Category Archives: Horror

August 4, 2017 · 8:00 am

Review: THE BLOODY CARDINAL by Richard Sala

THE BLOODY CARDINAL by Richard Sala

Everything is always perfectly distilled in a work of comics by Richard Sala. Everything from a dramatically constricted pupil to a young woman’s dainty feet. Sala has a way of cutting to the chase: he knows that he wants thrilling motifs and pretty girls–and he does a beautiful job of it. Sala is in fine form with his latest graphic novel, “The Bloody Cardinal,” published by Fantagraphics.

This new Sala villain makes quite an entrance and certainly looks pretty menacing. The Bloody Cardinal is no slouch, either, when it comes to murder. Clara Clarette, a charming young woman who had just purchased a mysterious book, is killed by the bird fiend. Enter Inspector Coronet, and his trusty compatriot, Dr. Sun. The good doctor has a mystical quality about him. He senses a malevolent bird-like creature is responsible for this crime. Sala does not miss a beat and paves the way for the reader to be undeniably hooked.

If you’re new to Sala, you are definitely in for a treat, especially if you enjoy a devilishly good mystery. At its heart, this is a good tightly-wound mystery. The narrative keeps popping along at a brisk pace. Each panel is a wonderfully rendered watercolor. Some cartoonists, like Sala, also happen to be painters at an accomplished level. You can’t help but appreciate how Sala distills scenes and characters to their essence.

The evil eye.

“The Bloody Cardinal” is an online serial, which follows in the tradition of his early classics, “The Chuckling Whatsit” and “Mad Night.” Perhaps it was one of these previous titles that was your introduction to his work. Sala has enjoyed a career spanning over thirty years with no signs of letting up. He has perfected a vision that, inspired by Gahan Wilson, Edward Gorey, and Charles Addams, he can safely call his own.

There is an undeniably sexy aspect to Sala’s work, as evidenced by all the compelling and voluptuous female characters in this book. The key distinction is that these are sexy, but not sexist, depictions in the service of a bigger picture. You get a worldly sense of the world from Sala: a world of books, mystery, the supernatural, and compelling young women to keep one on one’s toes. It is sophisticated fare accessible to general readers much in the same way that Hitchcock provided that special kind of entertainment in film. You could indeed say that Richard Sala is to comics what Alfred Hitchcock is to film. All those little details add up: apprehensive rats, a demonic puppet hung from a string, obsessive note-taking. The journey we take with Hitchcock as well as with Sala, with its Mcguffins and moody atmosphere, is as important as the destination, even more so.

A harbinger of doom.

In an interview last year with Tim Hodler, for The Comics Journal, Sala provides a window into the motivation behind his work: “What has always appealed to me over everything else, beyond horror or comedy or whatever, is a sense of the absurd. I think I got that from reading Kafka in high school and feeling a shock of recognition. I felt a kinship with absurd humor and black humor. Having an appreciation of the absurd – along with my childhood love of monsters – helped me survive in what was a dysfunctional (that is, crazy) household. I was drawn to the surreal and the expressionistic and the unreal, which is where I felt at home.”

“The Bloody Cardinal” is a 96-page full color trade paperback. This is a book that will appeal to a wide range of readers: anyone, say, 13 and up. For more details, visit Fantagraphics right here.

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June 29, 2017 · 3:00 pm

Kickstarter: VIRGIN WOLF Collection: The Hunt is Underway!

The Collected VIRGIN WOLF

Alverne Bell is a rising talent in comics, graphic novels, and prose fiction. He has proven himself many times over with such work as ONE NATION and VIRGIN WOLF. Now is a great opportunity to dive into the highly creative mind of Alverne Bell and experience a collection of his werewolf series, VIRGIN WOLF. A Kickstarter campaign is going on now, by July 15th, in support of collecting the first eight issues into trade paperback, hardcover, and PDF. To learn more, and join the campaign, go right here.

Don’t mess with Virgin!

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A young woman and her Native American mentor are hunting the father of all werewolves in 1605 France!

