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BTTM FDRS
Once a thriving working class neighborhood on Chicago’s south side, the “Bottomyards” is now the definition of urban blight. When an aspiring fashion designer named Darla and her image-obsessed friend, Cynthia, descend upon the neighborhood in search of cheap rent, they soon discover something far more seductive and sinister lurking behind the walls of their new home. Like a cross between Jordan Peele’s Get Out and John Carpenter’s The Thing, Daniels and Passmore’s BTTM FDRS (pronounced “bottomfeeders”) offers a vision of horror that is gross and gory in all the right ways. At turns funny, scary, and thought provoking, it unflinchingly confronts the monsters―both metaphoric and real―that are displacing cultures in urban neighborhoods today.
301 pages, Kindle Edition
First published June 25, 2019
13 people are currently reading
1286 people want to read
About the author
Ezra Claytan Daniels
20 books101 followersEzra Claytan Daniels is a writer and illustrator based in Los Angeles, CA. His work has been featured at the Fantoche International Animation Festival in Baden, Switzerland; the Fumetto International Comics Festival in Lucerne, Haarlem Stripdagen in the Netherlands; and the Whitney Museum. His graphic novel, Upgrade Soul, was the recipient of the 2017 Dwayne McDuffie Award for Diversity in Comics, nominated for an Eisner Award for Best Graphic Album, and was named one of the best books of 2018 by Publishers Weekly, Vulture, The Library Journal, and Paste.
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Displaying 1 - 30 of 243 reviews
February 13, 2023
A very surreal tale of gentrification...unique vision that echoes questions that we fail to ask when we change the enclaves that have existed before new visions evict with old economic rules. Really liked this very original and perceptive look at a very real problem that is getting progressively worse each year.
July 21, 2019
Ezra Clayton Daniels (Upgrade Soul) wrote this, BTTM FDRS, (pronounced Bottomfeeders) and Ben Passmore (My Black Friend) illustrated this, which deals with issues of gentrification and white privilege in the guise of what I didn't even know was a thing: "Gentrification horror"!? There is also "body horror," which is physical horror, think: David Cronenberg, sliming, a range of gross stuff. As with other horror comics, such as The Swamp Thing, there is horror that matches the social horrors of racism, sexism, and so on.
Takes place on Chicago's south side, where a fashion designer and her friend seem to be living in a large abandoned building. But something's not quite right, about the economics of the situation, gentrification, but also seemingly scary things going on there. There are moments where the dialogue reveals some social commentary, and the authors inject some humor into it, but the story is less impressive than the art, which has an alt-comics feel to it to match the contemporary urban context.
I didn't love it, maybe a 3.5 rating, but give it points for uniqueness: The touches of social commentary, the humor to match/undermine the horror, the artwork, the meshing of the political with horror.
Takes place on Chicago's south side, where a fashion designer and her friend seem to be living in a large abandoned building. But something's not quite right, about the economics of the situation, gentrification, but also seemingly scary things going on there. There are moments where the dialogue reveals some social commentary, and the authors inject some humor into it, but the story is less impressive than the art, which has an alt-comics feel to it to match the contemporary urban context.
I didn't love it, maybe a 3.5 rating, but give it points for uniqueness: The touches of social commentary, the humor to match/undermine the horror, the artwork, the meshing of the political with horror.
August 8, 2019
Hmm... this is a tough one to rate. I think I'll go with 3.5 stars, rounded up to 4 for GR.
The pros: first of all, I heard this graphic novel referred to as gentrification horror, and that sums it up incredibly well. It's horror, it's spooky and it's weird, but it also deals with a lot of commentary regarding gentrification, POC lives being pushed aside and erased for white comfort, etc. There's a ton of good commentary going on here, including the black MC's best friend having a meltdown over how "white people's opinions never seem to matter anymore", etc. (but she's not racist, you know! how dare you?!). Parts of the book are very subtle while others are brutally on-the-nose, and it's all done very well.
The cons, however: first, this art is... well, it's a mixed bag. On one hand, it's visually interesting and I think it's neat, how certain "scenes" are color-coded to different colors to separate them from the scene before. It's an easy way to show time-skips, location jumps, etc., without devoting any of the actual storyline to letting you know. That said, the monochrome aspects made it a little tough for the finer details to come across sometimes, and the drawing style itself, while this is totally subjective, is not one that I personally enjoy.
