We have an exclusive excerpt from “Blood and Tinsel,” a Christmas horror story written by 30 Days of Night creator Steve Niles.

They say the best gifts aren’t under the tree. One Christmas morning, Andy’s parents found out their gifts were six feet under…

Edited by Bram Stoker Award winner James Aquilone (Kolchak: The Night Stalker), the 260-page book features a lucky 13 original stories inspired by “Creepshow.”

Other contributors include David Avallone (Elvira: Mistress of the Dark), Nancy A. Collins (Swamp Thing), Dennis Crosby (Weird Tales), Keith R.A. DeCandido (Star Trek), Gwendolyn Kiste (The Haunting of Velkwood), Jonathan Maberry (Rot & Ruin), Lisa Morton (Trick or Treat: A History of Halloween), Nick Roberts (The Exorcist’s House), Thomas E. Sniegoski (Buffy the Vampire Slayer), Tim Waggoner (Terrifier 3), Simon Bestwick (The Faceless), and Aquilone.

Creepshow: 13 Tales of Terror features cover art by Russ Braun (The Boys), and each story is accompanied by full-page art by EV Cantada.

The post ‘Creepshow: 13 Tales of Terror’ – Read an Excerpt from Steve Niles’ Christmas Horror Story [Exclusive] appeared first on Bloody Disgusting!.

Creepshow: 13 Tales of Terror will be published in hardcover, paperback, and e-book on May 19, 2026 from Monstrous and Evoke Entertainment.

Edited by Bram Stoker Award winner James Aquilone (Kolchak: The Night Stalker), the 260-page book features a lucky 13 original stories inspired by the series.

Contributors include Steve Niles (30 Days of Night), David Avallone (Elvira: Mistress of the Dark), Nancy A. Collins (Swamp Thing), Dennis Crosby (Weird Tales), Keith R.A. DeCandido (Star Trek), Gwendolyn Kiste (The Haunting of Velkwood), Jonathan Maberry (Rot & Ruin), Lisa Morton (Trick or Treat: A History of Halloween), Nick Roberts (The Exorcist’s House), Thomas E. Sniegoski (Buffy the Vampire Slayer), Tim Waggoner (Terrifier 3), Simon Bestwick (The Faceless), and Aquilone.

“Each story is a macabre celebration of Creepshow‘s legacy,” said Aquilone. “We’ve assembled a can’t-miss anthology, with morality tales of terror, justice, and cosmic retribution, all told with the Creep’s ghoulish grin.”

Creepshow: 13 Tales of Terror features cover art by Russ Braun (The Boys), and each story is accompanied by full-page art featuring The Creep by EV Cantada.

The post ‘Creepshow: 13 Tales of Terror’ Collects Original Short Stories by Steve Niles, Jonathan Maberry, Tim Waggoner, More appeared first on Bloody Disgusting!.

30 Days of Night co-creator Steve Niles serves as a story consultant the revival of his classic vampire comic from writer Rodney Barnes (Batman: Full Moon) and artist Chris Shehan (The Autumnal).

Sink your fangs into an exclusive look at the opening 10 pages of the oversized first issue below.

The town of Barrow has moved on. Those who remember the vampiric terror of two decades past would rather not talk about it. Those who don’t remember don’t believe the stories. Ignorance will be their downfall, because a dark memory is stirring in the heart of Romania and it has set its sights on Barrow, the death place of Vicente.

While vampires seek revenge for their fallen leader in Alaska, troubled teen Jalen James seeks sanctuary. After fleeing gang violence in Los Angeles, Jalen needs a fresh start. But he’s unlikely to find it as the sun falls…

The 30 Days of Night: Falling Sun team also includes colorist Xenon Honchar and letterer Alex Ray. The first issue features covers by Shehan, Damien Worm, and Malachi Ward.

The last day to pre-order — the only way to guarantee a copy — is September 8.

IDW Dark is the horror imprint home of comics based on Event Horizon, Sleepy Hollow, A Quiet Place, Smile, and “The Twilight Zone.”

The post Read the First 10 Pages of ’30 Days of Night: Falling Sun’ Before Next Month’s Release [Exclusive] appeared first on Bloody Disgusting!.

While you wait, Bloody Disgusting has been exclusively provided with the first FIVE pages of Brynmore‘s debut issue, and you’ll find the sneak peek preview down below.

In Brynmore, the recently divorced and newly sober Mark Turner returns to his hometown of Turner Island hoping to rebuild his shattered life and rekindle a relationship with his estranged daughter, Sophie. Planning to renovate the town’s dilapidated church into a home for himself, Mark’s dreams of a second chance soon begin to crumble as he encounters hostility from the locals and finds himself enmeshed in a dark and sinister legacy of intrigue dating back to when the island was first named after his ancestors. Locked in battle with malefic forces beyond his control, Mark must work to uncover the island’s dark history while keeping himself and Sophie safe from harm—and staying away from the bottle in the process.

​​“I’ve had the title Brynmore in mind for years, waiting for the right story,” says Steve Niles. “This one just felt right. It has themes that I love to work with often: being an outsider in a strange land, the struggles of a single parent, plus a good dose of horror and scares. One of the big motivations for Brynmore was getting to work with Damien Worm again. I love working with him, and he’s really bringing out the big guns for this series.”

“When Steve came up with the idea of Brynmore, I was sure it would be fun,” says Worm. “The history of the island, with its ancestral magical heritage having a direct impact on the story taking place centuries later, was really exciting for me. I also loved watching the characters fight against ancient monsters and personal demons at the same time. Very dark, gritty, atmospheric stuff.”

“Brynmore is an exciting first step back into the waters of our long-running partnership with Steve and Damien,” said editor David Mariotte. “But as the series will show, you’d best be careful in the water because who knows what horrors lurk beneath…”

Brynmore #1 will be available in June 2023 with three variant covers for fans and retailers to enjoy, including Cover A by series artist Damien Worm, Cover B by Francesco Francavilla, and a retailer incentive cover by Martin Simmonds. Find all three covers below.

The post ‘Brynmore’ – Preview the First 5 Pages of New Horror Comic from Steve Niles! [Exclusive] appeared first on Bloody Disgusting!.

It’s this primal fear of the dark that makes Steve Niles and Ben Templesmith‘s 30 Days of Night such an effective graphic novel, with the story wasting no time in getting to its bloodthirsty premise. This also extends to David Slade‘s highly underrated 2007 adaptation of the story, a faithful translation of the source material that still manages to dive even deeper into its single long night of vampiric carnage. Boasting a deceptively simple setup and chilling visuals, the film has become one of my favorite pieces of wintertime horror fiction, and I believe it’s still worth revisiting in 2021.

For those unfamiliar with 30 Days of Night, the story takes place in the quiet town of Barrow, Alaska as it prepares to undergo its yearly period of polar night, when the sun sets and the area is shrouded in darkness for a full month. This time, however, a group of vampires have caught wind of the phenomena and are planning a month-long invasion where they can feast on the locals without fear of the sun. Once the inevitable massacre begins, it’s up to Sheriff Eben and his wife Stella to protect the survivors as they endure the titular night.

The comic presents itself as a short and sweet horror yarn, borrowing elements from zombie flicks and even classic westerns (with the small town sheriff standing up against an overwhelming force and eventually settling things with a climactic duel), but the movie expands on the mythology and characters thanks to the added length. Niles himself returned to pen the first draft of the screenplay, having already pitched this story to producers before turning it into a comic, but the studio would go on to request rewrites by Stuart Beattie and, later on, Brian Nelson.

David Slade was appointed as the picture’s director, and while he’s mostly known for 2005’s Hard Candy and Netflix’s interactive Black Mirror special Bandersnatch, he was also responsible for some of the best and most stylish episodes of Hannibal and American Gods. Under his guidance, 30 Days of Night went on to successfully translate this highly atmospheric tale to the big screen, making one of those rare winter-time horror movies that actually look and feel cold. The movie was also a box-office hit, with impressive home-video sales to boot, though a lot of critics didn’t quite warm up to it.

In a way, the film is actually structured more like a George Romero zombie movie than a traditional vampire narrative, presenting us with a small town under siege by undead invaders, though these creatures are more than brainless monsters. They may lack the elegance and romantic qualities of classic gothic vampires, but the antagonists of 30 Days of Night are still intelligent foes in their own primal way, hunting down humans with a ferocity that even the running zombies of Zack Snyder’s Dawn of the Dead remake can’t compare to. This may not have been the first time that we saw a modern take on vampires, but the nosferatu of this adaptation are certainly a lot scarier and more grounded than what the genre usually has to offer.

A lot of that is accomplished by their unique designs, as the art department went to great lengths in order to reproduce Templesmith’s eerie art style in the real world. This resulted in gorgeous make-up effects that make the vampires look like ancient, otherworldly entities. Their shark-like teeth may harken back to Tom Holland’s Fright Night and their resistance to religious iconography may remind you of Anne Rice’s bloodsuckers, but the vampires of 30 Days of Night are distinct in their savagery.

Even with the terrifying visuals, what really cements these vampires as fearsome predators is the commanding presence of Danny Huston, who turns in a genuinely iconic performance as Marlow, leader of this immortal clan. His calculating demeanor and eldritch accent make this one of the most memorable vampire performances on record, and it’s hard to not get chills whenever he’s onscreen. His interactions with the rest of the tribe are also our window into the mythology of this world, revealing much about the terrible consequences of immortality while also implying a lot of backstory and world-building without resorting to full-on exposition.

The rest of the cast is also great, with Josh Hartnett and Melissa George (an underrated Scream Queen) making for a compelling lead couple, though it’s really unfortunate that the originally Inuit protagonist was made Caucasian in the movie. The town of Barrow itself is also a major character in the story, with this atmospheric locale slowly decaying as the cold sets in. There’s an undeniable tragic feeling when you watch this isolated community burn under a dark sky once the vampires decide that they’ve had their fun, even if it’s obviously just a Hollywood set.

