Holmes: The Rape of the Sherlock

In his introduction to this squib in The Big Book of Sherlock Holmes Stories, editor Otto Penzler says that “To describe it as trivial overpraises it. It is included here as a curiosity – nothing more.”

Small praise indeed! But understandable, given how slight a story it is. Its main claim to fame is that it was written by Winnie the Pooh author A. A. Milne, who was also a mystery writer himself. It was first published in October 1903, making it contemporary with Doyle’s “The Adventure of the Empty House,” which was the story that brought Holmes back from the dead. So here we have Holmes appearing to Watson like a ghost and explaining that he’d been in hiding since apparently falling from the Reichenbach Falls. The title has no relation to anything, not even Pope’s poem. As for Moriarty, “There is no such man. It is merely the name of a soup.”

That’s not much of a punchline, and it’s not much of a story. I include it here only as a curiosity.

Holmes index

Criminal 1: Coward

Criminal 1: Coward

Coward is the first volume in the Criminal series of semi-standalone neo-noir crime stories by Ed Brubaker and Sean Phillips. I say semi-standalone because each can be read independently but they’re set in the same fictional “universe” (as we have to call these things nowadays) and they share recurring characters and themes.

The coward of the title is a thief named Leo Patterson, though his reputation as yellow is partly a disguise. It leads people to underestimate him, and the fact is he isn’t so much cowardly as careful, always thinking of the ways a job can go wrong and planning in advance. His caution keeps him out of jail and makes him a survivor.

There is a plot here involving some crooked cops enlisting Leo to help them with a heist, but the way it works out is pretty much just the regular sort of thing, with double-crosses and fallings out. What I thought set Coward apart was the character of Leo, who feels authentic and well-rounded. He grew up in the trade, and now cares for his elderly uncle Ivan, who is both a junky and suffering from Alzheimer’s. Though despite this Ivan is still mostly functional, or functional enough to be a problem.

We’re very much in Sin City-style territory here, and if I had a gripe about Coward it’s that the ending is so clichéd and predictable. But it’s still better than most contemporary crime comics, thanks to Brubaker’s writing and Sean Phillips’s thick lines, shadowed faces, and signature starburst gun flares. I’m sure the rest of the series will be more of the same, but I’m down for it anyway.

Graphicalex

Hulk: Gray

Hulk: Gray

This was a six-issue miniseries by the all-star team of writer Jeph Loeb and artist Tim Sale that was first published in 2003-2004. It’s an oversize comic, on the scale of Marvel’s Grand Design series, though I believe it came out before that series started.

I loved seeing Sale’s art blown-up to this size, though I could have lived without the wide side borders on every page. The full-page and double-page spreads are like movie posters and they’re used really effectively throughout. The Hulk is a big dude and he can fill a page any size. Sale has a great sense of space and he can move from epic vistas looking like Monument Valley to close-ups of the Hulk’s mouth full of rocky teeth. You can tell Sale had a lot of fun with those teeth.

As great as it is to look at, I’ll admit that after a while I was just turning pages without reading it very closely. I thought Loeb, whose The Long Halloween is probably my favourite Batman comic, really mailed this one in. It’s a tired story that basically retells the Hulk’s origins, covering the 24 hours after Dr. Bruce Banner was caught in the explosion of the Gamma Bomb. The Hulk steals away into the desert with Betty Ross, and first Iron Man (in his vintage yellow “tin can” suit) and then General “Thunderbolt” Ross (Betty’s father) chase after him. The whole thing takes the form of a flashback, with Bruce relating these events to the superhero shrink Dr. Leonard Samson. It’s a narrative device that didn’t serve any real purpose, as their back-and-forth didn’t add anything and the ending was the flabbiest part. I guess it’s a breakthrough for Bruce to realize that Betty Ross really loved him as both monster and man? I don’t know. It all seemed pointless to me.

So a great comic to look at, with nice lettering too by Richard Starkings, but the effect is almost like a coffee-table book that you just want to pick up and flip through. I ended up doing that a lot. But I wasn’t into reading it.