The other issue I had is that the story just doesn't make any sense at times. I know a lot of people enjoy semi-bizarro horror that doesn't have a lot of rhyme or reason to it, and if that's you, DEFINITELY grab a copy of this one, but that's not me. I wanted to know why these things were happening (more than the iota of backstory we got) and how the entity in the story became so powerful, but I didn't get any of that. I think BTTM FDRS would function much better as a novel or novella than a graphic novel, but that's just me.
I received this item for free from the Amazon Vine reviewing program in exchange for my honest opinion. My review has not been influenced or altered in any way.
The pros: first of all, I heard this graphic novel referred to as gentrification horror, and that sums it up incredibly well. It's horror, it's spooky and it's weird, but it also deals with a lot of commentary regarding gentrification, POC lives being pushed aside and erased for white comfort, etc. There's a ton of good commentary going on here, including the black MC's best friend having a meltdown over how "white people's opinions never seem to matter anymore", etc. (but she's not racist, you know! how dare you?!). Parts of the book are very subtle while others are brutally on-the-nose, and it's all done very well.
The cons, however: first, this art is... well, it's a mixed bag. On one hand, it's visually interesting and I think it's neat, how certain "scenes" are color-coded to different colors to separate them from the scene before. It's an easy way to show time-skips, location jumps, etc., without devoting any of the actual storyline to letting you know. That said, the monochrome aspects made it a little tough for the finer details to come across sometimes, and the drawing style itself, while this is totally subjective, is not one that I personally enjoy.
The other issue I had is that the story just doesn't make any sense at times. I know a lot of people enjoy semi-bizarro horror that doesn't have a lot of rhyme or reason to it, and if that's you, DEFINITELY grab a copy of this one, but that's not me. I wanted to know why these things were happening (more than the iota of backstory we got) and how the entity in the story became so powerful, but I didn't get any of that. I think BTTM FDRS would function much better as a novel or novella than a graphic novel, but that's just me.
I received this item for free from the Amazon Vine reviewing program in exchange for my honest opinion. My review has not been influenced or altered in any way.
July 9, 2019
BTTM FDRS is a bonkers sci-fi/horror tale that’s told with a talent for character, with actual insights into the past and present of housing segregation, and with a genuine affection for goofy, B-movie horror.
The story, setting, and premise are the perfect collaborative match for the uncanny body-horror of writer Ezra Clayton Daniels (Upgrade Soul) and the pop-punk anarchism of artist Ben Passmore (Daygloayhole).
The story, setting, and premise are the perfect collaborative match for the uncanny body-horror of writer Ezra Clayton Daniels (Upgrade Soul) and the pop-punk anarchism of artist Ben Passmore (Daygloayhole).
July 14, 2019
I didn't really know what to expect going into this. The cover was intriguing and mysterious. The artwork kind of reminded me of Julie Doucet’s work. And the quote on the front cover promised “Gentrification horror …”
I honestly didn't recognize Ezra Claytan Daniels’ name from Upgrade Soul, which I loved. Shame on me.
So what's the story with Bttm Fdrs? Darla is an aspiring fashion designer who's just moving into an apartment in the Bottomyards, one of Chicago’s examples of urban decay. But the rent is cheap, and the landlord is trying to attract more trendy types by offering perks like free cable. But there's something … off … about the building. It may be the lack of windows. Or the strange noises. Or the way the lights flicker. Or the coaxial cable that seems to grow overnight. Soon Darla and her BFF Cynthia are face to face with what lurks in the walls and the basement …
This was a wonderfully creepy book. The pacing kept me on the edge of my seat, and the characters were engaging. We're talking seriously good comics horror here.
The book itself is lovely. Notice those embossed millipede thingies? That's an effect you won't get on your Kindle.
I thoroughly enjoyed this. Highly recommended!
I honestly didn't recognize Ezra Claytan Daniels’ name from Upgrade Soul, which I loved. Shame on me.
