Gideon Falls, which won Best New Series at the Eisner Awards, is one of those visions; it’s helping to tip the scales. At this point, it would take more than a simple review to discuss the story. So much is happening, and there are so many layers, both emotional and intellectual. Essentially, an existential threat in the form of a Black Barn exists between worlds, connecting the fabrics of various realities and time periods. Somehow, a priest, a small-town sheriff, a mentally ill man, and his doctor are all wrapped up in this David Lynchian paradox of time and place. At the center of the Black Barn is the smiling man. He’s a two-dimensional figure in a three-dimensional world. His eyes are red abysses, and his smile stretches unnaturally from ear to ear.
Andrea Sorrentino and Dave Stewart’s images grow more abstract and more terrifying with every issue.
To discuss the story to a greater degree would take away from the pleasure of someone reading it for the first time. This is powerful storytelling. These are the types of risks that superhero books need to start taking on a more consistent basis. In storytelling, safety is the tool of mediocrity.
There is nothing safe about Gideon Falls. There is, however, terrible beauty in it.
Creative Team: Jeff Lemire (story), Andrea Sorrentino (art), Dave Stewart (colors), Steve Wands (letters), Will Dennis (editor)
Publisher: Image Comics
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