Graphicalex

Montalbano: The Snack Thief

I didn’t much care for The Snack Thief. There are actually a couple of different mysteries in it, hinging on the character of a Tunisian woman named Karima. The first mystery has to do with the murder of a merchant whose stabbed body is found in the elevator of an apartment building. It turns out that Karima was his mistress. The second mystery involves the killing of a terrorist, who happens to be Karima’s brother. Now the first mystery was the kind of thing I’d put more in the Maigret vein, involving different fraught family relations and a murder that was half an accident. The apartment building setting also put me in mind of Maigret. I thought this was interesting. The second mystery, however, was a complicated business involving Italy’s secret police and international intrigue. It all takes some time to explain in the end when Montalbano has a sit down with the nasty little guy who was behind the operation, and I didn’t like any part of it.

Now the two plotlines are connected, which is what confuses Montalbano, but whenever you have two stories like this and, as a reader, you find one is a lot more interesting than the other, you have a book with a problem. But I had other issue as well. As in The Terra-Cotta Dog Montalbano’s big crack in the case comes about entirely by circumstance, in a manner that reminded me of the boy seeing the photo of the police in the movie Witness. Then we have Montalbano’s character further developed through his relationship with Livia and (something new) his dying father, and though Camilleri does this to make him a very human and even relatable figure what this also means is that he comes across as a jerk a lot of the time. He’s nasty and mean (“ornery as hell” as one of his lieutenants buts it), vain, jealous of Augello, self-righteous, anti-social (a gourmand, he hates talking to anyone when he’s eating), and in the end not that interested in his job, which a perceptive old man tells him is his escape from reality. He likes to solve cases without any practical result, you see. Except, in this case, for himself.

Now you can say that a lot of famous fictional detectives are difficult types. Holmes. Poirot. Wolfe. But in all those cases the reader has a friend who is more likeable (Watson, Hastings, and Goodwin). In the Montalbano novels we’re stuck in closest proximity to Montalbano himself. This makes a difference and can be pretty uncomfortable.

So not the book I wanted it to be. I wanted the focus to be on the dead man in the elevator and got the terrorist plot instead. I wanted more about Montalbano’s relationship with his father and less about Livia adopting Karima’s son. I wanted to see Montalbano actually solving a mystery instead of getting lucky with clues being dropped in his lap. But having said all that, I still thought this was a decent story that did a lot to fill out Montalbano’s world and it kept me on the hook for what would come next.

Montalbano index

Asterix and the Banquet

Asterix and the Banquet

Or Le tour de Gaul d’Astérix, as it was first published in French in 1965. But either title works, as the plot has to do with Asterix and Obelix making a circuit of Roman-occupied Gaul to pick up foodstuffs from all the different cities they visit so that they can then take it back to their little village for a banquet. This is to win a bet with a Roman inspector (Lucius Overanxious) that a palisade built around the village would never be able to fence them in. I only mention the change in title to note the free hand translation can take. On a couple of occasions in the text this also came up. A version of a Roman tow-truck (a tow-chariot) arrives at one point and it’s called TOWSRUS TOWS, which I doubt the French said, even though Toys “R” Us had been a brand in the U.S. since the late 1950s. Then on the last page, at the banquet, Asterix launches Lucius Overanxious with what he calls “the village specialty,” which is PUNCH! I take it this was a reference to the ad “How ‘bout a nice Hawaiian Punch?” which first aired in the early 1960s, so again it’s possible. But I don’t have the original French-language versions to compare. I could probably find them in the library but I’m too lazy.

Anyway, as I said in my notes on Asterix the Gladiator, the template for these stories had already been set, “with Asterix and Obelix (the latter still without Dogmatix) leaving the village for some foreign adventures and then returning home for a banquet.” This is, as I’ve already outlined, the whole story here, with the difference being that it is in this volume that Dogmatix is introduced (though not named yet). Dogmatix decides to tag along with the two outside a deli in Lutetia, and is a silent presence throughout all the rest of the comic, always visible but completely ignored by Asterix and Obelix. That is, until the final page, where he finally lets loose a “Woof! Woof!” at Obelix, who notices him for the first time. Picking him out from the goings-on is a bit of fun throughout, and makes the point that you have to spend some time with Albert Uderzo’s art, seeing as there’s so much put into every frame. When they visit Nice, for example, they’ walking along the seaside promenade and, despite their being central, it’s easy to miss the two very modern and stylish blondes walking past in their miniskirts, but they have a little white dog that’s barking at Dogmatix while a Gaul twirls the ends of his long Gaulish moustache and looks at them. The final panel, now becoming a signature sign-off, also has a checklist of items to see: the banquet in the distance, Cacofonix bound and gagged so he won’t sing, a centurion trying to revive the punched-out Lucius Overanxious, and Dogmatix running away with a bone and winking at us.