Virgin Wolf is the tale of a woman struggling to put an end to her nightmares. With the help of Hania, her Native American guide. She has tracked her prey to France. Though little does she know the extent they have gone to or will go to see the world dominated by the Wolfen.

This book is the collection of the first 8 issues, plus a rarely seen in print prologue. The book totals 208 pages in full-color. Printed on a sturdy glossy paper it is available in both soft and hard bound.

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Page from VIRGIN WOLF

This is a werewolf tale like you’ve never read before. Among the wide array of comics that I look over on a daily basis, this one definitely has gotten my attention. The title, VIRGIN WOLF, sticks in my mind, and it does not matter whether or not there is any tangible connection in this comic to Virginia Woolf. Alverne Ball is an award-winning writer who has built an impressive career. He knows how to tell stories. He holds an MFA in Fiction Writing from Columbia College in Chicago, which includes a Semester in Los Angeles, an intensive program focusing on adaptation of material to the screen. His writing runs the gamut from television and film to graphic novels and prose fiction. For VIRGIN WOLF, he has teamed up with Douglas Felix and Adriana de los Santos who both provide the artwork that makes this project a pleasure to read.

Cover from VIRGIN WOLF series

The collected VIRGIN WOLF will be published by Phoenix Dreams Publishing. Founded by Noel Burns, Phoenix Dreams Publishing is an indie comic publisher based out of Iowa. As an indie comic publisher, Phoenix Dreams Publishing hopes to help indie artists make a living through their creations and dreams.

Be sure to visit the VIRGIN WOLF Kickstarter campaign, on thru June 15th, right here.

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May 18, 2017 · 11:30 am

Review: WINNEBAGO GRAVEYARD #1 (of 4)

WINNEBAGO GRAVEYARD #1 (of 4)

It’s that touch of strange that the best writers and artists tap into that makes all the difference. Writer Steve Niles says that his already odd story took some more twists and turns after he viewed what artist Alison Sampson had done with the first issue of their new limited-run comic book series, WINNEBAGO GRAVEYARD. Soon, you’ll be able to see the results for yourself. This is an advance review so a word to the wise (comic book retailers stock up!) and mark your calendar for this Image Comics release on June 14th.

Isn’t it spooky when you thought you saw something out of the corner of your eye? That particularly creepy feeling, the mixing of the banal with the terrifying, keeps building in this first issue in a most satisfying way. We begin in the small American Southwestern town of Acton, one minute after midnight. There’s an orgy of violence with a Satanic ceremony that climaxes with the emergence of a portly and banal naked man declaring his return from the dead. Who is this portly banal man? All we know is that he stepped right out of the body of one of that night’s victims to sacrifice.

This disturbing uneven feeling of disconnection and terror is quite pleasing, and the credit all goes to the team of writer Steve Niles and artist Alison Sampson. With dynamic and moody colors by Stéphane Paitreau. And lyrically placed lettering by Aditya Bidikar. Our story seamlessly rolls along a nightmarish landscape with characters nearly oblivious to what’s going on. It’s more of that delicious disconnection at play.

Winnebago Graveyard!

For, you see, the Winnebago from this comic’s title symbolizes a slice of normal that gets caught in this big fat wedge of crazy. It’s your all-American family, full of equal amounts of wanderlust and dysfunction, that find themselves way off course, all too close to Satan’s country. But are they aware of what’s going on? Sampson depicts them as utterly disconnected in such a masterful way. After spending a whole day in what amounts to an abandoned amusement park, they seem to be getting a clue that they’re very much out of their element. For now, it all seems like a sleepy nightmare.

I was mesmerized by Sampson’s artwork in GENESIS, a one-shot with Image Comics, and wrote a review of that you can read here. This latest comic lives up to what I expected to see next in her work. This is a smashing first issue. You will also want to check out the two essays at the end of this comic. One is on horror movies set in the American Southwest by Sarah Horrocks and it focuses on the 1987 horror classic, “Near Dark.” The other essay is about Satanism in the real world by Casey Gilly and it focuses on Anton LaVey’s Church of Satan and the potential motivations of its followers.

