I enjoyed the first season of Netflix’s The Umbrella Academy. Sure, it wasn’t entirely faithful to the comics, but they did a great job at capturing what felt like the spiritual essence of what Gerard Way and Gabriel Bá did in the comics. And a lot of the character work in the first season was excellent. So, of course, I was excited to see what a second season of the show would look like. After all, season one’s ending had departed so far from what the comics did that I genuinely had no idea where the show would go after that. Well, as it turns out, season two would go on to loosely adapt the comics’ second arc, Dallas, to mixed results. It retains all the positives and negatives of the first season, with the positives being even better and the negatives being more blatant. It’s an enjoyable, if flawed, watch. (4 out of 5 wands.)
Five warned his family (so, so many times) that using his powers to escape from Vanya’s 2019 apocalypse was risky. Well, he was right – the time jump scatters the siblings in time in and around Dallas, Texas. Over a three year period. Starting in 1960. Some, having been stuck in the past for years, have built lives and moved on, certain they’re the only ones who survived. Five is the last to land, smack dab in the middle of a nuclear doomsday, which – spoiler alert! – turns out is a result of the group’s disruption of the timeline (déjà vu, anyone?). Now the Umbrella Academy must find a way to reunite, figure out what caused doomsday, put a stop to it, and return to the present timeline to stop that other apocalypse. All while being hunted by a trio of ruthless Swedish assassins. But seriously, no pressure or anything.
As evidenced by my weekly coverage of the American Gods TV series when it airs, I adore the book, originally written by Neil Gaiman. It’s one of those books that’s super weird and truly hard to explain and honestly just needs to be experienced. But, sometimes it can be hard to find a swatch of time with reach to read a 600+ page novel. Which is where visual adaptations come in. Obviously, they can, and should, never be replacements for reading the original text, but they can often be a great way of experiencing a story you might otherwise not have the time to experience. Unfortunately, Starz’s television adaptation continues to both stray from the source material and be plagued by behind-the-scenes troubles. Luckily, Dark Horse Comics’ has an adaptation of their own. Helmed by P. Craig Russell, these three volumes have been a very faithful adaptation of the novel and an utter joy to read as they’ve released. Now, with the publication of the third and final volume of the adaptation, it’s nice to have a fully-completed, semi-visual adaptation of the novel – if you consider a graphic novel to be a visual adaptation; I do. (Mild spoilers for both the original novel and the graphic novel.)
American Gods Volume 3: “The Moment of the Storm” (by Neil Gaiman, adapted by P. Craig Russell, illustrated by Scott Hampton)
The new and old gods agree to meet in the center of America to exchange the body of the old gods’ fallen leader–heading towards to the inevitable god war in this final arc to the bestselling comic series! (Collects American Gods Volume 3: The Moment of the Storm #1-#9.)
We all know how much I love a good Neil Gaiman story. He’s one of my favorite authors currently writing and I’ve yet to encounter one of his stories that I haven’t enjoyed in some way or another. Some of my favorite Gaiman things are the comic adaptations of his prose work. I always find it really intriguing seeing how comic artists adapt the work of Gaiman (an author who got, perhaps, one of his earliest and biggest breaks within the world of comics) into this more visual medium. This is where Snow, Glass, Apples comes into play. It’s the latest in a fairly-lengthy line of comic adaptations of Gaiman’s work to be published by Dark Horse Comics; ignoring their ongoing American Gods adaptation, it’s the second such graphic novel adapting some of Gaiman’s short stories. What intrigued me the most about this adaptation were the excerpts that featured some of Collen Doran’s illustrations. Her style promised a really interesting, unique, and gorgeous take on the original short story and I was very excited to give it a read. How did it turn out? Just as good as I’d hoped it would be, if not better!
Snow, Glass, Apples (written by Neil Gaiman, illustrated by Colleen Doran)
A not-so-evil queen is terrified of her monstrous stepdaughter and determined to repel this creature and save her kingdom from a world where happy endings aren’t so happily ever after.
From the Hugo, Bram Stoker, Locus, World Fantasy, Nebula award-winning, and New York Times bestselling writer Neil Gaiman (American Gods) comes this graphic novel adaptation by Colleen Doran (Troll Bridge)!
Mystery Science Theater 3000: The Comic by Joel Hodgson, Harold Bucholz, Matt McGinnis, Seth Robinson, Sharyl Volpe, and Mary Robinson; illustrated by Todd Nauck, Jack Pollock, Mike Manley, and Mimi Simon
The riffing hilarity of the Mystery Science Theater 3000 comes to comics when Kinga Forrester pairs her Kingachrome Liquid Medium with her latest invention–the Bubbulat-R! Jonah Heston, Crow T. Robot, and Tom Servo find themselves thrust into the 2-D world of public domain comics, with riffing as their only defense!