There’s lots of action here, though I didn’t think this was one of the better Asterix stories and there are no interesting new characters, aside from Dogmatix. It’s still a good time though, and even as the series was becoming more familiar it was far from growing stale.

Graphicalex

TCF: Empire of Orgasm

Empire of Orgasm: Sex, Power, and the Downfall of a Wellness Cult
By Ellen Huet

The crime:

Nicole Daedone, a Californian entrepreneur, began a movement in the early 2000s that centered on a practice she called Orgasmic Meditation (OM) and that eventually became a business known as OneTaste. Members of OneTaste took courses and workshops on OM and often lived communally in a manner that observers likened to a sex cult. What OM mainly consisted of was women having their genitals “stroked” to orgasm, most often by a man. In 2023 Daedone and OneTaste head of sales Rachel Cherwitz were indicted and after a lengthy trial both women were found guilty of federal forced labour charges, with Daedone being sentenced to nine years in prison.

The book:

At first this book seemed like it might be a near clone of Blazing Eye Sees All, as both were stories of female-led cults based out of northern California that emphasized lifestyle makeovers, with Love Has Won being more New Age while OneTaste tapped into the wellness market. And, needless to say given that I’m talking about them in the True Crime Files, they both ended badly. They even came with similar political footnotes, with a shift to the right and the convicted women here complaining to “right-wing media outlets” about “prosecutorial overreach” (the “witch hunt” defence) and courting individuals with access to Donald Trump to see if they could swing a pardon.

The differences, however, are instructive. As the famous line from Eric Hoffer put it, “Every great cause begins as a movement, becomes a business, and eventually degenerates into a racket.” We may well ask though if OM and OneTaste didn’t begin as a racket. This isn’t to say that Daedone was wholly cynical, just that she went into it with a business plan. Her earliest discussions with an older fellow sex communard and mentor took the form of “long, meandering conversations about advanced clitoral stroking and how to build a commercially viable following around it.” The sales pitch would have to get with the times: “Since we are not selling the god hustle,” she was told, “what do we do? What we have to sell is an organically healthy lifestyle with sensuality and intimacy. . . . Sell sensuality, sex, good communication, hot ass, any ass, etc.” Since Daedone had a background in the sex industry she had an edge. She’d also had previous experience in similar sex movements whose followers were frankly described as “marks.” I don’t think she was ever under any illusions about what the point of all this was.

But the wellness angle wasn’t the only thing that made OM a timely project. This was San Francisco and Silicon Valley at the dawn of the tech boom, and Daedone

was surrounded by bright-eyed tech founders who believed that the most effective way to change the world and to improve people’s lives was to build a company. By the mid-2000s, even being a guru was a professional pursuit, something that required branding and business savvy.

Now as those bright-eyed tech founders turned into the current oligarchy of tech bros we have all begun to wonder just how idealistic they were about creating a better world, and the point I want to make is that Daedone should be judged by the same standard. In the environment of the time, faith and gold weren’t just hard to tease apart, they were seen as being the same thing. There was a new law of physics contained in Daedone’s philosophy that “money is just energy.” “The universe is made of love,” Deadone would tell her sales staff. “Sales is love. Therefore the universe is made of sales.”

“One look at her face,” Huet adds, “told you she really believed it.”

Was this attitude “uniquely Silicon Valley,” as one reporter covering the OM movement averred? I wouldn’t go quite that far, but OneTaste really was of its time.

A key quality of a cult is its ability to adapt with the times. Just as cults in the 1960s reflected the era’s countercultural movement, today’s cults don’t look like they did in the past. Now, they look like mission-driven startups and Fortune 500 companies with demanding schedules and rigid corporate practices. They look like fitness fads, YouTube celebrities, altruistic nonprofits, therapeutic psychedelic guides, and executive leadership training seminars.

Wellness is an industry; spirituality is a commercial product. There will always be people with a hole in their heart – and someone willing to sell them a cure. Those cures will be constantly evolving, and the characteristics of cult leaders will modernize as well.

This leads me to a second point that I saw as setting OneTaste apart as a cult.

