Deadman Tells the Spooky Tales


By Franco and a few of his Fiendish Friends!Sara Richard, Andy Price, Derek Charm, Mike Hartigan, Christopher Uminga, Abigail Larson, Morgan Beem, Justin Castaneda, Tressina Bowling, Boatwright Artwork, Scoot McMahon, Isaac Goodhart, and Agnes Garbowska with Silvana Brys – & various (DC Comics)
ISBN: 978-1-7795-0384-8 (TPB/Digital edition)

Here’s a little post-Halloween treat for youngsters of every vintage to ease our communal dark awaiting us at the end of all things. Never to soon early to start traumatising preschoolers, right?

As the 1960s ended, the massive superhero boom resolved into a slow but certain bust, with formerly major successes unable to find enough readers to keep them alive. The taste for superheroes was diminishing in favour of traditional genres, and one rational editorial response reshaping costumed characters to fit evolving contemporary tastes.

Publishers swiftly changed gears and even staid, cautious DC reacted rapidly: redesigning masked mystery men to fit the new landscape. Newly revised and revived costumed features included roving mystic troubleshooter The Phantom Stranger and golden age colossus The Spectre, whilst resurgent genres spawned atrocity-faced WWII spy Unknown Soldier and cowboy bounty hunter Jonah Hex, spectral westerner El Diablo and game-changing monster hero Swamp Thing, spearheading a torrent of new formats, anthologies and concepts.

The earliest of that dark bunch was assassinated trapeze artist Boston Brand who began his career by dying in Strange Adventures #205 (cover-dated October/November 1967). An ordinary man in a brutal, cynical world, Brand was a soul in balance until killed as part of a pointless initiation for a trainee assassin.

When the unlucky aerialist died, instead of going to whatever reward awaited him, he was given the chance to solve his own murder by conniving spirit of the universe Rama Kushna. That opportunity evolved into an unending mission to balance the scales between good and evil in the world. The ghost is intangible and invisible to all mortals, but has the ability to “walk into” living beings, possessing and briefly piloting them.

You should read all his stories because they are really good; all the previous has no real bearing on what follows. I just love showing off my wasted youth.

Here he holds the hallowed position of quirky narrator and curator to a collection of terror tales entirely scripted by Franco (Aureliani) and lettered by Wes Abbott, and drawn by a host of artists…

The eerie soirée and each following vignette are preceded by our supernatural star offering ‘A Die-er Warning’ (all limned by Sara Richard). Commencing in ‘The House of Madame Pyka’ – rendered by Andy Price in tones of blue – wilful Brooke moves into an expired spiritualist’s house…

Deadman interjects between tales to test our resolve but undaunted, we see Derek Charm illuminate in living colour the shocking result of Mr. Smith’s visit to the optician in ‘Eyes’, before Mike Hartigan exposes the spook in the ‘Litter Box’ and Christopher Uminga & Silvana Brys silently show the downside of too many ‘Neighborhood Cats’

Abigail Larson provides the art for an exceptionally effective argument for why kids should stay out of ‘The Cemetery’ and Morgan Beem captures the mordant gloom and imminent immolation of ‘Fall’ before Justin Castaneda homes in on little kids and playground bullies to expose ‘A Boy and His Skull’

Tressina Bowling renders tall tales painfully real in ‘The Fisherman’ whilst Boatwright Artwork take a long last look at ‘Mannequins’, before Scoot McMahon peeks ‘On the Inside’ of Batman’s most tragic foe.

Franco gets artistic with ‘The Fly’ prior to Isaac Goodhart exploiting DC’s monstrous back-catalogue for fearful film show ‘Inattentive Blindness’ before Agnes Garbowska & Silvana Brys confirm that the end is near and that bright shiny colours have no bearing on safety and security in ‘The Box’.

Silly and chilling, this splendidly glitzy grimoire shows that our love of scaring ourselves and each other starts early and never stops. Fearful fun for all: get some now!
© 2022 DC Comics. All Rights Reserved.

Scared to Death volumes 1 & 2: The Vampire From the Marshes & Malevolence and Mandrake


By Mauricet & Vanholme, with Lee Oaks: colours by Laurent Carpentier and translated by Luke Spear (Cinebook)
ISBN: 978- 1-905460-47-2 (Album PB Vampire) 978- 1-905460-77-9 (Album PB Mandrake)

There’s a grand old tradition of scaring, empowering and entertaining kids through carefully crafted horror stories with junior protagonists, and this occasional series is one of the better modern examples.

Conceived and executed by Belgian journalist Virgine Vanholme and youthful-yet-seasoned illustrator Alain Mauricet, the Mort de Trouille series of graphic albums was launched by Casterman in 2000 resulting in five further sinister sorties until everything paused in 2004.

Whilst I’ve not been able to find out much about the author, the artist is well travelled, having worked for CrossGen, Image and DC as well as on a wide variety of features in Europe. He’s also been in David Lloyd’s magnificently wonderful digital delight Aces Weekly.

Born in 1967, Mauricet inherited the comic bug from his parents and, after studying at the Academy of Fine Arts under legendary creator Eddy Paape, began his own career aged 20: another recruit for major magazine Le Journal de Spirou. From spot cartoons he graduated to strips, creating superhero parody Cosmic Patrouille with Jean-Louis Janssens and Les Rastafioles with Sergio Salma. Following the aforementioned stateside sojourn he resumed his Franco-Belgian efforts with the strip under review here, as well as basketball comedy Basket Dunk (with Christophe Cazanove) and Boulard (with Erroc) and others.

A resident of Brussels, he also designs for computer games whilst working on a more personal graphic enterprise entitled Une Bien Belle Nuance de Rouge and in latter days worked for DC on Superman and Batman. In 2021 he released Porchery – On n’attrape pas les cochons avec des saucisses.

Back in early 2000, though, he was detailing the first of a sequence of spooky yarns starring studious Robin Lavigne and boisterous, overly-imaginative Max Mornet: a couple of lads with an infallible instinct for ferreting out the weird and uncanny. Cinebook translated Mort de Trouille: Le vampire des Marais in 2008: inviting British, Antipodean and American kids to solve the mystery of The Vampire from the Marshes, which began when the boys first snuck a peek at forensic scientist Dr. Lavigne‘s locked files…

The well-travelled medic has been called in to examine a body found in rural Deadwater Swamp: a corpse stinking of booze, drained of blood and completely covered in hundreds of tiny triangular bite marks. His son Robin and especially horror-story obsessed Max are fascinated by the case. The latter envisions all manner of ghastly and vivid vampiric scenarios, despite his more prosaic pal’s protestations. All too soon the lads are invading the (still “potential”) crime scene, recording their own findings and suppositions. They are pretty freaked out when they find a strangely slaughtered bird and completely terrified when they disturb a poacher who chases them away with murderous curses. Unbeknownst to all involved, their prying has also alerted and disturbed a clan of far more dangerous and unnatural creatures…

Soon the boys are being shadowed by an uncanny, cloaked figure. He/she/it even breaks into the Lavigne home: striving to preserve anonymity and ancient secrets from the eyes of prying, violent mankind. However, when it is noisily disturbed as it closes in on the boys, they can only thank their lucky stars that the household cat is such a noisy and vicious beast when stepped upon…

Events peak to a cursed crescendo next day after Max falls into his own hastily dug vampire trap and is taken by the noisome Nosferatu. Whilst Robin anxiously and urgently searches for his missing friend, Max is learning the tragic secret history of the bloodsuckers.