So what's the story with Bttm Fdrs? Darla is an aspiring fashion designer who's just moving into an apartment in the Bottomyards, one of Chicago’s examples of urban decay. But the rent is cheap, and the landlord is trying to attract more trendy types by offering perks like free cable. But there's something … off … about the building. It may be the lack of windows. Or the strange noises. Or the way the lights flicker. Or the coaxial cable that seems to grow overnight. Soon Darla and her BFF Cynthia are face to face with what lurks in the walls and the basement …
This was a wonderfully creepy book. The pacing kept me on the edge of my seat, and the characters were engaging. We're talking seriously good comics horror here.
The book itself is lovely. Notice those embossed millipede thingies? That's an effect you won't get on your Kindle.
I thoroughly enjoyed this. Highly recommended!
September 18, 2019
I liked this pretty well but I wanted the connection between gentrification and body horror to be more explicit, or have a firmer punchline. Passmore is the gloopy goopy dayglowiest and Daniels is a supremely sharp creepy writer, this just didn't knock it out of the park as a collaboration. Really good though and definitely recommended, just more fun good than incredible good.
August 17, 2019
The start is a bit slow, but this sci-fi take on a haunted house story picks up steam as it goes. The art and coloring very effectively convey the bizarre and eerie tone.
March 10, 2022
The "Gentrification horror" announced on the front cover did not translate in my brain into something like this graphic novel! But then to say it was unexpected is a good thing, right?
The Bottomyards is an area of urban decay in Chicago; people in that area are called Bottomfeeders—thus the book's title, which is also the brand name for the creations of clothing designer Darla. Darla has just moved to this neighbourhood, to an improbable building with no windows, because of the cheap rent and space to live/work.
The back cover: "Gentrification and body horror collide in this brutal satire" did not prepare me for the plot developments in this story. The writing is sharp, though, and the art equally nifty, so I was equal parts amused and grossed out. Any novel featuring art students speaking art student lingo is bound to evoke a sense of pleasant disgust.
I still don't know what "body horror" might be.
The Bottomyards is an area of urban decay in Chicago; people in that area are called Bottomfeeders—thus the book's title, which is also the brand name for the creations of clothing designer Darla. Darla has just moved to this neighbourhood, to an improbable building with no windows, because of the cheap rent and space to live/work.
The back cover: "Gentrification and body horror collide in this brutal satire" did not prepare me for the plot developments in this story. The writing is sharp, though, and the art equally nifty, so I was equal parts amused and grossed out. Any novel featuring art students speaking art student lingo is bound to evoke a sense of pleasant disgust.
I still don't know what "body horror" might be.
May 21, 2019
Daniels and Passmore offer up a wonderful kaleidoscope of urbanity & its horrors. Stemming from poverty, gentrification & capitalism, broken bodies, isolation...this world could be dire. There are a few moments of deep commentary, especially around white privilege, SJW-ism and commodification of colonial communities and communities of color, but Daniels injects the right amount of humor into the script. Couple that with Passmore's illustrations, so full of expressiveness, and the horror is removed just enough to be able to say, "I enjoyed that!" inasmuch as one sympathetic reader can enjoy gentrification, racism and their concomitant horrors, mind you.
October 29, 2019
Oh man, this book is so much fun. You can tell both the writer and the artist enjoyed making it (especially the drawings of the amorphous monsters). I'm new to Ezra Claytan Daniels (but long time fan of Ben Passmore), but this book has put me solidly in the lifelong reader camp.
I'm currently reading Upgrade Soul (which, holy crap, is incredible - easily my favorite comic I've read this year, and I'm not even finished), and there are some thematic similarities. Like the best sci-fi writers, Daniels keeps one foot in reality and one in fantasy, with expert commentary on gentrification, race issues, cultural appropriation and more with a generous dose of humor to help it all go down.
I'm currently reading Upgrade Soul (which, holy crap, is incredible - easily my favorite comic I've read this year, and I'm not even finished), and there are some thematic similarities. Like the best sci-fi writers, Daniels keeps one foot in reality and one in fantasy, with expert commentary on gentrification, race issues, cultural appropriation and more with a generous dose of humor to help it all go down.
July 31, 2019
The characters and struggles felt very real, not sure I followed the full monster metaphor but I still appreciated it none the less. It’s one of those books that I think could’ve benefitted from being longer, because I enjoyed it so much, but the action scenes felt rushed. As expected the coloring was excellent!
December 3, 2020
This was so weird and gross and funny, I loved it.
