Michael Chaves is jumping from writing The Conjuring franchise to comics this week in Corpse Knight #1. Set in 1429, France, the story’s setting is as important as its characters. War-torn and ravaged, it’s a countryside with far more danger and death than grace. Enter a father and daughter trying to get by, and the violent end to their relationship that birthed a new kind of relationship entirely. Mixing real history like Joan of Arc with supernatural fiction, it’s a first issue that offers plenty to come back to.
Given Chaves’s cinematic background, it’s easy to see how this first issue is cinematic in more ways than one. Most striking is the pace, which isn’t necessarily slow, but allows scenes to take their time to unfurl. It’s made clear early on that the daughter must learn to fight to protect herself, and Chaves introduces Joan of Arc through the father, who uses the figure to inspire his daughter to be better. One of the final things he teaches her before his death is a driving force of the narrative.
Just under half the issue reveals the tragic end of the father, with the last half going all-in on the rise of a monster. Like any good horror movie, the pace and atmosphere are great, leaving the reader unnerved with their heart rate racing.
What was that?!
Credit: Image
Matthew Roberts’ art is great in the horror portion, with a two-page splash straight out of EC Comics, where we see the “monster” lumbering towards the enemy. Colors by Rico Renzi add a bizarre touch to the purple clouds in the sky, and when entrails spill out, you’ll feel it thanks to this art team. On the reverse side, the first half has a quaint, hopeful feel thanks to the bright sunny day where the story starts. Given the scars on the father, one can see he’s lived a tough life, made even tougher with the loss of his wife. The final full-page splash cliffhanger page is absolutely stunning, giving equal parts horror, supernatural weirdness, and Lone Wolf and Cub vibes.
As far as the big hook, it’s interesting to see Christianity seemingly used as the supernatural element. Whether that’s what is happening, Joan of Arc is being used after all, or something else is up remains to be seen, but it adds a unique wrinkle to its medieval setting.
The only gripe here, really, is the pace of the read, with less story and plot and more time for the art to breathe. That’s honestly not so bad, but it makes the issue a bit breezy, and something you won’t even notice when read in trade paperback.
Corpse Knight #1 is a strong debut that leans into mood, atmosphere, and visual storytelling to set the stage for something bigger. Michael Chaves brings a cinematic sensibility that gives each moment room to breathe, building tension through character and setting before unleashing full horror. Matthew Roberts and Rico Renzi elevate the material with striking imagery that shifts from grounded and somber to grotesque and supernatural. The story keeps some of its cards close, but the emotional core and eerie tone make it an engaging start with plenty of promise.
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