One glance at artist Jock’s cover to “The Devilers” #1 and the reader perceives instantly that they are diving headfirst into a fiery pit of a miniseries dealing with religious themes, demons unleashed, horror, and the occult. What they won’t deduce from this cover, however, is that the tropes of superheroic teams — as well as deft humor — pepper Dynamite Entertainment’s promising debut of this seven-issue miniseries by writer Joshua Hale Fialkov, artist Matt Triano, and colorist Mark Roberts.
Written by Joshua Hale Fialkov
Illustrated by Matt TrianoWhen the world is under siege from the pits of hell, it’s up to the DEVILERS to set things right. Seven of the world’s greatest exorcists pit themselves against Satan’s army, and all of creation hangs in the balance. From the writer of THE BUNKER, THE ULTIMATES, and I, VAMPIRE comes a horror fueled adventure through hell itself.
Hell and the Devil’s hordes have descended upon Earth. Television news broadcasts images of the Vatican in flames. A Catholic priest, representatives of additional world religions, the Devil, and demons of all revolting shapes and sizes all make appearances in a book that, at first glance, promises heavy thematic explorations and a high dosage of gravitas.
However, despite the promise of many of these elements, this story has a surprising and well executed “superhero” twist to what we expect from a typical end-of-the-world horror tale, with an additional treat contained in the dollops of Fialkov’s sly humor. Although it’s a familiar setup, every element so far mixes together to draw the reader into this unique story. We aren’t given an information dump that is the trait of many bad first issues (and bad comics in general), but are instead given enough to compel us to take a look at the next issue.
The Devilers are the occult’s version of the Justice League or the X-Men. These “superheroes” of the spiritual are brought together to fight the hordes of Hell and its wily master, Satan. By making such people as a priest, a rabbi, and other assorted spokespeople of various faiths into an atypical team, Fialkov and Triano have created a new, different iteration of the superhero team. Without confusing the reader, Fialkov’s writing alludes through the dialogue to the idea that there has always been a group of individuals ready to battle the unknown; he has succeeded in writing a first issue that appears to have a group name with a history and a continuity (which it doesn’t) reminiscent of DC or Marvel. More importantly, each character even has their own “super”, or occult, power. Without Triano and Roberts’ artistic contributions, these “occult heroes” would not be as equally distinct visually as they are through Fialkov’s pen.
Instead of packing the issue with team character origins, we are introduced and given background information on a skeptical and potty-mouthed priest named Father Malcolm O’Rourke who uses the word “shit” on more than one occasion. Fialkov draws the reader in through his dialogue from the very first scene of the book, with Triano’s naturalistic art an appropriate fit for a horror book. Father Malcolm recounts historical events tinged with the occult, relates them to his experience, and, simply through Fialkov’s dialogue and Triano and Roberts’ art, brings together every element of the first issue and possibly the series as a whole, into one well-crafted and fluid scene.
The dialogue in “The Devilers” is much richer and simply fun because of Fialkov’s infusion of subtle humor. This humor appears effortless, like his dialogue, because of how natural the banter is between the characters. The budding, lighthearted friendship between priest and reporter isn’t forced and is indicative of the other interactions throughout the issue. Malcolm playfully teases Lieb and whoever else (Deviler or otherwise) he comes into contact with, adding an element of fun in a book that appears to promise otherwise.
Triano’s art on “The Devilers” is highly reminiscent of the late, great Gene Colan. Like Colan, Triano’s faces appear to be malleable and putty-like at times. Also, like Colan, shadow is used to great effect. In one particularly gorgeous panel dripping with shadow, Lieb contemplates a very important decision he must make. That sense of deliberation and struggle is evident in his facial expression and in how Lieb looks down as he nervously pulls on his fingers. Triano proves himself adept at expressing realism and emotion in such small, yet vital, moments important to character.
Continued belowTriano’s realism notwithstanding, there are very few moments where his faces appear either blank or expressionless. For example, in two consecutive panels, Cardinal Reed’s face has so much crosshatching that it becomes distracting. In another scene, characters’ faces aren’t drawn on, making for an awkward panel. Yet those are only small blips; those quibbles are quickly forgotten when the Devilers are introduced in one large panel. Each person is distinguishable from each other and look positively (and appropriately) heroic in their stances.
The quieter moments in the art are so hard to miss because Triano overshadows that realism with his appalling demons. And boy, are they appalling. The most repulsive of them has to be a particular female demon who has something happen to her that is highly reminiscent of the Alien movies. You may have an idea of what I’m talking about, but believe me, it’s much more disgusting and detailed than anything you could imagine. Other unique demons populate this first issue, leading me to wonder: what else can Triano possibly unleash upon us in the remaining six issues? Whether hairy, alien-like, or animalistic, Triano’s demons are enough to frighten a person of any faith, belief, or non-belief.
Mark Roberts’ colors not only enhance Triano’s art, but the otherworldly atmosphere of “The Devilers.” As the Vatican burns, bright yellow and orange flames engulf a smoldering city and overpower the smoke billowing from the inferno. The green of a not-particularly polite frog pops out and enhances the sliminess quite memorably. A dark alleyway is made especially scary by beckoning light in the distance and the Cardinal’s red flowing robes adding a hint of “The Exorcist” for good measure. I would be negligent if I didn’t mention that “Alien” woman again and how Roberts utilizes the color red to detailed, nauseating effect.
Joshua Hale Fialkov does with “The Devilers” #1 what he did so well in DC Comics’ “I, Vampire”: he tosses the reader into a horrific world filled to the brim with quick-witted natural dialogue, fast-paced action, subtle humor, and adroit characterization. Of course, his books always have unique artists that add another dimension to his books, and “The Devilers” is no different. Triano isn’t a superstar artist yet, but judging by this issue, he’s definitely a talent who deserves to have his profile ever more prominent. With the assistance of Roberts’ arresting colors, Triano’s versatility shines in quiet moments as well as scenes featuring some beautifully gruesome demons (who are just some of the principal reasons to pick up this book).
Whether one is a horror aficionado or not, this first issue has enough to hook any discerning comic book reader. Things are just starting to get gruesome, and I doubt (almost) anyone will want to miss what other disgusting carnage awaits the book’s protagonists and us.
Final Verdict: 8.0 – Whether you love horror, superheroes, or adventure, “The Devilers” #1 scratches all these genre itches (without making you bleed… hard). Fialkov’s story is a fun introduction to a miniseries with a lot of promise. The unspeakable sights conjured by Triano and Roberts will entice you to discover what other grotesque beings will make their grand entrance and burst forth from the page in the second issue.
