Review by Ian Keogh
A series of Dead Space graphic novels was originally issued by Image Comics in the first flush of the franchise’s success from 2008, but they’re produced to stand independently of the games and the quality is such that they’re fondly remembered, hence reissues from Titan almost twenty years on.
This is a prequel to the Dead Space game, when the Necromorphs are as yet unknown to humanity despite human colonisation of innumerable planets. There is conflict between the government and the Unitarian Church, who believe information is being withheld about a device supplying the origins of humanity, known as the Marker. The disagreements have lasted two hundred years, and those believing in Unitology are a divisive presence. Being a prequel, none of the game’s cast feature, and the creations of writer Antony Johnston are given profiles before the story begins.
The key character is Abraham “Bram” Neumann, a security officer present when a strange structure is discovered on what ought to be an uninhabited planet. The Unitarians immediately seize on it as the Marker, despite it not resembling a black box, and several believers also begin seeing ghosts. Believers and non-believers alike are experiencing insomnia and depression. As seen on the opening page, it takes five weeks for the situation to degenerate to a point where Bram sees nuclear annihilation as the best option.
Johnston also plotted the Dead Space game, and the graphic novel was originally issued as a teaser prequel. He’s familiar with the world, and follows the action thriller template of discovery and mystery generating tension before escalating danger, and profit-driven businessmen ignoring the dangers highlighted by the boots on the ground. However, it’s extremely tightly plotted and suspenseful, with the pre-existing disagreements thoughtfully exploited and some terrifying events punctuating the gradual disintegration.
Ben Templesmith is an artist who’s mastered mood, and Dead Space features his tightly drawn people inhabiting washes of watercolour, most effectively sepia. Unlike traditional horror comics, bright bursts of colour mark the most violent interludes, and when the horror fully manifests in the penultimate chapter red is predominant. Templesmith’s Necromorphs are repulsive creatures, magnificently realised.
As a story Dead Space is an extremely effective prequel, but strangely one that may have greater appeal to horror fans who’ve never played the game. Much of the tension comes from people on the planet unaware of what’s happening, while game players already know what’s behind the threat and why they’re behaving out of character. Johnston neatly brings the story full circle to the opening page, and surely no-one’s going to expect a happy ending. Johnston’s back with Salvage.
