It’s so good. It’s so painfully good. Not just in how Moore gets to all the somewhat familiar Lovecraft moments. Again, the disclaimer–I haven’t read Lovecraft, just read or seen Lovecraft-inspired stuff–so when I recognize something, it’s because it looks like In the Mouth of Madness all of a sudden.
But Burrows goes away from the traditional 1920s cities to a rural town, which raises these questions about how things are going to develop. Moore’s script, Burrows’s visuals, they engage the reader to ask more theoretical questions. If Moore’s actually doing some kind of “prequel” to Neonomicon (which is fast getting to be the dividing point in Moore’s post-ABC career, from Top Shelf eccentric to redefining horror comics), how much does it connect? Is it an actual connection or just Moore enthusiastically showing off tonal connections for the equally enthused Moore reader?
Of course, Moore never makes it feel like a fan club newsletter. His connection with fandom, just as it was back in the Swamp Thing days, puts craft and work above all else. Story, both in writing and in art, is king.
So, as a comic, Providence is great.
Except it’s not just a comic because Moore’s got more of the protagonist’s diary (in prose). The comic’s third person, the diary is first person. The differences, which Moore still somewhat uses to shock but not much… well, those differences change Providence again. Moore’s not satisfied with making “horror comics” a real genre, he needs to break it into an entirely different genre.
And never makes it seem like showing off.
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