![]() Jose Villarrubia's color work is similarly cold and faded but balanced out by the occasional sparks of life in the clothing of our main characters. They look not of the same world and yet similar enough to look like they're next to the characters. ![]() ![]() More distorted are the entities that pop up throughout. The world looks hyper real, but it feels disconnected in a way. It's reminiscent of Get Out, and it feels like it could turn into a racialized version of the Shining at any moment.Īaron Campbell's artwork brings a realistic yet faded aesthetic. As I prepared to teach Pornsak Pichetshote, Aaron Campbell, and Jose Villarrubia’s Infidel, a lot of things stuck out.However, when I reread the haunted house story where the monsters that terrorize the characters are the manifestations of racism, xenophobia, and Islamophobia, I became intrigued by a few specific scenes where the monsters appear in the reflections of objects such as knives. ![]() It's personal, intimate, and inescapable. You can't know a person's inner thoughts though, and that's where the rest of the fear comes in. Aisha wants to trust Leslie to an almost naïve degree, but Leslie is friendly towards her. In her introduction for Infidel, American author Tananarive Due talks about how in the age of Jordon Peele’s Get Out, a new wave of horror has arrived, bringing with it stories featuring inclusive characters all readers can identify with while using the genre to reflect on real-life horrors such as racism and xenophobia. ![]() That's only have the battle though, and Infidel makes up for the other half in visceral all-too-real fear of the unknown.Ī lot of the terror that comes from this comic is the fear that Leslie thinks Aisha is a danger to Kris, Leslie's granddaughter. Infidel #1, and other successful horror tales, use outright disturbing imagery that can unnerve a reader without jumping out at them on a screen. ![]()
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