Both essays are part of a series that will run throughout all four issues. I am so glad to see these essays, which compliment the comic and, in fact, become part of the comic. As I like to point out to my readers, we do not live by comics alone. I make a point of writing about all sorts of things and they usually have a relationship to comics, even a quite meaningful connection, like my in-depth interview with novelist Jerome Charyn. Maybe I do things a little differently here but I’m not changing and I believe my readers appreciate that.

And let’s hold on just a bit. Yes, I would take issue with anyone who thinks a discussion about comics takes place in a vacuum. I don’t think anyone really believes that since, even the most so-called comics purist will veer off being strictly on topic. Life, the culture-at-large, bigger and brighter things, exist out there in the world. So, again, I say that the isolated prose, the two essays, in this comic becomes part of the comic. Gilly, in her essay, even directly refers back to the comic and asks the reader to question what the character Chrissie was really seeing. And Horrocks, in her essay, riffs so smoothly on the desert motif running throughout the comic. What a literate and artful comic! Buy it!

WINNEBAGO GRAVEYARD #1 (Of 4) is published by Image Comics and is available as of June 14, 2017. For more details, visit Image Comics right here.

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May 5, 2017 · 9:00 am

Review: REVENGER & THE FOG by Charles Forsman

REVENGER & THE FOG by Charles Forsman

A vast and desolate wasteland, suitable for any action or exploitation movie, serves as the magnificent backdrop for REVENGER & THE FOG, the second collected volume of the ongoing Revenger comic book series by Charles Forsman. What I readily come away with is this: a horror schlock genre opens up a wide field for comics but it’s not so easy to get it right. You need a strong narrative backbone to keep all the flesh and blood moving along. Forsman jiggles it all into place with a masterful touch.

An instant taxicab ride.

Quentin Tarantino easily comes to mind as a practitioner of the type of movie terror that Forsman is channeling. Everything and everyone is cast in a pale yellow light of sheer desperation. We know from the get-go that the characters that dwell within mostly, or exclusively, eat raw meat…perhaps drink blood too. It is nothing to them to humiliate, mutilate,…well, you get the picture. A little goes a long way. Not my preferred cup of tea but, then again, it all depends upon the writing. Forsman is sensitive to those proper modulations of gore.

No one messes with Revenger!

As I understand it, Reggie, aka Revenger, is a one-woman force of nature, easily the lone wolf but open to companionship from time to time. For this collection, we follow Revenger when she belonged to a vigilante gang known as The Fog in Los Angeles in the late ’70s. This is a most unlikely assembling of brute force and cunning not seen since the A-Team. Revenger has fallen head over heels for Jenny, aka Dynarat. It is a love affair fraught with danger and ill-fated beyond words. Billy, aka Slim, offers some crude technical skill. Tara, aka Scalpel, is a martial arts guru.

The basic story here is a goofy nihilist joy ride. Dynarat is kidnapped by her abusive movie mogul father. Revenger must find a way to rescue her. The story dares you to take it seriously. Within context, it works its magic, much in the same way as other forms of parody and good obsessive autobio can sway the reader. The intriguing thing about this comic is that Forsman, like Tarantino, is intimately involved with his subject matter, both playfully satirizing it as well as paying it respect. There is irony but it’s not all irony. It’s a joke but it’s not all a joke. Essentially, Forsman works from a platform that provides exhilarating freedom for a cartoonist to take big risks: the arena of pure artifice, pure entertainment.

Revenger tells it like it is.

Forsman has an admirable control over some pretty weird proceedings and keeps to a steady pace, mindful of the distinct journey each character is on. It is one thing to create a scene with some impressive slicing and dicing of body parts. But your story will never truly succeed if no one cares. We care about all the characters in this story, even the most repulsive ones. We don’t wish the villains well but we do get caught up in them.

Well, you get caught up in everyone’s business as much as you please. This is a deliciously artificial world we are navigating through. No wonder this gritty pumped up terrain, this hyperreal wasteland, attracts some of the most creative minds. You can mix and match an endless sea of possibilities: the inane headbutts the profound.