His oddly ambivalent abductor is Janus who seems rather reluctant to bleed him as a proper vampire should. The creature has, however, no problem leaving him – and freshly captured Robin when he stumbles upon them – to drown in a deep well…

Next morning, Dr. Lavigne and the cops are frantically but methodically searching the swamp for the missing boys, but only find them thanks to some unknown person leaving Max’s camera on the rim of a well…

As the frightened lads are pulled to safety, Robin’s dad questions them and goes ballistic on learning they’ve been looking through his confidential files. He also utterly trashes their ridiculous theory of vampire killers, patiently explaining the true and rational – if exceedingly grim and grisly – cause of death of the drunk in the swamp.

Chastened but undaunted and sharing an incredible secret no adults will ever believe, the boys are taken home whilst deep in the wooded mire an ancient family of incredible beings pulls up stakes and moves restlessly on to who knows where…

 

With additional art assistance from Lee Oaks, the schoolboy spook-chasers resurfaced in Scared to Death volume 2: Malevolence and Mandrake. Scholarly Robin and rowdy, horror-fan Max are still chasing every implausible rumour and probing unknowns but becoming increasing dependent – though they’d never admit it – on the wit and bravery of Robin’s brilliant little sister Sophie Lavigne

Cinebook’s second translated selection was actually the third Franco-Belgian chiller chronicle Mort de Trouille: Maléfice et mandragora: suitably set around All Hallows Eve and posing uniquely terrifying problems for the young trouble-magnets…

It begins a little before the much-anticipated night, with Elizabeth Simon Secondary School abuzz with worries over missing student Thomas and the seemingly simultaneous arrival of oddly-attractive, exotic transfer student Emma Corpescu. She comes from Romania and Max is strangely antipathic to her at first. That soon changes, though…

Robin also feels a bit off as the newcomer blatantly insinuates herself into their lives, paying particular attention to Max. Soon, so-savvy Sophie is paying closer attention. Far more so than the idiot boys do…

She’s wise to do so: Emma is soon revealed as an ancient shapeshifting sorceress named Malevolence, who steals the youth of boys to restore her own life force… and to – one day – resurrect her properly dead sister Mandrake

After doing desperate research online, Sophie arms herself with anti-witch tricks and gadgets and – after discovering the incredible fate of Thomas – eventually convinces her incredulous brother to stalk the wicked enchanter to her lair in Deadwater Swamp and rescue the now officially-missing Max. The poor oaf has fully succumbed to Emma’s wiles and now resides in her lair, transformed into the same uncanny form as Thomas was…

Arriving just in time, the rescuers are set for an incredible clash of wills and powers – especially Sophie, who’s borrowed a few supernatural forces for the ordeal…

Of course, good triumphs in the end, but can such seductive evil truly die?

Deliciously delivered in the manner of Goosebumps and Scooby-Doo – if not Stranger Things – these superb slices of spooky fun work classic kids’ horror tropes and style to enthral and enchant everyone who has suffered from “father knows best” syndrome and loves tall tales with devilish twists. Seamlessly mixing fear with hilarity to enthral and enchant all generations equally, these tales should be resuurected and completed for all of us in need of scary relaxation.
Original edition © Casterman, 2000 and 2003 by Mauricet & Vanholme. English translation © 2008 by Cinebook Ltd.

Wandering Son volume one


By Shimura Takako, translated by Matt Thorn (Fantagraphics Books International)
ISBN: 978-1-60699-416-0 (HB)

Huge fan though I am of the ubiquitous digest-sized monochrome format that makes up the greatest part of translated manga volumes, there’s a subtle enhanced superiority to these hearty and satisfyingly substantial oversized hardback editions from Fantagraphics’ manga line (see also Moto Hagio’s A Drunken Dream and Other Stories) that just adds extra zest to any work of pictorial narrative.

It’s just a shame the story still isn’t accessible digitally or that the remaining volumes (as far as I know, we got to Book 8 before everything paused) still languish untranslated for us who don’t speak Japanese….

Especially effective and affecting, Wandering Son was this second intriguing offering from the good FBI, following two youngsters mutually experiencing the most difficult times of their lives…

Shuichi Nitori is a boy freshly transferred into a new school. He’s starting Fifth Grade and on the cusp of puberty. He’s also in a bit of a quandary. Slim, androgynous and, to be frank, rather pretty, he is constantly thinking about wearing girls’ clothes…

On his first day, he is befriended by Yoshino Takatsuki; a tall, burly tomboy harbouring similar secret yearnings. Her instinctive friendliness towards Shuichi is shared by pretty Saori Chiba, who is happy with her own gender but troubled in almost everything else. Always over-eager to please, she is a ball of inexplicable guilty feelings and – even at her young age – is considering converting to Christianity…

From the start, both girls encourage Shuichi to submit to his urges. Yoshino’s clueless mother keeps buying dresses which the despairing daughter just gives to her confused new pal, whilst Saori, also acutely aware of the Nitori boy’s underlying otherness, actively encourages him to cross-dress. She even buys him an extravagant frock for his birthday, almost killing their budding friendship stone-dead.

It is Saori who successfully suggests the unsuspecting class perform The Rose of Versailles as their end-of-term play, with all the girls playing the male roles and vice versa…

(The Rose of Versailles is a monumentally popular Shoujo manga tale – later, a movie and musical – by Riyoko Ikeda, telling the story of Lady Oscar: a girl whose soldier father raises as a man. She/He eventually becomes a dashing Palace Guard and the darling of Marie Antoinette’s Court.)

Both Shuichi and Yoshino are hard-pressed to deny their overwhelming mutual need: boy wants to be girl and girl, boy. Inevitably, their need proves too great and both succumb. Yoshino has her hair cut and goes out in her brother’s school uniform, only to be chatted up by an older woman in a burger bar. Shuichi’s periodic capitulations are less public, but increasingly important to his happiness and wellbeing – and to be honest he does make an astonishingly pretty girl, more so even than Roger Taylor in that Queen Video – although utterly pure, innocent and raunch-free…

Nevertheless, no matter how much Shiuchi and Yoshino wish they could exchange gender, time and biology inexorably march on and the changes of puberty are causing their treacherous bodies to horrifyingly and inescapably betray them…

From any other culture this type of story would be crammed with angst and agony: gratuitously filled with cruel moments and shame-filled subtext, but instead Takao Shimura (Even Though We’re Adults, Sweet Blue Flowers) crafts a genteel, winningly underplayed and enchantingly compulsive school saga that is filled with as much hope and positivity as drama.

As Hōrō Musuko the tale began in Comic Beam monthly in December 2002, running until 2013 and eventually collected as 15 volumes. It is resplendent in its refined charm and exudes assured contentment, presenting a very personal linked history in an open-minded spirit of childlike inquiry and accepting optimism that make for a genuine feel-good experience.

But of course there is more to come in the unavoidably difficult futures of Shuichi and Yoshino…

This moving, gently enticing tome also includes a helpful watercolour character chart, a pronunciation guide for Japanese speech and ‘Snips and Snails, Sugar and Spice’, a fantastically useful guide to Japanese honorifics by translator Matt Thorn, explaining social, gender and age ranking/positions so ingrained in the nation’s being. Trust me, in as hide-bound and stratified a culture as Japan’s, this background piece is an absolute necessity…

The comics portion of this volume is printed in the traditional back-to-front, right-to-left format.
© 2003 Takako Shimura. All rights reserved.