Thankfully, the real-life Barrow is a lot less dreary, more akin to a pleasant collection of seaside suburban housing than the gloomy settlement that we see in the film. It’s also no longer known as Barrow, having reverted back to its original Iñupiat name Utqiagvik in 2016. Regardless, it’s clear that the production design was going for an emulation of Templesmith’s dreamy silhouettes and hazy architecture rather than authenticity. In fact, most of the film’s snow was actually fake, with the filmmakers prioritizing these exaggerated aesthetic qualities instead of real-world accuracy. I guess that’s appropriate when you consider that this is a comic-book adaptation, but the movie still manages to feel absolutely frigid even though a large portion of it was shot in a New Zealand studio.

This stylization also extends to the film’s brutal effects, with more gore than you can shake a sharpened stake at. Not even the children are spared during the month-long invasion of Barrow, with some absolutely bombastic kills and copious amounts of (presumably) fake blood. The production value here is admittedly impressive, though the final showdown feels a bit less convincing than the rest of the film.

The movie has some other flaws as well, such as a weird time-skip in the middle of the story that worked better in the original comic, but it’s ultimately a satisfying horror yarn that makes the most of its premise. Oddly enough, I find that there’s something comforting about watching these characters struggle to survive in this icy setting while you’re still snug within the comforts of your own home. That’s why I tend to re-watch this one whenever the days start getting shorter and the temperatures start dropping (which, ironically, only happens around June here in Brazil).

In any case, 30 Days of Night is proof that the simplest stories are sometimes the most effective, and I think it’s a lot better than most folks give it credit for. From losing your loved ones to facing the existential terrors of immortality, the movie does a lot with what began as a simple fear of the dark. At the end of the day, there’s a reason why so many horror stories begin with “it was a dark and stormy night”, and I think more productions should strive to make the most of a straightforward setup.

So, while you hunker down in your own homes this winter, be it because of ravenous vampires, the freezing cold or a certain respiratory virus, why not revisit the chills and thrills of 30 Days of Night? Just make sure to keep a light on, just in case…

The post ’30 Days of Night’: Revisiting the Dark Thrills of the Bloody Vampire Horror Movie appeared first on Bloody Disgusting!.

Niles has partnered with Shannon Eric Denton to launch the company, which has its sights set on “a spectrum of horror properties, ranging from light monster fare for children to full-blown adult scares.” The report from THR also notes, “Monster Forge enters the entertainment space with a multi-platform production division bringing their monstrous library of titles and creator relationships to film, television, interactive entertainment, gaming, and merchandising.”

“Comics, animation, games, and toys have grown into a cultural phenomenon over the past two decades — especially for younger generations,” Niles said in a statement shared by THR. “Monster Forge will build a bridge from our own creations and those of like-minded creators’ works to film, TV, toys, games, and beyond.”

“Horror, sci-fi, kids’ animation, Hammer films, black-and-white creature features, and modern VFX-driven genre fun is all the stuff we love and what this company is all about,” said Denton. “Some folks may hear ‘monster’ and conjure up a limited definition, but Steve and I hear that word and our minds race from Marvel’s live-action Thanos to last year’s Invisible Man to Pacific Rim to Minions to Star Wars. For us, it’s a word that leads to the beyond.”

Head over to The Hollywood Reporter to learn more.

The post ’30 Days of Night’ Writer Steve Niles Launches Monster Forge Productions for Film Projects and Beyond appeared first on Bloody Disgusting!.

In the series, 17-year-old twins’ lives are turned upside down when they discover their seemingly unremarkable parents are trained assassins who hunt monsters.

Meet the monsters and the monster-hunters in the official trailer below.

The post [Trailer] A Team of Assassins Hunt Down Monsters in Netflix’s Steve Niles Adaptation “October Faction” appeared first on Bloody Disgusting!.

“The series follows globetrotting monster hunters Fred and Deloris Allen who, after the death of Fred’s father, return to their hometown in upstate New York with their teenage children Geoff and Viv. As the family adjusts, Fred and Deloris must hide their identities as members of a secret organization, and our heroes quickly discover that their new small-town setting isn’t as idyllic as it seems.”

Producers are John Calvert (X Company, Anne with an E) and Mohamad El Masri (Here and Now). Damian Kindler (Sleepy Hollow, Krypton) acts as showrunner. Executive Producers include James Thorpe, Steve Niles, Thomas Walden and Eric Birnberg. Co-Executive Producers are George Strayton (Mech-X4, Xena: Warrior Princess) and Melissa Blake (Sleepy Hollow, Heroes).

October Faction is produced by High Park Entertainment in association with IDW Entertainment. IDW Entertainment is the worldwide distributor.

The post Netflix Goes Monster Hunting With “October Faction” Series From “30 Days of Night’s” Steve Niles! appeared first on Bloody Disgusting!.

“Freaks of the Heartland” is set in a rural town in America’s heartland that has harbored a terrible secret. Trevor’s family had been hiding his deformed little brother Will in the barn, hidden from the world by their father. When the local sheriff discovers Will and kills their father in the subsequent struggle, the boys go on the run, framed for the murder, and uncover that Will isn’t the only one, that “freak” children were born to other families in this town, and that the sheriff killed many of them years ago. Now he wants to finish the job, and only Trevor stands in his way. Trevor will do whatever it takes to keep his brother – and all the other innocent freaks still in hiding – out of harms way.

Written by Geoff Davey and Peter Sattler (Camp X-Ray), the project is based on the Dark Horse Comics graphic novel by Steve Niles (“30 Days of Night”), with art by Greg Ruth.

Dark Horse Entertainment’s Mike Richardson & Keith Goldberg executive produce along with Niles and the Gotham Group. Davey and Sattler co-executive produce.

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But how aware are you of some of these comics? Clearly there are some obvious ones out there but that doesn’t mean that a few haven’t potentially slipped past you. And here to bring you some suggestions on what to read to get caught up with the genre is hard rock band September Mourning, who have listed five of their own personal favorite horror comics, which you can see below.

The band is gearing up to release their new studio album Volume II next Friday, the 29th, via Sumerian Records. Just like with their previous album, Volume II will also have a limited edition comic book that follows the story began in Volume I‘s “A Murder of Reapers”. Frontwoman Emily Lazar explains:

Volume II follows our hero, September Mourning’s tale throughout the second issue of the comic book entitled, The Hand of Fate. Both forms of media intertwine to create a musical and visual story mosaic for your eyes and ears. Although September’s character is fictional, both the emotional landscape of the music and the message behind her lyric come from a very vulnerable place inside of me. In this album, I intertwined these supernatural characters with my own very real, relatable thoughts and feelings. There are pieces of myself magnified in every dynamic shift and bombastic hook in this album and you feel that when you listen. The world that’s created promises you an epic ride.

The comic is the brainchild of Lazar and acclaimed American comic book artist and publisher Marc Silvestri (X-Men, Witchblade, The Darkness). It comes out via Top Cow Productions.

You can pre-order Volume II via Amazon or get the bundle with the comic right here.

30 Days of Night

If you like your vampires more on the menacing side rather than the glitter in the sunlight side, then you will love this comic. Gruesome, gory and suspenseful… Putting a twist on the dark days and nights of Alaska’s winter.

The Walking Dead

If I have to explain this one, you must be living under a rock… Zombies vs the last hope of the human race with a ton of psychological depth mixed right in.

Preacher

A man of God is possessed by a half angel/ half demon being and ends up destroying his church and congregation.. Driven by his own moral compass and questions of good versus evil he pairs up with his old girlfriend and an alcoholic vampire in search of answers and God. Talk about blurring the lines of right and wrong…. This book keeps you guessing which side you might really be on.

Johnny the Homicidal Maniac

Johnny C is a murderer that keeps getting away with his crimes. Is he crazy? Is he possessed? I’ll tell you what he is … Really dark, twisted and funny.

Outcast

Robert Kirkmam, author of the Walking Dead, strikes again .. This time he explores possession. If your whole family suffered from some sort of demonic possession you’d probably be asking why… Well so does our protagonist Kyle Barnes… And with the help of a clergyman he attempts to solve the mystery while discovering his own peculiar talents.

September Mourning

September Mourning online:
Official Website
Facebook
Instagram
Twitter
YouTube

Tour dates:
Jul 29 FYE Acoustic Performance Fullerton, CA
Sep 24 Texas Mutiny Dallas, TX
Sep 25 Houston Open Air Houston, TX

The post 5 Great Horror Comics You Should Read by September Mourning appeared first on Bloody Disgusting!.

Originally a comic book written by Steve Niles (30 Days of Night), Alesiter Arcane follows, “…a group of children who befriend a bitter old man ruined and shunned by their parents. After his death, only they have the power to thwart the curse he has laid upon their town.”

No word yet on when filming will take place or what the expected release date is. The only other bits of information that have been released are that Jon Croker (The Woman in Black 2: Angel of Death) is adapting the story for the screen and that the movie will be produced by David Hoberman and Todd Lieberman along with Michael Aguilar.

You can snag the trade paperback via Amazon.

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The passing of Craven has obviously cast a shadow upon these productions but the studio remains committed to making them happen.

Universal Cable Productions tells Deadline:

Wes Craven was a master artist, a gentleman and it was our pleasure to work with him. It is our intention to bring to life all the projects Wes developed at Universal Cable Productions. Thankfully these projects have benefitted greatly from his development and guidance since their inception. They will continue in his honor and spirit.

“We Are All Completely Fine” tells the story of, “…enigmatic psychologist, Dr. Jan Sayer, who gathers survivors of five horror movie scenarios in a support group – and unwittingly unlocks the evils of her patients’ pasts. As their traumas are brought back to the surface, they uncover which monsters they face are within… and which are lurking in plain sight.” Craven was set to write and direct the pilot.

“The People Under the Stairs” begins, “When a young woman goes missing at the grand Robeson Family Manor, her search unveils the centuries-old horrors that lie deep within the estate.” Craven would serve as executive producer on this show.

“Disciples”, which also would’ve seen Craven executively produce, is a show set, “…in the near future where the ultra-wealthy have become true Masters of the Universe colonizing moons throughout the solar system. One colonist, McCauley Richmond, has built a new society on Ganymede, the largest moon of Jupiter, where his flocks of cultists worship him. Three “deep-space” private eyes have been hired by a high-ranking Senator to venture out to Ganymede and retrieve his teenage daughter who’s been brainwashed into joining Richmond’s cult.”

The post Three Wes Craven Shows Will Go On “In His Honor” appeared first on Bloody Disgusting!.

