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In the next panel, there is a massive explosion behind her and we see her screaming as her belly bursts open, ejecting the fetus from within it. There is one panel with a pregnant news reporter in the background with her bare belly exposed and half of her tits hanging out. Some of it feels odd, out of place and the gag doesn’t always work. There is also some nonsensical stuff thrown in, which I guess is writer Mark Poulton’s sense of humor. Sometimes I can’t tell what’s happened from panel to panel without having to go back and examine the previous one harder. Meyer’s Jawbreakers and I saw that as maybe an issue with the writing on Meyer’s part but having now read Graveyard Shift, I see similar problems. I was also critical of how the action flowed in Richard C.
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They just have variances in hair color, hair length and skin tone. Most of his women look the same though, throughout all of his work. That being said, Malin is still better than what the industry standard is in 2019. He definitely has his own anatomical style but it doesn’t always work for me. Now I’m not talking about the dynamic motion stuff, that’s all fine I’m talking about the poses that see them just standing around. The characters still look overly sleek and svelte with elongated limbs and uncomfortable looking poses. While I enjoy Malin’s art for the most part, the criticisms I had in my Jawbreakers review still apply here.
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While that’s not quite the vibe I got from it, I do like the idea of there being a superhero team comprised of classic literary monsters, even if it’s not a wholly original idea.Īlso, the series’ title isn’t that original, as Image Comics already had a series called Graveyard Shift just a few years ago from 2014 through 2015.
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What sold me on the project is that it was said to be like X-Men mixed with the Universal Monsters franchise. Being that I’m a fan of the ’90s, I found this mostly enjoyable. Man, this comic book is so ’90s! Which is a great thing for some people and a not so great thing for others. * The featured image is from the interior. Art by: Jon Malin, Anthony George, Eric Weathers
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