JENNY FINN #3
Writer: Mike Mignola, Troy Nixey
Artist: Troy Nixey
Colorist: Dave Stewart
Publisher: Dark Horse
Jenny Finn no. 3 starts right out showing us the kooks of London, the least of which is the prime minister himself.
Everyone is out to get Joe, because of, well, you know, Jenny Finn.
Haunted, literally, by a cow he’s killing for the slaughter, Joe has had enough. He throws his apron over a bridge and leaves. (And based on how this series has gone so far, surely throwing a bloody apron into any body of water is a bad idea.) He wants to make his way out of London, start his life over. And to do that, he needs some money.
Enter Miss Platt. She knows an artist. He’s looking for a model. Joe fits his needs perfectly. And he will pay.
But it was all a ploy.
As Joe enters the artist’s residence, all sorts of evil are discovered, including some more on Jenny Finn’s messianic origins.
I can’t get over how much I love the art in this issue. Every single frame could be cut out, shown to a person, and that person would automatically know that we are dealing with Victorian London, even if the frame shows nothing but a character’s face.
The series is sprinting towards the finish line. Make sure to pick it up before next month brings the final installment.
Artist: Troy Nixey
Colorist: Dave Stewart
Publisher: Dark Horse
Jenny Finn no. 3 starts right out showing us the kooks of London, the least of which is the prime minister himself.
Everyone is out to get Joe, because of, well, you know, Jenny Finn.
Haunted, literally, by a cow he’s killing for the slaughter, Joe has had enough. He throws his apron over a bridge and leaves. (And based on how this series has gone so far, surely throwing a bloody apron into any body of water is a bad idea.) He wants to make his way out of London, start his life over. And to do that, he needs some money.
Enter Miss Platt. She knows an artist. He’s looking for a model. Joe fits his needs perfectly. And he will pay.
But it was all a ploy.
As Joe enters the artist’s residence, all sorts of evil are discovered, including some more on Jenny Finn’s messianic origins.
I can’t get over how much I love the art in this issue. Every single frame could be cut out, shown to a person, and that person would automatically know that we are dealing with Victorian London, even if the frame shows nothing but a character’s face.
The series is sprinting towards the finish line. Make sure to pick it up before next month brings the final installment.
A Look Inside
