This week’s lead review for Wednesday Comics is ART BRUT #1, a new edition of an older comic with a changed title and added extras. In addition, the Wednesday Comics Team has a rundown of the new #1s and finales from non-Big 2 publishers, all of which you can find below … enjoy!


Art Brut #1Art Brut #1

Writer: W. Maxwell Prince
Artist: Martin Morazzo
Colorist: Mat Lopes
Backup Colors: Chris O’Halloran
Letterer: Good Old Neon
Publisher: Image Comics

Art Brut #1, the first major collaboration between Ice Cream Man co-creators W. Maxwell Prince and Martin Morazzo, is a trek through art history by way of a supernaturally tinted police procedural. Originally published in 2017 by IDW under the title The Electric Sublime, Image Comics announced in September that the series would be getting a remastered release, with new “silver-age style” backups in each of the four issues. 

The first issue of Art Brut opens in the Louvre, where the Mona Lisa has been inexplicably replaced with an almost identical painting that gives her normal expression a wink, linking it to a series of murders where a winking face was left at the scene of the crime. A museum guide, horrified, calls for someone to call the BAI, and declares that they need the help of Art Brut. The BAI, we learn, is the Bureau of Art Integrity, an organization that deals with anomalies related to artwork, and “art-related catastrophes.” Art Brut is Arthur Brut, the Dreampainted, an artist with the ability to enter paintings. Brut lives in a mental institution where he seemingly waits until the BAI has need for him. The institution is about exactly what one would expect with even the most vague pop cultural knowledge related to mental institutions, stark white walls, orderlies sedating patients, and rooms so plain they feel at once both claustrophobic and far too big.

Art is taken by Margot Breslin, the director of the BAI to the Louvre, where they begin to investigate the painting with the help of the tour guide from the Louvre and Agent Parks, who updates Breslin on more incidents that have occurred since they were first called in. Before beginning the investigation in earnest the group is interrupted by a group of men in white suits stained with colorful splotches, all wearing eyepatches, and led by a man who looks exactly like Andy Warhol. The gang shoots the museum interpreter and Parks and begin burning the artwork while Breslin and Brut escape into the painting, the gang burning it behind them. There Breslin meets Manny, the mannequin that Brut carries with him everywhere and she and Brut discover that the Mona Lisa is dead. 

Meanwhile, a woman brings her son Dylan to another institution, this one an art based institution for children. In the car on the way to the place, Dylan is mostly nonverbal, aside from saying “moo” after repeated prompting from his mother. In that respect, and because of the way Dylan shows few facial expressions (aside from on the final page) Dylan reads as potentially being nonverbal autistic, which is somewhat concerning because portrayals of autism in media haven’t always been the best, and nonverbal autism tends to get the shortest end of an already short stick.

Prince and Morazzo exhibit a very solid knowledge of art history, as demonstrated by the choice of Art Brut as the name of both the book and the main character. This knowledge is evident in other details too, like having the gang leader say “art is anything you can get away with.” Marshall McLuhan, a Canadian philosopher whose work serves as much of the basis of Media Theory, wrote that in his book Understanding Media: The Extensions of Man, which is also the source of his most famous quote, “the medium is the message.” McLuhan and Warhol did very similar things with their work, examining the relationship between consumer and product, creator and customer; it makes sense to compare the two in this way. 

Art Brut #1

Morazzo’s art harkens to a Van Gogh at few points in the book (most notably in Brut’s painting when we first meet him), something which fleshes out the world and ties into the idea of mental illness lending itself to art, something which is a key element of the Art Brut movement the book derives its name (and its main character’s name) from. This is another element of the book that highlights the knowledge base they are coming to the work with, something which serves the book well. 

Art Brut #1 is an enticing first issue, one which leaves me intrigued and interested in finding out what happens next. Prince and Morazzo continue to deliver while working together (or I suppose have always delivered when working together?), and I eagerly await the next issue. 