Now, check out this exclusive preview of Zombies vs Robots #4 before it hits stands next week. Sounds like things are only going to get more crazy.

Chris Ryall, Steve Niles (w) • Anthony Diecidue, Val Mayerik (a) • Ashley Wood (c)

Astronauts on a dead Earth crawling with strange threats like oddly sentient zombies, robots and… Mermen! And more with The Orphan!

FC • 32 pages • $3.99

The post [Exclusive Comic Preview] “Zombies vs. Robots” #4 appeared first on Bloody Disgusting!.

“Disciples”, drawn by Christopher Mitten, is a sci-fi horror story set in space.

Universal Cable Productions, which produced shows such as “Being Human” and “Defiance”, is in the process of picking up the rights to the title, which is due to hit stands in May from Black Mask Studios.

Craven, who is not writing or directing, will exec produce along with Sara Bottfeld of Industry Entertainment.

Here’s a description of the debut comic:

Dagmar, Rick, and Jules, intrepid private eyes/bounty hunters, have been hired by a high ranking Senator to retrieve his teenage daughter who’s run off to join a mysterious religious cult.

This is no ordinary cult though. In the near future of “The Disciples,” the ultra-wealthy have become true Masters Of The Universe by colonizing moons throughout the solar system. Billionaire industrialist McCauley Richmond is one such colonist: he’s built a new society on Ganymede, a moon of Jupiter, where his flock of cultists can have the religious freedom to worship him.

But when the team reaches Ganymede in their Starship Venture, they discover something has gone horribly wrong…

This ghost story in space reunites comics’ king of the macabre Steve Niles with his longtime collaborator Christopher Mitten, whose stylish mix of grit and flow matches Steve’s sharp characterizations and taste for screams.

The post Wes Craven and Steven Niles Team On ‘The Disciples’ appeared first on Bloody Disgusting!.

Now, before the impending release next week, here’s an exclusive preview of issue #5.

The October Faction #5

Steve Niles (w) • Damien Worm (a & c)

Geoff is sick and tired of a certain Robot-Faced menace stalking his sister and threatening his father, so the two have an all-out brawl to settle the score. Meanwhile, Lucas reveals a terrible secret to his former partner, and an old enemy of the Allan family comes back from the dead!

FC • 32 pages • $3.99

 

The post [Exclusive Comic Preview] Steve Niles’ “The October Faction” # 5 appeared first on Bloody Disgusting!.

WRITTEN BY: Chris Ryall, Steve Niles

ART BY: Anthony Diecidue, Ashley Wood, Val Mayerik, Jay Fotos

PUBLISHER: IDW Publishing

PRICE: $3.99

RELEASE: January 21, 2015

Reviewed By Katy Rex

We make jokes about the imminent singularity and our impending robot overlords, but in most versions of the fictional future worlds we’ve seen depicted, humans still have some hold. In Zombies vs. Robots, humans are a thing of the past– “no masters,” one robot says upon rebooting an old model. With such a silly title, one might expect bloody zombie head explosions and laser death rays to be major points of action, but those things are unremarkable when they occur– because zombie heads getting destroyed are simply a logical means to an end, and laser death rays are simply another technology. This book has a lot more to say than the kind of ridiculous and emphatic fun its title might suggest. It’s still fun and explode-y, but it’s smart, too.

The first issue follows Dronebot Oris-1 as (he? she? it?) re-enters earth’s atmosphere to evaluate the situation on the surface. There’s a great deal of exposition about the way the earth got this way– overrun by zombies, with a few machines here and there doing who-knows-what exactly in a futile conflict. Is it really a war? Without real sentience, even if one side “wins,” what will be left? Whirring robots carrying out mindless tasks infinitely? Zombies with no prey, shambling aimlessly and starving? Is that victory? This issue may be pretty exposition-heavy, but for a mere 32 page comic book, it prompts the reader with more questions than it could possibly answer in such a short time– or maybe at all. And it does so consciously.

Zombies vs. Robots may have started the strange mashup genre, and even won an Eisner for its efforts, but with this issue the creative team are reminding us that silly is only a jumping off point. There’s limitless potential when you really think about the consequences of bizarre pairings like zombies and robots.

The art is expressive and vibrant, equally portraying the inorganic robots and the, erm, extra organic zombies as characters, occasionally suggesting the potential of sentience. It’s realistic and not cartoony, which lends to the serious and critical tone of this ridiculously-premised book. The color palette is what really cements the post-apocalyptic tone.

The two shorts that take place within this universe that are included at the end of the book continue to make use of this color palette, but change the art style with the artist- the main book is drawn by Anthony Diecidue, but Tales of ZVR (which looks very much like the highly detailed bonus material we’re most accustomed to seeing in a rereleased omnibus) is by series creator Ashley Wood, and The Orphan features an entirely different creative team from the rest of the book, with Steve Niles writing, Val Mayerik on art, and Jay Fotos pulling in that aforementioned color palette. With such a large team working on the single book, the consistency of the tone and universe is impressive, and the world is lush and fleshed-out.

Overall, this quick, expressive, and clever book is absolutely worth picking up this Wednesday.

—

Katy Rex writes comics analysis at endoftheuniversecomics.com, comicsbulletin.com, and bloody-disgusting.com. She also writes scholarly articles for various academic journals. She really likes butt jokes, dinosaurs, and killing psychos and midgets in Borderlands 2. She has a great sense of humor if you’re not an asshole.

The post Comic Book Review: “Zombies VS. Robots” #1 Is Quick, Expressive, and Clever appeared first on Bloody Disgusting!.

Damien Worm has the surreal style of Ben Templesmith but has incredible page composition that allows everything to flow with near perfect pacing.

The October Faction #4

Steve Niles (w) • Damien Worm (a & c)

Werewolves, robots, and dead men, oh my! Merle Cope’s plans to destroy the Allan family have been stopped cold, but now what to do with the body? Geoff and Vivian find out how messy the family business truly is, while Robot Face learns the terrible secret about his origin!

FC • 32 pages • $3.99

 

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WRITTEN BY: Steve Niles

ART BY: Christopher Mitten

PUBLISHER: Dark Horse Comics

PRICE: $3.99

RELEASE: December 17, 2014

The world is fighting the world and Niles states that so poetically, “It isn’t a war if there are no sides…. This is an implosion on a massive scale. This is the world committing suicide.” And this is what Cal & Co. are up against. Since the last issue when he figured out that he was, indeed, the Third Child, he sets off to find Hemlock and the demon bubblegum babies to stop the madness. Meanwhile Hemlock is literally ripping his skin off his bones to prove to the demons that he is the Third Child. I love this turn of events. Hemlock has been so powerful and while Cal has been physically strong, he’s emotionally weak. This issue showed us a fantastic role reversal as Hemlock battles with his own inferiority and Cal steps on the scene with all the coolness of James Dean.

I had to laugh as Hemlock went so far to try and prove to the demon babies that he was the Third Child. The way he stood there, frazzled and a mess, emotions laid out on the table, willing to do anything as the babies just demanded things from him and mocked him…it reminded me of babysitting. It’s a terribly brilliant scene with lots of rightful payback that the fans and Cal deserve.

The interactions between Cal, the demons, and Hemlock show some of Niles’ sharper writing, it’s all clever insults, stoic remarks, and badass threats. It was a pleasure to read Cal in these panels. You think for a second that Hemlock gets the drop on Cal until those damn wings again! The way that Chris Mitten has illustrated the power of those wings is nothing short of marvelous. Once Hemlock meets his end (I won’t say how but I will say that Wheatley is the biggest badass in this issue, in fact, he reminds me of a very, very early Cal) it’s just Cal and the demon babies.

There are a couple of pages of some excitedly weird shit: a bit Mogwai after midnight-ish, a little Cthulhu-ish, kind of Godzilla-y? Basically terrifying. And although Cal’s transformation has been seen as a negative thing and he hates it, the second [SPOILER ALERT] his wings are torn off by the demon monster, you feel this heart-stopping moment of sadness. And there’s Cal, bloody and crumpled on the ground. It’s an interesting thing Niles has made us feel for Monster Cal. It’s truly a testament to the writing and the emotive illustrations.

There’s a lot more to this issue and it has the coolest ending but you’ll need to read it yourself. As I mentioned many times in this arc, Niles has dipped into a deeper pool of emotion to draw out some very difficult and raw scenes. This intimacy with Cal has been much appreciated. In Niles’ interview with Famous Monsters of Filmland, he said, “To me, Cal has always been a private detective at heart. So probably after this arc, I’m going to tell some more intimate stories with him on just one case.” Can’t fucking wait.

The post [Comic Book Review] “Criminal Macabre: The Third Child” #4 Gets Messy And Glorious appeared first on Bloody Disgusting!.

WRITTEN BY: Steve Niles

ART BY: Christopher Mitten

PUBLISHER: Dark Horse Comics

PRICE: $3.99

RELEASE: November 19, 2014

Last year when “Criminal Macabre: Final Night” finished, I was so relieved to see that it was “Criminal Macabre” that had won the war. Not that I don’t love “30 Days of Night” but Cal has always tugged on my heartstrings in a much more profound way. We were told at the beginning of that comic book arc that only one series would survive. Niles was killing off “30 Days.” Something very similar feels like it’s happening in “The Third Child,” it feels like Niles is preparing to kill off a comic book series again. This time it might be Cal, and he might self-implode.

This issue picks up with Cal at his family’s gravesite. He continues his emotional talk with his father and we hear some bolstering up that we rarely hear in regards to Cal. In last month’s issue, he finally broke to the point of asking for help, admitting he didn’t know the answers. That was a big step for Cal, and this issue takes an even bigger one. He admits a lot of harrowing truths as we watch his reality crumble around him. But his father reminds him that he chose to walk in the dark to fight for those who couldn’t fight for themselves. And it’s at that moment that Cal realizes what he needs to do to (hopefully) save the world.

Meanwhile, the apocalypse is literally being televised, and Hemlock is out to prove he is the Third Child. Now at this point, we still don’t quite know what the Third Child is, what the requirements are to be it, or if the Third Child will be a good or a bad thing. If Hemlock is, indeed, the Third Child, it will definitely be a bad thing. But dammit if the guts and gore don’t look beautiful at the hand of Mitten.

