Nights #7: Ivory

Nights is a busy, often bursting at the seams, frequently bizarre comic. It smashes humor and horror together. It moves very fast. But at the core of every issue is a surprisingly effective character story. Nights #7 maintains the balance between those competing story components while delivering one of the most effective character pieces yet.

Vince’s version of Sweeney Todd is opening and, perhaps unsurprisingly, Ivory is nowhere to be found. Nights #7 catches up with him in Key West after being locked in a trunk for two weeks. His kidnapper sends him into Ernest Hemingway’s house to retrieve an old book with a particular symbol on the cover. Ivory finds it but can’t escape before he’s confronted by an army of cats and the house’s lone security guard. But when Ivory doesn’t immediately return with the book, his kidnapper reveals himself to be a frightening monster and attacks the house.

Nights is one of the most creative series out there. Part of that is a general sense that the creators are throwing as much against the wall as possible and somehow almost all of it sticks. But the series is also intentionally clever. Among some of the more noteworthy references in Nights #7 is a sign leading into Hemingway House that announces it as home to the world’s largest collection of six-toed cats. There is actually some truth to that as in the real world it does house several dozen six-toed cats and Hemingway himself had a white six-toed cat named Snow White. Also, the green jacket wearing security guard is named Jacket Sportello, no doubt a reference to the novel/adapted film Inherent Vice where private detective Larry Sportello dresses primarily for comfort and frequently wears a green jacket. Somewhat more obvious is naming the cat that is guarding the issue’s macguffin “Mac Guffin.”

Nights #7 is very nearly a solo Ivory issue. Even on the few occasions when Ivory isn’t on panel he’s usually being talked about. Unlike most of his other appearances, though, a lot of this issue centers around Ivory’s role as Vince’s “parent.” With all the crazy comings and goings in the series, it’s easy to forget why Vince came to live with Ivory in the first place. This issue reframes Ivory’s character around that idea and provides him with the biggest kick in the ass to better himself for Vince’s sake which has been a long running story thread that often feels stalled.

Formisano’s art continues to juggle humor and gore in equal measure. Human (and human passing) characters are relatively light on detail. Conservative use of lines and soft shading gives everyone a youthful look–even the older adults. Nights #7 already moves at a fast clip, but the effect gives the issue yet another push.

Contrasting the human characters are the assorted monsters. The various creatures are heavily detailed, leaning considerably into the territory of straight up gore. Body horror plays no small part of this with all manner of dismemberments and horrific changes from man to monster. Juxtaposing the softer looking humans and more horrifically detailed monsters creates a kind of humor on its own in addition to underscoring what is already part of Kennedy’s script.

The coloring in Nights #7 is vibrant. This doesn’t necessarily distinguish it from the series to this point. Segala chooses a rich palette in most cases, especially when the various monsters are involved. Like with Formisano’s art, the non-human characters are heavily emphasized.

Mirabella uses a variety of fonts and colors to distinguish dialogue between humans and monsters as well as between different varieties. The homunculus, though, isn’t as successful with a burnt red font atop a brighter orange background. It’s legible but more of a strain on the eyes than all the others.