Tamsin and the Deep


By Neill Cameron & Kate Brown (David Fickling Books)
ISBN: 978-1-910200-77-3 (TPB)

In January 2012 Oxford-based David Fickling Books launched a traditional anthology comics weekly aimed at under-12s which revelled in reviving the good old days of picture-story entertainment intent whilst embracing the full force of modernity in style and content.

Each issue features humour, adventure, quizzes, puzzles and educational material in a joyous parade of cartoon fun and fantasy. Since that launch, The Phoenix has gone from strength to strength, winning praise from the Great and the Good, child literacy experts and the only people who really count – the astoundingly engaged kids and parents who read it…

Like the golden age of The Beano and The Dandy, the magazine is equally at home to boys and girls, mastering the magical trick of mixing hilarious humour strips with potently powerful adventure serials such as this one.

Here a wondrous seaside sorcerous saga with intriguing overtones of The Little Mermaid, by way of the darker works of Alan Garner, sails under the general title of Tamsin and the Days and leaves all the coping and crusading to a brilliantly capable lass who’s a match for any boy…

Written by Neill Cameron (Mega Robo Bros, Freddy, How to Make Awesome Comics, Pirates of Pangea) and beguilingly illustrated by Kate Brown (Manga Shakespeare: A Midsummer Night’s Dream, Young Avengers, Fish + Chocolate), our fishy tale opens with a ‘Prologue’ on the Cornish coast as a young girl berates her older brother Morgan.

He promised to teach her how to surf, but is just messing about with his mates, so – fed up and disappointed again – she leaves her dog Pengersek on the sands, swipes a bodyboard and paddles out alone. After all, how hard can it be?

When the big wave hits and she goes down for the final time, she’s sure she feels a grip on her foot and sees a green fishy face…

The story proper starts after ‘Tamsin’ – coughing and gasping – drags herself ashore. Somehow she’s drifted miles down the coast, and with nobody there to help has to make her own way home. Her leg hurts and the bus driver won’t let her on (she’s soaking wet and without cash) but at least she’s still got that old stick to lean on even if she can’t quite recall where she picked it up…

There are more surprises when she finally staggers home. Mum goes absolutely crazy and Morgan is clearly scared. Maybe it’s because their dad was lost at sea nine years ago, but it’s probably the fact that Tamsin vanished a month ago and has been officially declared dead and drowned…

The police have loads of questions she can’t answer, but as far as Tamsin knows she was only gone a few minutes. Eventually life settles back into a normal routine – apart from Morgan acting oddly and her own increasingly nasty dreams.

Things get bad again a few nights later. Awakening from a particularly vivid nightmare, Tamsin discovers she’s clutching that stick and riding a surfboard… hundreds of feet above the town! Moreover, from her shocking vantage point, she can see Morgan. He’s slowly walking into the sea…

Instantly, she zooms into the roaring brine to yank the sleepwalker out, blithely unaware that hostile, piscatorial eyes are angrily watching…

Morgan is shattered. He’s been having nightmares too, and the sleepwalking is not a new phenomenon. It’s probably from guilt but every time he wakes up he’s been heading for the sea…

‘A Nice Day Out’ sees Tamsin taking a little “me time”. Finding a secluded spot to practise flying with the aid of what is clearly a magic stick, she revels in her new gifts, but from high above she notices that Morgan is still unsettled. He’s sworn not to go near the water and has even quit the local surfing competition; and is clearly scared of something. Later, to cheer up her kids, Mum drags them to the beachside amusements where Morgan meets an enigmatic girl. She easily convinces him to re-enter the event…

Tamsin meanwhile has had another strange encounter. After having her ice cream stolen by a pixie thing, she meets a cocky Blackbird (he says he’s a Chough) who snidely and loquaciously tells her the newcomer was an Undine …before warning her to keep Morgan well away from water.

She’s almost too late: Morgan has wiped out in the contest’s early heats and is now being pulled under by a gloating mermaid. Tamsin blasts into the depths on her board, explosively ripping him free of her clawed clutches, and hurling them both high into the sky before landing in a terrified heap on the beach…

With the sorcerous she-wight fuming below the waves and scheming further mischief, in the sunshine Tamsin shares her secret with traumatised big brother before discovering a little ‘Family Mythology’ after that smug bird returns…

Deeper knowledge comes at a steep price, however, and her learning curve involves an awful lot of fighting against many more awful creatures before Tamsin is ready to save Morgan from a dread destiny and horrible fate hundreds of years in the making…

Apprised of a fantastic family heritage and now fully prepared to combat a generational curse that has seen all the males of her line swallowed by ‘The Deep’, Tamsin prepares herself for fantastic battle against a finned demon, but the foe is impatient: launching her own monstrous invasion of the surface-world which quickly reduces the entire town to panic and uproar…

Once the foam settles, triumphant Tamsin tries to ease back into a normal routine but that ill-omened bird returns for an ‘Epilogue’, explaining that she now has a mission for life – protecting Cornwall from all mystic threats – and that the next crisis has already begun…

This yarn is a fabulous blend of scary and fabulous, introducing a splendid new champion for kids of all ages to cheer on, with the certain promise of more to come, beginning with second mission Tamsin and the Dark

Boisterous, bold and bombastically engaging, this is a rollicking supernatural romp of pure, bright and breezy thrills just the way kids love them, leavened with brash humour and straightforward sentiment to entertain the entire family.
Text © Neill Cameron 2016. Illustrations © Kate Brown 2016.

The Provocative Collette


By Annie Goetzinger, translated by Montana Kane (NBM)
ISBN: 978-1-68112-170-3 (HB)

Publisher NBM struck pure gold with their line of European-created contemporary arts histories and dramatized graphic biographies. This one is one of the very best but is tragically still only available in physical form. Hopefully that oversight will be addressed soon as it is a most enticing treat: diligently tracing the astoundingly unconventional early life of one of the most remarkable women of modern times.

Sidonie-Gabrielle Colette (January 28th 1873 – August 3rd 1954) escaped rural isolation and stagnation via an ill-considered marriage but, by sheer force of will and an astonishing gift for self-expression, rose to the first rank of French-language (and global) literature through her many novels and stories. The one you probably know best is Gigi, but you should really read a few more such as La Vagabonde or perhaps The Ripening Seed

For her efforts she was elected to the Belgian Royal Academy in 1935 and France’s Académie Goncourt a decade later. She became its President in 1949, the year after she was nominated for a Nobel Prize. Her grateful country also celebrated her as Chevalier (1920) and Grand Officer (1953) of the Légion d’honneur.

Colette’s relentless search for truths in the arena of human relationships – particularly in regard to women’s independence in a hostile and patronising patriarchal society – also led her to pursue freedom of expression through dance, drama, acting & mime, in film and as a journalist.

The fact that – for most of her early life – men controlled her money also prompted her far-reaching career path until she finally managed to win control of her own destiny and coffers…

Our drama unfolds in 1893 as 20-year-old Sidonie-Gabrielle readies herself for her wedding to prestigious and much older music journalist Henry Gauthier-Villars. The great man is celebrated nationally under his nom de plume “Willy”.

