It’s so refreshing to be able to take a book, find a comfy spot, and just kick back and relax into a world without having to concern yourself with a thousand other continuity points. That comfortable scenario is exactly how I felt when I cracked upon volume seven of a hilariously original and somewhat psychotic piece of work known as Boneyard.
For those who may be unfamiliar with the world of Boneyard (much like I was), here is a small synopsis. Michael Paris, our hero, inherits a plot of land from his grandfather. Unbeknownst to him, the land is actually the home of the Boneyard graveyard and its oddball cast of characters who often mirror beloved creatures of horror lore--such as the Frankenstein monster and the Wolf-Man.
The most powerful of these graveyard inhabitants that Paris befriends is the demon Abbey, who takes the form of an attractive young woman and serves as Paris’s love interest. As one would expect, the denizens of Boneyard have their fair share of adversaries, and the writer constantly places them into precarious situations.
Having never delved into this world before, I was sure the book was going to be a strenuous read. However, I was pleasantly surprised at the relatively pain-free initiation into Richard Moore’s unique world. Right from the start, I was mesmerized at Moore’s careful construction of the characters that are all born out of a combination of comedy and tragedy it seems.
These “people” come off as more human than the majority of the characters in mainstream comics. More than anything, this humanity is what allows this book to be so damn fun to read; the characters are just so easily likeable and loveable.
In what looks like the swan song of this award-winning series, Paris meets a faerie named Lita. The two have a long history. He had thought her to be an imaginary friend from his childhood, but it turns out she was actually a living breathing being all along. The problem is that Lita is the victim of an arranged marriage between her faction of faeries, the Seelie, and an opposing faction--the appropriately titled Un-Seelie. Paris decides that he is going to put a stop to this arranged marriage, and all-out chaos and hilarity ensues.
Moore brilliantly weaves his way through this volume with his charming style that is suitable for any and all scenarios that the story may dictate. There is plenty of humor to be found in this book, and I was chuckling right along for a good portion of it.
I absolutely love Sid, the sex starved skeleton horn dog! Having said that, this might not be the right title for younger children as the sexual innuendo may be inappropriate. The art is just as impressive as the writing, as it showcases just how adept Moore is as an artist whether it be with words or visuals.
He uses a “cartoony” style in Boneyard (as opposed to his more realistic style in Far West), which is just the right combination for what the environment of this saga dictates. I love his clean bold lines as they permit a greater amount of detail than would otherwise be expected.
Additionally, the inking is a perfect complement to his penciling--especially considering that Boneyard is a black and white work, and inks are a more necessary commodity to convey the dramatics. Overall, it is an aesthetically pleasing work of art.
Unfortunately, this volume of Boneyard may be the last as Moore has placed the series on an indefinite hiatus. Being late to the party, I can only say with utmost sincerity that I truly hope there is more of this wonderful series left in Moore’s pen. I have a yearning to journey back into this world again, and I believe this property has the potential to achieve a greater level of success than it has already attained.
Simply put, Boneyard is a masterful piece of comic book storytelling that has to be seen to be appreciated!
What did you think of this book?
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