Bigger Than Capes

Written by: Matthew Rosenberg
Linework and Lettering by: Michael Walsh
Coloured by: Toni Marie Griffin and Michael Walsh
Edited by: Chris Hampton
Variant Cover by: Tyler Boss
Silver Coin 3D Model by: Amanda Nicholson
Published by: Image Comics

“Rising and Falling in America” is the story of a janitor named Henry who works at a building on Wall Street in 1968. Henry has a chance encounter with Mr. Pynchon, a high roller in the building who’s doing some late night coin collecting (as you do). The encounter sparks an immediate obsession in Henry over a particular coin in the collection. Overnight, he goes from being a happy man with a loving family to a vicious killer, all in the pursuit of his new obsession.

It’s a relatively simple story, but one that adds another layer to the overall narrative of The Silver Coin and shows the influence it has in an almost casual, yet devastating way. It’s not immediately clear how fixated Henry has become on the coin, so it is a surprise when his actions become more erratic.

There’s also a clear commentary here on class and the divide between workers. While initially presenting himself as friendly and caring towards Henry, it doesn’t take long for Pynchon to reveal that he doesn’t really know one cleaner from another, which gives an immediate feeling that he doesn’t have much investment in those around him and pays little attention to the way he behaves and the things he’s heard saying…something that quickly comes back to haunt him.

As I’ve come to expect at this point in the series, Michael Walsh’s artwork is on point throughout this issue. However, I feel like Walsh’s art takes influence from Matthew Rosenberg’s frequent collaborator Tyler Boss in this issue. There’s plenty of pages bursting with panels and a splash page or two that immediately conjure up the comparison. Though the panel heavy layouts also serve to reflect the 1960’s.

I seem to say it every month, but I don’t want to give too much away about this issue of The Silver Coin. Any good horror story is better observed without knowing too much of what’s to come, and this is very much a good horror story. Matthew Rosenberg rarely disappoints in his writing and, as often seems to be the case, he’s working alongside the great artists and colourists Michael Rosenberg and Toni Marie Griffin. If you’re not reading The Silver Coin yet, pick up whichever issue you see and get caught up, they’re all strong starting points in this anthology.