Evolution #4 shows off the possiblities of the format–multi-writer, one artist. Each writer has a subplot they do, while artist Infurnari gets to draw the gross.
People are evolving only into monsters and there’s some Cthulhu-ish undertones of course. Because there are always Cthulhu-ish undertones.
The comic opens with a talking heads scene between Claire, who’s the protagonist of one of the subplots (and writer’s contributions), and her mysterious benefactor. I think she just saw this guy kill a monster a couple issues ago. Now he’s doing a backstory exposition dump and giving her a check. Infurnari gets the mood just right. It’s creepy but maybe not dangerous. But maybe dangerous.
Then it’s off to Rome to check in on the nun-on-the-run. She’s just seen the Church cover up some of the monsters. Her story is the most sympathetic, if only because Claire (who’s in L.A.) doesn’t realize the danger around her. The nun gets it. She goes off to see a priest who’s left the church (maybe he’s left, it’s unclear). And then there’s her backstory exposition dump.
The only story with an exposition dump is the scientist. He’s already had his backstory reveal. Now he’s just ranting to himself about how he’s going to stop the evolution and the monsters. His subplot is Evolution’s weak link. It makes sense–in that disaster movie sort of way, you need someone to do exposition dumps as things happen–but he’s an unlikable character. You can be working to save the world and be unlikable, apparently.
Evolution’s gross–Infurnari does blood, guts, and tendons enthusiastically; he also does general creepiness well–but almost a pleasant reading experience. None of the writers try too hard. It’s a methodical, “anthology” horror comic. The writers embrace the constraints to decent result.
Writers, James Asmus, Joseph Keatinge, Christopher Sebela, and Joshua Williamson; artist, Joe Infurnari; colorist, Jordan Boyd; letterer, Pat Brosseau; editors, Arielle Basich and Jon Moisan; publisher, Image Comics.