Verdict: BUY

Reagan Anick


Wednesday Comics Quick Hits

  • A Vicious Circle #1 (BOOM! Studios): Shawn Thacker is, in his own words, unmoored. Stuck battling a fellow time traveler for the fate of the world, he is propelled through time and space each time one of them takes a life. When his foe, Ferris, kills someone very close to him, Thacker’s mission becomes more personal than ever. Writer Mattson Tomlin pulls off a difficult feat, telling a thrilling story about assassins fighting along the time-space continuum while also digging into Thacker’s emotional journey as a Black father who knows firsthand how dire the future will be for his son. Lee Bermejo’s art stuns, adopting a different style and color palette for each new time period. Becca Carey’s lettering does the same, fully immersing the reader in eras as disparate as 1950s America, the far future, and the Cretaceous period. Bermejo particularly shines in a jaw-dropping transition from black-and-white chiaroscuro to futuristic color, leaving the reader as unmoored as the book’s protagonist. Part 1 of 3, A Vicious Circle is off to a pulse-pounding start that will leave readers ready for the next issue. (Jessica Scott)
  • Assassin’s Apprentice #1 (Dark Horse Comics): “Let him be fed by him what got him–.”  FitzChivalry Farseer, the discarded son of the king in waiting, is back in a new adaption of Robin Hobb’s fantasy classic. The story follows Fitz as he navigates the complexities of growing up in Buckkeep in the shadow of his famous yet absent father. Issue #1 of the adaptation does a beautiful job of weaving together the most essential elements of the story, to entice new readers unfamiliar with the original books, while capturing the signature voice and weight carried in the first chapters that old fans of the Farseer books will feel right at home with. I was pleasantly surprised by how Fitz’s unique affinity for animals was represented and gives me something new to look forward to with each new issue as a long-time fan. Overall the art and storytelling perfectly captured the scenes and images I see when I close my eyes and imagine the first moments of these books. Assassin’s Apprentice seems to be a faithful adaptation that old fans and new can look forward to picking up. This book was written by Jody Houser and Robin Hobb; illustrated by Ryan Kelly; colored by Jordie Bellaire; and lettered by Hassan Otsmane-Elhaou. (Megan Grace)
  • Elvira in Horrorland #5 (Dynamite): The final issue of Elvira in Horrorland sees her in the film worlds of Daniel Chernabog (David Cronenberg), and reveling in just how meta and referential this series and the witty writing of David Avallone have proven to be. This issue has fun with the MacGuffin it’s established, as Elvira struggles to make it back home amidst the body horror, monsters, and temporal police. Silvia Califano’s art is consistently energetic and expressive; giving even more life to the horror-filled worlds the series is homaging, Elvira bounces naturally off of the characters and the environments she’s placed in. Heightened by the vibrant colors of Walter Pereyra and excellent lettering by Taylor Esposito, the abject never looked quite as good as it does within Elvira in Horrorland’s conclusion. (Khalid Johnson)
  • Grim #6 (BOOM! Studios): The golden age of genre comics that meditate on the nature of death continues this week with Grim #6, the start of a new story arc for the book from writer Stephanie Phillips, artist Flaviano, colorist Rico Renzi, and letterer Tom Napolitano. It’s a strong start to a new phase, too, one that mixes in a number of interesting narrative ingredients, from World War I, to Heaven is a Place on Earth by Belinda Carlisle, to the Three Fates. This book has been strong from its start, but at the beginning of this second arc, I’m particularly enjoying the way Flaviano’s linework and Rico Renzi’s colors continue to gel into fantastic art. Also, this issue has an absolutely tremendous cover (see above). (Zack Quaintance)
  • Happy Horror Days #1 (Archie Comics): Last year, Archie Comics celebrated the holidays with the Archie’s Holiday Magic Special one-shot, a “Holiday Special” style anthology. This year, the holiday anthology has returned…but with an Archie Horror twist! If, like me, you prefer Halloween to the winter holidays, this issue is the perfect reading material to read in lieu of streaming the latest Netflix Xmas dreck. First up is a return to Jughead: The Hunger’s level of the Arch Tower, with an expectation-subverting Krampus tale by Frank TieriJoe Eisma, and Matt Herms. Next is a very cool (or is that cruel) Yule tale by Joanne Starer, Butch Mapa, and Glenn Whitmore, featuring Jólakötturinn, the “Yule Cat” of Icelandic legend. It’s safe to say that between this story and 1972’s Sabrina’s Christmas Magic #196, I have learned more about Yule traditions from Archie Comics than any other source. The third and final tale by Joe CoralloPatrick Piazzalunga, and Whitmore takes a couple of legacy Archie Comics characters off the shelf (get it?) for story that delivers a final panel so gory, rather than sugarplums, you’ll be more likely to see visions of the gruesome finale dancing in your head. As always, Jack Morelli’s lettering is a gift. Both the main cover by Adam Gorham and the variant by Robert Hack (an Afterlife with Archie-style mistletoe kiss) pay holiday homage to Archie Horror titles. But if we (hopefully!) get another Archie Horror Holiday special next year, let’s hope it takes a page from the Futurama Holiday Spectacular and broadens the scope of the holidays featured in the anthology. (Avery Kaplan)
  • Jonna and the Unpossible Monsters #12 (Oni Press): This week sees the conclusion of this adventure series, which was written by Laura and Chris Samnee, illustrated by Chris Samnee, colored by Matthew Wilson, and lettered by Crank! And it’s a conclusion that is consistent with the rest of the book to date. There are fights with big and fantastical monsters; Jonna at the center of it all; and an emotional core that has to do with a family, specifically with the relationship between two very different sisters. As usual the cartooning in this comic is gorgeous and kinetic, with Samnee illustrating some truly excellent action sequences. If I have a qualm, it’s that the story wraps up in a way that is maybe a bit familiar, but really, I still enjoyed this series quite a bit. If you’ve been reading from the start, you’ll love this end. If you haven’t and this all sounds intriguing, make sure you get the collected editions as soon as you have the chance. (Zack Quaintance)