That’s also the name under which he will publish his wife’s first four, hugely successful Claudine novels whilst pocketing all the profits and attendant copyrights…

Eventually breaking free to live a life both sexually adventurous and utterly on her own terms, Colette never abandoned her trust in love or reliance on a fiercely independent spirit. And she shared what she believed about the cause of female liberty with the world through her books and her actions…

This bold, life-affirming chronicle was meticulously crafted by the superb and much-missed Annie Goetzinger (18th August1951 – 20th December 2017). Tragically it was her last in a truly stellar career. The award-winning cartoonist, designer and graphic novelist (The Girl in Dior, The Hardy Agency, Félina, Aurore, Marie Antoinette: Phantom Queen, Portraits souvenirs series) supplied here sumptuous illustration perfectly capturing the complexities and paradoxes of the Belle Epoque and the wars and social turmoil that followed. Her breezy, seductively alluring script brings to vivid life a wide variety of characters who could so easily be reduced to mere villains and martinets, but instead resonate as simply people with their own lives, desires and agendas…

The scandalous escapades are preceded by an adroit and incisive Preface from journalist and author Nathalie Crom: and bookended with informative extras such as ‘Literary References’, and full ‘Chronology’ of the author’s life, plus potted biographies of ‘Colette’s Entourage’: offering context and background on friends, family and the many notables inevitably gathered around her.

Additional material includes a suggested Further Reading and a Select Bibliography.

A minor masterpiece honouring a major force in the history and culture of our complex world, this book should be at the top of the reading list for anyone who’s thought “that’s not fair” and “why do I have to?”

The Provocative Colette is a forthright and beguiling exploration of humanity and one you should secure by any means necessary.
© DARGAUD 2017 by Goetzinger. All rights reserved. © 2018 NBM for the English translation.

Darwin’s Diaries volume 1-3: The Eye of the Celts, Death of a Beast & Dual Nature


By Eduardo Ocaña & Sylvain Runberg, coloured by Tariq Bellaoui, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-095-5 (v1 Album PB/Digital edition), 978-1-84918-110-5 (v2 Album PB/Digital), 978-1-84918-144-0 (v3 Album PB/Digital)

In the eternal quest to be entertained, humans have always searched far and wide. The capacity and desire to scare ourselves thus employs a vast landscape of genres and locales as well of all time and space. It also tempts us into mixing and mashing history, imagination and fanciful speculation…

Here’s a fabulously fitting idea for fantastic Scientific Romance in the grand manner of Professor Challenger, courtesy of French writer Sylvain Runberg (Conquests; Watchdogs Legion; On Mars; Orbital) and Spanish illustrator Eduardo Ocaña (Messiah Complex, Full Tilt Boogie, Les Bâtisseurs): an enthralling triptych begun in 2010 which – despite slipping off everyone’s radar – has stood the test of time.

In England, Victoria is Queen, and her mighty nation will soon be an empire. It is, however, not at peace, and former explorer and controversial naturalist Charles Darwin is asked by Prime Minister Lord Palmerston to undertake a delicate mission in the North. It is not for his current field of expertise, but rather his early – and now – classified endeavours into the field of crypto-zoology. Not long ago, Darwin had quietly looked into the existence of mythical things: Almases, Sasquatch, Werewolves and other “clawed ones”…

The region he is despatched to is the site of railway construction, but recently the navvies, their horses and even a company of soldiers have been butchered by some beast. Darwin must go there and pacify the populace whilst ruling out any possibility that the culprit is of unknown origins…

The first minister also hints that as well as the lure of fresh knowledge, the savant should also consider that local entrepreneurial grandee Sir Howard Dickinson would be grateful enough to fund any future travels Darwin might be considering…

The scientist readily accepts – but not for the reasons expected – and is soon in York, met by forthright suffragist Suzanne Dickinson and Indian manservant Rajiv. Once ensconced in the Blue Moors hotel (her father’s latest acquisition), Darwin opens his investigation, with the suspiciously curious and hands-on Miss Dickinson always in attendance.

He finds her a superb companion. Highly educated and competent, she has been schooled in medicine and business is and acquainted with prestigious thinkers like John Stuart Mill and emancipators such as Emily Davies and Barbara Leigh Smith

Upon examining the remains of the victims, Darwin stakes his reputation on the premise that a great tiger is loose in the wooded region. Neither his sponsors nor the striking navvies give that theory much credence, and that night, a shepherd and his dog are added to the death register. Locals begin voicing opinions that the culprits must be the weird Welsh cult led by self-professed holy man Cadell Afferson. He says he’s a druid in touch with ancient forces…

Meanwhile, Darwin’s gentlemanly facade seems to slip. When returned to the Blue Moor, he sinks into depravity, getting drunk, fighting with local bullies and availing himself of local harlot Louise Stuart. As he becomes a beast, the one he’s hunting attacks again, butchering soldiers, sabotaging the work site and apparently perishing in a massive explosion.

Suzanne is unable to refrain from commenting on the scientist’s condition when she fetches him next morning, but Darwin doesn’t care after hearing that military martinet Captain Sanders has recovered the creature’s corpse…

Originally published in 2010 as Les carnets de Darwin 1 – L’oeil des celtes, this period drama ripples with suppressed tension as it sets up a classic confrontation between man and monster to delight every thriller fan.

 

The suspense spectacularly escalates in second volume Death of a Beast (La mort d’une bête) as the press gets wind of the news that Mr. Darwin has discovered a creature previously unknown to science. Panic grips York, but rail construction recommences, thanks to the foreman’s unique methods of negotiation. As esteemed researcher and weary soldiers seek more evidence, Druid Cadell stirs the pot, warning that ancient gods will judge their actions…

Darwin believes his job nearly done, but as he dines with the Dickinsons, fresh tragedy sparks more bloodshed. When a little girl is found eviscerated, furious, terrified townsfolk turn on the druids and a brutal riot is only quashed by ruthless military intervention…

Far from that madding crowd, the scientist is amazed at his host’s familiarity with legends of shapeshifting creatures, and even more so by Suzanne’s other passion. She runs educational workshops for townswomen, teaching them to read and count and even honest trades. Her greatest joy is anticipating  the festival she and dowager Virginia Wilson have organised: Yorkshire’s first Feminist Convention…

Eventually Darwin and the soldiers are able to convince the citizens the child’s death is not due to a new beast or the Celts in the forest, but arrogant, affronted Afferson swears to take vengeance. He does possess some secret knowledge, but when he summons what really prowls the moors and forests, his mistaken belief that he is in control costs everyone dearly…

Meanwhile, in York, Darwin again gives in to his own beast and nearly dies due to it, but a horror has been roused to vicious action and whatever he truly is cannot hope to stand against it…

Blending socio-political intrigue with an immensely devious mystery where nothing is as it seems, this episode offers hints of far more at play and at stake than anyone previously suggested. Stay tuned for a big, big finish…

 

Closing chapter Dual Nature – formerly Les carnets de Darwin 3 – Double nature – moves from chilling canter to full galloping charge as fear and frenzy grip town and country, and mutilated bodies pile up. Captain Sanders informs Darwin that the investigation is done, and that Palmerston has decided the terror is the work of enemy agents set on destabilising the nation, and has sent further military personnel to mop up. Prudent and cautious, the PM has also despatched a renowned professional hunter, in case these sinister plotters instigators have indeed unleashed trained animals as part of their plan…

Sadly, effete dandy and aristocratic butcher Sir Rillons – and his entourage of privileged hangers-on – are merely the first to discover that what is actually loose is a pack of monstrous killers faster and stronger than any ever recorded before – and easily as smart as human beings…

In the aftermath of a bloody debacle, the drama reaches a messy crescendo as Darwin is abducted by the beasts and his own secret fully exposed. However, the ultra-macho monsters – distracted by and determined to crush the unnatural women demanding equal rights at their ridiculous convention – have not reckoned on uncanny hidden allies even the biologist himself is unaware that he has and ultimately, fang, claw and unnatural selection determines the outcome…

Murderous madcap mayhem and far from historically robust, this yarn is a crazily delicious feast of gory fun to charm every horror fan: a pure treat to gorge on and digest at your leisure.
© Editions du Lombard (Dargaud-Lombard SA) 2010 by Sylvain Runberg & Eduardo Ocaña. All rights reserved. English translation © 2011, 2012, 2013 Cinebook Ltd.

