What do you think?
Rate this book
Providence #issue 3
Providence #3
In this super-sized, ad-free, third issue, Alan Moore continues to re-define horror in this amazing tome of Lovecraftian influenced nightmares. Providence is an amazing and unique work where Moore has written every cover, every single page, and every nuance of this work to create his most fully-realized vision to date. In this issue, "A Lurking Fear", Robert Black visits the Bogg's Refinery in Salem and is introduced to some most peculiar-looking local folks. And a few denizens with very bad intentions.
44 pages, Kindle Edition
First published July 1, 2015
13 people are currently reading
93 people want to read
About the author
Alan Moore
1,578 books21.9k followersAlan Moore is an English writer most famous for his influential work in comics, including the acclaimed graphic novels Watchmen, V for Vendetta and From Hell. He has also written a novel, Voice of the Fire, and performs "workings" (one-off performance art/spoken word pieces) with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.
As a comics writer, Moore is notable for being one of the first writers to apply literary and formalist sensibilities to the mainstream of the medium. As well as including challenging subject matter and adult themes, he brings a wide range of influences to his work, from the literary–authors such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson and Iain Sinclair; New Wave science fiction writers such as Michael Moorcock; horror writers such as Clive Barker; to the cinematic–filmmakers such as Nicolas Roeg. Influences within comics include Will Eisner, Harvey Kurtzman, Jack Kirby and Bryan Talbot.
As a comics writer, Moore is notable for being one of the first writers to apply literary and formalist sensibilities to the mainstream of the medium. As well as including challenging subject matter and adult themes, he brings a wide range of influences to his work, from the literary–authors such as William S. Burroughs, Thomas Pynchon, Robert Anton Wilson and Iain Sinclair; New Wave science fiction writers such as Michael Moorcock; horror writers such as Clive Barker; to the cinematic–filmmakers such as Nicolas Roeg. Influences within comics include Will Eisner, Harvey Kurtzman, Jack Kirby and Bryan Talbot.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 20 of 20 reviews
September 15, 2023
This volume, mixing Innsmouth with horrors to come in a deft and somewhat tragicomic manner, was rather slow. Eventually, Robert's journal and dreams made it more pedantic.
Good, but let's see how things unfold.
Good, but let's see how things unfold.
May 24, 2022
Review at the end of the series :)
November 18, 2018
These Providence books are absolutely riveting. Much reminiscent of Lovecraft, but with that spiced up ultrareal storytelling of Moore's is out of this world. I in particular love the journal entries at the end of the pictures, plus that excerpt from the pamphlet of the Church of St. Jude was eerie. Awesome series.
August 1, 2017
Innsmouth
September 27, 2015
I'll leave my review for issues 1-4 here, since this is as far as the GoodReads listings seem to go.
First of all, the artwork is lovely; realistic yet elegant (even for some of the less stereotypically beautiful characters. Negathlia-Lou is quite a 'catch'). I'm particularly fond of the cover art, and tend to seesaw between buying the portrait and Women of H. P. Lovecraft variant covers so far (when my comic shop owner doesn't choose for me, that is). I'm glad I didn't do my usual of waiting for trade paperbacks for this.
This is less a standard adaptation of Lovecraft's work and more something which changes some details and works a variety of his stories into the same narrative. It is a slow burn, yet I find it very engaging and sinister in a way that some outright horror comics seem to miss the mark. Of course, as it's dealing with Lovecraft's work and is set at the turn of the 20th century expect racism and misogyny from the characters. I was pleasantly surprised to find some LGBTQ content in the storyline, but I won't say what it is as it's a reveal in an early issue.
I highly recommend this for any Lovecraft fan. I dare say a non-reader would enjoy the storyline as well, though they might miss a lot of references.
First of all, the artwork is lovely; realistic yet elegant (even for some of the less stereotypically beautiful characters. Negathlia-Lou is quite a 'catch'). I'm particularly fond of the cover art, and tend to seesaw between buying the portrait and Women of H. P. Lovecraft variant covers so far (when my comic shop owner doesn't choose for me, that is). I'm glad I didn't do my usual of waiting for trade paperbacks for this.
This is less a standard adaptation of Lovecraft's work and more something which changes some details and works a variety of his stories into the same narrative. It is a slow burn, yet I find it very engaging and sinister in a way that some outright horror comics seem to miss the mark. Of course, as it's dealing with Lovecraft's work and is set at the turn of the 20th century expect racism and misogyny from the characters. I was pleasantly surprised to find some LGBTQ content in the storyline, but I won't say what it is as it's a reveal in an early issue.
