By Ezra Clayton Daniels + Ben Passmore. Published by Fantagraphics.
Hardcover, 288 pages, Color, 2019.
An Afrofuturist horror-comedy about gentrification, hip hop, and cultural appropriation.
Once a thriving working class neighborhood on Chicago's south side, the "Bottomyards" is now the definition of urban blight. When an aspiring fashion designer named Darla and her image-obsessed friend, Cynthia, descend upon the neighborhood in search of cheap rent, they soon discover something far more seductive and sinister lurking behind the walls of their new home. Like a cross between Jordan Peele's Get Out and John Carpenter's The Thing, Daniels and Passmore's BTTM FDRS (pronounced "bottomfeeders") offers a vision of horror that is gross and gory in all the right ways. At turns funny, scary, and thought provoking, it unflinchingly confronts the monsters—both metaphoric and real—that are displacing cultures in urban neighborhoods today.
"Passmore and Claytan Daniels teaming up is a dream combination." — Nerdist
"I fell in love with this comic right about page one, and then just kept falling. The story is smart, the characters feel lively and real, and the art is moody and lovely. One hell of a winning recipe. Gentrification horror at its finest." — Victor LaValle - The Changeling
"BTTM FDRS is a brilliant meteor of a graphic novel, and I'm pretty sure when it comes into your life, you won't know what hit you. Vibrantly drawn and perfectly paced, this comic is as compelling to read as the story is necessary to hear. Simultaneously delivering visceral horror, cutting satire, and a nuanced interrogation of urban gentrification." — Edie Fake - Eisner Award-Winner, Gaylord Phoenix
"Daniels and Passmore bring their satirical acumen and sense of the macabre aspects of society to their first collaboration. The medium is the monster and the mastery of its use are utterly apparent in this powerful sequential manifesto." — John Jennings - NYT best-selling author and Eisner-winning scholar/artist
"Creepy and charming, BTTM FDRS mashes up oozy, sick horror and dark, politically barbed comedy. It does all this with a cast of distinctive characters, funny, stinging dialogue, and moments of queasiness built around a body horror conceit: that of a building that literally gets inside your guts. It's one of a kind." — Charles Hatfield - Eisner-winning comics scholar