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The Facts In The Case Of The Departure Of Miss Finch h/c


The Facts In The Case Of The Departure Of Miss Finch h/c The Facts In The Case Of The Departure Of Miss Finch h/c

The Facts In The Case Of The Departure Of Miss Finch h/c back

Neil Gaiman & Michael Zulli

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Page 45 Review by Stephen

Good lord, Sir Neil has a beard here!

And it is most definitely Neil, just as it's Jonathan Ross and his wife Jane sitting down with him over sushi to recall the events leading up to the strange disappearance of Miss Finch - which was not her real name. No one would believe them if recounted, but recount them Neil does.

It begins when Neil holes himself up in a London hotel to finish off a script that's been eluding him. No one should have known he was there, but Jonathan Ross has his ways and means and off they all go out to the theatre with Miss Finch, if only to dilute the horror that is Miss Finch - which was not her real name.

That Miss Finch is a horror becomes immediately apparent when she arrives at Jonathan's door to his elaborate home. An austere and pedantic bio-geologist, Miss Finch is an abrupt, humourless, supercilious and sanctimonious cow.

What, then, will they as a party make of the pseudo-phantasmagorical freak-show down in the warren of cellars that stretches under the train tracks of London's rainy night? Is it really a fake? And what becomes of the stone-cold-hearted Miss Finch? It's quite the transformation.

Neil keeps the tension racked, whilst Zulli (PUMA BLUES COMPLETE SAGA, SANDMAN: THE WAKE etc.) provides rich watercolour art which to begin with is overly busy, but burst out halfway though with cleaner ink lines before the lushest of light in the final tropical jungle scenes.

Oh, and Ross is depicted as a slim Oscar Wilde, which I imagine went down well with the fop!
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