DSTLRY wants to innovate comics as we know it. The “next-generation” publisher (lead in part by former comiXology execs David Steinberger and Chip Mosher) certainly has the right equation: Take some big-time stars — from Scott Snyder to Jock, Jamie McKelvie to Joelle Jones — and give them full equity in the company. That way, not only do they create the most compelling and deliberate stories possible, but they support themselves in a way that’s not always feasible for creators in the modern industry.
And while DSTLRY’s gotten heaps of hype and attention, the question ultimately begs, just what kind of comics can we actually expect? Well, we’ll find out in part when DSTLRY releases The Devil’s Cut later this summer. The 88-page anthology collects “short stories” (and not previews) of 11 stories from the various DSTLRY owners. That distinction’s actually important: these aren’t your traditional previews but standalone offerings. From there, eight of these stories will then become full-fledged titles that are slated to drop sometime between fall 2023 and early 2024. (The three stories not receiving their own titles are “What’s Mine Is Hearse,” “What Happens Next…,” and “Waiting To Die.”)
The Devil’s Cut won’t be released until August 30. Luckily, we here at AIPT were given an early preview by the DSTLRY team, and we’ve assembled some blurb-style reviews on all 11 stories. What’s the final verdict, then? Time will tell what, if any impact DSTLRY will have on the comics industry in general. But for now, there’s clear proof of weird and wild comics that span genres, aesthetics, and general interests, and that’s the sort of bright future that matters the most.
“Spectregraph”
James Tynion IV (writer), Christian Ward (artist), and Aditya Bidikar (letter)
No one marries the jagged and gritty with superb psychedelics quite like Christian Ward. And few are as similarly dextrous as his collaborator James Tynion IV, whose known for genre-bounding tales of horror and humanity. And the pair, alongside letterer Aditya Bidikar, blend all this weird energy into a metaphysical tale of a botched robbery that could very well crack open the very walls of existence. It feels very much like Blade Runner if it took place in our own sleazy ’80s. Or, Poltergeist and/or Scanners if they both somehow crossed over with Miami Vice. Regardless, it’s intense and foreboding, the kind of psychic and physical violence both men know how to facilitate so expertly. I’m curious just what all this talk of heaven might mean — knowing Tynion and Ward, it could be the real deal or some terrifying alternate dimension — and that razor-sharp tension defines the story’s initial appeal.
“Shepherd”
Marc Bernardin (writer), Ariela Kristantina (artist), Lee Loughridge (colorist), and Bernardo Brice (letterer)
“Shepherd” doesn’t have a lot of the same bells and whistles as other stories here. But it does have what matters most: one heck of premise. As a futuristic mankind looks to move further and further into the stars, we combat the one remaining obstacle (pirates) with that most elegant of solutions, badass female fighting constructs. It sort of checks every box for proper space-faring storytelling. The hard-ish sci-fi bits (a world that looks and feels like a more shimmery take on the Alien franchise); the perfect balance of utopian vibes with more approachable, gritty elements (seriously, pirates); and, the piece de resistance, a sweet backronym. But more than all that, I get the sense this book will be a deeply human love story, and a tale of both the things we do for loved ones and the way we as people try to build communities. It’s as warm and comforting as it is totally dazzling, and “Shepherd” has galaxy-sized potential.
“8 Rules To Make It Out In One Piece”
Elsa Charretier (writer-artist), PK Colinet (writer), Nick Filardi (colorist), and Clayton Cowles (letterer)
Ah, and we’ve arrived at the first story that doesn’t really seem to lean one way or another in terms of genres and aesthetics. But that’s mostly a good thing, as this could be some quirky spin on James Bond (super spunky, ultra efficient female agent, just the right amount of nudity, quirky decisions like a shoe grenade, etc.) Or, maybe it’s something like a spy thriller meets The Island — and that kind of sci-fi spin would really gel quite nicely with some of the more playful tendencies of this tale. Still, whatever way this story leans, it’s already fully aware of its own identity. You can thank the work of writer-artist Elsa Charretier, whose dual-wielding manages to marry the story’s irreverent tone and charm with visuals that play up some retro-tinged, indie-style weirdness. (With a huge assist, of course, from the extra vivid hues of Nick Filardi.) I’d follow this story down the deepest, weirdest rabbit hole, that’s for sure.
