Welcome to another edition of Last Call Comics. Here, as we continually bolster AIPT’s weekly comics coverage, we catch any titles that might’ve fallen through the cracks. Or those books that we might not cover but still deserve a little spotlight. Either way, it’s a chance to explore more comics, generate some novel insights, and maybe add to everyone’s to-be-read pile.
Once more, happy New Comic Book Day to everyone.
Nights #9
Courtesy of Image Comics.
After seven basically perfect issues, Nights #8 earned a “disappointing” score of 8.5. That’s not to say it was actually bad; rather, it just didn’t click with the same heart and charm that Nights is capable of, and I was left wondering what the aim of the issue was compared to tighter/more succinct offerings.
So, could Nights rebound with issue #9, or had my love affair with this generally amazing book soured for good? Well, as the kids routinely say, we’re so back!
What made Nights #9 so great is Christmas. More specifically, the idea of having a “Christmas episode” in July is very much indicative of the weirdness and emotional potency that defines Nights, and we got an issue that was as much about slowing things down as pushing them forward.
Because, as we’ve continued into Nights‘ second arc, there’s no doubt been heaps of layers to explore — the return of Ivory (and his furry lil’ secret), Gray’s ongoing evolution, Vince dealing with his coupling with Gray and his own future, Matt’s continued isolation, and even the re-introduction of Molly, Ivory’s girlfriend/childhood friend. And that’s not even to discuss the “hijinks” from Halloween and the larger threat around Gray’s true lineage/makeup and that little apocalypse that may still be looming.
The point is, there’s so so much going on, and while Nights has always been able to manage these many spinning plates, it was equally nice to let everybody have a little fun and get away to NYC for a holiday trip. It was an opportunity to let people share their fears and doubts and to connect with each other to try and work through everything. I’ve thrown around the idea of a “bottle episode” a few times, and that’s very much like this — if the bottle were the streets of the Big Apple and fancy hotel rooms and just the magic of a place that’s only temporarily your home. We feel closer to the crew in some really important ways after issue #9, and it was vital to have this opportunity to let the humanity and emotion really shine through before it feels as if things may truly explode upward and outward.
This slower pace/approach was, as you’d expect, another deeply powerful decision by the incredible creative team (writer Wyatt Kennedy, artist Luigi Formisano, and colorists Francesco Segala and Gloria Martinelli). The writing here was clearly made to give us room to laugh and celebrate, as Kennedy’s dialogue was sharper than ever (there’s jokes about an airline pilot and a video game that should leave you in stitches). Also, the way in which Kennedy plots stories and issues remains top-notch — he knows how to balance so many different angles and arcs, giving everything room to breathe and land without overcrowding.
Similarly, the art team once again deliver in some really vital ways. This version of NYC felt distinct but still connected to Santo Pedro, and that cohesiveness made our immersion all that greater (even as the city was still made to feel distinct). Nights has also always been about the humanity under all the flash and horror, and that proved double here as we got some really potent moments that let the humanity settle (including this powerful scene toward the issue’s end involving the two couples’ respective dynamics). The world and people here really leaned into the warmth and magic of the moment, and we got to engage with them even further to let all of it settle and ensure all the threads and ideas here fully clicked.
At the same time, we still got things that mattered (beyond the mere value of human life, duh) in terms of something informing the larger arc of Nights as a series. There’s one part with Gray in a museum that adds to her “lore,” and I’m interested to see how this back-and-forth develops regarding what she’s really becoming and her true role in this universe. We also got some important stuff with Ivory and Vince; while that may not seem as world-threatening, their dynamic is going to influence both of them, and that could have big ramifications for the overarching narrative.
This issue did a lot to try and maintain this vital sense of mystery as much as it tried to give us some information and a path forward. I get the sense now that perhaps Gray isn’t nearly in control as she and the others think, and that she may be waiting to explode when some of the other threads (her respective relationships with both Ivory and Vince) push her into unknown emotional territory. Or, at the very least, this whole story has so many layers to it that we’re waiting for that final connective piece to emerge before we see the mighty patchwork story arc that’s been building this whole time. In short, I think this issue presented everything we’d need to know, or what might matter most, in trying to determine the future of Nights. Any ideas are pure guesses, but it feels like a shape is finally forming.
And, once again, that’s all thanks to some extra sharp performances by the creative team. As much as Kennedy kills it with hilarious dialogue and general quips, he’s also a master at hinting at bigger ideas and truths. There’s big insights and understandings teased across the issue — these little bread crumbs laid out that hint brilliantly at the larger story unfold. He can make us chuckle in the same line as some vital tidbit is laid bare, and that kind of cohesive storytelling is why Nights feels so layered and why it demands our complete engagement. It’s plot married with all the joy and whimsy needed to make it go down easier and never overpower this mega-exercise in humanity.
I’ve commented in several other reviews how so much worldbuilding happens solely via the art, and that’s extra true here. Whether it’s Matt’s video game system, the appearance of more talking cats, or even just chain-smoking rats, the world of Nights feels so big and bold and brilliant without nary a word ever uttered. There’s one scene with Molly and Ivory, in fact, where we see this gorgeous, magical entity — it didn’t need to be there (not that it takes away from the story at all), but its mere presence brings us in and shows us how massive and robust this world is. And we need that size — it makes the story feel more powerful and vital and also hints how things are progressing and even how much influence this story has on the world at-large. It’s the art, really, where we’re reminded of the sheer power in this story, and that imbues us with the courage to travel ever onward to see how deep this whole thing goes.