Semiautomagic volume 1


By Alex De Campi & Jerry Ordway, coloured by Marissa Louise (Dark Horse Books)
ISBN: 978-1-50670-001-4 (TPB) eISBN: 978-1-63008-668-8

In an industry/art form that has become over-reliant on vast interlocking storylines, requiring an encyclopaedic knowledge of a million other yarns and the tacit consent to sign up for another million episodes before reaching any kind of narrative payoff, the occasional short, sharp, intensely stand-alone tale is as welcome and vital as a reliable torch in a haunted house.

Just such a salutary singleton (thus far: there’s plenty of scope for more adventures!) was this solid action-horror outing that first appeared in 2014 in Dark Horse Presents volume 3 #4-9 and #13-17.

A no-nonsense, straightforward battle of earthly mage against ancient uncanny abomination, the series was devised (and lettered) by novelist, film director, columnist and comics creator Alex De Campi (Smoke, Kat & Mouse, Agent Boo, Archie vs Predator, Bad Girls, No Mercy, MADI, Bad Karma) and illustrated by certified comics giant Jerry Ordway (All-Star Squadron, Fantastic Four, Crisis on Infinite Earths, Adventures of Superman, The Power of Shazam!, WildStar, T.H.U.N.D.E.R. Agents, The Avengers) and introduces enigmatic-woman-with-a-past Alice Creed.

An untenured professor at New Haven, her classes attract all the cool kids, but she has a bad reputation and appalling attendance record. Her students never know when she will turn up to teach, because she consults on police cases. Not ordinary ones, though: Professor Creed gets a call whenever science and reason go out the window…

Her best friend is teaching assistant Archie Rollins: a constant helpmeet and dutiful substitute for her classes. He’s also her housekeeper and is not local – by at least a dozen dimensions…

This morning, as Archie pacifies another disappointed bunch of teens who wanted to experience the mystic “rock star” sharing the unseen secrets of existence, Creed is far away in Bridgeport, attending another uncategorizable case stumping the cops…

Having established that magic always comes at a cruelly high cost, ‘Semiautomagic: The Bomb That Will Bring Us Together’ follows her as the Prof uncovers a case of possession resembling an old case. This time, a kid’s soul has been sucked into the void, via his computer, and a little blood magic determines he’s only one of thousands to have fallen victim to a demonic computer game…

After a ghostly visitation and a touch of divination, Alice heads for Las Cruces, New Mexico tooled up and wearing her other hat: that of merciless monster killer…

Her flight is far from peaceful or uneventful, but overcoming all eldritch resistance, she’s soon bargaining with the local supernal forces for permission to work in their territory, discovering her current quarry has been poaching on their turf with no care regarding the rules and laws governing the magical world.

Creed is cautious and polite, but determined. She knows her place and mission in the ancient hierarchy and considers the huge number of people she couldn’t save as her greatest burden. Here, that attitude leads her an abandoned atomic test town and army of reanimated plastic dummies where she discovers all the magically-abducted games-playing kids just as the vile entity seeking access to Earth orchestrates one last nuclear detonation…

Surviving thermonuclear destruction thanks to her arcane gifts, Creed is then betrayed by one she trusted and forced to confront the extra-dimensional Traveller manipulating the awful events. The invader is exultantly triumphant… until Creed forcefully and fatally reminds it of the Hierarchy already established on this world and the next…

Her mass exorcism also sends most of the abducted souls back to their bodies at a terrible cost, but in the excitement and stress of the ritual, Alice misses something…

A year later – or ten days in-continuity – ‘Semiautomagic: Throne of Blood’ takes up the tale as the drained monster hunter returns to academia, blithely unaware that her oversight has come looking for her and is now attending her classes…

By the time she notices, the sweet and sexy “transfer student” Mark Van Scuyer has charmed his way into the lives of Creed’s class, but her own rules and spectral “Board of Advisors” won’t let her kill him. She has to writhe and burn in frustration until he does something to contravene the laws. She doesn’t have long to wait…

When the beast begins his predations by arcanely assaulting favourite student Chloe and feeding on her pain, the act unleashes a wave of staggering horror and rapacious evil as Mark gathers strength from attacks on the populace. When he targets the misery of the local hospital, Creed knows what she must do and will not be stopped…

Old-fashioned duels between Good and Evil featuring a kick-ass protagonist with almost as much emotional baggage as arcane weaponry, this is a superb done-in-one magical monstery tour to delight old time horror buffs seeking something a little bit new in the grand old manner. The saga is supplemented by ‘Semiautomagic: Behind the Scenes’ sharing Ordway’s roughs, pencil art, cover sketches and more, before tantalising glimpses of De Campi’s Grindhouse comics close the curtain on this fear fest.

Semiautomagic is a perfect B-Movie horror comic: stark, inventive, rollercoaster-paced and rendered with exhilarating bravura. This thundering, down-and-dirty fable grips like a vice and hits like a hammer, and in Professor Alice Creed comics have another weird warrior to join the ranks of Doctors Fate, Strange, Voodoo, Doom, Drew, Mirage and all the rest.
© 2014, 2015, 2016 Alex de Campi and Jerry Ordway. All rights reserved.

Showcase Presents The Witching Hour


By Alex Toth, Bob Haney, George Kashdan, Ed Herron, Jack Miller, Carl Wessler, Dennis O’Neil, Steve Skeates, Len Wein, Marv Wolfman, Gerry Conway, Jack Oleck, Mike Friedrich, Alan Riefe, Dave Kaler, Phil Seuling, Jack Phillips, Murray Boltinoff, Sergio Aragonés, Nick Cardy, Carmine Infantino, Jack Kirby, Gil Kane, Neal Adams, Mike Sekowsky, George Tuska, Wally Wood, Dick Giordano, Joe Orlando, Bob Brown, Gray Morrow, Murphy Anderson, Pat Boyette, Bill Draut, Howard Sherman, Howard Post, Jerry Grandenetti, John Celardo, Art Saaf, Jack Sparling, Michael Wm. Kaluta, José Delbo, Lee Elias, Sid Greene, Jeff Jones, Tony DeZuñiga, Bernie Wrightson, Jim Aparo, John Calnan & many & various (DC Comics)
ISBN: 978-1-4012-3022-7 (TPB)

American comic books struggled until the creation of superheroes unleashed a torrent of creative imitation and invented a new genre. Implacably vested in World War II, the Overman swept all before him (and the far too occasional her) until the troops came home and more traditional genres supplanted the Fights ‘n’ Tights crowd.

Although kids (of all ages) kept buying, much of the previous generation also retained a four-colour habit, but increasingly sought more mature themes in the reading matter. The war years altered the psychology of the world, and as a more world-weary, cynical public came to see that all the fighting and dying hadn’t really changed anything, their chosen forms of entertainment (film and prose as well as comics) reflected this.

As well as Western, War and Crime comics, escapist comedy and anthropomorphic animal features were immediately resurgent, but gradually another periodic revival of spiritualism and interest in the supernatural led to a wave of increasingly impressive, evocative and even shocking horror comics.