May 30, 2019
The art is very colorful and has an edgy quality to it that I don't normally like but it really worked with the story. The changes in colors signaled what was happening, ratcheting up the creepiness without relying on the traditional dark-light or grayscale format.
Our main viewpoint character is Darla, an artist who is returning to where she grew up in Chicago, the Bottomyards, which has decayed through institutional and social racism. Darla may complain about people buying up the buildings but she, too, is taking advantage of the lower rents for an apartment that can also serve as artist studio. We get enough into her life and mind that I was able to develop strong empathy for her. Thus the everyday struggles and the weird horror of the building felt more intense.
That weird horror is science fiction in nature and without revealing too much, let me add it deals with the unjust treatment of women and minorities by business and government agencies as well. Through Darla's friends, neighbors, and others she interacts with, that horror is cranked up further.
Our main viewpoint character is Darla, an artist who is returning to where she grew up in Chicago, the Bottomyards, which has decayed through institutional and social racism. Darla may complain about people buying up the buildings but she, too, is taking advantage of the lower rents for an apartment that can also serve as artist studio. We get enough into her life and mind that I was able to develop strong empathy for her. Thus the everyday struggles and the weird horror of the building felt more intense.
That weird horror is science fiction in nature and without revealing too much, let me add it deals with the unjust treatment of women and minorities by business and government agencies as well. Through Darla's friends, neighbors, and others she interacts with, that horror is cranked up further.
October 4, 2024
A graphic novel!
Darla is an aspiring clothing designer, and when she moves into a cheap apartment on the South side of Chicago, she gets much less and muchhhh more than she paid for. I’m talking “more” in the bulbous, slimy, & potentially malicious variety. *shivers*
This had both body horror (think invasive tentacles) and societal horror (think gentrification, white privilege, cultural appropriation & racism).
But I loved this! Suspenseful and creepy with the visuals and nuanced with the metaphors and dialogue.
Darla is an aspiring clothing designer, and when she moves into a cheap apartment on the South side of Chicago, she gets much less and muchhhh more than she paid for. I’m talking “more” in the bulbous, slimy, & potentially malicious variety. *shivers*
This had both body horror (think invasive tentacles) and societal horror (think gentrification, white privilege, cultural appropriation & racism).
But I loved this! Suspenseful and creepy with the visuals and nuanced with the metaphors and dialogue.
July 4, 2019
Recommended for fans of Jordan Peele, this wry horror graphic novel pokes at gentrification and complicity. Great art with a bright, surreal palette.
July 14, 2019
that was wild
August 7, 2019
I didn’t know that the world needed gentrification horror but it absolutely does.
November 25, 2020
I am not sure how to wholly describe this. It is a satirical take on gentrification, that much I ascertained, but it is also a weirdly humorous horror story full of strange colors and gruesome violence. The humor is dry, the violence is gory, and the horror builds up at a nice pace. There are some narrative choices that fell a little flat, like the relationship between the main character and a mysterious stranger, and there is an odd character who shows up repeatedly but doesn't seem all that necessary.
But wow, that art style is killer. I liked Passmore's style after reading Sports Is Hell, and I think it worked out better to have someone else write the story itself (Passmore's book was a little... uneven). Everything is gratuitous, basically, but it works well in its own off-the-wall way. The conclusion is a bit odd, but that somehow makes it funny. And I think that is part of why I liked it so much--all the odd moments that have this strange acceptance by the characters, as if it is just something to roll with and not that big a deal. Like, I guess it's okay to just have this horrifying thing happening. This also helps solidify the gentrification theme, another issue that a lot of people are just... okay with.
Anyway, I'm throwing up 4 big gold stars onto my posterboard of goodreads reviews.
But wow, that art style is killer. I liked Passmore's style after reading Sports Is Hell, and I think it worked out better to have someone else write the story itself (Passmore's book was a little... uneven). Everything is gratuitous, basically, but it works well in its own off-the-wall way. The conclusion is a bit odd, but that somehow makes it funny. And I think that is part of why I liked it so much--all the odd moments that have this strange acceptance by the characters, as if it is just something to roll with and not that big a deal. Like, I guess it's okay to just have this horrifying thing happening. This also helps solidify the gentrification theme, another issue that a lot of people are just... okay with.
Anyway, I'm throwing up 4 big gold stars onto my posterboard of goodreads reviews.