From its humble beginnings on a tiny mid-west TV station in 1988, through its years as a mainstay on The Comedy Channel/Comedy Central and the SciFi Channel all through the ’90s, to its spectacular resurrection on Netflix in 2017, Mystery Science Theater 3000 has had a transformative effect on television, comedy, and the way old, cheesy movies are viewed. Now creator Joel Hodgson has set his sights on the comics medium, and the four-color pamphlets will never be the same!
Stranger Things is massively successful. It’s probably Netflix’s biggest hit in the past five years, or so. So, it was only a matter of time before it started branching out into other mediums. Earlier last month, the first official novel – Gwenda Bond’s Suspicious Minds (my review of it here) – was released, but prior to that, Dark Horse Comics released a limited series – written by Jody Houser and illustrated by Stefano Martino – telling the unseen story of Will Byers during the events of season 1. It’s a great idea for a tie-in comic, but is the execution as good as the concept? Mostly, yeah.
When Will Byers finds himself in the Upside Down, an impossible dark parody of his own world, he’s understandably frightened. But that’s nothing compared with the fear that takes hold when he realizes what’s in that world with him!
In news that should surprise absolutely no one, Mystery Science Theater 3000 makes for a really funny, really enjoyable, and really good comic. Written by a team of writers that includes series creator Joel Hodgson, Mystery Science Theater 3000: The Comic features Jonah Heston, Crow T. Robot, and Tom Servo being forced into the pages of public domain comics by Kinga Forrester and her lackey, Max. To survive these trips into those comics, Jonah and the ‘bots must riff their way through them.
MST3K as you’ve never seen it before! The riffing hilarity of Mystery Science Theater 3000 comes to comics when Kinga Forrester pairs her Kingachrome Liquid Medium with her latest invention –the Bubbulat-R! Jonah Heston, Crow T. Robot, and Tom Servo find themselves thrust into the 2-D world of public domain comics, with riffing as their only defense! Created for comics by Joel Hodgson! The hit Netflix show has come to comics! Variant cover by longtime MST3K DVD artist Steve Vance!
I’m so glad that Dark Horse comics is still continuing to tell Firefly stories. It will forever remain a shame that the show was canceled after one season and the movie, Serenity, didn’t do well enough to warrant any sequels, but at least we can continue to follow the adventures of the crew of the Serenity in comic form. In No Power in the ‘Verse, written by Chris Roberson and illustrated by Georges Jeanty, tough times haven’t ended for Mal Reynolds and his crew aboard the Serenity. When a call for help to find a missing friend takes them to an Alliance post on the Outer Rim, they encounter a new force building strength to fight the battle of the Browncoats–soon leading the crewmembers to question their individual values . . . Discovering that their friend is in Alliance custody and that an Alliance Operative is on the way, Mal concentrates his energy on the problem at hand and strikes an uneasy partnership for a daring rescue. But this is only the beginning of the story. Success will be when the Serenity’s crew makes it off this planet alive and all accounted for . . . (more…)
American Gods: Shadows #3 is the latest issue of Dark Horse Comics’ adaptation of Neil Gaiman’s novel American Gods, adapted by P. Craig Russell and illustrated by Scott Hampton and Walter Simonson. This issue faithfully adapts chapter 3 and about half of chapter 4. In this issue, Shadow encounters his dead wife in his hotel room and travels with Wednesday to Chicago to meet Czernobog and the Zorya sisters. (more…)
American Gods: Shadows #2 is the latest issue of Dark Horse’s adaptation of Neil Gaiman’s novel, American Gods. It, essentially, adapts the entire second chapter of the original novel pretty faithfully. In this issue, Shadow and Wednesday continue their conversation at Jack’s Crocodile Bar, Shadow meets the leprechaun Mad Sweeney and has an altercation with him, and Shadow attends his wife’s funeral.
I’ve got sort of mixed feelings about this issue. It’s good, don’t get me wrong, but it’s starting to feel like there’s no much actual adaptation going on. It’s pretty much a copy-paste of the original novel with some really beautiful illustrations added in. And that’s not a bad thing, per say. But it doesn’t really feel like we’re getting anything new here. (more…)
This first issue of Dark Horse Comics’ adaptation of American Gods covers essentially the entire first chapter of the book without any deviation. Much of the narration from the book is kept in the comic, done as word boxes on panels describing the action. The artwork itself is good. It’s definitely a style you have to get used to, but once you get used to it it’s really quite beautiful.
In terms of writing, it doesn’t seem like P. Craig Russell has done much aside from copy and abridge the original language of the book. Which is fine – it’s often better to not fix something that isn’t broken.