I highly recommend this for any Lovecraft fan. I dare say a non-reader would enjoy the storyline as well, though they might miss a lot of references.
October 10, 2020
Robert Black is ringing the bell at the Hillman to alert someone that he’s arrived to take his room. However, in between each hit of the bell a flashback is shown. The first has him encountering friend Charles on the street. The two have a conversation on topical issues: prohibition, vaudeville, and Russia. The second has him on a train making his way to Salem, with a mother telling her young son to wave goodbye to his father as they leave the station. Hearing the bell, the owner of the inn arrives, discovering that Black’s name has been incorrectly written down as Mr. Block. “You talk so quick, you folks from up the shore. She gets out of her depth.” Fans of “Innsmouth” will read deeply into these two sentences, which seem simple but are horrifically ominous. The owner volunteers, “Possbily you’d care to follow me upstairs, if you’ve a mind?”
Four pages in and Alan Moore is throwing chum in the waters in this instalment. Every word that comes out of this man’s very large mouth seems to have a secondary meaning that Block is unaware of. Soon the erstwhile reporter is on his way to meet Tobit Boggs, the man who copied a book for Robert Suydam. He finds the man easily enough, though he’s interrupted something that had the hair standing on the back of my neck. The two make their way to another location, passing something ominous on the ground, before briefly meeting someone on Page 13 that had me thinking, ‘Black is so in trouble!’
The next location is perverse and worrisome; so much so that it makes Black wholly uncomfortable. What follows is a surprising 6 page sequence that adds an incredible amount of depth to one character, including some frightening foreshadowing. The final panel of the penultimate page had me gasp, and the next two panels were wonderfully tense. This issue is deliriously ominous.
This book looks amazing. There are no monsters from the unknown wrecking havoc on the world and its citizens, but there are things much more worse because they’re right next to you. The first two pages show Jacen Burrows doing an incredible job with a tremendous amount of people in a crowd; it’s teased on the first page, but — WOW! — look at that full-paged splash on Page 2. It’s stunning. The first appearance of a native is fantastic: the back of his head shows barely any hair, his profile is placed against an object on the wall that had me chuckling sinisterly, and the reveal at the bottom of 2 grotesque. I found myself staring at the man’s neck at the first panel on 3. Pages 4 and 5 feature Black’s journey to Boggs’ Refinery and it features some terrific setting work from a variety of angles, with the arrival at the establishment being super — I love how Black is swallowed by the shadow of the business.
The first panel on 8 clearly introduces three characters, with a pair of them not having the most kindly glances. Having characters reveal traits without dialogue is always fantastic to see. Pages 14 and 15 scared the tar out of me; I felt myself mirroring Black’s discomfort the further he went into the location. The top panel on 24 was absolutely frightening. The text is tense, but Burrows’ art magnifies it to ungodly levels. I loved the way this book looked.
Juan Rodriguez’s coloring had me always thinking of the sea. This is not the cool blue of the western isles, but the overcast cold, clammy colors of the east. I swear I could taste the salt in the air with the colors. In the first panel Rodriguez goes fishy with the wallpaper of the inn. The skin on the residents of the town is so green-gray so as to resemble something that’s come up from the harbor. In the daylight, all seems sunny and bright, but once within a residence, where truths can be hidden, the coloring dims to blue-green. The sequence on Pages 17 – 21 have the perfect coloring to alter readers as to what’s occurring, and the choices used put a dark spin on the proceedings.
The lettering work by Kurt Hathaway on this book took me to a new level of appreciation. The book opens with the expected look for dialogue and a bold chapter title, but what happens to one person’s speech on Page 4 had me believing I was looking at printer’s error. It’s not. This is a conscious decision, and the lettering on this character, and others similar to him, had me on the edge of my seat every time I encountered it. It’s not often this can be said of a letterer’s work, but I was more at ease when I didn’t encounter “that” font. It made me uncomfortable.
Eight pages from Black’s journal again accompany this issue. Though these pages one will discover what Black did prior to his train trip and what he felt after encountering the locals in Salem. The highlight are the final five pages which come from a parish newsletter from the Church of St. Jude’s. These are mandatory reading for any Lovecraft fan and those who wish to read something disturbing. There’s nothing graphic, but enough to make one stop and question what they’ve just read.
The tension in this issue is unbearable, yet you’ll feel compelled to continue. If you’re familiar with Lovecraft, you’ll shudder with each page. If you’re unfamiliar with Lovecraft, you’ll find yourself making your way through something that’s obviously wrong, but you can’t put your finger on it.