Forsman, much like his contemporary Michel Fiffe (COPRA), has the admirable distinction of tackling all aspects of his work: the writing, the drawing, and even the coloring. While pretty common in indie circles, this kind of involvement is nearly unheard of within corporate comic book publishers. In the case of Forsman, he does quite well in serving his cryptic vision alone. His wiry characters get bathed in just the right quirky color schemes. Tongues can stick out and be painted a bright fire engine red! It all makes sense: perfectly oddball and compelling story, art, and colors.

The world of action B-movies, it turns out, is just another world, with as much to offer as any wonderland or netherworld. And, as I suggested early, it is a satisfying and quite apt playground for comics. There is a thread from Herriman’s Krazy Kat to Kaz’s Underworld to Forsman’s Revenger comics. A final thought: After you complete the main story, you have an extra feature which is Revenger lost, appropriately enough, in a hell hole. It is a fitting end to a most intriguing collection of work.

REVENGER & THE FOG, the second volume of Revenger comics, is a 160-page full color trade paperback, published by Bergen Street Press. For more details, and how to purchase the work of both Charles Forsman and Michel Fiffe, visit Bergen Street Press right here. Visit Charles Forsman right here. And be sure to stop by and consider becoming a patron of Charles Forsman at his Patreon right here.

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Filed under Bergen Street Press, Charles Forsman, Comics, Comics Reviews, Dash Shaw, Graphic Novel Reviews, graphic novels, Horror, Michel Fiffe, Satire

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April 25, 2017 · 2:00 pm

Book Review: ‘Day for Night’ by Stacey E. Bryan

Illustration by Henry Chamberlain

Damien Hirst, the bad boy of art famous for displaying sharks in art galleries, once asked his 6-year-old son which he would prefer in his bed, a girl or a zombie. The boy instantly replied, “Zombie!” That is a crude and random example, I know. But perhaps it makes a bigger point about our collective fascination with the macabre, the unknown…and sometimes that is made most clear from a child’s point of view. That brings me to “Day For Night,” a new novel by Stacey E. Bryan. It has zombies of a sort. And it even has a shark! Like my example, there’s a fine-tuned crude and random vibe to this book.

This is very much a Los Angeles tale. Bryan indicates any pause as a “beat,” reminding us we’re in Tinseltown, full of daily theatrics and scripts coming out of everyone’s ears. We also get a lot of local flavor with characters living out in Brentwood, Culver City, and Marina Del Rey. There’s much talk about the well-hidden Toluca Lake. Everything seems to converge for a time at Sepulveda Boulevard. Plus numerous movie references not the least of which is Francois Truffaut’s “Day for Night.” An old tattered poster for the film decorates the apartment laundry room our main character, Rae, finds herself in at the start of the book.

At first, we don’t know if Rae is caught in the throes of an anxiety attack but she readily declares she is experiencing the end of the world. Is she perhaps an aspiring actress? Yes, she is. But what she describes next leaves much room for further speculation. Rae witnesses her neighbor Annie levitate up above the tile floor. Annie blacks out just as Rae throws her yellow bra at the glowing force surrounding her friend. By the time that Annie wakes up, it’s too late to rationally explain to her that something most supernatural (thwarted alien abduction?) has just occurred. Annie completely missed it. Rae experienced the whole thing!

And so our story unfolds alternating between typical Angeleno angst and unexplained phenomena. It’s a wonderful balancing act that Bryan maintains. Basically, half the novel favors events more grounded in reality and then, as the weird stuff pushes its way to the foreground, you get a more mature version of Buffy the Vampire Slayer. Rae is in her thirties and, like her counterparts has had time to become more hardened and jaded than Buffy. Rae is a tough cookie recovering from quite a lot of rough scrapes, especially the day a tiger shark got too close and chomped off some of Rae’s fingers.

Bryan is totally in command of her story and has fun teasing out moments for her main character, Rae. Funny internal monologues give way to sudden outbursts followed by the latest development in Rae’s bumpy journey. Along the way, she encounters romance ranging from comical to intense. Throughout, Rae discovers a tapestry of connections that sustain her and help her grow ranging from the mundane to the sublime.

