The personal drama and body horror are starting to build up in this month’s issue of The Butcher’s Boy. Previously, our gang was debating whether to stay in the old silver mining town of La Perdita after a quick meal at the local diner, where Emma told the group about the local legend of the Butcher’s Boy. When they tried to leave the diner, Chris’ car wouldn’t start, leaving the group stranded under watchful eyes.
This next chapter starts with some context to Chris and Frankie’s brief relationship, along with more of the subsequent drama around it. The story continues to juxtapose these flashbacks with the gang after they have checked into a motel. Those who ate hamburgers earlier at the diner are now dealing with something much bigger than indigestion on a physical and mental level; there is a hunger building in those affected by the consumed meat.
While the mysteries of both storylines presented in Landry Q. Walker and Pannel Vaughn’s writing are not overly complex, the pieces of the puzzle have been easy to separate, but fun to sift through nonetheless. The group’s thoughts show in the little snips and swipes they make about each other when backs are turned.
The difference in tone between Justin Greenwood’s art in the two different periods emphasizes and enhances the moods of each. One storyline belongs on a Thursday night CW show while the other could be this strange, cult classic horror flick your friend’s cousin made you watch without covering your eyes. Pat Brosseau’s letters continue to hold their own.
This issue is a bit of a slow burn. While there isn’t too much action, the rubber band is tightening and about ready to snap. The flashbacks initially felt like a bit of a distraction; it’s a gamble to put them in as we are taught that no one cares about a backstory. This is rule breaking done right, and it feels as if Walker and Vaughn are not done breaking them.
Creative Team: Landry Q. Walker and Pannel Vaughn (writers), Justin Greenwood (artist), Pat Brosseau (letterer)
Publisher: Dark Horse Comics
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