Four pages in and Alan Moore is throwing chum in the waters in this instalment. Every word that comes out of this man’s very large mouth seems to have a secondary meaning that Block is unaware of. Soon the erstwhile reporter is on his way to meet Tobit Boggs, the man who copied a book for Robert Suydam. He finds the man easily enough, though he’s interrupted something that had the hair standing on the back of my neck. The two make their way to another location, passing something ominous on the ground, before briefly meeting someone on Page 13 that had me thinking, ‘Black is so in trouble!’
The next location is perverse and worrisome; so much so that it makes Black wholly uncomfortable. What follows is a surprising 6 page sequence that adds an incredible amount of depth to one character, including some frightening foreshadowing. The final panel of the penultimate page had me gasp, and the next two panels were wonderfully tense. This issue is deliriously ominous.
This book looks amazing. There are no monsters from the unknown wrecking havoc on the world and its citizens, but there are things much more worse because they’re right next to you. The first two pages show Jacen Burrows doing an incredible job with a tremendous amount of people in a crowd; it’s teased on the first page, but — WOW! — look at that full-paged splash on Page 2. It’s stunning. The first appearance of a native is fantastic: the back of his head shows barely any hair, his profile is placed against an object on the wall that had me chuckling sinisterly, and the reveal at the bottom of 2 grotesque. I found myself staring at the man’s neck at the first panel on 3. Pages 4 and 5 feature Black’s journey to Boggs’ Refinery and it features some terrific setting work from a variety of angles, with the arrival at the establishment being super — I love how Black is swallowed by the shadow of the business.
The first panel on 8 clearly introduces three characters, with a pair of them not having the most kindly glances. Having characters reveal traits without dialogue is always fantastic to see. Pages 14 and 15 scared the tar out of me; I felt myself mirroring Black’s discomfort the further he went into the location. The top panel on 24 was absolutely frightening. The text is tense, but Burrows’ art magnifies it to ungodly levels. I loved the way this book looked.
Juan Rodriguez’s coloring had me always thinking of the sea. This is not the cool blue of the western isles, but the overcast cold, clammy colors of the east. I swear I could taste the salt in the air with the colors. In the first panel Rodriguez goes fishy with the wallpaper of the inn. The skin on the residents of the town is so green-gray so as to resemble something that’s come up from the harbor. In the daylight, all seems sunny and bright, but once within a residence, where truths can be hidden, the coloring dims to blue-green. The sequence on Pages 17 – 21 have the perfect coloring to alter readers as to what’s occurring, and the choices used put a dark spin on the proceedings.
The lettering work by Kurt Hathaway on this book took me to a new level of appreciation. The book opens with the expected look for dialogue and a bold chapter title, but what happens to one person’s speech on Page 4 had me believing I was looking at printer’s error. It’s not. This is a conscious decision, and the lettering on this character, and others similar to him, had me on the edge of my seat every time I encountered it. It’s not often this can be said of a letterer’s work, but I was more at ease when I didn’t encounter “that” font. It made me uncomfortable.
Eight pages from Black’s journal again accompany this issue. Though these pages one will discover what Black did prior to his train trip and what he felt after encountering the locals in Salem. The highlight are the final five pages which come from a parish newsletter from the Church of St. Jude’s. These are mandatory reading for any Lovecraft fan and those who wish to read something disturbing. There’s nothing graphic, but enough to make one stop and question what they’ve just read.
The tension in this issue is unbearable, yet you’ll feel compelled to continue. If you’re familiar with Lovecraft, you’ll shudder with each page. If you’re unfamiliar with Lovecraft, you’ll find yourself making your way through something that’s obviously wrong, but you can’t put your finger on it.
December 11, 2016
Loving the basic story of the series, the quality of the art and the depth of the knowledge of Lovecraft's mythos. Really well crafted.
August 10, 2018
First thought: If you aren't a HUGE fan of both Alan Moore AND HP Lovecraft, do not attempt this bastard. If you like Moore but don't know Lovecraft, read (at a minimum) Call of Cthulhu and other Weird Tales and the Dream Quest of Unknown Kadath. If you are a Lovecraft fan and don't know Alan Moore, read Watchmen, V for Vendetta, and at least the first volume of League of Extraordinary Gentlemen. To approach this without having at least some appreciation for each author's style is to waste an experience. Context is everything with this bastard. Ok, now on to the actual review...
Ok, where do I start. I gave it 4 stars. It was flawed (too much exposition and literary criticism shoehorned in [albeit effectively] to really flow), but also brilliant (the exposition and literary criticism were absolutely essential). Fans of Promethea will like this, as long as they were able to stomach Neonomicon (to which this is the prequel/sequel). And if one couldn't stomach Neonomicon, best not to push through. You won't like this any better.
