Gischler and Ferreyra tap into the unique flavor of New Orleans in their new series, “Kiss Me Satan.” A fallen angel, Barnabus Black, finds himself on a divine work-release program. As Barnabus works his way back into the good graces of the Good Graces, the creative team builds a rich mythology and intriguing narrative. Set against a backdrop of angels and demons, werewolves and witches the pulpy action adventure sparkles with the supernatural.
Written by Victor Gischler
Illustrated by Juan FerreyraCassian Steele is the boss of the werewolf mafia in the Big Easy, and he’s got a problem. The old witch Verona knows his secret and has gone into hiding. Cassian wants her dead. So he sends out the word: An open contract. The first monster to dust Verona gets a big payday. What no one realizes is that Barnabus Black, a demon desperately trying to regain his halo, is her protection.
New Orleans is a magical city. The Big Easy has inspired countless writers, artists and musicians. Sometimes, the imagination can be carried away to such an extent that the essence of that city is lost in translation. “Kiss Me Satan” gets it right. In the hands of Gischler and Ferreyra, New Orleans becomes a character all its own in this series. From the palm trees on Canal Street to the napkin dispenser on the table at Cafe du Monde, the depictions are true to life. Each location seems spot on. The home of the antagonist, Cassian Steele, belongs on Saint Charles Street, it is completely, believably New Orleanian. This unflinching attention to detail makes it easier to suspend disbelief when some of the more fantastical elements of the story are revealed. One element of the setting that does beg to be questioned is the fact that when the demon assassins stand from their table at Cafe du Monde, their black pants are not covered in powdered sugar. Never has the supernatural been more subtly introduced anywhere in the history of the world; the only thing that could keep that from happening is powerful black magic.
Aside from their allegiance to the details of the city of New Orleans, the creative team successfully unfolds a complex mythology that guides this action packed pulp adventure. Expertly incorporating iconography, stylized dialogue and strong visual coding, the team not only establishes the reference schema from which they will be drawing inspiration, but separates the unique sects of characters into recognizable groups. Barnabus Black, the central character, stands out; looking more casual than the rest of the cast. There is a relatable quality in his appearance and mannerisms that make him sympathetic. Each of the other groups, the demons, wolves and witches have their own stylized appearance and speech patterns. The demons are angular, gaunt, pale and neatly manicured; while the werewolves are brawny, muscular, dark and scruffy. The visual dichotomy is further explored in the dialogue that Gischler pens for the characters. There is a self-satisfaction that punctuates the demons’ speech, and while there is an arrogance to the wolves’ lines of dialogue, it is molded to reflect an impulsivity and boldness.
In direct contrast to both of these groups are the witches. Feminine and brazen, these characters tone, visually and in their conversations, stands out. Their leader, Verona, is an elderly woman who, as a witch, is both satisfactorily grotesque and elegant. Shriveled, short and sassy, she is should be considered a wonderful example of an aging Southern lady. Eccentricity and shrewdness make her a fantastically enjoyable character. As she snaps at her younger, more beautiful counterparts her power and venom become evident. The creepily beautiful eye that grants Verona her power of foresight is haunting. This is an example of the outstandingly original visual cues coming to the aid of the story.
Aesthetically, Verona is well conceived, as is gentleman werewolf, Cassian Steele. Ferreyra taps into something very canine, while retaining a believable humanity in his depiction of this character. His eyes emote in the same way that a domestic dog’s might. His lips pull away from his teeth in something that is recognizable as a snarl, but feels somehow more animal than what most humans are capable of. His features build to a slight protrusion like a muzzle, and his gestures echo a very primal ferocity. Despite the fact that there are many small alterations to the human form, the subtlety with which they are employed makes Cassian Steele a true achievement of character design. Along with a small floating angel, Jules, who looks like Huey P. Long and wears red shoes like His Holiness himself, these characters flesh out a world and a story that is worth getting lost in.
Marrying humorous antics and asides with a dark tale of horror, the story succeeds in never taking itself too seriously. In this dangerous, highly unpredictable world, the plot of “Kiss Me Satan” #1 manages to balance fun and fury in a dynamic way. At its heart this title is a tale of redemption and damnation that never loses heart, hope or badass-ness.
Final Verdict: 7.4 – A fun title worth checking out.