“Day for Night,” a novel by Stacey E. Bryan

Bryan has mastered that same melding of the everyday with the supernatural that has appealed to legions of Buffy the Vampire Slayer fans. The pithy exchanges between Bryan’s characters crackle with hard-won insight. It is insight mixed with harsh reality…and the movies. This is L.A., after all. It’s a mix of gumption that just might be enough to take on vampires and space aliens.

“Day for Night” is published by Vagabondage Press. You can find it on Amazon right here. And you can find Stacey at her website right here.

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April 17, 2017 · 4:00 pm

Interview and Review: Donny Cates and REDNECK

Donny Cates

Donny Cates (GOD COUNTRY) is a writer to watch. His new comic book series, REDNECK, comes out this Wednesday, April 19th, and it is a highly imaginative mashup of vampires and good ole boy Texan tall tale storytelling. There’s a lot going on here that raises this comic to the level of exceptional work. And that certainly includes the masterful inks by Lisandro Estherren and colors by Dee Cunniffe. You can find it at Skybound, an imprint of Image Comics.

Cates comes across as a natural born storyteller. He’s got a passion for bringing the reader into his world. In this case, it’s a motley crew of vampires holed up in a little patch of Texas hill country. These are good folk. Don’t mean no harm. Just want to live out their endless lives in peace, you see what I’m saying here, pardner?

It ain’t easy bein’ a vampire.

First off, you need to know that this is a real tasty twist on vampires. Cates suggests that this is a reverse image of The Walking Dead where it’s humans surrounded by monsters. In the case of Redneck, it’s monsters surrounded by humans–which can be a lot more dangerous as humans can get organized about their violence. The Bowman vampire clan would much rather be left alone to run the local barbecue joint while surviving all these years on just plain old cow’s blood.

Inks by Lisandro Estherren; Colors by Dee Cunniffe

Our main character is Bartlett. He’s a lanky old fella who is constantly being spooked by Perry, his young niece who reads his thoughts. We begin with Uncle Bartlett reminiscing over his time in the Civil War. Perry insists on knowing which side he was on. Bartlett gives a gruff but worldly response: Live long enough, and you learn not to take sides. But that level of tolerance is lost on the boys in the family who are restless and want to stir up a little trouble. Mind you, “the boys” are in their sixties. But it’s all relative when you’re talking vampire years.

What Cates envisions for this comic book series is an exploration of Southern culture through an entertaining story. You get to know these vampires on a deep generational level. There’s the boys, and Uncle Bartlett and his niece, Perry. Then there’s the patriarch, J.V., leading the pack. And there’s also Granpa who is God only knows how old. Best to keep him locked up in the attic. He makes a brief and cryptic appearance in this first issue.

I asked Cates about a moment in the story when J.V. complains about these “pincheways” the young people use. What the heck is that? Cates did not miss a beat and provides a window into the authentic flavor to this story. Pincheways are a name an old Texan friend of Cates’s uses for cell phones. Seeing a new generation and their rapid-fire texting sort of disgusts him. That’s one of the many quirky cultural gaps you’ll find in this first issue. The combination of quirky script and art definitely makes this a welcome twist to the vampire genre.

REDNECK #1 is available as of April 19, 2017. For more details, visit Image Comics right here.

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March 26, 2017 · 10:00 pm

Movie Review: ‘Get Out’

When I first saw the trailer for “Get Out,” I was hooked on the idea of a racially explicit horror movie. I had already written a script in my head of what I had expected to see. I took for granted that this would be a wry and revealing look at how African Americans can still be seen as the Other. And that is definitely there. We also have the opposite where it is those who are subjugating who are seen in the same way, as some menacing Other. And I expected some dark comedy mixed in. With all that in mind, I wondered, not if, but how far this movie would cross the line.

What “Get Out” does best is keeping to a true horror movie pace, gradually building up. Instead of a frog that is in a pot of water gradually set to boil, we’re all expecting a black man to be boiled alive, so to speak. No, there are no black men being boiled–just a metaphor. In fact, there are far more gruesome things up ahead. The remarkable thing is that there is a certain level of restraint that allows writer/director Jordan Peele to navigate deeper into our collective racial history than some of us out there are ready to go.

