Helen of Wyndhorn reunites the Supergirl: Woman of Tomorrow dream team of Tom King and Bilquis Evely for a story that is no less mythical in scope. A lot of its wilder elements are kept on the sidelines for now, but much like any other story about a hidden magical world, those pieces of the puzzle are always simmering just below the surface in this slow burn of a first issue. And I don’t say “slow burn” as a negative, even though it is commonly taken to be one. The fact is that this issue feels like a powder keg in many ways, with a lit match hovering just out of frame at all times. I’ll do my best to explain why this issue captured my imagination without getting into spoiler territory.
The dialogue in the wraparound story feels extremely natural, complete with pauses and characters deciding to rephrase things in uncomfortable moments. These touches lend the main story even more of a fairy tale travelogue air, as if the narrator has been practicing how to tell this particular story for years. And it’s easy to see why, as the particulars of the title character’s life are still something of a mystery in the early goings of this first issue.
Dark Horse Comics
We get the feeling that there’s more to her behavior than a simple rebellious streak, that maybe Helen is running from something she can’t quite describe. She’s a character of few words (which dwindle further when she discovers the liquor cabinet at home), yet cutting when she does elect to speak. Much of the issue follows her refusal to abide by the rules of her new governess, which we see from the governess’ point of view. As such, we get a subjective idea of what Helen is like: Difficult, if not downright hateful at times, yet with a clear lust for life. Still, it’s clear from her facial expressions and avoidance behavior that she carries a sadness beneath her flighty and obstinate exterior.
We also get to learn the layout of Helen’s new home as she discovers its various hiding places makes it her own, even as she herself remains aloof and unknowable. Despite the fact that she’s not forthcoming with details of her personal life, the places where Helen goes to be herself tells us a little bit about her.
When the book does lean into the more fantastical side of things, Evely comes through with some truly spectacular visuals. These moments could easily stand alongside the works of Jayem Wilcox or Frank Frazetta, proudly adorning the cover of a pulp magazine or penny dreadful. The lush, painterly quality of Evely’s colors lend an otherworldly element to the entire book, but I found that the quiet moments of tired normality are just as enchanting and enthralling as a feverish escape from a creature in the shadows. There’s an incredible balance at work here, and I’m excited to see these two halves of Helen’s story collide further in the coming issues.
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