either of these add a different context), but those is merely icing on a very tasty cake. I absolutely adored this story and not only hope it makes it into the second volume as a special backup (DB Andry already said he considers it canon) but I would love to see further installments like this from these creators.

Anyway, the youngest seems to have settled and I have no thoughts left so I'm gonna call it a night. Hopefully normal service (or what was planned) will resume on Monday.

But if I get inspiration and time like this again, I sure hope not.

What's next?

(Feel free to now the West Wing intro music before reading on, given that's what the title is in reference to).

It's been a little over three months since I wrote anything and, truth be told, I've missed it terribly. That said, it's been difficult to commit to writing anything new and that's not because of the limits on comics the current pandemic and lockdown have brought us. In fact, thanks in part to these things, I have been lucky enough to have a large number of issue 1's provided for free from a number of publishers within the industry.

Sadly, the reason for my absence from blogging and reviewing has been down to simple thing; a loss of time. This is because, while many seem to have gained time due to furloughs and the like (though I suspect they would gladly trade back in some respects), this lockdown appears to have chewed up more of my time, given me little opportunity to jot down my thoughts.

Of course, it hasn't been all bad as my 'downtime' has been used to go through all of those previously mentioned free comics. It's not been the easiest thing to do as I've attempted to etch out precious time here and there through my days (predominantly at 2am when I'm settling my youngest) and so writing about them has been even more difficult. That said, it was good to read with a more relaxed frame of mind, as it even found me some seemingly hidden gems of which the trades have been added to my wishlist.

However, with life becoming a little more consistent lately (if no less busy), I thought I'd try and return to old habits, although with some rather impactful changes (which I thought I'd ramble about so I can remember better in future). These changes pretty much revolve around my reading habits as my pull list has (again) been hit due to COVID induced financial issues and even Comichaus will have to go once my current subscription is done.

But all is not lost as I have come out of lockdown with nearly 70 new trades on Comixology which, when added to what I already have, makes for a substantial bit of new reading (more so when you think i still have 5 months of comichaus left). But also, I still have a rather large collection which could do with re-reading (if for no other reason than to determine what of all I already own I dont want and could maybe sell).

So, what's next (see, and that's why the title!!)? Well, my new plan is to just ramble once a week about what I read, no more, no less and eventually, when time allows, return to my other projects such as reviewing for Pipedream comics. That said, I'm now more away of my limitations and if I cant maintain a post a week, or two then so be it. The most important thing is that I dont stretch myself (which I'm prone to doing) and still enjoy the comics that I read.

... and page 2.

My to read list, in all its glory.

So now that the new status quo is revealed (almost like a Marvel reboot. I just hope mine lasts a little longer), I should give a few minutes to the comic (yes, only one) I read this past week.

Our Final Halloween #3. Cover by Jen
Bartel.

So, about a month after there successful (and that's a major understatement in my eyes) kickstarter, I've finally read Our Final Halloween #3 by the trifecta of Mikes that is Mike Garley, Mike Lee-Graham and Mike Stock. This issue saw the surviving characters continue to prepare for the upcoming halloween and their 'final' battle with the deadworlders (one way or another) as, in typical end act tradition, Claire and the forces of evil work to take any advantage to impede her former friends.

Now, based on their own merits, I'm not the greatest fan of mid-arc issues. In fairness, this isnt through any fault of the creative team but simply a case of how it serves the overall story. The first issue is the setup, the last issue is the resolution, but the middle issue/s is simply the journey from one to the other and while some may offer additional twists or obstacles, they are still entries dependant on what came before.

That said, Our Final Halloween #3 was still a comic I absolutely loved reading and couldn't drag myself away from. Of course, being a middle issue, this one does suffer from all that I've just said but that doesn't change the fact that this felt incredibly tense as I went from beginning to end. In fact, it's a reminder why I love Mike Garley's work so much. Our Final Halloween does feels very similar to Stranger Things in its tone(which I recently watched), but OFH has such a unique feel, vibe and atmosphere that it draws me in and it's not until the end and once you think back that you see any (and if there are they are fleeting) similarities. In fact, of them all, this is the strongest work of Garley's that over read to date.

Of course, the strongest part of the issue for me was definitely Mike Lee-Graham's artwork, which I cant believe I'd never seen before this series as I read each additional issue. The art is glorious, reminding me of a cross between Babs Tarr's work from Motor Crush (or what I've seen of it) and Caspar Wijngaard's on Limbo. That said, that comparison still doesn't do justice as I am blown away by the style and especially the colours as each scene changes to scheme ever so slightly. It has made me wonder if the colours are meant to be how to show readers the time of day and/or the comfort of the locale. This is because, with the time, the colours at the church start very bright but I thought toned down as the story progresses like the sun was setting as the scene unfolded. These same colours also seemed to give an idea of the feel of each scene, such as the sterile blue for the hospital or the warm orange for the library. All in all, the writing for this story is good but it feels like a real fight with this art to see which is the better.

Finally, there's the lettering. Now, I can never say much about the lettering because, like streetlights or the bins being emptied, I always feel it is something you dont notice unless it is broken and that is the joy of Mike Stock's work. I thought the lettering was perfectly unnoticeable and, in that sense, an absolutely solid job (although I expect nothing less from someone as prolific as Mr Stock). That said, I'm not sure what he does but I felt he gives the lettering for Claire's dialogue such a subtle change to imbue a greater sense of demonic possession or something of that nature. Another perfect addition  to an already perfect series.

Of course, it's not really perfect because, for instance, I continue to struggle with both recollecting the story thus far (although that's a problem I always have with small press comics) and remembering the characters different names (because, thus far, I feel they just operate as a collective, like the Borg or something). I also have the question in my head of 'how is Claire wandering around and doing things when she supposedly had a funeral? Has no one noticed this doppelganger? (On that note, did they even have a body for the funeral?)

In the end though, all of this is small potatoes for me. I absolutely love this series and I am (in all honesty) counting down the days until Halloween and the final installment is released, along with (hopefully) a trade. In truth, the trade is now what I'm waiting on because I've set myself a rule to collect the truly great titles in printed collections and this series as a whole is a truly great title (if I can say so as unbiasedly as possible).

So, that's my thoughts on that one comic. Maybe a little long-winded but i figured I'd get out all my thoughts on the subject.

Hopefully, i can get a few more things read next week because i already have MI666 planned bit I'd also like to check out Rebecca: Tales from the Resonant (which the creators allowed for viewing) as well as Mount a Rescue on Comichaus.

So, what's next? Trying to find the time to read all three, I guess.