The opening scene alone is loaded with plenty of food for thought. An African American young man is walking through an upscale, and presumably white, neighborhood. He is talking on the phone and joking with his friend that he’s lost in what he calls with a whiny accent, “the suburbs.” As he proceeds down streets with tony- sounding names like “Peacock Street,” a white sports car pulls up blaring an old 1930’s song, “Run, Rabbit, Run,” a sly reference to the classic WASP novel, “Rabbit, Run,” by John Updike. The young man attempts to avoid the car by walking in the other direction. Ultimately, he can’t help walking towards the car whereupon he’s knocked out and thrown in the car’s trunk.

Chris (Daniel Kaluuya)

We next see an interracial couple preparing for a trip. Chris (Daniel Kaluuya) and his girlfriend, Rose (Allison Williams), are about to meet Rose’s parents. Chris is hesitant and Rose asks him what’s the matter. Chris asks Rose if she mentioned to her parents that he’s black. Rose laughs it off and reassures him that’s it’s not an issue at all. It’s a tender moment. It shows that Chris is vulnerable while Rose is far more in control of the situation. The acting is quite believable. Rose seems clearly in love with Chris. But the focus leans towards Chris as we see events through his eyes. He’s convinced he’s entering the lion’s den and we easily sympathize.

The focus never leaves Chris and, once they arrive at the family estate nestled in the woods, the attention heaped upon Chris grows. It begins with the first meet-the-parents round. Bradley Whitford and Catherine Keener make for deliciously out-of-touch parents attempting to be hip. If only that was all that lay in store for our hero. Red flags go up one by one. There’s a quick aside by the dad, “Oh, that room leads to the basement. We closed it up due to a buildup of black mold.” Yikes, in the context of a horror movie, that says it all.

Things are gonna keep steadily getting freaky from here on out. And so they do, some artful and some more in line with standard-issue tropes. One horror chestnut, the comedy relief sidekick buddy, is given new life and put to fine use here. Lil Rel Howery as Rod Williams, one of TSA’s finest, adds another dimension to the narrative. While he may rob the movie of some of its more provocative and scary potential, that seems to be the right approach for a project that is unleashing so many racial issues. Overall, we end up with a number of compelling scenes and images without resorting to a heavy hand.

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Filed under Horror, Horror Movies, Movie Reviews, movies, Race, Race Relations, Racism, Satire

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March 7, 2017 · 1:00 pm

ECCC 2017 Review: TOUCHING EVIL VOL. 1: THE CURSE ESCAPES

Close-up on panel from TOUCHING EVIL

Dan Dougherty is an award-winning author and illustrator. He is known for his humor comic strip, BEARDO, as well as various genre comic books. TOUCHING EVIL is an ongoing supernatural thriller series. It has an otherworldly quality about it that will compel you to keep reading. Dougherty has recently collected the first seven issues into one volume. Here is a taste of what you can expect in the following review. I also got a chance to chat with Dan for a bit at Emerald City Comicon and we did a quick video interview that you can check out at the end.

Panel excerpt from TOUCHING EVIL

Getting back to TOUCHING EVIL, there is much to say. First off, Dougherty has an uncanny way, both with his writing and his drawing, of calibrating a moment. Let me set this up. Our main character, Ada, is a beautiful and vibrant woman in the prime of life. She has a promising career as an attorney. She has a teenage son. And then, one day, she is assigned a task that results in a tragic outcome of supernatural proportions. When this happens, it seems oddly inevitable.

Essentially, Ada has the power of life or death over anyone with dark intentions. She touches them. They die. Meanwhile, her son has taken to wearing these black leather gloves with skeleton fingers. All this leads up to a pivotal moment: in order to secure she doesn’t accidently kill her own troubled son, Ada manages to slip on her son’s gloves before she hugs him. This is one of those masterful Dougherty moments: a sorrowful mother, her skeletal hands resting on the back of her son.

