The Department of Truth Issue #27 concludes the seventh “deviation” in the series, a story centered on the conspiratorial fate of Marilyn Monroe who overdosed on barbiturates in the middle of rumors of an affair with President Kennedy. Huck warns readers in the issue’s first panel to be wary of “how quickly the ground slips away from you” and each subsequent panel feels like a departure from reality. Even if you go deeper The Department of TruthThe story of , it unfolds a tragic romance perfectly suited to its subject. The result is a compelling story set outside the present that addresses poignant, real-life themes in an increasingly bizarre alternate history.
The Department of Truth Issue #27 was created by writer James Tynion IV, artist Alison Sampson, colorist Jordie Bellaire, writer Aditya Bidikar, and designer Dylan Todd, and concludes the story of Huck’s mission to assassinate Monroe in 1962. As they continue to interact, Huck is drawn into Partying in Hollywood as he gets closer to his target, eventually leading him to question the nature of the Department’s mission decades before meeting Cole Turner. This includes appearances by various other important figures, ranging from Frank Capra and Hunter S. Thompson to the Little Green Men from Outer Space.
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The story, titled “Fictional Women,” focuses on the very real Norma Jeane who was transformed into a fictional icon named Marilyn Monroe. In The Department of Truth it means turning into real fiction, just like the sasquatches and other creatures Huck hunts. This is not a new idea as biographical and fictional presentations of the historical figure have often examined how his public image and his true self contrasted with each other. However, the mythology of the series provides a new perspective from which to examine this relationship and which serves to explain the nature of Lee Harvey Oswald within its pages.
Tynion provides an extremely sympathetic perspective on Monroe, one who is aware of her evolving nature. She has begun to see The Woman in the Red Dress in the mirror and recognizes new memories, such as those of an affair with Kennedy, that emerge in her mind based on public perception. Her transformation into fiction is completely beyond her control, evoking a powerful mood of horror as the beloved starlet becomes lost in how others perceive her. Leaving aside the fictional mechanics of Fictions in The Department of Truthit is clear that there is an underlying truth about how perception distorts reality and rewrites the way the world treats individuals.
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Throughout the issue, Monroe evokes the charm, humor, and beauty she was known for, even as she slowly loses control of her own life. His thoughts on this transformation offer readers a glimpse into the larger story of the series without ever feeling like exposition. Rather, it is a tragedy because Monroe knows what is happening and cannot change it. Her courage lies not in fighting Huck or the Department, but in accepting her fate and hoping to find a new stage in a life that belongs to the public.
Alison Sampson’s work distorts reality to lure readers down a rabbit hole
The inclusion of a guest artist enhances the aesthetic of the series in exceptional style
Guest artist Alison Sampson proves to be a perfect fit for the story “Fictional Women” and The Department of Truthreinforcing all the big ideas of this particular deviation. Sampson’s style aligns perfectly with that of series artist Martin Simmonds, as both adopt an abstract style that plays with seemingly every element on the page. Sampson uses panel layouts, character designs, and backgrounds to expand the reader’s perception of reality and give the feeling of the ground sliding mentioned by Huck in the introduction. This is established in the very first pair of pages where a rigid grid gives way to a huge splash depicting an angel lighting up the Louisiana sky. What’s most impressive is that this is one of the least strange appearances offered throughout the issue.
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As Huck gets closer to Marilyn throughout the number, his proximity results in increased distortion of shapes and colors. While she may appear normal across the bar, when she sits next to Monroe, her face distorts like a fairground mirror. This is amplified by Bellaire’s colors, which display Monroe as a luminescent white one moment and a seasick green the next. Her appearance reflects her disposition as a larger-than-life starlet that transforms into a cartoonishly imagined character. This contrasts with sequences in which Monroe is absent, as a conversation between Huck and Capra is depicted in realistic, detailed line work.
What could be read as an inventive visual metaphor takes on a much more disturbing tone. The Department of Truth Issue 27 is nearing its end. The appearances of a drugged Thompson and the frightening Woman in a Red Dress distort not only their own forms but also the world around them. The spreads are used to display strange echoes in the sky as the world rebuilds itself around beliefs about Monroe. This increasingly abstract presentation poses a threat to the gentle and surprisingly grounded presentation of Monroe herself. It enhances the story by drawing readers into the nightmare Monroe and Huck share in 1962.
The conclusion of “Fictional Women” in The Department of Truth Issue #27 is a detour from the series’ main story that proves absolutely essential to its themes. By examining the rich life and character of Marilyn Monroe, it offers insight into how public perception shapes reality, even without any fantastical elements. Yet Sampson’s additions to the issue transform a very real tragedy into a technicolor spectacle that reflects the vibrant mythology that arose in the wake of his death. It’s a showcase of why The Department of Truth remains both compelling and relevant as it continues to explore the relationship between truth and perception in the human experience.
Department of Truth Vol. 1