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Published on October 29th, 2014 | by Edward DeWitt

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And Then Emily Was Gone #4 – Comic Review

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And Then Emily Was Gone #4 is the most visceral yet. If previous issues have focused on a sense of underlying chaos and threat, punctuated with a spreading grotesque carnival of both creatures and people, this is the issue where the reader, along with main protagonist Hellinger is forced to accept the reality of the situation. This month’s issue features an alternative cover by SCAM’s Joe Mulvey.

Much like the work of H.P.Lovecraft, And Then Emily Was Gone takes its horror from the constant, uncontrollable malevolence that surrounds the reader permanently. It begs you to open your eyes to a world unseen (or not, for Hellinger). Although he was hired for his very ability to see these horrors, it’s not until now that he has accepted their reality, and that their reality is rooted in the human ability to create these things. This sense of paranormal oppressiveness is expertly cast against acts of a very human evil that has underscored the series so far. A particularly gruesome scene in an abattoir is accompanied by dead eyed workers, dulled to the experience of leading animals to their death just to end up reshaping them into a consumable product.

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And Then Emily Was Gone is a spiral downwards into madness, an acceptance of the horrors both unseen and seen. As the characters embrace (or are repelled by) the unknown forces around them, the known become more and more disturbing. It’s almost the end for Hellinger, Fiona, and perhaps even the so far unseen and perhaps unknowable Emily. It’s not going to end well, but goddamn if I’m not going to be there to see it all come to a head.

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