Tag Archives: dogs

Review: Stray Dogs: Dog Days #2

Stray Dogs: Dog Days #2

Stray Dogs has been an emotional read since the very first issue. It’s fitting that it ends on equal terms, with an emphasis on moving beyond trauma to find some kind of closure. The individual dog stories in “Dog Days” (the two-issue follow-up to the main series) achieves this while also combining for a sensible conclusion that lays every emotion imaginable out in the open with an invitation to feel each one.

Dog Days #2, which continues in the same short story format of the first entry, centers on several of the main story’s dogs to get at their origin stories and how they related to their human companions, the ones taken by their serial killer master. Creators Tony Fleecs and Trish Forstner change it up with stories about victims that initially get away from the main story’s serial killer thanks to their protective dogs and stories focused on memorial services for those who were unfortunate enough to cross paths with the killer.

This issue plays out like an emotional reckoning that brings in the ugliness of the story to the forefront with the intention of accentuating the ripple effects of evil actions and how they all stem from the egotistical desires of twisted individual. What’s impressive is how each segment in the book wrestles with those ideas.

Fleecs and Forstner allow each dog to represent themes such as confusion, anger, acceptance, and mourning during their stories to make sure the overarching narrative closes with an understanding that violence leads to messy endings and that navigating them is never meant to be an easy or clearly defined process.

Stray Dogs: Dog Days #2
Stray Dogs: Dog Days #2, variant cover by Manu Silva

As has been the case with the entire series, the art style continues to be an exercise in contrasts where the dark subject matter collides with Disney-like cartoon visuals to produce a harder-hitting storytelling experience. The same strategy that’s worked before is still intact and continues to work just as well. Forstner has shown complete mastery of the cartoon style and has done a remarkable job adapting it to a type of story that is not usually associated with it.

Fleecs’ script also stays true to form, unafraid to venture into heart-breaking territory without beating you over the head with it. Dog Days #1 already tugged on the heart strings enough, so it was refreshing to see Fleecs take a step back to explore other possibilities, as was the case of one the dog’s successful attempt at scaring the killer away during a kidnapping attempt. It helps to develop the dogs beyond just being victims of the killer’s design and it puts the animal characters under a different light.

Fleecs and Forstner make a formidable creative team and I hope to see more of their work together. Stray Dogs is so good I wish there was a way to extend our stay in its world. There might be a chance of it if they try for an American Horror Story kind of anthology format in which a different horror scenario plays out with different animals and settings. It might open the door for a Stray Cats series in the future, hopefully. For now, though, we have Stray Dogs, and I’ll be rereading it several times more before I’m done with it. You should too.

Story: Tony Fleecs Art: Trish Forstner Colors: Brad Simpson
Story: 10 Art: 10 Overall: 10
Recommendation: Buy, read, reread, and then adopt a dog. They can scare away serial killers.

Image Comics provided Graphic Policy with a FREE copy for review


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Review: Primordial #1

Primordial #1
Primordial #1, cover by Andrea Sorrentino

The Space Race between the Soviets and the Americans during the 1960s has always been fertile ground for conspiracy-centric storytelling, ripe with classic sci-fi concepts and ideas informed by a long tradition of weird fiction. Jeff Lemire and Andrea Sorrentino’s new book, Primordial, is firmly set within that tradition, but what it’s managed to produce on the visual front is what truly stands out as special.

Primordial follows a black electrical engineer from MIT called Dr. Pembrook, a man who’s interest in an American space mission where monkeys were shot into space to test travel by shuttle leads him to a secret report about the operation’s hasty cancellation that questions whether the alleged failure of the project was fact or an elaborate fiction to cover something up.

Pembrook’s discovery pushed him down the rabbit hole into conspiracy territory, led by a question that instantly makes the story take a whole new spin: what if the animal shuttle flights revealed something that scared everyone into not pursing further travel?

Lemire’s script perfectly captures the nail-biting paranoia that tends to be a staple in these types of stories, but when things get cosmic, it’s Sorrentino who steps up and steals the spotlight. It works because Lemire allows the plot to unravel in two spaces, if you will, in which Pembrook’s side is allowed to develop on its own while the animals’ flight is also given room to present its trajectory.

Primordial #1
Primordial #1

The more traditional, almost spy-thriller aspects of the story belong to Pembrook while the all-out sci-fi part of the equation is afforded to the animals. Sorrentino capitalizes on the setup to let loose in what can only be described as pure and unfiltered creativity, especially when it comes to the space travel sequences.

