Written by Shawn Gabborn
Art by Michael De Sacco
Colors by Yann Perrelet
Publisher: ACTION LAB: DANGER ZONE (September 2016)
Anthony adjusts to being the new Puppet Master with the majority of the puppets with him. Yet, some of the puppets are still doing Anapa … quite violently. Anthony and the puppets must fight the control of Anapa and his agents.
The Moment of the trade:
Honestly, Anapa’s return ranks really high.
There was very little to complain about. The slight and I mean slightly complain comes from the fact that some of the panels seemed like the pencils just looked a bit rougher than others.
De Sacco & Perrelet make an awesome team as their art is a wonderful fit for the book. It’s dark and gruesome when it needs to be and can switch up to something more light and mudane easily. The pencils are strong with some good detail. De Sacco does a strong job of making expression that tell emotion on the face of the characters well, including the puppets. And there are some really chilling panels throughout the entire trade that are definitely nightmare fuel. Perrelet’s colors are really exquisite, adjusting them for not only time of day, but to mood of scene. These combined allow to tell the storyline through just their art alone. The art is just very engrossing and thrilling, letting readers to feel multiple emotions, from happy to downright terrified by just the art alone.
Gabborn does a spectacular job with this storyline. There’s a lot of mythology within Puppet Master here that fills in some gaps, advances the main plot and characters, and we get a nice full story while planting the seeds to more to come for the puppets and our new puppet master. Gabborn not only masters some wonderful characterization during a lot of horror going on, but he really makes this storyline feel like a major turning point. Anthony is very likable and believable as a child, but is very unlike many children in horror movies. It’s very refreshing. Also, the puppets get some really wonderful development here, showing more personality in the face of the evil Anapa and his servants. Gabborn also brilliant writes horror and suspense with a comfortable ease that I don’t see in most writers in comics. Gabborn’s pacing is superb, allowing readers a slow, bloody burn to our main event: the return of Anapa.
Blood Debt is a wonderful jumping on point for readers into the ongoing Puppet Master series. Gabborn shows his majesty with the pen, allowing his writer to reveal multi-faceted characters, build upon the already established mythology and gives readers a wonderously bloody rollercoaster right to a very powerful confrontation between Anthony, the puppets and Anapa. De Sacco and Perrelet render a gory, yet stunning journey, showing us there is more to this book then just the horror: showing us emotion and great action. Blood Debt is riveting, engaging, horrifying and captivating. Horror comics might not be the cup of tea for many other comic book readers, but this is the perfect book to draw them in.