Written by – David Pepose
Art by – Gavin Guidry
Colors by – Elizabeth Kramer
Lettering by – Ariana Maher with Colin Bell
Sometimes we forget that there is more to comics than Archie and Superheroes. (Yes, I completely believe that “Archie” can stand on its own as a genre and not just a company or character). It remains to see exactly what genre Going to the Chapel will become (although the tagline “love is the ultimate hostage situation” may be telling) but it’s very much not those two.
The issue opens, as you might expect from the title, with a wedding. Panels shift between the bride and a gang of bank robbers watching from a distance, all set to the lyrics of the famous 1964 song that this series takes its name from.
Flashback to earlier in the day. While a bit dramatic, the scene is more common than people think. The bride is nervous, one of her parents is chewing out a vendor while the other parent is having another drink and ogling the help. Grandma Harriet gives some sage advice from her wheelchair, cigarette in her hand, oxygen tube in her nose.
Then we shift over to the groom’s side, having a few pre-wedding drinks at the local bar with his best man (as someone who has worked in the wedding industry, I can confirm this also not as uncommon as you’d think). It’s at this point we learn that we learn that the bride’s family are, in fact, rich as heck. So rich, that she will be walking down the aisle wearing a sapphire necklace worth $250 million, on loan from Paris’ Musée d’Orsay (thus fulfilling the “something borrowed” and “something blue” superstition). A random bar-fly strikes up a conversation and buys the groom a drink, before we jump ahead to the wedding again.
We get some side-conversations of people while the ceremony goes on, when mid-vow the doors to the chapel are kicked in by The Bad Elvis Gang, intent on robbing the obviously wealthy guests and stealing the borrowed Heart of Dresdin necklace. There are several more pages at this point, but I’m going to make you read those for yourself.
The art by Gavin Guidry is good, but the color choices by Elizabeth Kramer are honestly what made the visuals pop for me. David Pepose is developing a unique and interesting story that we don’t see enough of in today’s comic market, it’s a breath of fresh air for sure.
This issue was almost entirely set up for the rest of the story, but it was done exceptionally well and I’m giving an optimistic 4 out of 5.