Devotees of OM weren’t suffering from a hole in their hearts so much as a lack of meaning and purpose in their lives. Meaning, purpose . . . and excitement. Were they seekers of enlightenment, or just bored? Boredom is like a refrain in the lives of OneTaste’s members, their main point of vulnerability. Daedone’s first husband is described as being drawn to her because “he wanted to avoid a boring, off-the-rack life.” The “best marks,” Daedone had learned, “were eager to hand over cash in exchange for the promise of more sex, vigor, and fun in their lives.” Her earliest followers were “the perfect marks” because they “had money to burn and yearned for a more thrilling life.” Even after quitting OneTaste one former follower confessed to fantasizing with another ex-member about going back, only because they both felt “bored and lonely.” It’s all kind of sad. One 29-year-old member was drawn to OneTaste because she’d never experienced an orgasm. We are also told that this same woman had been on antidepressants for fifteen years. So since she was 14? And from some of the other pocket bios Huet provides it’s clear this woman was far from the most messed up person to join the movement.

Ironically, even Daedone herself wasn’t having a lot of fun. As OneTaste expanded she grew tired of the responsibility of running the company. Her cultivated detachment led to feelings of loneliness, and people in the organization at the end “noted how she seemed to get impatient and bored, even when OneTaste was thriving.”

It seems that even becoming a god was no cure for this emotional brownout. “Against boredom,” Nietzsche wrote, “even gods struggle in vain.”

The cure for boredom, however, turned out to be worse than the disease. (Much worse, if, like me, you don’t consider boredom a bad thing in the first place.) Looking at it from the outside, OneTaste had the appearance of a gathering of sex addicts, only it was a movement that sought to deepen rather than diminish the effects of addiction. Participants were engaging in four or five “stroke sessions” per day, which I would have thought wearing after a while, even given the canonical time limit of 15 minutes per session (which I’m sure was rarely strictly adhered to). But then that’s the way most addictions work. Huet makes the link to edging, but I think the even more recent coinage “gooning” better applies. One woman explicitly compared the experience “to a drug-induced high,” while another never wanted it to stop. “When the fifteen-minute bell rang, she didn’t want to get up and go about her day, she said: ‘I just kept wanting to do it again, and again, and again.’” What is this if not a form of addiction? As every cult leader knows, sexuality is “the most intimate way you can control someone,” and who could resist a communion that made women’s genitals feel “like warm, buttery liquid caramel”?

Needless to say, there’s something depressing in all this. OM practitioners, who often did their thing publicly at training sessions, seem like the sex positives in the dystopian blue movie Café Flesh: putting on massage-table performances for the repressed or impotent. And everything about the movement fits with today’s porn culture, which is (to state the obvious) a mass masturbation cult. I’m not a prude, but I found the OneTaste commune to be a bit disgusting, like some kind of perpetual, onanistic orgy in a bawdy house hopping with bed bugs. There are people whose kink is exhibitionism though, so whatever turns you on . . .

And I think it’s the exhibitionist angle that made OneTaste as typical of its time as the Silicon Valley start-up ethos. One strong connection between Daedone and Carlson of Love Has Won is that both were extreme narcissists, obsessed not so much with attaining wealth and power as simply always being the center of attention. And in an attention economy, narcissists have a clear competitive advantage.

The attention economy at OneTaste was always in effect: “In OneTaste, attention was a powerful currency. Receiving someone else’s undivided attention felt amazing, and giving it to someone else could make them melt in your hands.” Literally melt, like warm, buttery liquid caramel.

It seems both weird and strangely familiar. A woman on a massage table, her legs spread and being stroked while a crowd of approving onlookers gaze in rapt attention, offering up their own commentary on how this makes them feel, is only a more sexually explicit form of the attention seeking of any Internet personality or podcaster chasing views, likes, and dopamine hits. That attention then being highly monetized. Today we’re all members of this broad church of engagement.

Noted in passing:

When OneTaste was starting out and they were looking for a San Francisco headquarters/communal residence, Daedone found “a dingy, newly vacant warehouse” that was available.

It was full of construction debris. Upstairs, there was some office space, and on the main floor, concrete floors and high ceilings. It looked like an industrial cave, and it was hard to imagine people living there.

Of course some renovations were necessary, but while a group shower area seemed to pass muster people were so unimpressed with there being only two toilets, side by side without stalls around them, that they went elsewhere. Most residents slept in a large main space that had beds packed in rows with thin curtains between them.

It sounds grim to me, like an urban summer camp for horny grown-ups, but the question I had was how it was legal. I could see setting up some apartments, maybe, but turning a warehouse into a commune housing fifty people would seem to involve some significant zoning and safety code issues. I don’t think anything like this would fly in my hometown. At the very least there’d be a year or more of public hearings. But maybe things are more relaxed in SF.