There had been a sector of supernatural stars before; even a pantheon of ghosts, monsters and wizards draped in mystery-man garb and trappings: The Spectre, Dr. Fate, The Heap, The Heap, Mr. Justice, Sgt. Spook, Frankenstein and dozens of others). However, these had been individualistic victims of circumstance, with the vague force of “The Unknown” acting as a power source for super-heroics. Now the focus shifted to ordinary mortals thrown into a world beyond human ken or control with the intention of unsettling, not vicariously empowering the reader.

Almost every publisher jumped on an increasingly popular bandwagon, with B & I (which became the magical one-man-band Richard E. Hughes’ American Comics Group) launching the first regularly published horror comic in the Autumn of 1948 – although Adventures Into the Unknown was technically pipped by Avon, who had released an impressive single issue entitled Eerie in January 1947 before launching a regular series in 1951.

By this time Classics Illustrated had already long-milked the literary end of the medium with adaptations of The Headless Horseman, Dr. Jekyll and Mr. Hyde (both 1943), The Hunchback of Notre Dame (1944) and Frankenstein (1945) among others.

If we’re keeping score this was also the period in which Joe Simon & Jack Kirby identified another “mature market” gap and invented the Romance comic (via Young Romance #1, cover-dated September 1947). They too saw the sales potential of spooky stories, resulting in the seminal Black Magic (1950) and boldly obscure psychological drama anthology Strange World of Your Dreams (1952).

National Periodicals/DC Comics also bowed to the inevitable, and in 1951 launched a comparatively straight-laced anthology that nevertheless became one of their longest-running and most influential titles – The House of Mystery. When the hysterical censorship scandal which led to witch-hunting hearings was curtailed by the industry adopting a castrating straitjacket of self-regulatory rules, HoM and sister title House of Secrets were dialled back into rationalistic, fantasy adventure vehicles, which nevertheless dominated the market. This was the status quo until the 1960s when superheroes (which had started to creep back after Julius Schwartz began the Silver Age of comics by reintroducing The Flash in Showcase #4, 1956) finally overtook them.

Green Lantern, Hawkman, The Atom and an avalanche of other costumed characters became a gaudy global bubble of masked madness which forced even dedicated anthology suspense titles to transform into super-character split-books.

However, nothing combats censorship better than falling profits and Silver Age superhero boom stalled and crashed as the 1960s ended, leading to surviving comics publishers agreeing to loosen their self-imposed restraints against crime and horror comics. Nobody much cared about gangster titles at that time, but since the liberalisation coincided with another bump in global interest in the supernatural, a resurrection of scary stories was a foregone conclusion…

Even ultra-wholesome Archie Comics re-entered the field with their rather tasty line of Red Circle Thrillers

With Tales of the Unexpected #105 and House of Mystery #174, National/DC switched back to anthology horror material, before creating an all-new title to further exploit our morbid fascination with all thingies fearsome and spooky (even resurrecting the cancelled House of Secrets in late 1969) for those heady days when it was okay – and profitable – to scare the heck out of little kids by making them laugh.

Edited until #14 by Dick Giordano, The Witching Hour first struck with a February/March 1969 cover-date (actually on-sale from December 19th 1968) and from the outset was an extremely experimental and intriguing beast. This amazingly economical Showcase Presents collection reprints the first 19 issues, covering the first three years as a fear fad grew to become the backbone of DC’s sales. It is perhaps the most talent-stuffed title of that entire period…

In this graphic grimoire, the cool and creepy horror-hosts who traditionally introduce the entertainment are three witches. Based as much on Macbeth as the ancient concept of Maiden, Mother & Crone, this torrid trio constantly strove to outdo and out-gross each other in the telling of terror tales. Moreover, Cynthia, Mildred and Mordred – as well as shy monster man-servant Egor – were designed by and initially delineated by master illustrator Alex Toth, making framing sequences between yarns as good as and sometimes better than the stories they brazenly bracketed.

One minor quibble: records from the period are not complete and occasionally a creator is unknown, but this volume also sadly misattributes the artist too. I’ve attempted to correct the mistakes when I’m certain, but please be warned and beware – I’m not always right either…

Following a stunning Nick Cardy cover, Toth started the ball rolling by introducing the sinister sisters and their ongoing contest before Dennis O’Neil & Pat Boyette relate the story of a time-travelling tap-dancer in ‘Save the Last Dance for Me’.

Toth wrote and limned a compelling period piece of peril in ‘Eternal Hour!’ and Jack Sparling related the eerie fate of wave-obsessed Stanley’s search for ‘The Perfect Surf’.

Toth’s scary sisters closed out the premier issue (with, I suspect, additional inks from Neal Adams), but still found room for ‘Silk Gauze’, an informational page by persons unknown which first appeared in Tales of the Unexpected.

Although attributed to Toth, #2’s introductory episode is by his old Standard Comics stable-mate Mike Sekowsky (inked by Giordano), leading into Sparling/s dream-chiller ‘Scream!’, after which José Delbo delineates a shocking period tale of slavery and vengeance ‘The Trip of Fools!’ before Sid Greene’s ghost story ‘The Beat Goes On!’ and Sparling’s ‘Once Upon a Surprise Ending!’ end an issue regrettably short on writer credits.

Following another Sekowsky/Giordano intro, Toth & Vince Colletta illustrate Don Arneson’s medieval mood masterpiece ‘The Turn of the Wheel!’ whilst Alan Riefe & Sparling tell a decidedly different ghost-story in ‘The Death Watch’, after which Steve Skeates & Bernie Wrightson debut a decidedly alterative fantasy hero in ‘…And in a Far-Off Land!’, followed by the first of a series of short prose vignettes: anonymous fright-comedy ‘Potion of Love’.

Toth illustrates the sisters’ ‘Witching Hour Welcome Wagon’ (a useful identifying rule of thumb for the uninitiated is that the master usually signed his work – and was allowed to…) after which new kid Gerard Conway scripted spectral saga ‘A Matter of Conscience’ for art veterans Sparling & George Roussos. Anonymous prose piece ‘If You Have Ghosts’ precedes smashing yarn entitled ‘Disaster in a Jar’ (Riefe & Boyette) before Conway scripts period witchfinder thriller ‘A Fistful of Fire’ for Delbo – a vastly underrated artist who was on the best form of his career at this time.

Toth’s Weird Sisters close out that issue and eerily, hilariously open #5 before Wrightson lavishly embellishes a nifty but uncredited (as is every script in this one) nautical nightmare ‘The Sole Survivor!’, followed by text-teaser ‘The Non-Believer! and Boyette’s stunning, clownish creep-feature ‘A Guy Can Die Laughing!’

Stanley Pitt & Giordano’s dating dilemma ‘The Computer Game’ was one of the first to explore that now-hoary plot and, after Toth signs off the witches, there’s an added single-page black-comedy bonus from Sid Greene in ‘My! How You’ve Grown!’

Sekowsky & Giordano limned Dave Kaler’s take on the sisters’ intro for The Witching Hour #6, after which a far darker horror debuts as ‘A Face in the Crowd!’ (Conway, Mike Roy & Mike Peppe), wherein Nazi war-criminal and concentration camp survivor meet in an American street; Marv Wolfman & Delbo described a tale of neighbourly intolerance in ‘The Doll Man!’ and ‘Treasure Hunt’ by Skeates, John Celardo & Giordano show why greed isn’t always good. Also included were Conway’s prose tale ‘Train to Doom’, ‘Mad Menace’ – a half-page gag strip by John Costanza, and ‘Distortion!’; another Greene-limned one-pager.