  • Leonide the Vampyr: A Christmas for Crows #1 (Dark Horse): Keeping with the Victorian tradition of telling macabre, ghostly tales around the holidays, writer/artist Mike Mignola, artist Rachele Aragno, colorist Dave Stewart, and letterer Clem Robins unite for the holiday one-shot, Leonide the Vampyr: A Christmas for Crows. The story is the team’s own inspired take on A Christmas Carol, featuring the cunning and dangerous Leonide, created and introduced earlier this year (background not needed to enjoy this story, but recommended nonetheless!). In this new one-shot, she combats an unrelenting enemy as well as her own actions. What stands out the most is how this comic succeeds in hitting holiday-themed high notes. Mignola’s voice and twists add another level to this Christmas classic by hitting on the themes of forgiveness, repentance, and togetherness that circulate as holiday spirit during this time of year. (Bryan Reheil)
  • Art Brut #1Love Everlasting #5 (Image Comics): Imagine: you’re going to therapy. For love. But you aren’t in love (currently). Also, you don’t know how you got to the therapist. Well, in this closeout issue to Love Everlasting’s opening arc, writer Tom King and artist Elsa Charretier don’t just take us to therapy — they show us how we got there. If you’ve been following doomed-love-truant Joan Peterson’s quest to escape 1950s romance comic tropes, then you might’ve been able to piece together this metatextual mystery from errant clues. What lies in issue #5 is nothing short of a masterclass of slow trickling information and using the literal language of comics to depict a surreal era-spanning romance mystery. Soaked predominantly in funk-focused greens and purples, colorist Matt Hollingsworth pulls quadruple duty depicting four distinct eras through sheer palette control albeit without screentone effects obfuscating Charretier’s eye-leading inks. On letters, Clayton Cowles continues reinforcing the narrative through consistent and immersive balloons that make a 24 word balloon read like a four word balloon. If formalism makes you blush, and the word “metafiction,” makes your heart race, then may I introduce you to your new love, Love Everlasting. (Beau Q.)
  • Night Club #1 (Image Comics): Do my eyes deceive me or is this a full-length $1.99 monthly comic? No, my eyes are correct, it is. So, good on Mark Millar and Netflix (which is billed as a co-creator on this book) for making that happen. This book also opens with a concept that speaks directly to me…that mass amounts of people will watch crazy stunts on the Internet. Look, I don’t want to watch those stunts. Hell, I don’t even seek them out, but when they appear in brief on my feed, I am helpless; more often than not, I click them. That’s how we open, and then from there Millar, artist Juanan Ramirez, colorist Fabiana Mascolo, and letter Clem Robbins take us through a vampire story wherein a mysterious figure is biting the infirmed to heal them and also fill out a team he’s assembling. It ends up being less about vampires and a bit more about an alternate and macabre way to gain superpowers, which is familiar and capable territory for the team. Bottom line: at a price tag of $1.99, it’s tough not to recommend at least taking a flier on this one. (Zack Quaintance)
  • Red Sonja/Hell Sonja #1 (Dynamite): Continuing from the Hell Sonja miniseries, Red Sonja/Hell Sonja #1 opens up with Hell Sonja coming to grips with her role in Hell and it is just that – hell. Damning souls and having to recount every transgression they have committed is not only tourture for the soul in her presence, but her as well and she is exhausted. Her situation changes as the issue progresses and she has a new mission that brings her to the mortal plane and in contact with Red Sonja who is not very happy to see her other self. Writer Jordan Clark does a great job sets things up nicely for readers who may have missed out on the previous miniseries and for those that are already on board. Miriana Puglia’s art is good and serves the storytelling well. Overall a solid start to this new adventure. This book was colored by Ellie Wright and lettered by Jeff Eckleberry. (Chris Partin)
  • Starhenge Book One #6 (Image Comics): I have to admit, I have struggled a bit with this series, which feels so dense as to become a bit unwieldly. Written and illustrated by Liam Sharp with a font by Dave Gibbons, the series does not lack for comics craft nor ambition. It takes grandiose swings with almost everything it does or tries to do, mixing timelines, themes, art styles, prose, and I don’t know what else. And while it bogged down in places for me throughout the series and right up through this finale, Starhenge without question feels like an entirely singular vision, the type of book that while it might not ever be broadly accessible, it will ultimately find a devoted and feverish audience that may consider it among the best comics ever made. (Zack Quaintance)
  • Wynd: The Throne In The Sky #5 (BOOM! Studios): One of the best monthly fantasy comics of the day concludes its most recent miniseries this week with a strong issue from the creative team of writer James Tynion IV, artist Michael Dialynas, and letterer AndWorld Design. This marks 15 total issues for Wynd so far, and to my eyes, it shows little sign of slowing down, although this chapter does bring us a bit closer to the outbreak of a massive and large-scale war. So, maybe that’s just wishful thinking on my part, because I continue to love this ensemble cast and high fantasy action mash-up, as if someone jammed Community together with The Wheel of Time. (Zack Quaintance)

Wednesday Comics is edited by Zack Quaintance.


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