I also commented in my review of Nights #8 that sometimes we need a “sore spot” in a series to contextualize our connections with stories. (Also, that liking something doesn’t mean it’s free of thoughtful criticism.) Maybe I have some keen insights for Nights #9, but the fact of the matter is that this is among the series’ stronger single issues. It is both a singular entity ready made for our consumption (like so many Xmas sugar cookies) even as it’s a vital patch in this wild and wacky quilt. There’s so much to look forward to with #10 (leading up to the “season finale” of issue #12), and I just know that this book’s only getting started. Now, let’s slam eggnog and really celebrate.
Final Thought: Truly, Nights is the gift that keeps on giving.
Score: 9.5/10
Operation Sunshine: Already Dead #4
Courtesy of Dark Horse Comics.
There’s no denying that Operation Sunshine/Operation Sunshine: Already Dead has truly been a slow burn. It’s taken seven issues so far tell the story of vampires (and one bad-ass human) stealing an ancient artifact from the nasty OVs and returning their stolen humanity. Has that deliberate approach always been the best speed? Not necessarily, especially when capers like this need more action and force to really work. But as we saw in June’s issue #3, the potential for payoff is huge once things finally started clicking into place.
So, did we get that big, brilliant ending we hoped for, or was all this work ultimately for not? As it turns out, we may have been hoodwinked ourselves.
On the upside, this issue is among the most breezy and streamlined of the entire run, and after so, so much build up, the actual payoff played out with lightning-esque efficiency. On the one hand, it’s deeply exciting to see everything sort of happen all at once, and from a visual perspective, the art team of David Rubín and K.J. Diaz know how to bring the blood and madness to really make this final leg pop off in a way that is generally thrilling.
But then what about the substance of it all? Because, sure, it may look really exciting — there’s a kind of battle with an ancient vamp named Father that’s so darn sleek — but does it mean anything? And, yeah, mostly. The issue is that we don’t really get a lot of time to see things resonate in a meaningful way. Hex is a big focus of the issue, and her fate is given the most time to play out. And while I won’t spoil too much, it’s one of those instances where a character may get what they deserve/what the audience wants, but it just doesn’t land with the oomph and the power you’d expect. The same goes even more for others in this book. I like what happens with Tick and Leeds, as their dynamic feels really satisfying as it’s developed over this book. But Steve is almost treated like an afterthought, and that’s a little irksome after he was so deeply evocative and interesting in the very early part of this story/series.
As for Anwar, our morally nebulous, endlessly charming tweener who became a vital lynchpin of this story? Well, his fate’s indicative of the larger issues with this book. Because (again, without revealing too much), he does sort of get what he wants — which is to be expected of someone so crafty. Only, he doesn’t really get to bask in or enjoy the victory, and he moves right onto the next phase of his plan. That phase, then, could be an even longer future for Operation Sunshine‘s crew, and the direction and idea is at quite interesting. The only problem with all of that is 1) it neuters the significance of this moment in this story and 2) are we just locked into a series of new zany adventures without any actual payoff?
I get the sense that the writers (Henry Zebrowski and Marcus Parks) want to give Operation Sunshine a proper future, and they’ve clearly done that with both Anwar’s plan and just the sheer length and pacing of this series. But after it landed, rather than feeling genuinely excited for what happens and overjoyed about the possibilities (and, trust me, there’s something big potentially in the works), I mostly just asked myself, “When is it going to end?” We’ve been through so much with these characters, and I’d really just like to be able to leave them to their fates. There’s some of that here — Hex, as mentioned, feels like she could finally get to wander off into the sunset (metaphorically and/or literally?!) and I’d be happy to never hear from her again. That’s not to say that these characters are bad or not deserving of more story to tell; rather, stories need to end.
I’ve talked enough in the past about limiting five-issue story arcs for many titles, but maybe that’s a good thing. This story has proven that getting in and getting out can be good, and that when this book gets to its point, there’s a certain whimsy and joy that abounds. Maybe more confines/less space would have given this story the structure and support needed to, say, pay more attention to Steve, let big accomplishments and moments really resonate, and cut down on the ephemera and side bits to give us only the meat of it all. There was too much for too long with this book, and I think what we got was only half its true potential despite its sheer size. If I was able to enjoy more of the positives of this story, maybe I’d be genuinely thrilled to push these characters further and to tell a newer, more daring adventure. But now I can only think about how many issues they’ll need to potentially tell the audacious story they’ve dreamt up.
And speaking of that rather larger theoretical story, the only real thing giving me hope if/when it comes to pass is the work of Rubín and Diaz. I’d already mentioned the kinetic energy they fostered in this issue. And that’s on top of the generally silly and gory visuals they’ve provided across this entire run. But there were some other feats in this issue that I think could help if/when Operation Sunshine continues onward. We got even more great humanity across this issue; Hex, once again, looked like a million dollars, and her clear, crisp emotion cut through a lot of the noise to bring me in and make me feel like something truly important had happened. I also like some of the magic bits, the stuff with Anwar’s “powers,” and more neat technology bits with the OVs — all of that together proves that there’s more to explore in this world as well as having this really multifaceted aesthetic to grow (as a subsequent series would have to do to fully succeed). It really was the art that helped address those issues of a more methodical pacing and the generally deliberate nature of this book.
Maybe it wasn’t always enough to ultimately help (especially with this finale), but so much of the world had life thanks to the art. And even in the end, if only for a fleeting image or two, Operation Sunshine actually and truly delivered its promise. Which is, a story about the struggle to be really alive and what it takes to forge a life worth living. I wanted more — quiet moments of reflection, sustained character work, explosive action and efficiency, etc. — but I didn’t necessarily get it, and that’s just the nature of this beast sometimes. Still, if there’s a future for Operation Sunshine, I’ll totally be there — just don’t expect me to be overly enthusiastic.
Final Thought: An uneven ending for a promising but mostly uneven story.
Score: 6/10
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