Toth & Mike Friedrich were on spectacular form for #7’s intro and bridging sequences, whilst Bill Draut was compulsively effective in prison manhunt saga ‘The Big Break!’, with scripter Skeates also writing modern-art murder-mystery ‘The Captive!’ for Roussos. Friedrich & Jack Abel then advise a most individual baby to ‘Look Homeward, Angelo!’, Whilst text piece ‘Who Believes Ouija?’ and Jack Miller & Michael Wm. Kaluta’s Gothically delicious ‘Trick or Treat’ round out the sinister sights in this issue.

Sergio Aragonés & Neal Adams provide the witch-bits for #8, bracketing their satanically sardonic ‘Above and Beyond the Call of Duty!’, as well as ‘Three Day Free Home Trial!’ (Aragonés & Cardy) and staggeringly inventive ‘ComputERR’ by that man again and Toth.

‘The Career Man’ is a witty but anonymous prose piece and the issue closes with a Twice Told Tale by Ron Whyte & Sparling, as an urban myth is exposed at ‘The Sign of the Hook!’

Toth & Draut began #9, after which Bob Brown & Murphy Anderson illustrate ghostly tale ‘The Long Road Home!’ and, after text story ‘The Dark Well’ peripatetic, post-apocalyptic, ironic occasional series ‘The Day after Doomsday’ (Len Wein & Sparling) makes a welcome appearance.

Delbo delightfully delineated a terrifying tale of Old China in ‘The Last Straw’ and, after George Tuska takes over the Weird Sisters link-segments, a doomsday debacle closes the dramas with a ‘Trumpet Perilous!’ as drawn by Sparling & Abel.

The witches opening issue #10 are once more by Toth & Draut, promptly followed by a magnificent illustration job by Gray Morrow on regrettably uncredited ‘A Warp in Time …Loses Everything!’ after which the all-word ‘I’ll See You in My Dreams’ precedes Conway & Toth’s superb forbidden romance ‘Hold Softly, Hand of Death!’. Tuska handles the Sisters before Sparling’s faux-fact page ‘Realm of the Mystics’ ends this excursion into outer darkness.

Toth drew the intro and Jack Oleck’s The Mark of the Witch’ (inked by Draut) in #11, whilst – following text-tale ‘Retired Undefeated!’ – Tuska inspirationally illustrates creepy chronal conundrum ‘The Sands of Time, the Snows of Death!’

TWH #12 was similarly blessed as, after a sinisterly sexy Skeates/Toth intro, the devilish duo then describe an horrific ‘Double Edge’ battle between witch-queens and valiant mortals, followed by a Machiavellian actor’s ‘Double Take’ (Skeates & Tuska) and a demonic duel and ‘Double Cross!’ by Skeates & Gil Kane. The ever-anonymous prose piece is mordantly merry ‘The Dead Can’t Talk But…’

Giordano’s last issue as editor was #13, opening in grand style as fellow comic book hosts Cain, Abel and the Mad Mod Witch (from Houses of Mystery and Secrets and The Unexpected, dis-respectively) attend ‘New Year’s Eve at the Witching Hour’ (illustrated by Adams), followed by a marvellously experimental psycho-thriller by Alan Gold & Gray Morrow entitled ‘The Maze’; a far more traditional but no less scary story ‘The Accursed Clay!’ (Miller, Sparling & Frank Giacoia) and just plain strange tale of ‘The Rush-Hour Ride of Abner Pringle!’ by Wein & Delbo.

As an added treat the text token is ‘The Witching Hour Mistree’ by that shy but not retiring rogue Egor and what looks like Sal Amendola…

When veteran editor Murray Boltinoff assumed the reins with #14 (April-May 1971), an element of experimentalism was surrendered but more conventional material was no less welcomed by the horror-hungry readership: more proof, if any were needed, that artistic endeavour and envelope-pushing aren’t to everybody’s taste. Tuska replaced Toth as regular illustrator of introductory and bridging sections, but otherwise most fright-seeking kids could hardly tell the difference.

The all-science fiction issue opens with a beautiful yet oddly-stilted yarn from Conway & Jeff/Catherine Jones exploring the solitary burdens of ‘Fourteen Months’ in deep space, and ‘Which Witch is Which?’ (Kaler and Stanley & Reg Pitt) depicts the comeuppance of an intergalactic Lothario.

As “Al Case”, editor Boltinoff provides text feature ‘Dead Letter Office’ before the issue ends on a classic visual high with ‘The Haunted House in Space!’ illustrated by dream team Al Williamson & Carlos Garzon.

After the usual grisly graphic girl-talk, #15 starts with a murder masterpiece from George Kashdan & Wally Wood, revealing ‘Freddy is Another Name For Fear!’, after which Al Case scripts ‘End of a World’ before Phil Seuling & Gray Morrow steal the show with fearsome fable ‘Bayou Witch’ and Case & Art Saaf ring down the curtain with ‘I Married a Witch!’

Issue #16 saw TWH expand from 32 to 52 pages – as did all DC titles for the next few years – opening doors to a superb period of new material and the best of DCs prodigious archives to an appreciative, impressionable audience. The magic began after Tuska’s punchy prelude with cautionary ‘Never Kill a Witch!’ by Carl Wessler, John Calnan & Bernie Case, after which Boltinoff (as Bill Dennehy) provides a slick, edgy reinterpretation of a classic fairy tale for Morrow to lavishly limn in ‘The Spell of Sinner Ella!’, before switching back to his Case persona for the Tony DeZuñiga illustrated duelling drama ‘You Can’t Hide From Death’.

Classic reprints began with ‘The Wondrous Witch’s Cauldron’ (drawn by Lee Elias from House of Secrets #58), followed by Joe Orlando illustrated, Charles King scripted text piece ‘Last Meal’ and Howie Post & Draut’s ghoulish period parable ‘The Curse of the Cat’: both originally seen in House of Mystery #177.

Kashdan & Heck opened #17 with a modern magic myth ‘This Little Witch Went to College’, after which a classic 1950’s fear-feature from Sensation Mystery Comics #109 saw Carmine Infantino & Joe Giella devastatingly depict the ‘Fingers of Fear!’ whilst – from House of Secrets #46 – Howard Sherman delineated ‘The Second Life of Simon Steele’. Dennehy, Calnan & Colletta provided new yarn with an old moral ‘The Corpse Who Carried Cash!’ before Wessler & mood-master Jerry Grandenetti fantastically finished the fear-fest with ‘The Man in the Cellar’.

The same team opened #18 with ‘The Worm that Turned to Terror’, a schizophrenic slice of domestic hell followed by ‘The Diggers!’: a nasty, vengeful yarn from Bobs Haney & Brown with Giacoia inks, encompassing half a century of French war and regret.

Tales of the Unexpected #13 was the original source of both the Ed Herron/Jack Kirby conundrum ‘The Face Behind the Mask’ and the Herron/Cardy creepy-crime caper ‘I Was a Prisoner of the Supernatural’, after which modernity resumes with Jim Aparo’s ‘Hypnotic Eye’ and Kashdan, Calnan & Colletta’s cautionary tale ‘When Satan Comes Calling!’

The final issue in this superbly spooky compendium is The Witching Hour #19 which – after the customary Tuska drawn kaffeeklatsch with Mordred, Mildred and Cynthia – commences in a stylish, sparkling Jack Phillips & Grandenetti chiller ‘Tomb for the Winning!’, followed by ‘The Four Threads of Doom’ (by anonymous & Cardy, from Tales of the Unexpected #12) after which another anonymous & Tuska provide fresh new thriller ‘Stop Beating, Heart! You’re Killing Me!’.

