REVIEW: Farmhand #5, a Fitting End to a Great First Arc

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Farmhand #5 is out 11/7.

By Bo Stewart — I miss Chew…a lot. With that book (which, by the way, ended in November 2016 after having won two Eisner and two Harvey Awards) writer John Layman and artist Rob Guillory created a world that, quite frankly, scratched an itch that I didn’t even know I had. Put simply, Chew was a ridiculous comic—in all the right ways. It was zany yet self-aware, set in a fictional world that had a strict set of rules its narrative followed. It was great, and, as I said, I miss it...a lot.

So, when Rob Guillory’s Farmhand was announced (this time with Guillory writing and drawing), I started to eagerly anticipate that old Chew feeling coming back, or scratching that itch, so to speak. This week’s Farmhand #5 marks the conclusion of the Guillory’s new book’s first act, and I can confidently say he has re-captured the intangible qualities that made Chew really click for me. At the same time, with Farmhand Guillory is telling a bold story in its own right.

To me, the last issue of any first arc is an extremely important one, essentially answering the pivotal question of whether it has legs to go for dozens of issues, or whether it’s just a fun idea with maybe not as much narrative meat on its bones. Five issues into Farmhand, I feel like we’re just starting to scratch the surface of what this story and world have to offer. Really, I can see this narrative going in several different directions, and I’m eager to see which path Guillory decides to take.

Thematically, Farmhand is interested in weighty subject matter such as familial legacy and reaping what you sow. The plot follows the Jenkins Family Farm, which has created a seed that can be used to grow new human body parts. This makes for a funny visual, but moreover this premise is used to ask tough questions about mankind’s scientific progress. Questions such as: were we meant to cross these boundaries? If so, what is the personal cost? It’s poignant stuff, seeing as we now live in a world where 3-D printing vital organs is a reality. Farmhand’s themes are becoming increasingly relevant as our real world scientific progress continues to accelerate, and exploring them through an agricultural lens here is a brilliant stroke of storytelling.

Meanwhile, the book is also interested in how the seeds we sow to get ahead later come to affect our personal relationships just as much as they do our professional lives. In this story, the Jenkins family patriarch, Jed, is so focused on his business that he misses the ill will he’s harvesting (yes, that’s a farm joke) with his own family. His farm comes under threat by shady Russian agents and rival companies, and it only serves to distract Jed further from the growing fractures between himself and his children.

On a visual level, the artistic details that go into Guillory’s pages are impressive. Each one is packed with little jokes and asides that readers could very well miss if they don’t take a second to focus. Something as simple as writing Bro on a jock’s hat is a fun way to give readers information about the characters and world. In this issue alone, we get gems such as Hospitals: a great place to meet your demise, or Newspaper: Yeah, we’re still in print. It’s self-deprecatory, but always in good fun. These details are also more than just quick laughs, contributing much to both the world and the story.

Overall: Farmhand #5 is, like the rest of this first arc, a wildly fun comic. It covers deep thematic ground while never taking itself too seriously. Striking that balance requires skillful storytelling, and I can’t wait to see where Guillory takes us in arc two. 8.5/10

Farmhand #5
Writer: Rob Guillory
Artist: Rob Guillory
Colorist: Taylor Wells
Letterer: Kody Chamberlain
Publisher: Image Comics
Price: $3.99

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Bo grinds for the man by day so he can create comics by night. He is the lesser half of the Stewart Brothers writing team and can be found on Twitter and Instagram @stewart_bros

REVIEW: Leviathan #1 by John Layman, Nick Pitarra, & Michael Garland

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Artist Nick Pitarra definitely draws one of the better Kaiju in recent memory.

By Zack Quaintance — Leviathan #1 is one of those ultra-polished books you can tell is the work of a veteran creative team, one that’s having a damn good time, too. This comic was written by John Layman (perhaps best known for Chew) and drawn by Nick Pitarra, a frequent collaborator of high-concept sci-fi writer Jonathan Hickman. This book is the first of a five-part series, and I’d describe its first issue as a well-executed madcap romp (albeit one that doesn’t come without a toll).

What’s most impressive about Leviathan #1 is how efficiently Layman, Pitarra, and colorist Michael Garland handle the storytelling basics. The book orients us with a confident, almost-stern narration, introducing us to our hero. They quickly make him relatable by showing us he’s a good host who threw a party in which some unsavory guests drank too much beer (we’ve all been there), and they let us know what he cares about most—his would-be fiance Vee. Then they put her in grave danger (a bit of a damsel in distress thing, but, not to worry, without spoiling anything I’ll just say she has some agency). This leaves us as an audience oriented, vested, and incredibly curious as to how our hero will respond.

Now, this is so far a pretty straightforward concept for a comic book, and so it’s also to the credit of its creators that story beats are made so entertaining. Layman’s voice here is smart and self-aware, funny in a meta way that also does work for the story. Our characters know what kaijus are (as any pop culture aficionado would), so much so that the creative team doesn’t need to explain where the titular Leviathan came from or why (not at the start, anyway). They can just write a few funny quips about how it found its way into a cooling tube of a nuclear power plant, or some sh*t, and we’re right back to the action.

Pitarra’s artwork and Garland’s colors are also quite impressive. There is an impressive level of detail lent to the backgrounds, cityscapes, and the monster, and he tweaks his style to be a bit cartoonish with the human form, one that sets an inherently looser tone that lets readers know crazy things can and will happens. Basically, the artwork in this book is rich to look at and also guided by some great choices.

This first issue (of five) seems to hint that there’s more to it than just being a monster story, and so we’ll have to wait until next month for a better idea of the scope.

Overall: In the end notes, the creative makes readers a promise...we guarantee every issue we’re gonna grab you by the throat and throttle you with insane nonstop action until your brains dribble out your ears. ...I’m not really up for all of that (ewwww), but I definitely liked this comic enough to come back for more. 8.5/10

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Zack Quaintance is a journalist who also writes fiction and makes comics. Find him on Twitter at @zackquaintance. He lives in Sacramento, California.