Everything changes in this issue of Rat God. And not just because the coloring looks more traditionally Corben. It changes because Corben makes his rube of a lead, Elwood Clark, the protagonist of the series. Only took three issues but it’s worth the wait.

At first glance, this issue–and its cult–seems familiar. Shades of Wicker Man, shades of the Cat People remake. But it’s Corben, so he’s running these more modern horror movies through a filter–it looks like a mix of Val Lewton and Will Eisner (the cultists’ robes are particular).

The series didn’t previously seem so cinematic–it was more a American Gothic Lovecraft thing. That element is still present, but with an actual protagonist the tone changes. Especially since Corben forces the reader to reexamine him.

As does the coloring style. It’s shaded lusciously alongside Corben’s already luscious lines. It’s maximal, not minimal. Fantastically so.

CREDITS

Writer and artist, Richard Corben; colorists, Corben and Beth Corben Reed; letterer, Nate Piekos; editors, Jemiah Jefferson, Shantel LaRoque and Scott Allie; publisher, Dark Horse Comics.

It’s a weird issue of Rat God, which is also a lot of Corben’s point. He isn’t mixing genres, but he is throwing Lovecraft alongside some Native American folklore and just plain old wives tales. And who better to illustrate it than Corben himself.

The issue’s confusing–if the guy walking in the snow is the series’s frame, it didn’t make enough of an impact last issue (so much so going through a couple times, there’s always a disconnect between a couple scenes)–but it’s also got really good scenes. Corben’s dialogue contributes to the setting. As “British” as it might feel, it also feels undeniably American.

And not just because of the town full of rat people, something Corben doesn’t even hint at resolving yet. By the end of the second issue, he still hasn’t revealed why the series is called Rat God.

He’s doing some great work here.

CREDITS

Writer and artist, Richard Corben; colorists, Corben and Beth Corben Reed; letterer, Nate Piekos; editors, Jemiah Jefferson, Shantel LaRoque and Scott Allie; publisher, Dark Horse Comics.

Even with some really bad narration from one of the characters, Rat God is off to a fantastic start thanks to Richard Corben. The book is that sturdy combination of great art and inventive, terrifying storytelling.

While there are apparently going to be some Lovecraft nods, Rat God starts out with a couple Native Americans on the run from some kind of danger. It’s Corben illustrating the American wilderness; the scenery is jaw-dropping, gorgeous. Great colors from Corben and daughter Beth Corben Reed.

The story’s fine. It’s creepy and looks amazing. But then Corben changes up the comic completely with the introduction of an obnoxious white guy and reveals the comic’s set in the 1930s and this guy knows the Native American girl from the opening, only as a “modern” woman.

It’s a lot of information for a first issue, but Corben handles the mood perfectly. Except that narration.

CREDITS

Writer and artist, Richard Corben; colorists, Corben and Beth Corben Reed; letterer, Nate Piekos; editors, Jemiah Jefferson, Shantel LaRoque and Scott Allie; publisher, Dark Horse Comics.