One final Cardy reprint – ‘The Lamp That Changed People!’ (House of Mystery #20) – follows before this glorious volume of witchy wonderment concludes with Kashdan/Elias shocker ‘What Evil Haunts This House?’

These terror-tales captivated reading public and critics alike when they first appeared, and it’s indisputable that the supernatural sector saved DC during one of the toughest downturns in comics publishing history. Now their blend of garish mordant mirth, classic horror scenarios and suspense set-pieces are most familiarly seen in shows like Goosebumps, Stranger Things and many, many others.

This volume – like so many others – is unavailable digitally, and hard to find in print, but with a growing taste for horror stories manifesting in comics again, perhaps it won’t be long before we can shiver and giggle to classic chillers once more. If you crave beautifully realised, tastefully gore-free sagas of tension and imagination, not to mention a huge supply of bad-taste, kid-friendly cartoon comedy chaos, stay up past The Witching Hour as long and as often as you possibly can…
© 1969, 1970, 1971, 1972, 2011 DC Comics. All Rights Reserved.

Monsters! and Other Stories


By Gustavo Duarte (Dark Horse)
ISBN: 978-1-61655-309-8 (PB) eISBN: 978-1-62115-886-8

In comics, Less Is More.

You start with pictures. They should be clearly understood. Deathless prose so often just gets in the way…

This stunning breakthrough compilation from Brazilian graphic raconteur Gustavo (Bizarro; Guardians of the Galaxy; Dear Justice League) Duarte’s earliest works is a sublime masterclass in cartoon comedy: a trio of engrossing mini-epics each hallmarked by breakneck pace, captivating atmosphere and escalating conceptual insanity, all delivered via inspired sight-gags and superb drawing.

Following an effusive Introduction extolling the virtues of pantomimic comics and the sheer wonder of silent comedy from indisputable arch-maestro Sergio Aragonés, a twisted triptych of hilarious terror tales opens with ‘Có!’ (2009).

Here is a sardonically sinister saga of alien abductions, pig husbandry and commercial chicken-rearing practises, tinged with bizarre transformations, existential confrontations and the unmitigated horror of incomprehensible extraterrestrial agendas…

Anthropomorphically unfolding next, ‘Birds’ (2011) pecks at the cutthroat business world. One ordinary day a sinister murder mystery ensues, with two avian office workers having the worst day of their lives. A tense situation swiftly degenerates into a surreal bloodbath where only Death holds true dominion…

Concluding this soundless extravaganza is bombastic battle bout ‘Monsters!’ from 2012. This is a manic celebration of Kaiju (that’s city-stomping, rampaging giant beasties to old folk like you and me) as a jaded recreational angler reels in a big catch before becoming one as a colossal lizard wades ashore to tear up the town and literally sample the night life. As the creature inevitably attracts gargantuan rivals ashore for a showdown and the human populace panic, an elderly gentleman patiently gathers ingredients for a very ancient and special potion. He’s seen this all before and has the perfect solution…

This manic, mostly monochrome tome is the acme of artistic thrills and chills, perfectly capturing the addictive wonderment of monster stories and crafted by a master of fun and thrills.

Less is More. Silence is Golden. Get this Book.
© 2009, 2011, 2012, 2014 Gustavo Duarte Publications, Inc. All rights reserved.

The Lighthouse


By Paco Roca, translated by Jeff Whitman (NBM)
ISBN: 978-1-68112-056-0 (HB/Digital edition)

Francisco Martínez Roca was born in Valencia in 1969: a time when Franco’s fascist regime still controlled every aspect of Spanish life. Roca was part of an artistic explosion that benefited from the dictator’s death and a return to liberalising democracy, with his earliest efforts appearing in La Cupula in 1994.

As Paco Roca, he contributed (with Rafa Fonteriz) erotic strips featuring Peter Pan and Aladdin to Kiss Comics and – with Juan Miguel Aguilera – devised experimental 3D series ‘Road Cartoons’ for El Vibora.

Roca’s earliest serious works dealt with aspects of Spanish culture and history: El Juego Lúgubre in 2001 (his fictional yarn about Salvador Dali) and 2004’s Spanish Civil War tale El Faro. These were followed by internationally acclaimed works Hijos de la Alhambra and 2007’s multi-award winning Wrinkles – adapted into equally celebrated and critically-rewarded animated movie Arrugas.

More wonderful stuff you’ll want to see includes Las Callas de Arena (Streets of Sand) and semi-autobiographical Sunday newspaper strip Memorias de un hombre en pyjama from Las Provincias and El invierno del dibujante, about comic creators working for the Bruguera magazine Tio Vivo in the 1950s.

When not astonishing folk with his mastery of graphic narrative and grasp of human nature, Roca makes animated films and hosts his own radio show in Valencia.

After the success of Wrinkles it was only a matter of time before his other works started being translated into English, so bravo to NBM for picking up this sublime, elegiacally esoteric little gem…

The Lighthouse is a digest-sized (234 x 157 mm) duotone hardback – or eBook if you’re digitally inclined – celebrating the solace of imagination, which recaptures the hope of liberation in a beguiling black, blue and white wave of perfectly sculpted images.

Spain: as the Civil War staggers to its end, wounded Francisco flees for his life. The victorious fascistas are gathering up the defeated foe and this wounded youngster has no intention of being interned… or worse. After a bloody and eventful flight, he makes it to the coast and, after passing out, finds himself bandaged and rested in someone’s bed. He is in a lighthouse, crammed with fascinating remnants and artefacts…

After some cautious poking about, Francisco finally finds a garrulous old lighthouse keeper on the beach, joyously hauling ashore flotsam, jetsam and assorted treasures torn from unfortunate vessels during the last storm.

Telmo is a jolly giant, constantly quoting from his favourite books about the sea, although Francisco – a soldier since he was sixteen – barely understands what the old man is talking about…

The elder’s good humour is infectious and gradually infects even battle-scarred Francisco. Soon the boy-soldier is helping the incessantly cheerful senior maintain the great lamp and sharing his only anxiety, about when – if ever – the light will shine again. The government have been promising a new bulb for years and Telmo is convinced now peace reigns again, that moment will be any day now…

To pass the days, the old man combs the beaches for useful finds and tends to his special project: building a fabulous boat to carry him across the waters to the impossibly wonderful island of Laputa

Gradually, sullen Francisco – perpetually bombarded by the lighthouse keeper’s wondrous stories – loosens up and starts sharing Telmo’s self-appointed tasks and dreams, but that all ends when the boy finds a letter and accidentally uncovers a web of lies…

However, just when the idyllic relationship seems destined to founder on the rocks of tawdry truth, the tirelessly-searching soldiers arrive and a tragic sacrifice in service of those endangered once-shared dreams is required…

A potently powerful tale delivered with deceptive gentleness and beguiling grace, The Lighthouse is both poignantly moving and rapturously uplifting and is supplemented here by a lengthy prose postscript.

Roca’s ‘The Eternal Rewrite’ – packed with illustrations, model sheets, production art and sketches – reveals how the author is afflicted with Post-Release Meddling Syndrome, constantly editing, amending and reworking bits of his many publications, each time a new or fresh foreign edition is announced.

This short, sweet story about stories and imagination is a true delight and a perfect introduction for anyone still resistant to the idea of comics narrative as meaningful art form… or just read it yourself for the sheer wonder of it.
© 2004, 2009 Paco Roca. © 2014 Astiberri for the present edition. © 2017 NBM for the English translation.