So here’s where I theorize. I’ve been wrong in the past and I won’t be sad if I’m wrong in this instance. But there are a few hints that this may be the end for Cal McDonald. As in, series over. KaBOOM. He admits in this issue that he’s tired of fighting, that he’s horrified all the time, that something is eating him from the inside. He’s essentially become about as dead as he can be, and he’s transformed into something as monstrous as they come. And then, of course, there are the last three panels of this penultimate issue that give away a big hint this might be it for our supernatural antihero. Either way, Niles and Mitten have dealt out three of the most passionate issues in “CM” history over the last three months, and whether it’s the end of the series or the beginning of a new arc, I’m ready.

The post [Comic Book Review] “Criminal Macabre: The Third Child” #3 Might Be Beginning Of End appeared first on Bloody Disgusting!.

THR writes that the five-issue series was created and written by Craven together with graphic novelist Steve Niles (“30 Days of Night,” “Criminal Macabre,” “Wake the Dead”).

The first three issues of the series have been released together as a special Halloween digital exclusive for Amazon’s Kindle.

“About a year ago, I had the beginning of an unwritten joke come into my head: A Vampire, a Werewolf and a Zombie walk into a bar. Just that. What was the punchline? Who cares – I just liked the sound of it,” Craven said. “My imagination went crazy thinking about what could happen when three such impossibly different characters were thrown together.”

Craven added that when he met with Niles, “we hit it off, and decided to beat out the story of a very special young man’s coming of age, and the two unlikely friends who helped him to survive it. After a bit of hard, fun work, a series of comic books was born, telling not only the story of how these three ended up on the run together, but how the central character, Ritchie, lost his innocence and became one of the most powerful vampires in the world.”

“Wes Craven is not only a great writer, producer and director, he is one of the most knowledgeable people I’ve had the honor to work with,” added Niles. “I not only had fun working on Coming of Rage, I also learned a great deal.”

The post Wes Craven Teams With Steve Niles On “Coming of Rage” appeared first on Bloody Disgusting!.

WRITTEN BY: Steve Niles

ART BY: Christopher Mitten

PUBLISHER: Dark Horse Comics

PRICE: $3.99

RELEASE: October 15, 2014

All of the paranormal and supernatural creatures of LA are rioting, fighting, massacring, and generally being wholly unacceptable. The comic opens with Cal using his newfound aggression to wipe out a fair amount of these good for nothing monsters. If you ever doubted the brilliance of Mitten’s artwork, check out Cal slicing off the heads of an entire crowd of monsters with his fucking wing!

As with last issue, Mo and Adam can only sit back and watch as Cal slaughters and smashes his way into figuring out who he has become. The issue takes a sharp emotive turn when Cal flees the scene and shows up at his family members’ gravesites. For the first time in the sordid saga of “Criminal Macabre” we see Cal break—utterly shattering into a million little pieces—and there are no words to describe the emotional shock and awe I felt when Cal utters a few simple words—begging, pleading—for help. This breaks so many molds for Cal and the entire series. This, readers…was a gigantic moment in the history of “CM.”

Meanwhile, Hemlock is back and has teamed up with the bubblegum-baby-demon-blobs to essentially destroy the world and bring about the elusive Third Child. Which leads us to the second poignant, gut-wrenching scene. But I’m not going to spoil that. Because I want your jaw to drop as hard as mine did.

Niles is hiding a lot of messages in plain sight. His deft writing makes this an extremely fast paced and enjoyable read, but the deeper meanings, the hidden darkness, the wholly personal messages are there if you want to see them. Like I said in my review of issue one: this emotional river runs wild and I have a feeling we’ll be touching on issues like self-acceptance, addiction, forgiveness, and most importantly, redemption. Issue two is pulling absolutely no punches with these difficult subjects. The biggest war Cal is fighting right now is inside him and it’s very possible he might lose.

Mitten will forever and always blow my mind with his art, but never have I felt so deeply about his images as I do in “Criminal Macabre.” Take a look at Cal’s wings and the way they both blend into yet demand attention in each panel and come back to me on that. Mitten has captured the horrifying essence of everything this comic stands for while continuing to keep the art “loose,” as it were, leaving it up to the reader to fill in some emotional blanks.

In the end, LA is fucked. The vampires, monsters, ghouls, werewolves, etc., are irate and up to no good. Cal’s past is catching up with him and Mo can no longer come to his rescue. Hemlock and the demon babies are destroying humanity and the Third Child is coming. This is a shit storm of grand proportions and we have two issues left to resolve it. My heart aches for Cal and my anxiety for his wellbeing (along with Mo and Co.) is palpable. Next month’s issue cannot come soon enough.

The post [Comic Book Review] “Criminal Macabre: The Third Child” #2 is Deeply Emotional appeared first on Bloody Disgusting!.

WRITTEN BY: Steve Niles
ART BY: Damien Worm

PUBLISHER: IDW
PRICE: $3.99

RELEASE: October 8, 2014

Reviewed By Eric Switzer

I guess my major gripe if “The October Faction” #1 is that it doesn’t feel like a first issue at all, and for a fresh IP with as much potential as this book has, I think that is a real disservice.  We are first introduced to a character named Geoff, who apparently can see dead people and has to deal with an obnoxiously flat character bullying him.  We spend most of the issue Fredrick, Geoff’s father, who is a monster professor, as he catches up with his old monster killing comrade Lucas.  We learn about his estranged wife and her affair and then we are very briefly introduced to daughter Vivian as her and Geoff do some kind of magic something, and then we are hit with a stinger that is completely without context and leaves me with the most resounding feeling of “who cares” ever.

Here is why I say it doesn’t feel like an Issue #1: Fredrick is the only character that is properly introduced, I have no idea what the kids are up to or what they are talking about, the cover advertises “Retired monster hunter, thrill-killer, warlock and witch” but again, only the retired monster hunter is evident.  I guess we can assume the kids are the warlock and witch because they are doing some kind of magic something.  It is all very unclear.  It is good for an issue one to introduce concepts and build intrigue, but it feels to me this book is riding to much on the good names of Niles and Worm and not enough on the substance of the plot and characters.  Perhaps what it needed was a double sized issue, or some expositional prose at the beginning, but I don’t think I’m being unfair when I say this is an unsuccessful first issue.  I have no idea what The October Faction is or what that means.  Is it a nickname for the family?  I don’t know and that is probably not a good thing.

This series has every potential to pick up and run with it, perhaps it will be a really outstanding trade, after all this isn’t Niles’ and Worm’s first rodeo and the book is stunning to look at, it really is, but judging one issue at a time, I can’t say I was blown away by this one.  I dedicated to these creators and I trust them to deliver something new and exciting, but this was a pretty blah issue one.

—

Eric Switzer  is an aspiring filmmaker and screenplay writer living in Los Angeles.  His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality.  He can be found on twitter @epicswitzer or reached via email at ericswitzerfilm@gmail.com. 

The post [Comic Book Review] “The October Faction” #1 Disappoints Entirely appeared first on Bloody Disgusting!.

The three-issue story, later collected into a hardback graphic novel, was written by Steve Niles, a known name in the horror comic field (he created “30 Days of Night”), and Matt Santoro. Artist Dave Wachter received a 2012 Russ Manning Award nomination for his gorgeous work.

The unique “Bones” is set during World War II and tells of a British plane that crashes into a Jewish village. The crash brings Nazi attention, forcing the villagers to defend themselves, with one rabbi and his grandson building a Golem creature and bringing him to monstrous life.

“Telling a story can be tough,” Niles said to Heat Vision. “It’s the one monster rooted in religion and mysticism, so I wanted to be respectful. I decided to tell it as a World War II fable. It’s a story of a grandfather teaching his grandson how to make a monster to defend his village against a Nazi invasion.“

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WRITTEN BY: Steve Niles

ART BY: Christopher Mitten

PUBLISHER: Dark Horse Comics

PRICE: $3.99

RELEASE: September 17, 2014

Reviewed By Bree Odgen

“CM: The Third Child” picks up right after last fall’s arc… and I urge you to go immerse yourself in this world if you’ve not already, but for the sake of this review, I’ll say a few things for those of you unfamiliar with the series. Cal has become everything he has ever hated in life. Namely, some form of a monster that we are unsure of. And after giving up his normality to save his ghoulish friends (friends he’ll never admit to caring about), he’s going to have to confront his new “normal” head on.

Niles warned that this arc would take a look into the darkness of Cal’s past and family life. And he does not delay on that promise. It begins with a vague, yet fairly intuitive flashback with a young Cal, showing us a traumatic event that’s implied to have led to his monster hunting, be it monsters of the monster variety or monsters of the human variety. This flashback thread will most likely be a heartbreaking one, but I fully trust Niles to handle it with elegance and care.

Back in the present, Cal is in a deeply dark emotive state and killing monsters in the grisliest of ways. His pals, Adam and Mo are on standby, watching their friend sink lower and lower while the profound level of their love and acceptance makes my heart tighten. Niles doesn’t just write great horror; he has perfected a form of dramatic horror with vast heart and a certain amount of wit that serves his Cal storylines so beautifully.

It’s clear that Niles has a direct path for this arc and he’s not fucking around. Too often, new arcs take at least a full issue to get to the meat, “CM: The Third Child” took a few pages before opening the dialogue on “demon babies” and “monster wars.” As always, Cal will maintain an attitude of distance and apathy. But he’ll never be able to not care. It’s too ingrained in his very nature. He’s trying to hold on to the “him” he’s always known, but in reality, he’s being pulled in opposite directions: the direction to care and fight the good fight while also being pulled in a direction to give himself over to a darker power. In short: he’s a fucking disaster.

Meanwhile, all that talk of demon babies and monster wars was no joke. There are gummy little pink demon blobs turning citizens of Los Angeles into violent fiends. They feed off of pain, hatred, and violence. And while they tear up the place, the monsters of LA are coordinating something else. Could be sinister, could be helpful… it’s a tantalizing mystery.