June 4, 2024
4.5/5
Okay yeah this was lovely. Fantastic blend of satire, body horror, social commentary, and heart. I think this is something Jordan Peele would eat right up.
Super enjoyable. Probably the best horror graphic novel I’ve read, with its interesting characters, delightfully disgusting illustrations and beautiful color palette.
Thank you public library for exposing me to this!
Okay yeah this was lovely. Fantastic blend of satire, body horror, social commentary, and heart. I think this is something Jordan Peele would eat right up.
Super enjoyable. Probably the best horror graphic novel I’ve read, with its interesting characters, delightfully disgusting illustrations and beautiful color palette.
Thank you public library for exposing me to this!
August 9, 2019
All the pull quotes for BTTM FDRS call out that it's a weird mixture of body horror and gentrification horror and those quotes are not wrong. This is some weird shit. It's got a lot to say about classism and racism. It's also got an apartment building with no windows that appears to be devouring its residents. So, it's a real dense stew of ideas.
I found myself enjoying the mix, for the most part. The class/race stuff could feel heavy-handed at points, but it was also apt for our current climate and you could tell the authors weren't tossing around these issues purely for plot purposes - they wanted to say something about society. The horror stuff was delightfully messed up, quality weirdness that kept me flipping pages at a fast rate. Ben Passmore's art was perfectly suited to the story. I did feel a bit adrift in the early pages (Are we in the future? Is there a Bottom Yards in Chicago? What the heck is this monster?), but the story very quickly drew me in even though it didn't necessarily answer my questions. BTTM FDRS feels like a book that's gonna get some Eisner noms.
I found myself enjoying the mix, for the most part. The class/race stuff could feel heavy-handed at points, but it was also apt for our current climate and you could tell the authors weren't tossing around these issues purely for plot purposes - they wanted to say something about society. The horror stuff was delightfully messed up, quality weirdness that kept me flipping pages at a fast rate. Ben Passmore's art was perfectly suited to the story. I did feel a bit adrift in the early pages (Are we in the future? Is there a Bottom Yards in Chicago? What the heck is this monster?), but the story very quickly drew me in even though it didn't necessarily answer my questions. BTTM FDRS feels like a book that's gonna get some Eisner noms.
April 8, 2022
DNF/Skimmed the last three-quarters of the book.
It ended up being more satirical than anything else. Going into the book I did not know this.
It was a little too..."on the nose." I felt like I was reading "Twitter Discourse" instead of the way people really talk.
Also, I really dislike pop culture references in books. It ends up dating the book. The main character mentions, Jezebel, and I'm thinking, Who still reads Jezebel? Or, any of the Gawker Media nowadays? While the commentary on race and gentrification is still relevant, the book feels like it should be read in a specific time, and that time has passed.
Positives:
I love seeing books set in Chicago. Every author that writes a book set in a big city always picks New York. There are other cities, lol.
Another positive is the artwork. I really like the stylized, monochromatic art. Ben Passmore's style fits perfectly with the Chicago, indie artist feel the book goes for.
It ended up being more satirical than anything else. Going into the book I did not know this.
It was a little too..."on the nose." I felt like I was reading "Twitter Discourse" instead of the way people really talk.
Also, I really dislike pop culture references in books. It ends up dating the book. The main character mentions, Jezebel, and I'm thinking, Who still reads Jezebel? Or, any of the Gawker Media nowadays? While the commentary on race and gentrification is still relevant, the book feels like it should be read in a specific time, and that time has passed.
Positives:
I love seeing books set in Chicago. Every author that writes a book set in a big city always picks New York. There are other cities, lol.
Another positive is the artwork. I really like the stylized, monochromatic art. Ben Passmore's style fits perfectly with the Chicago, indie artist feel the book goes for.
January 30, 2022
This is a decent horror/thriller comic, but ultimately a fairly conventional one. Its basic structure feels like that of countless films: it starts with its protagonists moving into an old building where something's amiss, and then after some rising creepiness it explodes into a final act that involves a lot of running around and screaming.
It does distinguish itself somewhat by giving more attention to characters, backstory and plot than one typically gets in films of the genre – to the extent that large segments in the first half feel like a straightforward contemporary drama. This definitely makes for a more engaging read, though the characters themselves aren't too interesting, and this focus on their lives and relationships somewhat diffuses the tension that's so central to success as a work of horror. Adding further interest, the comic addresses a bunch of issues around race and gentrification: some of the parts where this is discussed directly feel a bit on-the-nose, but I enjoy the way these themes tie into the horror aspect, and overall the commentary seems quite on-point.
