Review by Karl Verhoven
Sadly no-one knows who wrote the three stories collected in The Haunting of Jilly Johnson, but the digital wizardry employed for a startling cover justly represents the artistic treats within. Not only does the title strip drawn by Rafael Busóm Clúa await, but there’s the appeal of two further features he drew for girls’ comic Pink in the 1970s. It’s not explained why the title strip is named after a well known topless model of the 1970s, although it adds an extra level of fascination if considered a possibly biographical interlude from her younger days.
Jilly has only just moved into a new flat when objects start toppling from shelves and flying across the room, culminating in instructions scraped into the floor dust telling her to find Alan. Shortly after learning her flat’s previous tenant died, she starts behaving out of character. While the strip is acceptable, if sometimes shrill supernatural drama, Clúa’s art transforms it into something astonishing, elevating cliché to genuinely scary moments. He convinces readers to share Jilly’s fear with inventive page designs despite the plot taking ever wilder turns, and is expressive throughout, with Jilly’s curly hair a constant prop. Everyone Clúa draws is supernaturally attractive, although Jilly’s boyfriend seems to share her hair. David Roach’s informative back of the book biography notes Clúa not being above swiping a few poses, but he embeds them in lush surroundings.
‘The Island of Stones’ was also originally serialised. “Just think, Jim” says Janie to her fiance “in less than an hour we’ll start fourteen days of sun and swimming, olives and Greek wine, kebabs and…” “Quiet!”, interrupts Jim, “Remember I read the brochure for the Perseus Paradise Club too, you know”. Later he adds “Haven’t you noticed how many girls there are pretty?” This, though, isn’t warning of a controlling relationship and a roving eye, just 1970s charm, at least as interpreted by the writer. The plot is bonkers gothic horror featuring the head of Medusa turning people into statues and the boorish Jim inevitably saving the day, amid a dense script offering fewer chances for Clúa to shine. Of necessity he packs the pages with small panels, but each is elegantly drawn and compactly composed.
Eccentrically labelled a “bonus strip” on the title page, ‘The Eyes of the Gorgon’ is a standalone six pages also using the head of Medusa. The maguffin is the unfortunate Jenny being forced to wear dark glasses impairing her sight and having her staggering around her creepy Uncle Seth. There’s a secret to his incredibly lifelike sculptures, you know. Again, the technique is excellent, especially on the classical statues starting the story, but Clúa’s talent is wasted.
Such is the quality of the art, especially on the title strip, that The Haunting of Jilly Johnson is worth a punt on that basis alone, but keep plot expectations low.
