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BTTM FDRS

by Ezra Claytan Daniels, Ben Passmore (Illustrator)

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1012265,819 (3.77)2
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 monstersā??both metaphoric and realā??that are displacing cultures in urban neighborhoods… (more)
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» See also 2 mentions

Showing 2 of 2
Body horror and social commentary combined to create "Gentrification Horror" and I'm here for it ( )
  hatingongodot | May 3, 2020 |
The start is a bit slow, but this sci-fi take on a haunted house story picks up steam as it goes. The art and coloring very effectively convey the bizarre and eerie tone. ( )
  villemezbrown | Aug 17, 2019 |
Showing 2 of 2
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Author nameRoleType of authorWork?Status
Ezra Claytan Danielsprimary authorall editionscalculated
Passmore, BenIllustratormain authorall editionsconfirmed
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See the four-pointed crown up there?
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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 monstersā??both metaphoric and realā??that are displacing cultures in urban neighborhoods

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