Review by Frank Plowright

In Ever Terry Moore initially exploits a sadly common concern for women, that of being followed, and develops it into tale of a terrifyingly pre-ordained destiny.

Ever likes studying her fellow subway passengers, and is doing so when she notices a man looking directly at her. Sensing trouble, she disembarks, and finds he’s still with her after a series of disturbing incidents, some of which she sees in horrifying detail, while others pass unnoticed. It makes for an effectively frightening sequence, but for Moore to then reveal the mysterious follower is actually there to help Ever is idle plotting.

However, a fair amount of idle plotting is a small price to pay for Moore’s gorgeous art. Effective storytelling is combined with refined technique for what seems simple, but is the result of experience, Moore reducing the art to the essentials. It’s beguiling, and it’s not every artist who’d have the confidence to turn out a pen and ink version of Andrew Wyeth’s Christina’s World in passing.

Neither can the ambition be faulted. Once friendly contact has been made, Ever’s thrown into a discussion of humanity’s origins. However, setting up the essential dilemma requires considerable explanation, revising theological certainties, and while it permits some spectacular art, it’s dry material to reach the point mentioned on the back cover blurb. Ever, it turns out, is expected to sacrifice herself to a demon in the pits of Hell for the good of humanity. She seems inordinately well informed on the finer points of scripture for a seventeen year old.

All the explanation might be excusable if there were a significant pay-off, but that’s almost an afterthought. Moore’s main concern is presenting his alternate view of humanity’s creation, and it never sparks into life. The drawing, though, is lovely.