The first issue of this arc could not have played out more perfectly had the gods of perfect comics written it themselves. Christopher Mitten was born to illustrate Cal McDonald’s world. His art is gritty, loose, hazardous. It feels like the most terrifyingly accurate representation of Niles’ mind. There’s some deep shit here. Like Niles said, it’s going to get intense. This emotional river runs wild and I have a feeling we’ll be touching on issues like self-acceptance, addiction, forgiveness, and most importantly, redemption.

—

Bree Ogden is a literary agent at D4EO Literary Agency, a judge for the Ghastly Awards, and the managing editor of the macabre children’s magazine Underneath the Juniper Tree, which she co-founded in 2011 with artist Rebekah Joy Plett. When she’s not watching horror films, reading comics, hiding out at the Pacific Science Center, or killing off her bee colonies, she teaches graphic novel scripting at LitReactor.com. Twitter: @breeogden

The post [5 Skull Comic Book Review] “Criminal Macabre: The Third Child” #1 is Monstrously Perfect appeared first on Bloody Disgusting!.

From the press release:

FOR IMMEDIATE RELEASE: PHOENIX, AZ —Steve Niles (Breath of Bones, 30 Days of Night) returns to his old haunt with a brand-new four-part miniseries: Criminal Macabre: The Third Child!

Cal’s changed . . . and maybe not for the better. Locked away and drowning himself with booze and aspirin, Cal feels the evil consuming him. Will he be able to withstand its pull or will he become the monster war’s greatest weapon of destruction?

The post “Criminal Macabre” Returns With “The Third Child” appeared first on Bloody Disgusting!.

“Monster and Madman” finished its 3-issue arc this week with a terribly depressing ending, but the only ending that seems fit for the Monster. This unique story that details the life of Frankenstein’s Monster after Victor dies, gives us exactly what we subconsciously want and need from the mythology—for the Monster to be alone. Anything else would feel insincere.

WRITTEN BY: Steve Niles
ART BY: Damien Worm
PUBLISHER: IDW
PRICE: $3.99
RELEASE: May 21, 2014

As the Monster patiently awaits his new bride, Niles and Worm show us snippets of the all-around repulsive situation he is in. The panels move swiftly through a montage of horror in which we see newspaper clippings about the Whitechapel murders, images of prostitutes being hacked up, and the Monster sitting alone as he must endure long, tedious procedures conducted by Jack.

Things settle into place when Jack swings open the door claiming that he now understands Frankenstein’s creation only to blow up into a frenzy again when he sets about to make a bride out of all the hacked-up prostitutes.

Although the Monster has been wary of Jack’s general character from the start he actively chooses not to pursue that negative train of thought. And even though all signs point to Jack as being the Ripper, it’s not until a slab of female body parts is sewn together, electrocuted into the Bride, and starts screaming about Jack being her murderer, that the Monster finally accepts that truth.

This issue moves considerably faster than the previous two. Issues #1 and #2 were a grand, slow burn buildup to the final pages in this issue that carry the full weight of horror when the Bride is awakened. And it’s then that the Monster and Jack’s lives are truly intertwined: the Whitechapel murders and The Bride become one, creating a mess that the Monster must clean up.

It’s a mess that probably could have been avoided had the Monster followed his initial feelings about Jack. This is a new path for Niles. He’s always written a highly sympathetic Monster. But the Monster that he and Worm create is the first one that’s truly fallible. They address the things we can’t deny: he’s a killer, his devotion can be somewhat skewed, and he will do just about anything to get his Bride. Now that he’s paired up with reality, we can clearly see this.

Theoretically, this comic is outstanding. The concept of mixing fiction’s greatest horror icon with reality’s greatest horror mystery is absolutely superb. It wasn’t until this final issue, however, that I saw how the execution of this plot was just as outstanding as the theoretical concept. It’s not just about mixing fiction and reality. It’s about using fiction to explain reality.

The post Review: “Monster & Madman” #3 appeared first on Bloody Disgusting!.

WRITTEN BY: Steve Niles
ART BY: Damien Worm
PUBLISHER: IDW
PRICE: $3.99
RELEASE: May 20, 2014

The Madman’s plan become clear as woman after woman is found slaughtered in Whitechapel. Unaware of the Madman’s actions, the Frankenstein Monster prepares for the day when he will finally meet his mate. Both horrific journeys intersect in this concluding issue!

The post [Exclusive] Preview: “Monster & Madman” #3 appeared first on Bloody Disgusting!.

I’m not sure what to make of this. My initial reaction is apathy. What say you?
From the press release:

April 18th, 2014, Mt. Laurel, NJ: Dynamite is proud to announce that Ash is going to tie the knot this upcoming July in Army of Darkness: Ash Gets Hitched #1. Written by the best-selling comic writer, Steve Niles and interiors by Nacho Tenorio, this monumental event comes with covers by the who’s who of comic artists today: Jae Lee, Lucio Parrillo, Francesco Francavilla, Nick Bradshaw, Arthur Suydam, and Stephanie Buscema!

Army of Darkness: Ash Gets Hitched #1 will be solicited in Diamond Comic Distributors’ May Previews catalog, the premiere source of merchandise for the comic book specialty market, and slated for release on July 9, 2014. Comic book fans are encouraged to reserve copies of Army of Darkness: Ash Gets Hitched #1 with their local comic book retailers. Army of Darkness: Ash Gets Hitched #1 will also be available for individual customer purchase through digital platforms courtesy of Comixology, iVerse, and Dark Horse Digital.

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WRITTEN BY: Steve Niles
ART BY: Bernie Wrightson

PUBLISHER: IDW

PRICE: $3.99

RELEASE: April 16, 2014

If you’re looking for the commercialized, violent, and cheaply horrific Monster that the 21st century has associated with Frankenstein, you’ve come to the wrong comic book. It’s not an easy job to recreate a literary classic, but Niles does this job exceptionally well. He provides us with a deep, thought provoking look inside the Monster’s psyche and additionally, a look into the collective psyche of Man. Much like the original, the Monster serves as a mirror to reflect our fears and prejudices.

One thing that really stands out in issue #3 is Niles’ ability to earn the reader’s empathy. The writing is so dizzying, causing us to feel the same sense of dread, fear, and hopelessness as the Monster. This issue is strong with emotion. We watch as the Monster plummets down from his high off the normalcy that was built for him in the previous issue. The kind façade of Dr. Simon Ingles that had given us hope for the Monster has been shattered and we are pulled into the emotional tidal wave.

Dr. Ingles, who appeared in issue #2 as a kind and gentle scientist working on a way to prolong life and help the body heal itself has been outed as a psychopathic and manipulative murderer. This realization is a blow to the confidence of the Monster, sending him into a frenzied tailspin, ultimately causing him to question his own purpose and reality.

The sheer amount of work that is put into the art for “Frankenstein Alive, Alive!” is astounding. The fact that this is a serialized comic is a treat, even if we have to wait a year or so for each issue. Wrightson is gifting us with a level of artistry that just cannot be achieved on a monthly basis. In addition to the pure skill that’s evident in his art, Wrightson’s take on the appearance of the Monster is reminiscent of the early, mid-1800s Frankenstein artistic interpretations. Especially the classic Theodor von Holst illustration.

This isn’t a comic that one reads for heavy, action-packed plot points. It’s existential. Self-reflective. Very literary. It’s shorter in length than the average monthly comic, so take time with it, indulge in it, soak it in. Treat it like the fine piece of art that it is.

*Dare I say “alive”?

Review by – Bree Ogden

The post Review: “Frankenstein Alive, Alive” #3 appeared first on Bloody Disgusting!.

WRITTEN BY: Steve Niles
ART BY: Bernie Wrightson
PUBLISHER: IDW
PRICE: $3.99
RELEASE: April 16, 2014

The Monster has lived under the roof of Dr. Ingles for over a year but now what seemed like hospitality has taken a sinister turn. Why is the Doctor dismissing the other patients? And why is the monster left behind?

The post [Exclusive] Preview: ‘Frankenstein Alive, Alive’ #3 Finally Released This Week appeared first on Bloody Disgusting!.

“30 Days of Night” creator Steve Niles spoke to me about how the concept came about, working with artist Damien Worm, and writing a new monthly ongoing series.

Bloody-Disgusting: Tell me how the concept came about.

Steve Niles: It’s something I’ve been working on for a little while. Basically, I’ve been trying to come up with an all-purpose horror story. So Instead of writing a bunch of four-issue miniseries like Monster & Madman, Breath of Bones, like these things I tend to do, I wanted to incorporate those right into the stories.

So in October Faction, the lead character is a retired monster-hunter. Just the fact he has that 30 year history of fighting monsters before we meet him gives me a lot of opportunities to delve some stories into it. It really is, I just wanted to do an ongoing horror title and not a high concept. I just wanted it to be Halloween every day.

BD: Tell me what interests you about the protagonist, Frederick Allan.

SN: He’s an ex hunter. He has everything I need. He has 30 years of enemies that I’m looking for. He’s hiding. He’s trying to have a normal life. He’s trying to raise a family. He’s teaching at a school. He’s trying to live a normal life while trying to hide the fact that he’s probably killed hundreds of monsters in his life. That’s what interests me in him. It’s his history.

BD: Tell me about the relationship between Frederick Allan and his children.

SN: Well I can’t! [Laughs] I can only tell you that other than when we meet them, the kids are already 18 years old. They already have a little bit strained relationship with their father. Basically, they know what the father used to do. They want him to do that full-time again because they’re kinda little creepy kids. And it starts out light in the first issue. They’re beginning to question whether or not they’re really his kids.

BD: Freaks of the Heartland is about the bond between brothers. Breath of Bones is about the bond between a young boy and his grandfather. Tell me about the themes of family that interests you.

SN: It’s everything, isn’t it? That’s what makes us. That’s what defines us. That’s what can destroy us, you know, our families. It’s a very important thing. It’s a great way to explore relationships. So I’m really looking forward to it.

BD: Tell me about working with artist Damien Worm.

SN: Well, I found him on Facebook actually. He was promoting his art. I wrote him. I said, “I wanna work with you.” I basically want to keep him busy for the rest of his life, if at all possible. Now, “Monster & Madman” #2 hits the stands. After that, we launch right into October Faction. We’re also working on a couple of other projects together.
He was a real find. He is a great guy. He’s fast, easy to work with. I can’t enough say enough good things about him.