“To lead her defense, Nicole had hired an aggressive advocate: Jennifer Bonjean, a high-profile attorney who had represented Harvey Weinstein, Bill Cosby, R. Kelly, and the NXIVM leader Keith Raniere.” I think a client list like that establishes that you’re the go-to lawyer for cases involving sexual exploitation that come with a lot of media exposure, but didn’t all of those guys go to prison? Though I don’t know what role Bonjean played, at what stage, in their defenses. Apparently in Cosby’s case she got the initial sexual assault convictions overturned, but then she lost a later case where Cosby was sued for sexual assault so that might be considered a wash. In any event, it’s a line-up that speaks to Bonjean’s experience and I guess by the time these people were calling her things had already come to a desperate pass.

Takeaways:

If you have trouble getting yourself off you may need help, but you should first ask if maybe you’re just being lazy.

True Crime Files

The Island of Dr. Moreau

The Island of Dr. Moreau

During his real spurt of genius, when he was turning out classics like The Time Machine, The Island of Dr. Moreau, The Invisible Man, and The War of the Worlds all within the space of about three years, H. G. Wells showed himself to be a master at blending heady philosophical themes and scientific speculation with stirring action in a way that few writers have matched since. Now condensing The Island of Dr. Moreau into a 58-page graphic novel meant that something was going to be cut, and given the nature of the medium that something was likely going to be the more intellectual discussions that take place. Which is what happens here, throwing Wells’s balance of thought and action out of whack and leaving us with what is basically a straightforward adventure story.

You might have suspected as much just from the cover, with a heroic-looking Edward Prendick posing with machete while a muscular Beast Man looks down from the trees. Artist Fabrizio Fiorentino has a background in superhero comics, working for both DC and Marvel, and that’s really the style he’s working in here. Montgomery goes from being a pathetic, gay-coded alcoholic to a rough cowboy, while Moreau is Kingpin, or Marlon Brando. All of the big action scenes are included, and embellished, but the philosophical debates and moral of the story are dropped. While a more thrilling and better looking comic than the Classics Illustrated version, that book did preserve more of Wells’s ideas, kept the dark ending, and had I think a more credible Moreau. Or at least a hairier Moreau.

In other words, this is a comic that stands well on its own but is very limited if taken as an adaptation of Wells’s story. In fact, as a crib I think it could be quite misleading and get students who are looking for a shortcut into trouble. If you’re just here for the adventure part though it’s pretty good.

Graphicalex

Marple: The Jade Empress

A slow boat to China (or Hong Kong, which wasn’t quite the same thing at the time) isn’t where you’d expect to find Miss Marple, but aside from the setting Jean Kwok’s pastiche is well grounded and plays out in a familiar manner.

On the ship Miss Marple strikes up a friendship with a Chinese man who is returning to Hong Kong to visit his son. The man is soon found murdered in his cabin. The list of suspects is quite short (this is a short story), with the most prominent and suspicious-seeming being the man’s daughter. So we can feel pretty sure she’s in the clear. And the old man’s nurse with the one bad eye is a little too obvious as well. Which leaves the gossipy English couple, and while they’re obvious too they’re also very un-PC in a casually racist sort of way so you can’t count them out.

This throws us back on the one big clue or reveal scene, which I was happy to have interpreted correctly, having read more than a few of them in my time. I didn’t think the murder made a whole lot of sense, but in Kwok’s defence it held together a bit better than most of Christie’s plots. I haven’t read many successful Marple pastiches, but this one can at least be described as comfortable.

Marple index

Absolute Batman Vol. 1: The Zoo

Absolute Batman Vol. 1: The Zoo

Another reboot, another universe? Well, yes. But credit Scott Snyder for coming up with something that’s very new and really good, at least for the most part.

So in this version of the Batman story, part of DC’s Absolute Universe (launched in 2024), Bruce Wayne isn’t a rich orphan but comes from a middle-class background (father a teacher, mom a social worker). His dad is killed when he was a kid but his mom’s still alive. He trains himself to be a one-man crime-fighting unit, and I mean unit because he’s a really big dude, and so strong he can knock the stuffing out of a heavy bag with a single punch. He’s also a mechanical engineer and so has designed an impressive suite of toys to go with his suit. In fact, the suit itself is a machine, capable of firing spikes and with a cape that has claws he can grab things with or even walk on.