Panel work in these sections of the book break with structure and form to reach a higher level of visual play that ranges from panel collisions to colors flying off into unexpected parts of the page. It all combines to create a sense of wonder and even fear that frames the animals’ experience as a complete transformation of the rules of physics that will transport them to uniquely unknown places.

It tips its hat to Jack Kirby sci-fi, but it also borrows from classic rock and prog album cover art to breath life into many of the surprises the book viscerally throws at its readers as the story’s pacing picks up. In other words, Primordial is a visual marvel, a feast for the eyes that’s hard not to get lost in.

Dave Stewart’s coloring is largely responsible for the visuals’ triumphs as well. The book is bright and it captures the kind of naïve optimism that tends to characterize attempts at space travel. It makes for an experience in which the unknown is given a chance to reveal itself and to pose questions that go beyond what’s seen. Stewart’s work elevates that idea and gives it new dimensions.

Primordial #1 possesses a very exciting and intense sense of discovery and exploration that rests on the notion that secrets and conspiracies can generate quite a set of sense-shattering images. It’s a supreme example of what can be achieved with visual storytelling and how comics can offer narrative possibilities other mediums can only hope to imagine.

Story: Jeff Lemire Art: Andrea Sorrentino Colors: Dave Stewart
Story: 9.0 Art: 10 Recommendation: Read and make sure to give comics to space animals for their voyages

Image Comics provided Graphic Policy with a FREE copy for review


Purchase: comiXologyKindleZeus ComicsTFAW

Early Review: Primordial #1

Primordial #1
Primordial #1, cover by Andrea Sorrentino

The Space Race between the Soviets and the Americans during the 1960s has always been fertile ground for conspiracy-centric storytelling, ripe with classic sci-fi concepts and ideas informed by a long tradition of weird fiction. Jeff Lemire and Andrea Sorrentino’s new book, Primordial, is firmly set within that tradition, but what it’s managed to produce on the visual front is what truly stands out as special.

Primordial follows a black electrical engineer from MIT called Dr. Pembrook, a man who’s interest in an American space mission where monkeys were shot into space to test travel by shuttle leads him to a secret report about the operation’s hasty cancellation that questions whether the alleged failure of the project was fact or an elaborate fiction to cover something up.

Pembrook’s discovery pushed him down the rabbit hole into conspiracy territory, led by a question that instantly makes the story take a whole new spin: what if the animal shuttle flights revealed something that scared everyone into not pursing further travel?

Lemire’s script perfectly captures the nail-biting paranoia that tends to be a staple in these types of stories, but when things get cosmic, it’s Sorrentino who steps up and steals the spotlight. It works because Lemire allows the plot to unravel in two spaces, if you will, in which Pembrook’s side is allowed to develop on its own while the animals’ flight is also given room to present its trajectory.

Primordial #1
Primordial #1

The more traditional, almost spy-thriller aspects of the story belong to Pembrook while the all-out sci-fi part of the equation is afforded to the animals. Sorrentino capitalizes on the setup to let loose in what can only be described as pure and unfiltered creativity, especially when it comes to the space travel sequences.

Panel work in these sections of the book break with structure and form to reach a higher level of visual play that ranges from panel collisions to colors flying off into unexpected parts of the page. It all combines to create a sense of wonder and even fear that frames the animals’ experience as a complete transformation of the rules of physics that will transport them to uniquely unknown places.

It tips its hat to Jack Kirby sci-fi, but it also borrows from classic rock and prog album cover art to breath life into many of the surprises the book viscerally throws at its readers as the story’s pacing picks up. In other words, Primordial is a visual marvel, a feast for the eyes that’s hard not to get lost in.

Dave Stewart’s coloring is largely responsible for the visuals’ triumphs as well. The book is bright and it captures the kind of naïve optimism that tends to characterize attempts at space travel. It makes for an experience in which the unknown is given a chance to reveal itself and to pose questions that go beyond what’s seen. Stewart’s work elevates that idea and gives it new dimensions.

Primordial #1 possesses a very exciting and intense sense of discovery and exploration that rests on the notion that secrets and conspiracies can generate quite a set of sense-shattering images. It’s a supreme example of what can be achieved with visual storytelling and how comics can offer narrative possibilities other mediums can only hope to imagine.

Story: Jeff Lemire Art: Andrea Sorrentino Colors: Dave Stewart
Story: 9.0 Art: 10 Recommendation: Read and make sure to give comics to space animals for their voyages

Primordial #1 will be available at comic shops on Wednesday, September 15.


Pre-Order: comiXologyKindleZeus ComicsTFAW