As the specter of World War II haunts Harrow County, specters of a more literal sort begin to invade. When a ghostly song begins to call forth the spirits of the long buried, Bernice must work to save the place she calls home, even if some residents may reject her help.
In Tales From Harrow County: Death’s Choir #2, the streets are overrun with the spirits of Harrow County’s dead. Most seem harmless. There is always the one unruly haint, though, isn’t there?
The visceral tension between the local clergy and the resident hoodoo sorceress rears up again. The town elders really have no choice but to call on their peculiar protector to find the source of the mass haunting and put the dead back to rest. Bernice accepts, because of course she does.
Cullen Bunn did such a complete job with the world building on the last Harrow County series, we don’t need a whole lot of exposition to get us rolling in this one. We know the place. We know the rules. We know a few of the residents. These first two chapters pretty much just confirm that Bernice has grown in the last decade to fill the void left by her bestie.
The art of Death’s Choir is stunning. Naomi Franquiz has taken the house style that Tyler Crook established and made it very much her own. I have to admit, I was skeptical before seeing her work, but Franquiz put my concerns to rest in the previous chapter. It does help that the two books are set ten years apart, so slight differences in character design and setting can be explained with the passing of time.
Tales From Harrow County: Death’s Choir is such a natural extension of the previous series, it’s hard to think of this as a sequel or a spinoff. It’s really just a story that takes place in the same place at a different time. Welcome to the Harrowverse, y’all.
We’re off to a solid start. Bernice has been weighed, measured, and found worthy. Now let’s see what horrors Bunn and Co. can cook up to break her.
Tales From Harrow County: Death’s Choir #2, Dark Horse Comics, 15 January 2020. Written by Cullen Bunn and Tyler Crook, art by Naomi Franquiz, letters by Tyler Crook, standard cover by Naomi Franquiz, variant cover by Tyler Crook, published by Mike Richardson, edited by Daniel Chabon assisted by Chuck Howitt, designed by Keith Wood, digital art by Josie Christensen.