This is a grandiose achievement in comics-as-literature. Don't read it without reading the Courtyard and Neonomicon first. Even if you go in well-prepared, be ready for a tough, tough read. I got this first, not knowing it was part 3 in a larger cycle, but after reading 3 pages, I got the sense that it was part of something bigger. I did a little research, and found the Courtyard and Neonomicon, read both, and then came back to this.... and found it every bit as impenetrable as before. But, having no excuse not to get it, I pushed on. It wasn't until the very last chapter that it's place as a sequel became apparent.
Ok, where do I start. I gave it 4 stars. It was flawed (too much exposition and literary criticism shoehorned in [albeit effectively] to really flow), but also brilliant (the exposition and literary criticism were absolutely essential). Fans of Promethea will like this, as long as they were able to stomach Neonomicon (to which this is the prequel/sequel). And if one couldn't stomach Neonomicon, best not to push through. You won't like this any better.
This is a grandiose achievement in comics-as-literature. Don't read it without reading the Courtyard and Neonomicon first. Even if you go in well-prepared, be ready for a tough, tough read. I got this first, not knowing it was part 3 in a larger cycle, but after reading 3 pages, I got the sense that it was part of something bigger. I did a little research, and found the Courtyard and Neonomicon, read both, and then came back to this.... and found it every bit as impenetrable as before. But, having no excuse not to get it, I pushed on. It wasn't until the very last chapter that it's place as a sequel became apparent.
December 12, 2018
The comic part of this one felt a bit light to me. Very little actually happened. Okay, we're seeing not-Innsmouth (apparently Salem), and the not-Innsmouth-look, and there's a guy with metal bits hanging from bottles, a la the Terrible Old Man, but that's about it. Also, there's a very odd dream, which is impressively dreamlike in its lack of scene-to-scene continuity, and vaguely annoying in its nudity.
However, I absolutely loved the pamphlet from the "Church of Joad". The first part just seems like an oddly misspelled take on one of the Gospels, though you'll notice most of the misspellings involve sea-related words (including "sea" for see). Then as you read further, the church has a rutting scheduled, and there's a bit about making arrangements for a mass orgy, and a few other oddments. All said in the dry, matter-of-fact tones one would expect in a church bulletin.
However, I absolutely loved the pamphlet from the "Church of Joad". The first part just seems like an oddly misspelled take on one of the Gospels, though you'll notice most of the misspellings involve sea-related words (including "sea" for see). Then as you read further, the church has a rutting scheduled, and there's a bit about making arrangements for a mass orgy, and a few other oddments. All said in the dry, matter-of-fact tones one would expect in a church bulletin.
April 20, 2020
⭐⭐⭐⭐½
Neste terceiro volume de "Providence" teremos a continuação da história de Robert Black, um escritor em busca de material para escrever sobre uma obra capaz de enlouquecer seus leitores.
Aqui encontraremos diversas referências a "O Medo À Espreita" (nome do próprio volume), conto de H. P. Lovecraft.
Enquanto Lovecraft escreve sobre uma família que, ao se relacionar com imigrantes, acaba trazendo para o mundo bestas que parecem macacos brancos, teremos em "Providence" Robert conhecendo um grupo de imigrantes (que seriam descendentes da trama de Lovecraft) que, na época da Proibição, são perseguidos, tendo suas ruas pichadas com o símbolo nazista.
Robert, sendo judeu, passa a ter sonhos estranhos, misturando não apenas os mitos de Cthulhu e encontrando os Profundos, mas também o preconceito, tanto em questão de sexualidade quanto de raça: esses devaneios incluem câmaras de gás e tem o intuito de mostrar, através do horror que ronda a humanidade, a discriminação que H. P. Lovecraft escancara em suas narrativas.
Também é interessante perceber como Robert, ao pesquisar mais sobre a Ordem Stella Sapiente, relaciona suas descobertas e seus medos com o "Paraíso Perdido" de Milton, os contos de Guillaume Appolinaire, e até mesmo menciona a Bíblia (utilizando uma metáfora incrível que cruza os seguidores da religião como peixes com os seres transformados em abissais nos enredos de Lovecraft).
Mais uma vez, "Providence" surpreende quando, ao mesmo tempo que homenageia os mitos do horror cósmico, faz críticas severas e pertinentes ao seu criador preconceituoso.
Mais resenhas no instagram literário @livre_em_livros
Neste terceiro volume de "Providence" teremos a continuação da história de Robert Black, um escritor em busca de material para escrever sobre uma obra capaz de enlouquecer seus leitores.
Aqui encontraremos diversas referências a "O Medo À Espreita" (nome do próprio volume), conto de H. P. Lovecraft.
