Review by Ian Keogh

The Demon House providing the title is a pop-up fundraising event run by a youth-oriented group promoting conservative values. During October each year they act out their concept of the consequences bad lifestyle choices can have, using a Halloween theme. Gil Grissom and his CSI crew are already at the location investigating a robbery when what seems like an accidental killing occurs. With that Max Allan Collins pre-empts the real life circumstances of Alec Baldwin’s 2022 film set with a gun that ought to have contained blanks holding a single live round.

After some sloppy pages in Bad Rap, Ashley Wood’s flashback interludes and paintings of Las Vegas are once again stylish and to the point. His pages are a big contrast to those of Gabriel Rodriguez, who draws roughly three times as many in telling the main story, but the difference works as they’re used either to set the scene or for flashback. Wood’s looseness makes these resemble courtroom sketches. Rodriguez is stuck with many interview and explanation scenes, so largely restricted to talking heads. He varies the viewpoints and angles to prevent them transmitting as dull, but there’s a feeling he’s too restricted at times.

Once again working with forensic researcher Matthew V. Clemens, Collins supplies a procedural investigation that hits all the right spots. The clues are delivered in the right places, he ensures the members of the TV cast who have personalities have them reflected in the story, and surely remains a step ahead of all but the most observant and dedicated crime reader wanting to piece together clues before the revelation.

All three CSI stories by Collins, Rodriguez and Wood are also combined as the first CSI Case Files. Collins and Wood move on, leaving Rodriguez as the sole creator progressing to Dominos.