Blossoms 666 #3
Archie Horror 2019
Written by Cullen Bunn
Illustrated by Laura Braga
Coloured by Matt Herms
Lettered by Jack Morelli
Cheryl and Jason Blossom are in a competition to be the one, true Anti-Christ. Following a raucous pool party thrown by the twins, Dilton Doiley, Ethel Muggs and Reggie Mantle all went missing. The disappearances of the three have had people concerned—most of all being Betty Cooper, who’s determined to prove that there’s something up with the Blossom Twins. Meanwhile, back at the Blossom household, the siblings’ rivalry got more challenging when they learned that they’re not the only two competing—so is Julian, their older brother.
Damn you Cullen for this story. I mean I am sitting here contemplating the significance of the first born, let alone the first born son. From the beginning of man’s attempt at recording history we have seen the importance placed upon the first born so why should that be any different here? Still I have spent the last 30 minutes on this subject so damn you and spectacular writing that makes me seek answers to my own questions elsewhere. Actually in all seriousness this is what Cullen he takes you from the story and into your world where you expand upon what you see and try as you might figure out how much is fabrication and how much is from lore.
So the way this issue opens is fantastic as we get to see the birth of the Blossom children. Of course at the same time this is a flashback it’s also the parents telling their children the truth about their brother and how it all came to be that they are where they are now. This of course was a huge deal with what I said above and I am sure that the folks that were there for the delivery thought very much the same thing I had. As is the Blossom way the revelation of the truth was never about welcoming a long lost sibling it was what that meant for them in the long run. You have to love Cheryl because regardless of the situation she isn’t afraid to speak her mind or the first to throw someone under a bus while doing so.
Laura and Matt do some absolutely stunning work on the interiors here. While most colours are muted to set a darker more sinister tone the red-headed Blossoms have their shining like a beacon with this whole notice me I am meant to stand out manner. The linework is utterly gorgeous and how we see the varying weights utilised to bring this to life is sensational. There is a romance and beauty to the book that somehow perfectly fits with this whole Anti-Christ story. It’s not technically Gothic in nature but there is this undeniable presence about it that really keeps this centred in the horror genre. Without even knowing anything about this the work here screams it and it’s captivating, mesmerising and hauntingly beautiful. The utilisation of the page layouts and how we see the angles and perspective in the panels show off this stupendous eye for storytelling. The way we see backgrounds utilised as well do wonders in enhancing the moment and bringing a sense of size and scope to Riverdale on the whole.
This incarnation of Betty as Nancy Drew is something I love seeing. The tomboy fixing cars, innocent and naive in the ways of the world, super sleuth is something that makes her new fresh and fascinating but still somehow keeping her in the vein of her original incarnation. The characterisation we see here is out of this world. Every single page that’s turned leads to something new that is going on in this story and depending on who’s doing what there’s this feeling of unease and foreboding doom and I can’t get enough of it!
Archie Horror 2019
Written by Cullen Bunn
Illustrated by Laura Braga
Coloured by Matt Herms
Lettered by Jack Morelli
Cheryl and Jason Blossom are in a competition to be the one, true Anti-Christ. Following a raucous pool party thrown by the twins, Dilton Doiley, Ethel Muggs and Reggie Mantle all went missing. The disappearances of the three have had people concerned—most of all being Betty Cooper, who’s determined to prove that there’s something up with the Blossom Twins. Meanwhile, back at the Blossom household, the siblings’ rivalry got more challenging when they learned that they’re not the only two competing—so is Julian, their older brother.
Damn you Cullen for this story. I mean I am sitting here contemplating the significance of the first born, let alone the first born son. From the beginning of man’s attempt at recording history we have seen the importance placed upon the first born so why should that be any different here? Still I have spent the last 30 minutes on this subject so damn you and spectacular writing that makes me seek answers to my own questions elsewhere. Actually in all seriousness this is what Cullen he takes you from the story and into your world where you expand upon what you see and try as you might figure out how much is fabrication and how much is from lore.
So the way this issue opens is fantastic as we get to see the birth of the Blossom children. Of course at the same time this is a flashback it’s also the parents telling their children the truth about their brother and how it all came to be that they are where they are now. This of course was a huge deal with what I said above and I am sure that the folks that were there for the delivery thought very much the same thing I had. As is the Blossom way the revelation of the truth was never about welcoming a long lost sibling it was what that meant for them in the long run. You have to love Cheryl because regardless of the situation she isn’t afraid to speak her mind or the first to throw someone under a bus while doing so.
Laura and Matt do some absolutely stunning work on the interiors here. While most colours are muted to set a darker more sinister tone the red-headed Blossoms have their shining like a beacon with this whole notice me I am meant to stand out manner. The linework is utterly gorgeous and how we see the varying weights utilised to bring this to life is sensational. There is a romance and beauty to the book that somehow perfectly fits with this whole Anti-Christ story. It’s not technically Gothic in nature but there is this undeniable presence about it that really keeps this centred in the horror genre. Without even knowing anything about this the work here screams it and it’s captivating, mesmerising and hauntingly beautiful. The utilisation of the page layouts and how we see the angles and perspective in the panels show off this stupendous eye for storytelling. The way we see backgrounds utilised as well do wonders in enhancing the moment and bringing a sense of size and scope to Riverdale on the whole.
This incarnation of Betty as Nancy Drew is something I love seeing. The tomboy fixing cars, innocent and naive in the ways of the world, super sleuth is something that makes her new fresh and fascinating but still somehow keeping her in the vein of her original incarnation. The characterisation we see here is out of this world. Every single page that’s turned leads to something new that is going on in this story and depending on who’s doing what there’s this feeling of unease and foreboding doom and I can’t get enough of it!
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