I’ve always felt that 1999’s Sleepy Hollow was one of Tim Burton’s best films. With its mix of steampunk, gory horror, end-of-the-millennium jitters, and Burton’s usual splash of Gothic atmosphere, the film’s pretty magnificent and a great spin on the dusty old story by Washington Irving. IDW’s Return to Sleepy Hollow miniseries does a fantastic job of recreating the feel of that film, bringing back Ichabod Crane, Katrina van Tassel and Masbath for another battle with the supernatural 15 years after the ending of the film.
Things aren’t rosy between Ichabod and Katrina these days, as Katrina left New York years before to head back to Sleepy Hollow, where she transformed it into a bustling place. It’s no New York, but it’s now far more lively and competitive with other towns. As for Ichabod, he’s convinced himself there’s no such thing as the supernatural, chalking up the “Headless Horseman Incident” to a mass hallucination. He leans into science so hard now that even Mr. Spock would tell him to lighten up.
Crane returns to Sleepy Hollow when he receives a letter from Katrina. People are mysteriously dying around town in hideous ways, three or four people a week, and Ichabod and Masbath immediately head there to investigate. How are the murders connected to The Tree of the Dead and was the letter Ichabod received really from Katrina?
Return to Sleepy Hollow #4, written by Casey Gilly with art by Savanna Mayer and colors by Dearbhla Kelly, ups the momentum of the story and delivers more gruesome action while rekindling the romantic spark between Ichabod and Katrina. Writer Casey Gilly delivers some truly chilling moments throughout the issue, especially in an extended scene where Katrina’s daughter Lotte, who’s a powerful psychic, comes under assault from the ghosts of the murder victims. Ms. Gilley not only captures the feel of the Tim Burton film, she surpasses it. Where Burton’s film felt safe, this miniseries genuinely makes you feel like no one’s safe and with Lotte in the mix, the supernatural horror goes well beyond what the film did. There’s been a wonderfully creepy vibe throughout the whole miniseries, and this issue’s no exception. The book at times feels more akin to disturbing folk horror films like Midsommar or The Witch than Sleepy Hollow.
Artist Savanna Mayer’s artwork is striking and enhances the story a hundredfold. There’s a unique and classic feel to her art and her page layouts are incredibly innovative. I especially loved page 16, with Lotte being confronted by a Spectral Council and webs and tree roots extending from every angle of the page, making the haunted forest where the murders happened feel oppressive and suffocating. Her art style is perfect for a Gothic horror story. Had Ms. Mayer been around 50 years ago, I imagine she could have drawn storyboards for some of Hammer Films’ stylish bloody epics.
Next issue is the conclusion of the miniseries, but I hope we get to see more adventures of Ichabod, Katrina, Lotte and Masbath in the future. If you love folk horror or Gothic tales, buy this book, take it home, turn the lights down low and enjoy a fantastic and haunting read.
