The Exorcism at 1600 Penn [Advance Review]
Election season is in full swing, and with it comes a timely new comic that deftly blends political intrigue with supernatural horror. The Exorcism at 1600 Penn, written by Hannah Rose May and illustrated by Vanesa Del Rey, with colors by Jordie Bellaire and letters by Hassan Otsmane-Elshaou, takes readers on a chilling journey into the highest office in the land, where the pressures of leadership are magnified by an unseen malevolent force.
The story introduces us to Madame President Kelly Doyle, newly elected and laser-focused on driving her environmental agenda forward. But her mission is far from simple. As global tensions escalate towards World War III, President Doyle faces a barrage of political attacks from her opponents, all eager to see her fail. If these challenges weren't enough, Doyle also has to manage the personal struggles of being a mother to two teenagers—Kevin and Mara—who are each grappling with the intense public scrutiny and the demands of their new lives.
While Kevin seems to settle into his new school without much issue, Mara’s experience is far more harrowing. Social media, with its relentless negativity, becomes a source of anxiety for her, leading to disturbing nightmares and visions that hint at something far darker than the usual teenage angst. These visions begin to manifest as mysterious psychological attacks that affect not just Mara, but also U.S. agents on assignment abroad. The terror in the White House escalates as an ominous presence takes hold of Mara, forcing President Doyle to confront a threat that hits terrifyingly close to home.
Hannah Rose May skillfully weaves a narrative that feels both familiar and unsettlingly new. The political backdrop of The Exorcism at 1600 Penn taps into current anxieties, drawing parallels to real-world issues while infusing them with a supernatural twist. The dialogue between Kevin and Mara is authentic, capturing the sibling tension and the weariness of being thrust into the public eye. President Doyle’s scenes, meanwhile, are filled with the kind of political maneuvering that feels all too real, grounding the story in a believable reality despite its paranormal elements.
Vanesa Del Rey’s art is a standout feature of this comic. Her expressive line work, paired with Jordie Bellaire’s muted yet evocative color palette, creates an atmosphere that is both visually rich and emotionally charged. Del Rey excels at portraying the heavy emotional burden carried by the characters, particularly in the scenes of political debate and family dynamics. The characters’ facial expressions and body language are drawn with a realism that adds depth to their interactions, making their struggles feel palpable.
However, the art does have its moments of visual density, where the combination of detailed line work and dark tones can make certain panels feel cluttered. This can occasionally hinder the readability of the scene, making it difficult for the reader to fully absorb the narrative flow. Despite this, Del Rey’s artistic style remains a powerful storytelling tool, effectively conveying the comic’s tense, foreboding atmosphere.
Special mention must be made of Hassan Otsmane-Elshaou’s lettering. His work brilliantly captures the emotional range of the characters, particularly in moments of heightened tension or instability. Otsmane-Elshaou’s lettering is dynamic, adding an extra layer of intensity to the narrative, and fans of his previous work on The Rush will not be disappointed.
Overall, The Exorcism at 1600 Penn is shaping up to be a compelling horror series with a disturbingly familiar backdrop. With its release set for October 16th, just in time for Halloween, it’s a must-read for fans of political drama and supernatural suspense. Be sure to ask your local comic shop for a copy before the final order cutoff on September 9th—you won’t want to miss this one!