Enquanto Lovecraft escreve sobre uma família que, ao se relacionar com imigrantes, acaba trazendo para o mundo bestas que parecem macacos brancos, teremos em "Providence" Robert conhecendo um grupo de imigrantes (que seriam descendentes da trama de Lovecraft) que, na época da Proibição, são perseguidos, tendo suas ruas pichadas com o símbolo nazista.
Robert, sendo judeu, passa a ter sonhos estranhos, misturando não apenas os mitos de Cthulhu e encontrando os Profundos, mas também o preconceito, tanto em questão de sexualidade quanto de raça: esses devaneios incluem câmaras de gás e tem o intuito de mostrar, através do horror que ronda a humanidade, a discriminação que H. P. Lovecraft escancara em suas narrativas.
Também é interessante perceber como Robert, ao pesquisar mais sobre a Ordem Stella Sapiente, relaciona suas descobertas e seus medos com o "Paraíso Perdido" de Milton, os contos de Guillaume Appolinaire, e até mesmo menciona a Bíblia (utilizando uma metáfora incrível que cruza os seguidores da religião como peixes com os seres transformados em abissais nos enredos de Lovecraft).
Mais uma vez, "Providence" surpreende quando, ao mesmo tempo que homenageia os mitos do horror cósmico, faz críticas severas e pertinentes ao seu criador preconceituoso.
Mais resenhas no instagram literário @livre_em_livros
June 5, 2025
Klassische Rabbit Hole Graphic Novel à la Moore. H.P.Lovecraft extended. Eigentlich mag ich gerne Rabbit Holes und das Versinken in den Untiefen des Spekulativen und Ungefähren. Leider blieb es für mich zu kryptisch und mein Interesse wurde nur sehr partiell geweckt….so blieb letztlich wenig übrig im hier und jetzt.
January 16, 2022
The dream the protagonist has is literal nightmare fuel. The surreal segment adds to the horror in the story. Generously borrows elements of Lovecraft. Recommended for fans of H.P. Lovecraft, Alan Moore, and high illustration.
May 13, 2017
Holy shit it's Innsmouth.
December 28, 2017
Ohhh, Inismouth and more!
October 8, 2018
Innsmouth!
If it weren't for Innsmouth this is a 3/5 - I really really despise the faux handwritten segments. I think I'll skip them from now on, as the graphic section seems sufficient.
If it weren't for Innsmouth this is a 3/5 - I really really despise the faux handwritten segments. I think I'll skip them from now on, as the graphic section seems sufficient.
July 27, 2020
Χμ. όλο και πιο ενδιαφέρον. Επίσης, μια από τις καλύτερες περιγραφές ονείρου που έχω δει/διαβάσει ποτέ. Τρομακτικά αληθινό όνειρο., όπως αυτά που βλέπεις.
January 8, 2023
Zdecydowanie najlepszy rozdział do tej pory, ale dziennik na końcu i "wkładka" były tak nużące, że dosłownie zasnąłem, czytając.
October 7, 2015
I was hesitant to get involved with this series, but with Alan Moore writing, how could I pass this up.
Moore's characters are rich and complex, as this mystery tale unfolds one issue at at time. I'm starting book #4, and it keeps me interested one panel after another. The artwork by Jacen Burrows is beautifully rendered for a period piece, and coupled with the story adds a real depth to both the narrative and scenery - almost as if you are in the pages with Robert Black and the rest of the Providence entourage.
Although the story moves along at a reasonable pace, this is better enjoyed as a singularity, or in a complete volume. I find myself needing to recap what has taken place when new issues are released.
That being said, this is a great great series.
Moore's characters are rich and complex, as this mystery tale unfolds one issue at at time. I'm starting book #4, and it keeps me interested one panel after another. The artwork by Jacen Burrows is beautifully rendered for a period piece, and coupled with the story adds a real depth to both the narrative and scenery - almost as if you are in the pages with Robert Black and the rest of the Providence entourage.
Although the story moves along at a reasonable pace, this is better enjoyed as a singularity, or in a complete volume. I find myself needing to recap what has taken place when new issues are released.
That being said, this is a great great series.
January 13, 2016
It's amazing how much Moore puts into his stuff. I remember hearing about this series last summer and wondering how long it would take. I totally understand why it was so long in making. Just this Church of St. Jude's bulletin alone is so complex in creativity. It's an exercise in punning, and also a deconstruction of humor. Just brilliantly done. I like how he folds in more information, making these post comic sections invaluable to getting the whole scope of the thing.
January 12, 2017
Okay, this went all Innsmouth on me. Good.
Displaying 1 - 20 of 20 reviews