BD: The ’70s are portrayed as psychedelic or as a “pivot of change.” Have you and Damien thought about the look of the ’70s?

SN: Well, I was raised in the ’70s. That’s my time period. Yeah, we thought about it. There will be flashbacks to the ’70s. That’s the thing. It will not only be stories tracking the Allan family in modern times and what’s going on. We will frequently flashback to the ’70s when Frederick and his partner were sort of mass monster hunters/heroes. That will be a big part of “October Faction,” those flashbacks.

BD: Tell me about the short tale, “When The Rain Comes,” you and Damien Worm worked on for In The Dark anthology.

SN: I wrote the story. He illustrated it. And it was very fun. I haven’t really seen the anthology yet. Someone called and asked for that. It was just fun to do it, a straight horror story. I wasn’t really going for a big hulk on that story. I was just going for creepy. That was really fun because Damien can really get creepy across. He’s a very good horror artist that way.

BD: What other projects are you working on now?

SN: I’m finishing Chin Music with Tony Harris. I’m on the last issue of Frankenstein Alive, Alive with Bernie Wrightson. And then Army of Darkness #5 came out. Monster & Madman also came out. I still write Criminal Macabre for Dark Horse with Chris Mitten. The big thing and my focus will be October Faction. Except for Simon Dark, I have never done a monthly comic. So October Faction is going to be my main focus for awhile I hope.

Interview by – Jorge Solis

The post [Interview] Steve Niles Talks His New Series, ‘October Faction’ appeared first on Bloody Disgusting!.

Issue #2 takes off right where its predecessor left off; the monster awakens in a strange place and takes to the city, a thing he is most unfamiliar with, and curiosity is soon overruled by terror. It is at this point we are introduce to John Moore, but his friends call him Jack. This is where the story begins to open up as the monster seemingly stumbles upon a friend. As the story rolls on it becomes clear to the monster that this Jack fellow isn’t exactly what he seems, but knowing he could destroy the man at a whim, he chooses to let the chips fall where they may. As the book closes out we are finally given a brief view of the man who becomes the legend of Jack the Ripper.

Steve Niles has the ability to create empathy for the monster, giving him human emotions that the reader is able to identify with. Everyone has felt like an outcast at one point or another and this lonely feeling secretes from the pages. As the story unfolds it’s interesting to see how Niles depicts Jack the Ripper as seemingly a harmless man with curiosity that borders on psychosis. There have been many renditions of Jack the Ripper throughout the years, but this is a particularly interesting one, coupled with his interactions with Frankenstein’s monster we are really able to see the quirks of Jack’s character.

The story itself starts off quickly as the monster strolls through the crowded city streets but it tones down in pace once the interactions begin between the two characters. By the end of the book I could feel more kinship with the monster than the madman which really is the core of Frankenstein’s monster, even though he’s a creature of dark science, he is really more human than most people.

The art by Damien Worm is breathtaking. The images appear so sketchy and out of focus at times but then suddenly are clean and crisp as though they could leap off the page. This artistic style, dark and gritty, really adds to the overall feeling . When I reflect on the first issue I see many similarities between the two, but this book has something the previous issue did not. It feels as though Worm changes his style and I’m interested to see what he cooks up for the third installment.

Overall, a brilliant second issue to the story arc; both characters are developing quickly along with the plot. This is a must for horror fans.

4/5 Skulls

Reviewed by – GreenBasterd

The post Review: ‘Monster & Madman’ #2 appeared first on Bloody Disgusting!.

Looks like another hit horror series for Niles. No release date has been set, but you can take a gander at the nice teaser/cover art below.

From the press release:

San Diego, CA (March 21, 2014) – It is said that no two families are alike, but never has that been more true than in the case of the Allan family, the subject of Steve Niles and Damien Worm’s new IDW ongoing series, The October Faction.

Steve Niles is credited as one of the contemporary writers that brought horror comics back to prominence with works such as 30 Days of Night, which was also made into a major motion picture. He is currently collaborating with another horror legend, Bernie Wrightson on Frankenstein Alive! Alive! and Damien Worm on Monster & Madman, both from IDW.

The post ‘October Faction’ Makes Every Month Halloween! appeared first on Bloody Disgusting!.

“In The Dark” boasts an incredible lineup of creators, all delivering their unique spin on the horror genre. Check out the full list of contributors below. We’ve also got an exclusive look Steve Niles and Damien Worm’s short tale, “When The Rain Comes”.

A message from Rachel Deering:

The Writers:
RACHEL DEERING – CREEPY, Diablo III, Anathema
SCOTT SNYDER – Batman, American Vampire, The Wake
STEVE NILES – 30 Days of Night, Criminal Macabre, Mystery Society
JUSTIN JORDAN – Luther Strode, Shadowman, New Guardians
CULLEN BUNN – The Sixth Gun, Helheim, Deadpool
PAUL TOBIN – Colder, Conan, Bandette
DUANE SWIERCZYNSKI – Judge Dredd, Godzilla, Birds of Prey
TOM TAYLOR – Injustice: Gods Among Us, Star Wars, Batman
F. PAUL WILSON – CREEPY, EERIE, The Keep
TIM SEELEY – Hack/Slash, Revival, The Occultist
MARGUERITE BENNETT – Batman, Lobo, Batgirl
BRIAN KEENE – The Last Zombie, Doom Patrol, Masters of the Universe
CHRISTOPHER SEBELA – Ghost, High Crimes, Captain Marvel
MATTHEW DOW SMITH – Hellboy, Dr. Who, Sandman Mystery Theatre
JAMES TYNION IV – Batman, Red Hood, Talon
SEAN E. WILLIAMS – Fairest, Artful Daggers
MICHAEL MORECI & STEVE SEELEY – Hoax Hunters
JODY LEHEUP – Uncanny X-Force, Quantum and Woody, Strange Tales
ED BRISSON – Comeback, Sheltered, Secret Avengers
MIKE OLIVERI – Deadliest of the Species, The Pack, 4×4
NATE SOUTHARD – Down, Lights Out, Scavengers
VALERIE D’ORAZIO – X-Men, PunisherMAX

The Artists:
DECLAN SHALVEY – Deadpool, Conan, Venom
TRADD MOORE – Luther Strode, Deadpool, Batman
DALIBOR TALAJIC – Deadpool Kills the Marvel Universe, Tomb of Dracula, Dexter
TYLER JENKINS – Peter Panzerfaust
DAMIEN WORM – Monster & Madman
ANDY BELANGER – Swamp Thing, Kill Shakespeare, Black Church
PATRIC REYNOLDS – Abe Sapien, Let Me In, CREEPY
ROBERT WILSON IV – Knuckleheads, Like A Virus
STEPHEN GREEN
MATTHEW DOW SMITH – Hellboy, Dr. Who, October Girl
MARC LAMING – Planet of the Apes, The Activity, King’s Watch
CHRISTIAN WILDGOOSE – Super 8, True Grit, Porcelain
DOUGLAS HOLGATE – Case Files 13, Flight, Zinc Alloy
BRIAN LEVEL – X-O Manowar, Bloodshot, Brothers James
CHRISTIAN DIBARI – Anathema, Sebastian Hawks, Ghost Cop
MIKE HENDERSON – Masks & Mobsters, Ghostbusters, Spider-Man
MACK CHATER – Ubisoft, Earp, Ashes
ALISON SAMPSON – Outlaw Territory, Spera, Porcelain
JONATHAN BRANDON SAWYER – Fubar, Imaginary Drugs
DREW MOSS – The Colonized, Baku, Zombies vs. Robots
THOMAS BOATWRIGHT – Halloween Legion, Zeke Deadwood
DAVID JAMES COLE – Birds of Prey, Star Wars, Dragonlance
ERYK DONOVAN -Super Mario Bros. 2, Dust
TADD GALUSHA – The Backwoods

The post [Exclusive] Preview: Steve Niles & Damien Worm’s ‘In The Dark’ Short appeared first on Bloody Disgusting!.

This book acts as a bridge for those unfamiliar with what has taken place for Frankenstein’s Monster, and his road has been long and hard. The first pages alone give great insight into his mind. As the story’s events unfold the Monster goes through a tremendous amount of personal growth as different challenges are set in front of him, showing that he possesses the full spectrum of human emotions. By the conclusion of the tale the Monster has already grown weary of his existence, but as he encounters Saucy Jack (the Ripper) in the closing panels, it begins a whole new chapter for his miserable life.

Steve Niles has been in the comic game for a long time and this story is testament to his abilities; the way he is able to create empathy for the creatures is astounding. As the story rolls on, Niles opens the Monster right up by using different methods of storytelling – having the Monster act as a narrator gives great insight into his thoughts. A moment that particularly stands out is when he describes his dreams and their effects.

This comic wouldn’t stand out as much were it not for the incredible skills of Damien Worm. Unlike most artistic styles out there, it resembles a mesh between some very sketchy illustrations and old photography. Worm is able to really twist the images in ways that give this book an authentic horror feel, combining the illustrations with a massive spectrum of colour and colouring styles.

With its combination of unique style and clever writing, I am impressed with this issue. There is only room for growth as the story arc trundles on.

4/5 Skulls

Reviewed by – GreenBasterd

The post Review: ‘Monster & Madman’ #1 appeared first on Bloody Disgusting!.

The plot of this horror one-shot is introductory. There is no beginning, middle, end. There are a series of events shadowing vampires Tarquin and Moria as they live, love, fight, and hunt during the black plague. In order to give us some context of their lives, Niles seamlessly interlaces flashbacks and possible flash-forwards. This technique also serves to make the plotlines time frames enigmatic. We’re not quite sure which plotline has us in the present. Overall, this creates a circular-type understanding of their existence, which is simply impressive.

Niles sets up an interesting character dynamic. Two vampire lovers against the world, “enemies in life, lovers in death” …and other romantic literary tropes are added into a juxtaposition of the pair’s humanity and their absolutely brutal impulses. In a landscape of literary bipolar disorder, Tarquin and Moria go from gentle, kind beings, to loyalty-driven vigilantes, love-driven murderers, utterly brutal fiends and back again. His writing really accentuates this as he uses a gothic-romance tone—a tone that’s fairly rare for Niles though shockingly unique to his writing.

