Are there any Roger Corman fans in the house? I hope so, because they’ll understand what I mean when I say “Nightworld” is like a dream sequence from a Poe picture: elaborate sets, blowing curtains, a fog machine – and let’s not forget the deep, saturated colours. The first issue of this Image miniseries is a comic of the grandiose variety, and a lovely nightmare at that.
Written by Adam McGovern and Paolo Leandri
Illustrated by Paolo LeandriSad demon Plenilunio rules a haunted castle with his sleepwalking lover Lidia, and unwisely bargains with the evil Empyre to wake her. He’s in a race for the mystic Soul Key with teen-from-hades Hotspot and the ruthless Hellena— agents of the Empyre with secret agendas. A four-part thrill ride to hell starts here, with humor, horror, tragic romance, and blockbuster monster fights, from the cult-hit team of ADAM McGOVERN & PAOLO LEANDRI
It’s difficult to see past Paolo Leandri’s art and Dominic Regan’s colours when you first open the issue. There’s so much going on – all of it beautiful and overblown – that the narrative takes a backseat for a second while you adjust. This is by no means a weakness; being hit over the head with Leandri’s, confident, woodcut-like line is very enjoyable, while Regan’s colours, seemingly picked from 1960’s horror movie posters, set the mood right away. And while it’s a little unfair of them to hit us with a double-page spread right off the bat – filled with a variety of looming, translucent ghosts – it’s still a good kind of bombast, grabbing our attention and holding onto it tight.
Our narrator and main character, Plenilunio, gradually explains himself through captions. He may look like the offspring of the Phantom of the Opera and a salamander, but really, he’s a demon, and he’s not having an easy time of it. As you would expect, his voice is both formal and florid; but Leandri’s portrayal elegantly subverts this, getting at the guy’s vulnerability in his difficult situation.
Unfortunately, Plenilunio does tend to comment on what we’re already seeing. It’s of course very Gothic to go on about spider webs and the fall of night, but in these first few pages, that’s exactly what Leandri is portraying for us. Happily, this tendency melts away as matters get more interpersonal – the narration assumes a more conventional role, offering us a look at Plenilunio’s interior world as he gets to amiably converse with a scholar.
Matters seem to settle into a rhythm here, but the issue still holds plenty of surprises. The action flares up suddenly, involving sinuous monsters and an impeccably costumed demoness. Then we’re treated to something different, switching our focus hellwards, and in an issue full of visually spectacular moments, the most memorable are just about here.
A particularly noteworthy panel has Satan on a balcony, overlooking his domain. The way Leandri layers elements of foreground and background creates an intriguing sense of flatness – and if we can get back to Roger Corman for a moment, there’s an eerie resemblance to those wide-angle lens shots the director used to make small sets look big. But regardless of whether there really is a Corman connection, there’s certainly an engineered feeling of encapsulation, a sense that each panel belongs to its own world. Together with all the sculptural details that punctuate the foreground, that feeling of separateness makes this panel shine.
We also get a little break from Plenilunio’s voice; Satan gets in a solid one-liner, and while the casual air of his minion is a bit surprising, he has got a nifty hoodie. The plot as it is shaping up to be is simple, almost mythic; but little moments like these break up the formula and add to the sense of fun.
Unfortunately, the issue then comes to an odd end. Not because the plot goes anywhere it shouldn’t, but because the art style of the last page feels like a departure, going for more of a pulpy aesthetic and even striking a Japanese note as matters get mind-bending. It’s not a fatal flaw – the page looks lovely in its own right – but it does stand out, and takes away from the overall flow.
Looking back over the issue, it’s hard to find any moment that’s out-and-out horrific. While there are demons and monsters everywhere you look, the emphasis is more on emotional darkness than on any grisly details. In this way, the sense of horror envelops the issue, feeling continuous with and inseparable from the overall stylization. There’s a right way to do old-fashioned horror, and if anybody needs a case study, this comic, despite one or two hiccups, is an excellent guide. With a compelling central concept, sumptuous art, and a brooding protagonist we can’t help but feel for, “Nightworld” offers the perfect blend of camp, atmosphere, and emotionality.
Final Verdict: 9.0 – A great-looking issue and beautifully-executed horror homage.
