Publisher: Image Comics
Writer: Eric Stephenson
Art: Simon Gane
Colours: Jordie Bellaire
In issue #5 of They’re Not Like Us, we discovered some sad, very sad truths about the past of The Voice: Maisie, the clairvoyant, tells our central character, Syd, that he barely survived the fire that burned his house down killing his two brothers (who had his same powers); a fire started by their parents, who were afraid of the three children’s abilities and decided to get rid of them. Officially, the couple had also died in the fire – but actually they had simply managed to buy new identities and leave the country. As soon as they returned, however, The Voice made sure that their cover story came true – burning down the house they were sleeping in. This partially explains why he set a rule stating that whoever wanted to join his group needed to kill his or her own parents – something Syd is very reluctant to do.
Meanwhile, The Voice and three others visited Syd’s parents. Three of them were telepathically disguised as policemen, and the third… as Syd, whom the (fake) Police officers are apparently bringing back to her family.
The book closed with Blurgirl having slit her wrists, and Misery Kid is found in her room by Wire, whom he assaults.
This issue #6 opens with Maisie and Syd running to Blurgirl’s rescue, while Runt restrains Misery Kid. They are forced to call 911, which means they will have to admit into the house people not belonging to the group. Syd’s parents, meanwhile, leave their house with the (fake) policemen and (fake) Syd. They think they are being taken to the Station to sign some paperwork, but…
The world of They’re Not Like Us, already pretty messed up to start with, gets even more complicated. The storyline is not particularly intricate (not that it’s exactly straightforward, but it doesn’t reach crazy level of complicacy), but the lives of the characters – all of them – reveal aspects that we didn’t expect, hidden sides to their stories. Also, the events in this issue change things for everyone.
The art, once again, keeps reminding me of some 1970s Italian artists. I have mentioned Milo Manara and Guido Crepax (although They’re Not Like Us doesn’t have any of the extremely sexual content those two authors and artists are famous for), and I’d like to add to them Hugo Pratt, the creator of Corto Maltese. And possibly Chester Gould. With this I’m not saying that Simon Gane’s art is derivative, though. It’s more likely that he took his inspiration from all those masters and created something very new – although it looks slightly old-fashioned.
In They’re Not Like Us, something huge will be happening soon: it is absolutely obvious from what happens in this issue. Give it a read.