True to Menton3’s artistic nature, the color palette is dark and rich, the faces and bodies are harsh and slender throughout the two styles of illustration he ping-pongs between in “Nosferatu Wars”. When his more sketch-like, rudimentary illustrations break into his velvety gallery-style art it’s like a high–voltage current running to your shock collar. It exacerbates the fear and heightens the senses in handpicked panels.

Without giving anything away, I must confess the ending twist made me laugh for an abrupt moment. I’m still not sure how I feel about it but a.) I believe in the future, we will get an answer on why this twist was important to utilize, and b.) it’s a fresh take on the vampire genre. Like…a never before seen take. The one-shot ends on this twist leaving you slightly unsatisfied and craving more.

I enjoyed getting acquainted with Tarquin and Moria, consuming the stunning art, and obsessing over the hauntingly beautiful bloodshed. Though the plot was not completely stand-alone, which is uncharacteristic of a one-shot comic, I do think (and hope) that we will see these characters in a series of one-shots. Or however it’s done, I believe we will see more of this nicely established world and its brilliant characters.

4/5 Skulls

Reviewed by Bree Ogden

The post Review: ‘Nosferatu Wars’ appeared first on Bloody Disgusting!.

Steve Niles (w) • Damien Worm (a & c)
Contrary to popular belief, the story of the Frankenstein Monster did not end at the end of Mary Shelley’s famous novel. Now, Steve Niles and Damien Worm have uncovered the shocking fact of the time the Monster met… Jack the Ripper. Read if you dare!
FC • 32 pages • $3.99

The post [Exclusive] Preview ‘Monster & Madman’ #1 appeared first on Bloody Disgusting!.

When I say it’s familiar, well, yea… of course it is. It’s a spin-off. But it’s familiar in a way that the past three issues weren’t, it’s closer to a regurgitation of the film Army of Darkness as opposed to a continuation. For example, we find ourselves in the woods where Ash originally found the graveyard of Deadites and the Necronomicon. In addition to being back in the same place, we are also following a similar plot line. Ash is looking for the Necronomicon amongst the grave-filled woods in order to retrieve the Book of the Dead and save the land from an army of Deadites.

While there are a few differences this time around—Sheila joins Ash in the woods, there are 6 books of the dead instead of 3, and the Deadites aren’t attacking straight out the gate—the premise is no longer able to stand on its own. In order to fully understand what is happening in the sparse panels and appreciate the increasingly thinning plot of issue #4, you really need to have seen the films.

Among many of the classic tropes reused in the comic is that awesomely terrifying fast motion zoom from the films. You know, the one that’s accompanied by the vrooooooooom sound indicating that something evil is headed straight for Ash and it’s headed there fast. I found that Calero did a mighty fine job of recreating this motion in still panels. I was immediately thrown back into the warm, cozy familiarity of Evil Dead and felt a real grip of fear for the first time in 4 issues.

We also see a few other recognizable images from the film series like hands shooting out of graves and even Deadite Ash. As a fan of the films, it’s a lot of fun to relive and it gives me a little more of something I have always loved. But if I take myself out of the mindset of an Evil Dead buff, I wonder if these tropes would matter much to the common audience? Which in turn makes me wonder if Niles, Calero, and Dynamite ever set out to accomplish that feat in the first place?

Ultimately it comes down to this: “Ash and the Army of Darkness” is a fun supplement to the films. It’s a great read if you have a working knowledge of the Evil Dead mythology. If not, if you’ve never seen Bruce Campbell work his Ash-magic, you’re going to feel lost. You’ll feel like the wallflower at the cool kids’ party, the person who is sitting outside of the inside joke. And like I said, I’m not sure that’s a bad thing because I am not sure the creators set out to include everyone from the beginning.

3/5 Skulls

Reviewed by – Bree Ogden

The post Review: ‘Ash and the Army of Darkness’ #4 appeared first on Bloody Disgusting!.

This is a harrowing story, sincerely emotional and profoundly intelligent: a comic series that truly only comes along once in a while. Steve and Dave were kind enough to discuss this momentous comic with Bloody Disgusting in great depth. And Bloody Disgusting was rewarded with incomparable details as well as an exclusive look at the cover for Steve Niles’ new “Criminal Macabre” arc and a look into Dave Wachter’s upcoming graphic novel, “Guns of Shadow Valley”.

BD: Where either of you scared or hesitant at all to take on the heavy subject of Nazi invasion?

Steve: Scared? No. Cautious yes. The one thing I wanted to avoid was putting out another story that glamorized the Nazis. I think too many movies do this and I wanted to avoid that so we made a big effort to make them and keep them as monsters. They had very little dialogue and Dave hid their eyes from us. In this story they are not human, they are a force of evil. But it wasn’t only the Nazi’s I wanted to be respectful of, but also Jewish mysticism and religion. I am not Jewish so I thought it was very important to handle it right. I hope we did.

BD: This comic is quite the tour de force. When you two started this project, did you have any idea how profound a piece of work it would become?

Steve: I wanted it to be special. The subject matter sort of demanded it but all I was thinking at the time was to write a good comic.

Dave: Steve presented a strong concept and a quality script, it was my job to live up to that material. I thought we were making something worth reading, I think I was right. Whether it’s profound or not is hard for me to judge. I’m happy people seem to really like it.

BD: I’ve always been fond of the sentiment: “Fight monsters with monsters.” Or in the case of “Breath of Bones”: “Sometimes it takes monsters to stop monsters.” I’m curious, how do both of you personally define a monster?

Steve: In the classic sense monsters are big creatures who can be evil or good but are usually portrayed as bad. Monsters can also, and most often are, humans. Not because of their appearance but because of there actions. I think Breath of Bones plays of many sides of what a monster can be.

Dave: I’ve always thought that the ugliest monsters hide behind a handsome, smiling face. They have charm, are beloved, and wield influence. But what makes them a monster is how they treat people, the actions they take to hurt others. If what you are doing has no productive mission but to hurt others, or if you trample over the powerless for your own personal gain with no regard for those in your way, that’s my definition of a monster. The ugly guys we see on the screen and on the page, are usually a reflection of this side of humanity that’s in all of us.

BD: Steve, this storyline is a bit of a departure from some of your best-known work. Tell us how it felt to work on this project from conception to completion. Did it feel different than a lot of the other projects you’ve done?

Steve: If anything it’s more in the vein of “Freaks of the Heartland”. It’s sort of horror with heart, I guess. It’s something I’d like to hit more often. The difference is simple; I am going for an emotional reaction. I tend to put a lot more of myself into these kinds of stories and that can make it harder. In BoB I pulled a lot from my own experience with my father and grandfather in that I never had a chance to really know either. It’s something that has frustrated me a lot in my life so I used that in the story.

BD: You are best known for your work in the monster horror genre with comics like “Criminal Macabre” and “30 Days of Night”. What compelled you to take on the Jewish folklore of the Golem?

Steve: I’ve always been fascinated with the Golem but it is the one monster deeply steeped in religion. I was raised catholic but now as an adult I have no spiritual beliefs. I very much believe this is the one life we get and we should make the best of it. But when I take on stories about religion and the supernatural I get to explore all kinds of “what ifs” and that always fascinates me. The very idea that we could will a hunk of clay to life from sheer emotion is an amazing idea. What I did with BoB was find as many common threads, emotions and experiences and interwove them into the story in a way we can all relate. We can all relate to wanting someone back, who has died, so badly it feels like we CAN bring them back. I looked for the common threads while always being respectful of the characters.

BD: While writing about such a devastating time in history, did you hesitate on anything? What was your process?

Steve: I actually avoided too much research because of a decision I made early on. I didn’t want it to be about World War II and get all caught up in that. I wanted it to have an almost fable like quality so we never name the town or really say when it is happening. Luckily Dave added such a level of authenticity in the art that he saved me a lot of work. I’ve had several WWII buffs comment that Dave nailed the tanks, the plane and the village. This was one script I bounced off a lot of friends, which I almost never do.

BD: Dave, the art for BoB is breathtaking and phenomenal. The emotion you are able to evoke with your touching images of Noah and his grandfather, the Golem and Noah, it’s quite astonishing. Did you ever consider doing this work in color or was it black and white from the start, no question? Did you find any challenges in creating such a vivid environment, which you truly have, in black and white?

Dave: Thank you! I love working in black and white and have been searching for the right project that would allow for it. I knew right away that this was a perfect fit. Being a WWII period piece, it seemed like a no brainer, but it also turned out to set the perfect mood for this story. It allowed the raw content and emotional resonance to come forward unobstructed. Color would have only gotten in the way.

BD: How were you able to create such heart, mood, and emotion in the Golem’s expressions when you were dealing with an essentially non-sentient object? What mind frame did you have to be in to create that type of intense feeling?

Dave: It was important to have the Golem’s visage be nearly featureless. The golem is not a singular being on it’s own, it’s a conduit of emotions, a reflection. And not just of the other characters in the book, but also of the reader. So it needed to be easier to “see ourselves” so to speak, our own emotional energy as observers, in it’s image. And the emotions that it does express, come through stark portrayals on it’s furrowed brow in anger, the power and rage in it’s posture, and more subtle emotions in it’s body language.

BD: Your panels with the Golem attacking the tanks, they’re almost like Pollock paintings, so fierce and stunning. What did you hope to arouse in the reader with those images?

Dave: I’m just trying to convey the power, fury, and rage of the moment. It’s the release of all the tension built up throughout the story, and that frustration set forth in the most physical of forms. It is retribution.

BD: Can you tell us a bit about your artistic process for “Breath of Bones”, from sketch to finished panel?

Dave: Since this is a period piece, it starts with a lot research. Tanks, guns, uniforms, buildings, hairstyles, and then fill in the rest the best I know how when I come up short or run out of time. I sketch all my rough layouts on the computer in Photoshop. Then a more detailed “pencil” layer over top of that. I print that out in blue lines onto watercolor paper, where I ink and finish with the ink washes.

BD: When the golem awakes, it’s such an emotional, pivotal moment in the storyline. It’s a terrible moment for Noah, having just lost his grandfather, but in that moment, the worm’s eye view of Noah looking up at this creature that his grandfather had so much faith in, the panel just screams victory and hope. What did the two of you feel was the most important reader reaction to conjure at that point? What emotion did you want to leave that issue on?

