Charlie and Vita’s hopes of ending the Reapr campaign rest on a potentially insane techbro billionaire hiding in the penthouse of Las Vegas’ most secure casino. And if their plan to break in succeeds, they’ll still have to bust out of a desperate town of people one bad bet away from killing them both.
Charlie and Vita’s plan in Crowded #9 to sneak into a high end casino on the strip is absolutely bonkers. If they get past the casino floor, and if they somehow manage to evacuate every one of the security officers, and if they can somehow override the security on the private penthouse elevator, they will still have to convince Charlie’s Howard Hughes-y techbro bazillionaire contact to help them.
History has proven Charlie isn’t exactly forthcoming with accurate details of her past. The reception may not be exactly warm and fuzzy. It’s actually pretty well guaranteed to be a hostile encounter.
Christopher Sebela gives us a little more insight into Charlie’s past in this chapter. We actually get BOTH sides of a story for once, and it turns out Charlie may not be such an awful person after all. She might just be very misunderstood, with an incredibly loose interpretation of morals and justice. This is huge, and the revelation opens up some interesting new angles.
Ro Stein, Ted Brandt and Triona Farrell carry Crowded’s visual signature into chapter nine. Cinematic angles, insane action spreads, and a rose-tinted palette. Deceptively simple and sexy, while all hell is breaking loose.
This is an important chapter, for so many reasons. It FINALLY looks like we’ll be getting down to brass tacks. Someone started this deadly ball rolling, and the information Charlie and Vita extort from Q may help the 21st century Odd Couple work out who, and why. Then there’s that huge pop at the end. THAT’s going somewhere, for damned sure.
Crowded #9, Image Comics, released 04 September 2019. Line art by Ro Stein and Ted Brandt, colour by Triona Farrell, script/design by Christopher Sebela, letters by Cardinal Rae, edits by Juliette Capra, logo by Dylan Todd, color flatting by Katie O’Meara and Holley McKend, variant cover by Sloane Leong.