As far as the art's concerned, I really like the general style and especially the colours – it's all very stylish – but I feel that the compositions are sometimes a bit boring and repetitive. In particular, during conversations panels are often reused with only minor changes and with nothing to grab the reader's interest.
I definitely enjoyed this comic, but I have to say I was expecting more after absolutely loving Ezra Claytan Daniels's Upgrade Soul. Bttm Fdrs may have better-looking artwork, but it feels less substantial and just less engaging. It has some good ideas, but what it does with them is disappointingly conventional.
It does distinguish itself somewhat by giving more attention to characters, backstory and plot than one typically gets in films of the genre – to the extent that large segments in the first half feel like a straightforward contemporary drama. This definitely makes for a more engaging read, though the characters themselves aren't too interesting, and this focus on their lives and relationships somewhat diffuses the tension that's so central to success as a work of horror. Adding further interest, the comic addresses a bunch of issues around race and gentrification: some of the parts where this is discussed directly feel a bit on-the-nose, but I enjoy the way these themes tie into the horror aspect, and overall the commentary seems quite on-point.
As far as the art's concerned, I really like the general style and especially the colours – it's all very stylish – but I feel that the compositions are sometimes a bit boring and repetitive. In particular, during conversations panels are often reused with only minor changes and with nothing to grab the reader's interest.
I definitely enjoyed this comic, but I have to say I was expecting more after absolutely loving Ezra Claytan Daniels's Upgrade Soul. Bttm Fdrs may have better-looking artwork, but it feels less substantial and just less engaging. It has some good ideas, but what it does with them is disappointingly conventional.
July 18, 2019
Art ⭐️⭐️⭐️⭐️Story⭐️⭐️⭐️
The punk comic style art & the colouring were so very appealing, but i don’t think it conveyed the monster & gore horror aspect of this story well-in either a realistic or satirical way.
I was totally on board with the themes of gentrification, white privilege, and science manipulated for profit & political gain, but unfortunately the dialogue did not allow the complex story to delve deeply enough to make me care. I really enjoyed this graphic novel, but it could have been so much more. The whole thing came off kinda glib.
The punk comic style art & the colouring were so very appealing, but i don’t think it conveyed the monster & gore horror aspect of this story well-in either a realistic or satirical way.
I was totally on board with the themes of gentrification, white privilege, and science manipulated for profit & political gain, but unfortunately the dialogue did not allow the complex story to delve deeply enough to make me care. I really enjoyed this graphic novel, but it could have been so much more. The whole thing came off kinda glib.
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August 16, 2020I was hoping for a lot more from this book based on the reception it's received. The horror never really worked for me except for one scene and each reveal about the building's origin didn't give much nuance to things. There's an exploration of gentrification and subtle forms of racism, but the book doesn't offer much of an interesting take in either respect. I really dug how effective Passmore is in his use of color and shadow here to make the cartoon drawing style creepy at moments. Moments of horror have really effective buildup, but the drops don't hit as they should for me. I found Daniels' Upgrade Soul much more terrifying despite relatively less gore. That one really excels at complex characters in a way this one doesn't despite its sizable length.
July 3, 2019
An incredible graphic novel about gentrification and cultural appropriation cloaked in a horror story. Daniels’ writing is phenomenal; subtle and real. Passmore’s art is also wonderful, and the perfect aesthetic for this story. After being blown away by Upgrade Soul, I had high expectations for this book and it definitely delivered.
August 24, 2020
ECD and Passmore are a dynamic duo.
Upgrade Soul was really good and this has some of the same what the hell is going on here to it that also makes great sense, and Passmore is great at navigating the space between the real and surreal and too real and unreal visually. Check it out man.
Upgrade Soul was really good and this has some of the same what the hell is going on here to it that also makes great sense, and Passmore is great at navigating the space between the real and surreal and too real and unreal visually. Check it out man.