Page excerpt from TOUCHING EVIL

This is some wild story, if I haven’t made that clear yet. It gets under your skin, burrows its way in. Think The Twilight Zone meets Breaking Bad. It’s a certain vibe that hooks you in. Dougherty revels in well-placed details that later on elaborately blow up. A key aspect to the curse that Ada inherits is that anyone who she ends up executing by touch is a new soul who inhabits her mind. The death count mounts, as you may expect, and it gets crowded in Ada’s head. There’s a play within a play going on. Or you can think of it as a horror version of “Being John Malkovich.” Parts horror, cerebral, and offbeat humor, this is a highly engaging graphic novel.

Page excerpt from TOUCHING EVIL

And I get back to how Dougherty draws. His style is clean and crisp. Dougherty can make you believe you’re in a scary penitentiary and you’re walking down to its scariest section, The Ghost Room. He will make you believe in ghosts, demons, and being trapped in hell. And, without a doubt, you’ll get wrapped up in Ada’s plight.

Page excerpt from TOUCHING EVIL

Dan Dougherty is one of those talents in comics who is doing everything right. Well, that’s certainly an understatement. Whatever Dougherty does, it is going to continue to work out well. Maybe he’ll just follow a Jeff Smith model and keep building up what’s he doing on his own. He is an exciting talent and I highly recommend that you seek out this very intriguing work.

TOUCHING EVIL by Dan Dougherty

TOUCHING EVIL VOL. 1: THE CURSE ESCAPES is a full color 240-page graphic novel written and illustrated by Dan Dougherty.
Colors: Kanila Tripp and Wesley Wong
Cover art: Tom Kelly, with interior covers by Stephen Bryant
Additional inks: Monica Ras

This limited edition 240-page hardcover collects issues 1-7, as well as a never-before-seen bonus story, pinup gallery with art from Ryan Browne, Andrew Dimitt, Tom Kelly, and Doug Klauba! Read “season one” of Touching Evil in its most beautiful presentation!

Visit Dan Dougherty right here.

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March 2, 2017 · 8:30 pm

ECCC 2017: Skybound Entertainment Overview with Editorial Director Sean Mackiewicz

Image Comics/Skybound Entertainment at Emerald City Comicon 2017

Image Comics/Skybound Entertainment at Emerald City Comicon 2017

Sean Mackiewicz is the Editorial Director of Skybound Entertaiment who oversees all comics titles, which include the upcoming EXTREMITY and REDNECK and Robert Kirkman titles THE WALKING DEAD, OUTCAST, and INVINCIBLE. I got a chance to chat with him for bit. He is the perfect person to provide a quick tour of Skybound Entertainment.

So, what is Skybound Entertainment? Well, most of you out there are familiar with THE WALKING DEAD, right? Robert Kirkman had a dream of bringing back, in a whole new way, the old black & white horror movies, especially zombie movies, he loved watching on Saturday morning television as a kid. His unique slant on zombies was thinking of a way to keep the story going, turning it into a ongoing saga. One thing led to another and THE WALKING DEAD, pardon the pun, came to life!

THE WALKING DEAD comic book series was created by writers Robert Kirkman and Harry Schofield and artist Tony Moore. In 2003, Image Comics began publishing it. By 2008, Kirkman was a partner with Image Comics. By 2010, Kirkman was heading up his own Image Comics imprint, Skybound Entertainment.

ECCC variant for EXTREMITY #1

ECCC variant for EXTREMITY #1

Skybound Entertainment is a place to showcase a wide spectrum of titles by Robert Kirkman as well as like-minded creators. It’s a unique place for creator-owned work to be shown to the world and to grow to its fullest potential. At Skybound, you have an assortment of comic book titles with character-driven, horror, and dark fantasy themes. Among the roster of Skybound titles: EXTREMITY (first issue out March 1at), by writer and artist Daniel Warren Johnson; and REDNECK, a horror comic written by Donny Cates and drawn by Lisandro Estherren, that will hit stores on April 19th.