“What’s Mine Is Hearse”
Stephanie Phillips (writer), Joelle Jones (artist), and Lucas Gattoni (letterer)
And here’s the first story where I wish we’d be getting a proper series down the line. But, alas, this one-and-done tale of an overly passionate mortician/funeral director only gets a few pages. But boy oh boy what can be accomplished in such a short time. Writer Stephanie Phillips knows how to make the serious seem hugely silly, and the bonkers feel decidedly earnest — and that’s the kind of awareness and technical skill that you want in a story like this one. Meanwhile, artist Joelle Jones pulls a similar act; her pulp-y work eschews time and space itself with its vivid line work and mind-blowing colors — visuals that make you feel a little dirty but prevent you from ever pulling away. Toss in those expert letters from Lucas Gattoni (that man knows timing and then some), and we get something meant for consumption like a cheap donut but with the nuance and complexity of smoked duck. Ain’t’ love just grand?!
“A Blessed Day”
Mirka Andolfo (writer-artist), Fabio Amelia, Arancia Studio (letterer), and Steve Orlando (localization)
There’s so much to talk about “A Blessed Day.” For one, Mirka Andolfo (Sweet Paprika) tells stories like few others. In some ways that’s good — we get a really layered and decidedly complicated story about a supernatural talent agent. And in some ways that’s maybe a downside — it’s hard to tell if this very niche story can be something of discernible value in the long-term. But if nothing else, Andolfo’s own art leans into the world she creates; everything’s very manga-meets-European comics, with layers of cuteness and sex appeal bashing into one another for something that’s appealing and altogether unsavory (but in a good way?) Steve Orlando’s presence (via the localization) could help temper some of this, but the fear is that there’s no way to properly execute so many parts alongside such a deliberate premise. But if it can, then this title could be a dark horse of DSTLRY for sure.
“The Stowaway”
Jock (writer, artist, and letter)
I get that, for a lot of people, I’d read a story from Jock about how they abbreviated every U.S. state. And “The Stowaway” clearly continues a lot of what makes his designs and visuals so great, with a clear emphasis on the near-future storyline (about some kind of street rat, possibly with a heart of gold?) and the seemingly approachable dystopia vibes. But, and this may just be a function of this being a short story, I’m not sure that there’s going to be anything really compelling to this world that wasn’t deliberately hinted at in this piece That, and despite his many artistic talents, I sometimes think that Jock needs a writer and/or collaborator to support and structure his work. (See, or don’t, his recent work with Batman: One Dark Knight.) If all we get is fairly familiar future imagery and giant spaceships, it just might not be enough — even if those ships are really freaking cool looking.
“Deleted Scene #2”
Brian Azzarello (writer), Eduardo Risso (artist), and Jared K. Fletcher (letterer)
Brian Azzarello certainly has a history of nailing gritty crime stories. And beyond the excellent 100 Bullets, even his superhero stuff (like Batman: Broken City and Suicide Squad: Get Joker!) have that similar kind of heft and grit. But I for one am excited to see him tackle the equally down-and-dirty realm of cowboys. If only because it’s a slightly different venue for him to find and explore violent weirdos and losers — and his gift for dialogue and character interactions should find plenty of material in this era. But, really, I’m most excited for this story because of Eduardo Risso’s art — it mostly eschews some of that immediate grit for something altogether more vivid and abstract, like a history book written by some European comics superstar. If we can get a super dark Azzarello narrative married with even more of these pristine shots from the Wild West, this story could both continue and even transcend its genre and traditions.
