The Deviant is like no other horror you’ve read or seen. Crafted by James Tynion IV and Joshua Hixson, this new Christmas story horror launches this week. It’s a story that takes place over different timelines and involves a serial killer and the deep pain and alienation of being queer in a society that has historically rejected you. It’s a story that washes over you like a cold mist on a fall day in New England, but underneath that mist, it’s apparent there is death and unease.
The Deviant opens in Chicago in 2023. It’s Christmas time, and our main character is waiting around at a mall. Soon, he’s accompanied by his cheery boyfriend, and they talk about wrapping presents. This leads to our protagonist, Michael, admitting something is very wrong with him. He’s morose and not even a little bit excited, which makes his boyfriend Derek almost unnervingly positive.
The story cuts to Milwaukee, 1973, at the same location. If you’re wondering when the horror and scary bits come into play, it’s at this time and place. The sequence of events is frightening, to say the least. The use of shadow is particularly good, but framing is shockingly good on a jump-level style scale. Hixson utilizes mannequins well in this scene, creating a sense that someone is watching a character who enters the closed mall for something. Are they watching her? Are they the evil that lurks, ready to strike? There’s an endearing quality to this scene captured in the ’70s aesthetic as well, with a cool pattern that gives the character some warmth.
Image Comics
That scene ends in a horrific full-page spread that smash-cuts to another full-page spread, acting as a great transitional moment. The slow and scary scene leads to a dramatic and fast-paced one. It creates a sense of chaos and unease that plays into how the events play out.
After this opening, the book shifts to a detective focus back in the present, complete with our main character interviewing a criminal in prison. This scene plays into the series title, as well as the cultural aspect of homophobia even more prevalent in the ’70s. As Michael tries to crack the criminal, it seems the criminal has turned things around on Michael. There’s some subtle character work going on here that’s compelling.
In this scene, the story delves into what the title may be about. The concept of queer people being “deviants” is brought up, and a connection Michael makes to his first time encountering it is truly sad. This detail leads you to think about his personality in the present and how it all might fit together.
The monster depicted on the cover is frightening in a slasher way. Hixson gives him a slightly long build, creating a weird vibe. Is he human? Probably, but something isn’t right about him. His odd Santa mask and blood-covered Santa suit complete the uneasy-looking ensemble.
Letters by Hassan Otsmane-Elhaou add a lot, with a particular openness, thanks to the word balloons not using a border. An “Eddie! Is that you?” has an edgy look that creates an extra sense of unease in her voice. The sounds of the monster add as much to the character as his clothes.
There’s something truly haunting and chilly about The Deviant, not unlike Robert Eggers’ The Witch. Mood and tension come together in an excellent opening issue that’s filled with unease. There’s a hopelessness that rings throughout that makes it hard to put this book down.
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