To round out the picture a little more on Skybound Entertainment, I asked Mackiewicz if he could describe a typical day in his role as Editorial Director. He said that no day was typical but each day could see him overseeing comic book titles, developing new titles, and developing merchandise that uniquely fit a creator’s vision.

Regarding EXTREMITY, Mackiewicz expressed his deep admiration for the talent of creator Daniel Warren Johnson. “It’s not that often you find someone so good at both writing and drawing. Daniel is a unique talent,” said Mackiewicz. Daniel Warren Johnson proved to be one of those singular talents that started creating buzz with his online work as well as his drawing portraits of people as zombies.

Now that you have a better picture of what’s going on at Skybound, consider Robert Kirkman’s OUTCAST. This is one of the titles that seems to be on a similar path as THE WALKING DEAD with a successful comic resulting in a successful television show. This Southern Gothic may hook you if it hasn’t already. A loyal fan base awaits Season Two this April on Cinemax in the U.S. and on Fox in the U.K.

For more details, visit Skybound Entertainment right here. And, if you are going to Emerald City Comicon, there are a number of Image Comics panels to attend including a rare gathering of all the original Image Comics founders on Friday. This is at 1pm at Main Stage – WSCC 4A. Regarding Skybound in particular, on Saturday, starting at 12:30pm, there will be two panels taking place on Twitch’s ECCC Live stage. If you can’t attend ECCC, you will be able to view them on Twitch. For more details, visit Emerald City Comicon right here.

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Filed under Comics, ECCC, Emerald City Comicon, Horror, Image Comics, Robert Kirkman, Seattle, Skybound Entertainment, The Walking Dead

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January 18, 2017 · 6:30 pm

Review: THE BELFRY, published by Image Comics

THE BELFRY by Gabriel Hardman

THE BELFRY by Gabriel Hardman

Gabriel Hardman is an artist with a very fluid and powerful drawing style. And that carries over to his writing as well. His latest one-shot comic for Image Comics is a perfect case in point, entitled, THE BELFRY, a trippy surreal vampire jaunt. You could say this is how truly engaged cartoonists dream, or have nightmares: a sequence of seemingly random events that creep up on you to unveil some unnerving results. For Hardman, it all began with a sketch of a vampire woman with silky wings sprawled inside a dank cavern. That haunting drawing led to this strange and lyrical story.

Hardman runs with dream logic and gives us quite a number of compelling visuals: an airliner crash-landing in a remote jungle, devilish winged figures, a spike jammed into an eyeball socket! Yes, it can get gruesome but this is stylish horror. For those of you into quirky comics, you are likely already fans of Gabriel Hardman (KINSKI, Star Wars Legacy) as well as his work teamed up with Corinna Sara Bechko (INVISIBLE REPUBLIC, HEATHENTOWN). This is an artist loaded with wit, vision, and endless energy. Hardman loves to draw as his expressive ink does attest!

The initial sketch that set things in motion.

The initial sketch that set things in motion.

“Fwip! Fwip! Fwip!” go the incredibly long batwings. There’s a deliciously uncompromising vibe to this comic. Right after the airliner crashing, because of those demonic wings getting in the way, co-pilot Bill is awakened by flight attendant Janet. All the passengers have been accounted for. But what about Captain Anders? Well, er, he’s alive except…there’s a stake through his eye. Then there’s a beautifully surreal transition…Bill is running through the wild jungle and falls, as into a rabbit hole, except it’s a huge cave full of humanoid bats. Bill lands with a tremendous thud. He’s been stripped bare. All the other passengers are naked as well. And from there the screws are turned tighter and a splendid nightmare spreads out in full bloom.

THE BELFRY will prove to be a great new addition to your comics reading so make a note of it as this one is a month away. And, if you haven’t been following Hardman, seek him out. A good place to start is the ongoing series, INVISIBLE REPUBLIC, to which I provide a review right here.

THE BELFRY one-shot issue is available as of February 22, 2017. For more details, visit Image Comics right here.

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Filed under Comics, Comics Reviews, Corinna Sara Bechko, Gabriel Hardman, Horror, Image Comics, Vampires

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