“White Boat”
Scott Snyder (writer), Francesco Francavilla (artist), AndWorld Design (letterer), and Tyler Jennese (story assistant)
I for one was instantly blown away with Night of the Ghoul. Scott Snyder and Francesco Francavilla demonstrated a clear understanding of one another’s sensibilities to then craft a hugely moody and downright scary tale. But this time around, I’m not quite as certain. Do I love the whole “haunted Ship of Theseus” idea? Yeah, it’s the perfect backdrop of human drama for Snyder, who’s clearly on his Raymond Carver tip with the monologues of Kip Bell. And Francavilla’s right there with him, taking some pulp ideas and energies to maximize this deeply human ghost story. But at the same time, it’s just not clicking yet. The premise may be too much and/or a little one note; Bell isn’t all that compelling (as he echoes himself); and Snyder’s already leaning heavy into exposition. Just give me lots of surrealist images and deeply scary ghouls, and we’ve got something. And maybe toss in some salty sailors for some much-needed levity.
“What Happens Next…”
Jamie McKelvie (writer-artist) and Aditya Bidikar (letterer)
Here we get a story where it’s downright tragic that there’s no next chapter. The story of lovers leaving this perfect utopian future for unknown realms (sans their “soul backups” a la Altered Carbon) is pure magic. It’s the kind of slightly depressing, hugely romantic fare that speaks not of some madness we posit for ourselves in the future, but that spark of true humanity that exists across all time. Be it Jamie McKelvie’s narration (he’s an artist with a true poet’s soul) or his visuals (so much depth and history baked into this gorgeous world), I simply yearn for what actually will come next. But by the time I’ve turned the page for the 10th or 12th time, I let go of that want because that’s what the story gives you: a sense of peace in not knowing the next step. It’s a joyous story that engages with readers in a way that both comforts and also pulls down the very walls of the world, revealing a quiet truth that devastates. To have more would be the real travesty.
“Waiting To Die”
Ram V (writer), Lee Garbett (artist), Lee Loughridge (colorist), and Aditya Bidikar (letterer)
This story coming directly after “What Happens Next…” is both a benefit and curse. It’s the former because they both share a lot of same ideas and energies — this one’s about lovers (in the near and not far future) dealing with the end (apocalypse via solar flare) and how it impacts their affair (not nearly as grand or romantic in its scope). And yet it’s a curse because I don’t think it quite compares. Ram V’s portrayal of doomed lovers mostly works, but the faux cool and poetic one-liners often land as much as they distract. And Lee Garbett and Lee Loughridge certainly bring the visual magic — they capture everyday life with the same heft and splendor of the flare itself — but it also felt a little too Love and Rockets to me to feel truly distinct. Could some of this be resolved with a series proper? Maybe, but we’ll never really know, and like this relationship itself, it’s just going to have to be enough.
“What Blighted Flame Burns In There?”
Becky Cloonan (writer-artist), Tula Lotay (writer-artist), and Richard Starkings (letterer)
It makes sense they’d end with this story. Not because it’s necessarily the best, but because it touches on some key elements from the other stories. It’s got the same kind of romantic sheen as Andolfo — although the added grit feels important. It seems to deliberately skew a lot of these future-centric tales, and the medieval, Salem Witch Trial-aping story feels essentially novel for that decision. There’s even more doomed lovers, but our young witch might be hiding something from her beau (or vice versa?!), and that little trick does wonders for a story that might otherwise fall prey to cliches and similar tendencies. But this book also does something different, too. The switch in art style (seemingly between dual writers-artists Tula Lotay and Becky Cloonan) hints at ideas and themes that further this story’s potential. Sure, a flame’s burning pretty bright, but I still need a little more to tell if this story will soar on a broomstick or sink in the river.
Final Thought:
The stories presented here are cornucopia of sci-fi, horror, spy thriller, and more. There’s a real sense of cohesion in terms of the general scope and styles, but every story also stands firmly on its own. There’s some fare that lands a little better than others, but collectively we get offerings that balance their innate “preview”-ness while also being a singular piece in and of themselves. The end result has me excited for what DSTLRY is doing, and they’re clearly doing something novel in comics by letting creators move as they please in telling big, poignant stories.
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