Then there are the other familiar names and faces, not transformed. Alfred Pennyworth is a hard-nosed MI6 agent who basically adopts Bruce. He’s also the narrator of the story. Jim Gordon is now Gotham’s mayor. The Joker is some billionaire psycho, called Joker because he never laughs. And Bruce’s poker buddies are Waylon Jones (Killer Croc), Eddie Nigma (the Riddler), Oswald Cobblepot (the Penguin), Harvey Dent (Two-Face), and Selina Kyle (Catwoman). You see, they were all friends together back when they were kids and they haven’t turned into their alter egos yet.

The plot in this first volume of the series (collecting issues #1-6) has it that a new gang called the Party Animals is taking over Gotham. They wear these cool masks that make them look like the evil bunny from Donnie Darko. Their leader is Roman Sionis (Black Mask) and he has the usual mission of creating chaos and burning the town down Purge-style. When Batman stands in his way he at first tries to buy him off, but (and this is one thing that is consistent with previous versions of the character), Batman’s not the kind of guy who can be bought.

There was a lot to like, from the great design elements to Nick Dragotta’s clear art. The action is quite violent and the guiding concept refreshingly bold. I loved the new Alfred. You really feel like you’re getting something completely different here, not just a slight divergence in the timeline but a rebuilt Batman from the ground up.

On the downside, I really didn’t like the flashbacks to the pack of superfriends. Even though it’s an entirely new backstory I didn’t find it interesting and the new parts to it, like the way all the supervillains grew up together and are still buddies, seemed silly. Then, in the present day, I was disappointed to find that the Party Animals were just more of the usual chaos agents who want to see the world burn, as that cliché has it.

But the Party Animals are only bottom feeders anyway, a force to get the ball rolling. They’re also the lowest rung on the Joker’s criminal organization and as things leave off here he takes their loss with a shrug and tells his assistant that it’s time to call in Bane. I’m down for that!

Graphicalex

Alien: Paradiso

Alien: Paradiso

The Alien titles have become one of my go-to comics for a good time. There are basic recurring elements in each of them, but somehow the stories manage to keep things fresh. A lot fresher and more interesting than the horrible film franchise anyway! And it’s been that way now for forty years.

Reading Paradiso I had to ask (again!) why they don’t just film these storylines instead of the ones they do. What we have here would make, if not a solid feature, at least a very good episode in an Alien cable series.

Smuggler Ricky Valentine, the dude with the golden arm, has arranged a meet-up with another bad guy at the super-ritzy Paradiso resort, which looks like a cross between Dubai and Las Vegas (if those two places aren’t the same thing). A couple of space marshals have Ricky under surveillance. They’re about to make a big bust when this other smuggler Ricky had arranged to meet turns out to have killed the deal with Ricky in order to take on some other cargo. Specifically, a bunch of giant, leathery eggs . . .

And so hell comes to paradise, with Xenomorphs running rampage through the casino and the sauna and the dining halls, slaughtering good guys, bad guys, and guests indiscriminately. The setting is a good example of the kind of refreshing change that makes these comics so much fun. Xenomorphs running amuck on some shithole planet or mining asteroid was getting old. Seeing them at Club Med was great.

Another way these comics keep impressing me is in the reveal of a character who turns out to be a synth. You know going in that somebody is an android, and still every time I’m surprised when I find out who it is. Full credit to the writers (Steve Foxe in this case) for that. Then, for the parts of the story that are unavoidable and that every Alien fan knows and expects, they can just have fun. “It got bigger,” the one space marshal says after a full-size Xenomorph shows up just an hour or so after being hatched. “No shit,” his partner replies. Now as fans we know how fast these things grow, but the people in the comic don’t. “How did it grow so much in just a few hours?” a security guard asks. It doesn’t make sense!

About the only thing I wasn’t totally on board with here was when they switched over to the Xenomorph’s point of view. I guess they were going for a sort of Predator effect, but I thought it was unnecessary and a bit confusing. That said, it’s another example of how they keep trying to throw something new into the mix, and it did change things up visually (the POV parts have a different artist) and I can’t say I minded it that much.

So another great Alien comic! Really, at this point I’ll grab any new one that comes out. They started these back in the ‘80s and I think I’ve read almost all of them without being let down yet.

Graphicalex