CREEPSHOW: JOE HILL'S WOLVERTON STATION No. 1, February 2024 |
To begin with the sole reason for crooked businessman Saunders to even climb aboard a terrifying train to Wolverton Station is because there’s apparently no limousine drivers available in England to drive him to Buckinghamshire. This rather implausible national strike will surely test the audience’s willing suspension of disbelief straight from the start, and seems to have been crowbarred into the plot solely to ensure that the rich entrepreneur “obsessed with classic Horror memorabilia” uses a particular form of public transport.
Furthermore, the lead character appears unaware that the majority of passengers around him are actually hulking great werewolves, even when they’re ferociously feasting upon the innards of their partially disembowelled victims, or noisily chasing him through the carriages towards First Class. Such a lack of recognition really is quite bemusing, and appears especially strange once the fellow becomes both noticeably sickened and petrified by the numerous mass-murders occurring throughout his train ride. In fact, even after a close call with three ravenous lycanthropes near the toilet, the American still just returns to his seat beside a well-dressed man-wolf and continues with their earlier conversation.
Much more impressive is arguably Michael Walsh’s artwork, with the illustrator’s somewhat roughly-hewn sketches adding plenty of raw energy to the skin-shredding shenanigans occurring aboard the blood-soaked InterCity. Of particular note is how the penciller depicts Saunders becoming increasingly dishevelled physically as his nerve-jangling trip plays out, and he resultantly transforms from the arrogant, all-powerful tycoon into nothing more than a truly desperate taxi-fare who has unwittingly fallen into Sol’s grisly plan for revenge…
The regular cover art of "CREEPSHOW: JOE HILL'S WOLVERTON STATION" #1 by Michael Walsh |
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