Creepshow is leaning towards being more known as a comic rather than a cinematic memory as Skybound enters its fourth run on the anthology series. In the new #1, two tales of frights deal in out-of-body experiences, so to speak, as the Creeper continues to host the scariest tales on the comic shelves.
Kicking things off is Jeremy Adams and Eduardo Risso in a story titled “Tale as Old as Time.” Given the pedigree of both creators, many will be coming to see Risso’s iconic style, as well as Adams tackling horror when he’s often focused on superheroes. This is a story hanging on captions, which introduces the concept of predators and prey. We’re told most see males as the predator, but in fact, it’s the females we should look out for.
The story quickly moves towards a young woman who seeks to marry a very old and very rich man. We know what she’s in it for, and so too does the old man, but he’s old and seems to fall for it. This leads to a twist on top of a twist ending that leans into the idea of male and female predators.
While it’s mostly a story built on a twist, Risso’s art is compelling as ever. His use of stark black works well in the horror genre, with lots of shadow engulfing the page. The Creeper is also well done in a gross, rotting sort of way.
Credit: Skybound
The second and final story is titled “The Little House on the Left” by Rosie Knight and Oliver Ono. This is a story about jealousy, as a man has stolen his ex’s latest book and hopes to sell it as his own. The story opens with him moving into a new flat that has only one rule: Don’t go in the shed!
This story is largely about how crappy the main character is, so that when he discovers horrors, you’ll root for the monster.
Speaking of monsters, Ono draws a showstopper of a page-turn reveal, and it’s quite disgusting. Think the villain from Men in Black, but way more teeth!
Creepshow Vol. 4 #1 proves the comic anthology is carving out its own identity beyond the TV series, delivering two tales that balance classic EC-style moral twists with stylishly grotesque visuals. Risso’s mastery of shadow and Ono’s monster reveal make this issue a standout for horror fans, even if the stories themselves rely on familiar beats.
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