August 20, 2019
Like if Cronenberg did Candyman. This is packed with commentary, most of which is right on the money. Daniels is an outstanding satirist and uses his characters well in this regard without straying from their true characterization for the sake of a joke or comment. A horror story - body horror - through the lens of gentrification and cultural appropriation is very timely, but the art style's reflection of silent film color filters and early American alt-comics and cartoons (think Crumb, Charles Burns, or Jeff Smith, but in bright color washes) remind us that these aren't new issues. As a tenant of the central building says: "No matter what you have, no matter how little it is, they're gonna take it from you eventually. That's not on you. That's not even on them, really. That's just how they do. Always have, always will."
I do think Daniels whiffs majorly on the setting. Setting it in Chicago feels totally unimportant, even moreso because the neighborhood - Bottomyards - is fictional. About 90% of the book takes place inside one building, with a brief scene down the street at a bar, and another brief scene at a nameless hospital. Basically the only work done to establish this is as Chicago is that the protagonist is a recent Columbia grad, and the newscasters names are taken from local news stations for one minor scene at the end of the book. This could have just as easily been set in LA (where Daniels is based, though he did live in Chicago in his 20s) or even a fictional city. OR it could have been set in a real neighborhood!
I guess my main issue is that I didn't get to spend more time here. Once the origin for the central horror is revealed the story is basically over but I was absolutely fascinated by its premise and I needed to know more. As far as horror goes, that's about as high a compliment as I can give.
I do think Daniels whiffs majorly on the setting. Setting it in Chicago feels totally unimportant, even moreso because the neighborhood - Bottomyards - is fictional. About 90% of the book takes place inside one building, with a brief scene down the street at a bar, and another brief scene at a nameless hospital. Basically the only work done to establish this is as Chicago is that the protagonist is a recent Columbia grad, and the newscasters names are taken from local news stations for one minor scene at the end of the book. This could have just as easily been set in LA (where Daniels is based, though he did live in Chicago in his 20s) or even a fictional city. OR it could have been set in a real neighborhood!
I guess my main issue is that I didn't get to spend more time here. Once the origin for the central horror is revealed the story is basically over but I was absolutely fascinated by its premise and I needed to know more. As far as horror goes, that's about as high a compliment as I can give.
July 28, 2021
I went into this knowing absolutely nothing about the story. I'm not sure that reading it changed that much.
This is a haunted house story, basically. But it's also a relationship drama, a criticism of capitalism, and just a collection of REALLY weird art and action. Daniels' artwork is very distinctive with his heavy spot color and tendency toward gruesome squiggly organics. The story is similarly chaotic, dancing around the main plot without ever feeling like it's the primary story.
If you're a fan of indie style comics, there's enough meat here to enjoy it. Just make sure you can handle disturbing imagery and chaotic storylines.
This is a haunted house story, basically. But it's also a relationship drama, a criticism of capitalism, and just a collection of REALLY weird art and action. Daniels' artwork is very distinctive with his heavy spot color and tendency toward gruesome squiggly organics. The story is similarly chaotic, dancing around the main plot without ever feeling like it's the primary story.
If you're a fan of indie style comics, there's enough meat here to enjoy it. Just make sure you can handle disturbing imagery and chaotic storylines.
August 2, 2024
An art student moves into a dilapidated old wreck in the seedy part of town and things immediately get weird. Strange blorping sounds in the walls...cameras in the ceilings that no one can find...mysterious cables that are furry and oddly warm...
Daniels and Passmore have some caustic points to make about gentrification. Which is interesting for a while but gets lost in the chaos when the building turns out to be a bona fide monsterhouse. There's probably a metaphor in there but hell if I could make it work.
Still, Darla and her filterless best friend Cynthia have remarkable voices; they're easy to fall in like with, to get behind and root for. This was fun.
Daniels and Passmore have some caustic points to make about gentrification. Which is interesting for a while but gets lost in the chaos when the building turns out to be a bona fide monsterhouse. There's probably a metaphor in there but hell if I could make it work.
Still, Darla and her filterless best friend Cynthia have remarkable voices; they're easy to fall in like with, to get behind and root for. This was fun.
June 22, 2020
The art was incredible and I loved the story, which felt self-contained and sprawling at the same time. The humor caught me off guard in the best ways, the characters and their concerns felt very real, and I love the complicated way in which the hidden presence of the building is characterized and depicted. I might reread this as it's going to have me thinking for a while and I want to sit with it for longer!
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