Written by: Ed Brisson
Letters & Lines by: Michael Walsh
Colours by: Michael Walsh & Toni Marie Griffin
December 18th 1986 is the date we’re given for The Silver Coin #3, which sets this issue between the first two of the series. We noted in our April comic round-up podcast that as an anthology series the events of The Silver Coin could be as linear or nonlinear as they wanted to be, but I wasn’t expecting we’d be filling in any gaps quite so soon.
We begin with Vic, Bobby and Lisa standing over the body of retired firefighter Louis Atkinson, a man they were planning to burgle, but he suddenly died rather than living through the experience. Reeling from their victim’s sudden demise the trio decide to continue as planned but without the hassle of keeping an eye on Louis after the fact. That’s when things get weird and Lisa starts to hear a voice in her head, calling out for her to return something that doesn’t belong to her. As they flee from the scene of the crime Lisa is drawn towards a nearby cabin in the woods, and it seems like she’s not the only one being drawn in that direction.
Once again this issue is a departure in style from what’s come beforehand, introducing more supernatural horror elements than we’ve seen in the first two issues of The Silver Coin. It’s a much simpler story than the previous too, but it’s also the kind of horror that sticks around in the back of your head, making you wonder if there’s something sinister lurking right behind you. In that way it feels like we learn more about the eponymous coin than we have previously, perhaps its journey isn’t quite as random as it may have seemed and instead it choses where it goes when given the opportunity. Lisa serves merely as a way to take the coin from one nightmare to the next.
As with each issue so far, Michael Walsh’s artwork really steals the show, capturing every gruesome part of The Silver Coin. It’s a tough call to make, but I think this might be the bloodiest issue so far, and whether it’s a car crash or a blood bath Walsh’s art depicts them perfectly. The entire story takes place at night which lends itself to a more muted colour palette throughout the issue but Toni Marie Griffin and Michael Walsh’s colours never fail to suit the scene, bringing subtle variety in the more shadow drenched moments which provides a great contrast to the panels with a greater burst of colour.
I’ve really enjoyed The Silver Coin so far, each issue brings something different and Michael Walsh’s artwork makes each instalment feel connected even when the writers he’s working with are pulling the horror in new directions. I’m very much looking forward to seeing where the next issue will take us.