Zander Cannon’s new horror series, Sleep Issue #1, is a masterclass of the value of slow burns. This debut issue promises a shocking revelation through its concise writing and highly detailed visual storytelling. However, the details do not come from the dense background or hyperrealism. Sleep chooses cartoonish simplicity that betrays the horror that creeps up beneath the surface. The true complexity comes from Canon’s use of almost black and white palettes. Foresight as subtle will require a second read.
The comic opens with Jonathan, a boy whose understated nature is certainly a red herring. He goes to church, has several friends and appears to be liked by people in his small town. So why does Jonathan look like a violent murderer whose townspeople look at their shoulders?
Jonathan wakes up and his front door is wide open, late to meet his friends, and even worse, his cat is missing. It looks like a bad morning, but how much is he at fault? Cannon wants us to think that Jonathan is a monster and when he sleeps, he will turn into something else, bringing violence and certain death to animals and humans. But that’s not all. Another question arises: Why is this happening now? And what does the new man in town have to do with that?
This issue of sleep is very similar to whodunit mystery stories. At first glance, readers don’t think they have much to go on, and are eager to see another clue in the next issue. But you will read this question again and find the traces of red crumbs that will turn to the elusiveness and lead you to question our assumptions.
The first red we see is Jonathan’s glasses. At first, this feels like a stylistic choice to simply stand out from the other characters. Then it’s someone’s wrist bracelet. Then the earrings. Eventually, the red stalker has an indeterminable symbol stalking towards the foreground. It’s so subtle, my initial thought was that this opening question wasn’t enough, but that wasn’t a criticism. Don’t expect this comic to blow you away with shocking images.
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If other issues continue to follow this, we don’t see much violence up close. Instead, we will see the days of bloody red red aftermath, chaos and terror that plunges into this small town.
Cannon’s script is clean and restrained, leaving plenty of room for readers to feel their own path through the character and motivations of the central person. The characters often comment on how things have changed and how surprised they are now seeing them as police officers, or rambling castaways in place of the sheriff’s child, as just police officers. Cannon feels like he shows off the dark underside of the town in a way that reminds him of David Lynch.
Murder mysteries often make mistakes by being too many or too few when introducing suspects. But sleep doesn’t want to ask who did it. I want to ask why we are pushing these fears and what dark forces we are pushing.
“Sleep” #1 hums in fear just below the surface
Sleep #1
Sleep #1 sets a moody, intentional tone with quiet fear and visual symbolism. It is a slow, mysterious mystery that rewards patient readers and promises deeper, a stranger’s revelation.
The limited use of a black and white palette with carefully placed red highlights is subtle, creepy and thematically rich.
Cannon captures the unforgettable small town vibe with hidden secrets and creeping terror hints reminiscent of Lynchian’s storytelling.
Readers who are hoping for high stakes horrors from the gates or graphic horrors may be overwhelmed by the suppressed tone.
