Donald Edward Davison has managed to find a copy of something very, very rare. The issue has a misprint on the front cover. He paid $30 for it in a stack of other comics. Some guy abandoned his storage unit. Didn’t know what he’d lost. He’s about to find out the value of so much in Creepshow #3. Writer Chris Condon and artist Martin Morazzo tell a tale of comic collecting gone wrong. And in the second feature, writer John Arcudi tells a tale of “True-ish Crime” with artist Shawn McManus. A couple of amateur investigators find more than they might have been expecting when the enter a cave in a story embellished by an uncredited colorist .
There were close that led a couple of online investigators to the cave in question. There was some evidence that might have been overlooked. A gentleman named Alexi Hinton was sentence in his daughter’s death. His wife Nicky is still missing. A couple of people are going to follow a lead straight into a cave. Danger might be lurking there for them, but the danger for Donald Edward Davison might come from an altogether different place in the story at the beginning of the issue...an issue that just might originate with a rare copy of Creepshow with a misprint on the cover.
Condon makes use of a simple premise and just twists it in a way that becomes a little bit exaggerated. It's a fun concept. There really isn't much to it, though. And perhaps that's for the best in our story that happens to be very, very short. It's very difficult to run a horror plot through just a few pages of panels in a comic book anthology. Arcadi’s our approach is a bit bit of a contrast. it is concerning itself with contemporary technology, the story in question feels a little bit more like it might've been written in the style of something that would have made its appearance in am old EC anthology in the 1950s. the script is a little bit more focused on tax and textual stuff and a little bit further away from the realm of visual.
McManus’ execution of the art in that second story is pretty impressive. The shadows that seem to be omnipresent our suitable to the story. And there's a nice contrast between various elements on the page that is being brought to it by the colorist. Morazzo’s art in the opening story has some delightfully amplified detail in a drama that feels quite intense straight through. Visually it’s an enjoyable issue that feels quite contemporary as it continues to extend the old horror comic anthology format that stretches back three quarters of a century.
The opening story seems like pretty basic one. The comic book medium is one that is inherently self-referential. Condon’s story seems like a perfectly natural fit. Although, there would be a lot of opportunities to get into the horrifying nature of artist, writers, publishers, retailers, and collectors. It wouldn't be that hard to find 1 million different kinds of horror in around comic book shops.
