From writers Ryan Parrott (Power Rangers, Rogue Sun) & Noah Gardner, along with artists John J. Pearson (Mindset, Department of Truth) and Lola Bonato, comes a pre-apocalyptic tale of succession and the antichrist in The Infernals #1. Featuring letters by Hassan Otsmane-Elhaou, this opening issue starts us off with a unique premise and surprising character dynamics that bring this new series to us with a strong start. With a clever script and remarkable visuals, The Infernals is an easy recommendation for readers who like a splash of demonic prophecy in their crime comics.
“Abraham “Abe” Morgenstern, the son of Satan, has one month to live. Before he dies, he must decide which of his three wayward children—volatile narcissist Nero, conflicted field operative Jackal, or troubled schoolgirl Bee—will inherit his shadowy empire. But will Abe ever be able to truly cede control of the Apocalypse? Or does the Antichrist have something else up his sleeve…”
Writing & Plot
Ryan Parrott and Noah Gardner have come up with a really fun formula for The Infernals #1. The son of Satan himself Abe Morgenstern, in charge of starting the apocalypse, just found out he has terminal cancer. In order to ensure the plans of the great adversary are still carried out, Morgenstern summons his three children – psychotic businessman Nero, conflicted arms dealer Jackal (feels like a little Far Cry 2 reference), and mass shooter in training Baphomet. Along with his advisor, the goat-headed Sam, the group begin to figure out who should take the reigns of both Abe’s criminal empire, and the duties of overseeing the end times. The entire premise is fantastic, but what really brings the idea home is how casually most of the comic plays out. The conversations between Morgenstern and Sam (again, an actual goat-headed demon) switch between boring boardroom speak and the words of a man speaking to his closest confidant. The scenes that introduce the kids and their unique devil-given abilities are great flavoring, but it’s the quiet moments with the patriarch that are the best here. There’s a great moment of catharsis where Morgenstern tells off a prospective new project manager, and she’s a stereotypical silicon valley tech-bro type. Even Satan-born mega-criminals can’t stand tech millionaires. The character dynamics are very engaging as well, with the whole cast having distinct personalities. It’s hard not to keep comparing the story to Succession, but the similarities are all so obvious. The Infernals is off to a sharp, clever start with a very fun opening script.
Art Direction
The Infernals #1 is also infernally blessed with the unmistakable art work of John J. Pearson. His unique use of pencils and color art, with the help of Lola Bonato, creates a deeply atmospheric artistic experience akin to the work of Bill Sienkiewicz and Dave McKean. With this style, Pearson maintains an unsettling tone throughout the entire issue. Another highlight is how he frames characters during important dialogue scenes. As I mentioned earlier, the conversations between and Morgenstern and Sam are some of the best parts of the book just by how plainly they’re presented. The close-ups on Sam’s face as he advises his charge come off as a bit funny because of his appearance, but at the same time the reader is seriously drawn to these conversations. The sequences where we meet the siblings are great as well, as Pearson directs the reveals of their powers with a sense of suspense. Haunting close-ups mix with moments of twisted familial humor, all at a steady pace that lets each sequence breathe. The lettering from Hassan Otsmane-Elhaou is another visual highlight. His work here is also reminiscent of the Vertigo era work of Clem Robins and Todd Klein, but with some modern flourishes. His hand-drawn lettering takes harsh turns where is expands into massive red scrawling during screams of pain or one of the siblings using their devilish abilities. Overall, The Infernals is a stunning work of visual storytelling with a unique stylistic approach in every respect.
Verdict
The Infernals #1 is an engrossing, fun take on both the biblical apocalypse and crime storytelling. Ryan Parrot and Noah Gardner’s script is compelling from page one, and uses great dialogue and characterization to sell readers on this unholy enterprise. The visuals from John J. Pearson are stunning and atmospheric, with his use of pencils and shading making for one of the most unmistakable comic books on shelves today. Be sure to grab this issue when it hits shelves on February 14th!