Steve: I think most of us have felt helpless. In Noah’s situation, in real life, things would not have ended well, so that moment was important because it is that fantasy moment of hope. We don’t get many moments like that in real life so when it’s done right (and Dave did it right) we feel all those emotions we would if it really happened. That’s what you shoot for when you tell a story, to trigger a real emotion.

Dave: I was trying to give them a taste of what was to come in the next issue. All the tension and sacrifice up to this point, everything has led up to this. I wanted the reader to know we aren’t fooling around, this creature was going to do some damage.

BD: There is a scene in the very end of issue #3 where the Golem puts his finger to Noah’s chest. It’s a wonderful scene because it can be interpreted so many ways. I’m curious how you interpret that panel.

Steve: See now, that was left open on purpose. I am big believer in leaving certain things, especially in horror, to the imagination. I know EXACTLY what happened there but if yours is different, does that make it wrong? Of course not. I prefer not to say and let each person walk away with something slightly different.

BD: Steve, you have a new “Criminal Macabre” storyline in the works. I know you are keeping these cards very close to the chest, but what can you tell us about that?

Steve: Well, Cal isn’t in the best shape as you know. He has basically become everything he’s ever hated. This next arc deals with him confronting that head on and it’s going to get pretty intense.

BD: As Bloody-Disgusting’s own ShadowJayd pointed out in her review of “Criminal Macabre: The Eyes of Frankenstein” #4, that brilliant arc left us with “more questions than answers.” When we last saw Cal he was… a new supernatural being. One none of us are entirely sure of, including Cal himself. What can you tell us about the current state of Cal McDonald?

Steve: He’s not happy and one of the things I’ve been teasing at is Cal losing control. It’s one thing to look like a monster, but what happens inside that creates the soul of a monster? That’s a big part of the next arc.

BD: I have a pretty strong feeling you’re not going to give me this detail but I’ve got to ask: Will we see Hemlock again?

Steve: Yes. No. Maybe.

BD: From the looks of it, there is going to be a MUCH darker occult tone than normal for Criminal Macabre, dare I even say it appears there may be some satanic dealings in this new arc, would you concur?

Steve: It will be slightly darker but not because of the occult stuff. This time it’s because I’m going deeper into Cal’s past. It’s the real world stuff that will make it dark. I’m bringing back Cal’s family and examining his childhood a bit.

BD: Dave, you have an exciting new project releasing soon, “Guns of Shadow Valley”. You had an extremely exciting and successful Kickstarter to fund the project. Why did you choose Kickstarter instead of approaching publishers with it?

Dave: The webcomic had been on hiatus for quite a while, well over a year. It’s labor intensive, I co-write along with Jim Clark, I pencil, ink and color. I felt we had to finish this story, so Kickstarter seemed like the perfect opportunity. I needed to be able to work on it full time to finish the last half, some 100+ pages. I needed money up front in order to do that and Kickstarter was the only way that would be feasible. And as it turns out, we did manage to get a publisher, and Dark Horse will be releasing the hardcover in late summer of this year, which I’m really excited about.

BD: What compelled you to turn your extremely successful webcomic into a tangible graphic novel?

Dave: That was always the plan, having it go to print in some fashion. Jim and I began this project in 2007 as a potential comic book series. We approached publishers back then, got a few nibbles, but no deals that we were satisfied with, so we decided to make it into a webcomic and grow our own audience. And that worked. It took time, but word started to spread, and we got nominated for both the Eisner and the Harvey Awards. But we always wanted to bring it back to print, it was just a matter of how best to do that. A big collected hardcover is the best way I could have ever thought and I’m thrilled we get to finally do it right.

BD: Anything you can tell us about the graphic novel that followers of the webcomic might find surprising?

Dave: I think they’ll probably find that it reads better in print than it does on the screen. It’s going to look really nice on the printed page. And we’ve included some cool extras in the back that folks should like, stuff they’ve never seen before that spans the entire 6+ years we’ve been working on this.

BD: What has been the most exciting aspect of seeing your webcomic come to life in graphic novel form?

Dave: The most exciting thing about this process is all the incredible support we received through the Kickstarter campaign. It really showed us that people were wanting this, and that they believed in us and what we were doing. I was worried going in, whether we would be able to reach our goal. I was hopeful, but I was also trying to prepare myself for failure, and a public failure at that. Within hours of the Kickstarter launching, those fears were wiped away. It’s been more than 6 years since this project began, and it’s extremely satisfying to have it finally come to fruition.

BD: So for those who are unfamiliar with the webcomic, can you tell us a bit about “Guns of Shadow Valley”?

Dave: It’s an epic adventure set in the Wild West, that has its share of the supernatural, a dash of steam punk, a good helping of sci-fi, big action, weird characters, and mystery. If that sounds interesting, the webcomic is still going strong, we post two new pages per week, every Tuesday and Thursday, and then a complete hardcover collected edition will be out from Dark Horse in late August.

Look for the Breath of Bones collected hardcover edition out through Dark Horse Comics in mid-March. And keep your eyes peeled for both Steve and Dave’s exciting new graphic projects!

Interview by – Bree Ogden

The post [Interview] Steve Niles & Dave Wachter Talk ‘Breath of Bones’, New ‘Criminal Macabre’, & ‘Guns of Shadow Valley’ appeared first on Bloody Disgusting!.

“In The Dark” comes packed with 20 original stories from Justin Jordan, Cullen Bunn, Steve Niles, Duane Swierczynski, Tom Taylor, Tim Seeley, Brian Keene, F. Paul Wilson, Ed Brisson, Marguerite Bennett, Valerie D’Orazio, Paul Tobin, James Tynion IV, and more.

Official Press Release:

San Diego, CA (January 9, 2013) – The terror tome that has all the horror hounds frothing, In The Dark, is poised to make its debut this April! Featuring top writers and artists from the comic-book industry, In The Dark contains over 20 all-new, original horror stories that you’ll want to read with the lights on.

In The Dark is the latest anthology IDW is pleased to publish under its banner, joining Womanthology and the prose anthologies V-Wars and Zombies Vs. Robots: This Means War!

The post IDW Puts You ‘In The Dark’ With A New Horror Anthology appeared first on Bloody Disgusting!.

The Ghastly Award Judges are proud to announce the 2013 Ghastly Award Nominees. The nominees, chosen by the Ghastly Award Judges, reflect the wide range of horror material being published in print and web comic form today. All Nominees were selected from work that was submitted by comic Publishers and Creators throughout the year for Ghastly Award consideration.

Named after acclaimed comics creator “Ghastly” Graham Ingels, the awards are now in their 3rd year.

Fan and Creator Voting will be open from January 10, 2014 until January 24, 2014 at www.ghastlyawards.com. You may only vote once for the 2013 Nominees, and Fans will decide the winner of the Best New Series Award. Winners will be announced in January 31, 2014.

We thank everyone who took the time to submit their work for this years awards.

The 2013 Nominees are:
Best Ongoing Title:
Afterlife with Archie (Archie Comics)
B.P.R.D. (Dark Horse)
Coffin Hill (Vertigo)
John Carpenter’s Asylum (Storm King Comics)
Rachel Rising (Abstract Studios)

Best Mini-Series:
Colder (Dark Horse)
Five Ghosts: The Haunting of Fabian Gray (Image Comics)
Killogy (IDW Publishing)
Locke & Key: Omega (IDW Publishing)
Lot 13 (DC Comics)

Best One-Shot:
’68: Hallowed Ground (Image Comics)
Baltimore: The Widow and The Tank (Dark Horse)
Edgar Allan Poe: The Raven & The Red Death (Dark Horse)
Fubar: Free Comic Book Day (Alterna Comics/Fubar Press)
The Living Corpse: Haunted (Dynamite Entertainment)

Best New Series (Fans Will Decide the Winner):
Abe Sapien (Dark Horse)
Afterlife with Archie (Archie Comics)
Coffin Hill (Vertigo)
Ghosted (Image Comics)
Ten Grand (Image Comics)

Best Anthology:
American Vampire Anthology (Vertigo)
Bela Lugosi’s Tales From the Grave (Monsterverse Entertainment)
Bloke’s Terrible Tomb of Terror (Independent)
The Witching Hour (Vertigo)
Twisted Dark (T Publications)

Best OGN:
Aliens: Inhuman Condition (Dark Horse)
Eldritch (SLG)
Flesh & Blood Vol. 3 (Monsterverse Entertainment)
Hellboy: The Midnight Circus (Dark Horse)
The Shadow Out of Time (SelfMadeHero)

Best Archival Collection:
B.P.R.D. 1948 (Dark Horse)
Creepy Archives Vol. 17 (Dark Horse)
The Chilling Archives of Horror Comics: Haunted Horror (IDW Publishing/Yoe Books)
The Human Gargoyles (Bleeding Moon Comics)
Steve Ditko Monsters Vol. 1: Gorgo (IDW Publishing/Yoe Books)

Best Writer:
John Arcudi (Abe Sapien, B.P.R.D.)
Cullen Bunn (Helheim, Sixth Gun)
Joe Hill (Locke & Key: Omega)
Terry Moore (Rachel Rising)
Paul Tobin (Colder)

Best Artist:
Richard Corben (Edgar Allan Poe’s The Fall of the House of Usher, The Raven and the Red Death)
Glenn Fabry (Lot 13)
Juan Ferreyra (Colder, Kiss Me Satan)
Francesco Francavilla (Afterlife with Archie)
Gabriel Rodriguez (Locke & Key: Omega)

Best Inker:
Terry Moore (Rachel Rising)
Jason Paulos (EEEK!)
Drew Rausch (Eldritch, My Blacks Don’t Match)
Emma Rios (Pretty Deadly)
Rob Sacchetto (Rob Sacchetto’s Cape Fear)

Best Letterer:
Jack Morelli (Afterlife with Archie)
Nate Piekos (Billy the Kid’s Old Timey Oddities, Colder, Kiss Me Satan, To Hell You Ride)
Robbie Robbins (Locke & Key, X-Files)
Clem Robins (B.P.R.D., Baltimore, Hellboy in Hell, The Strain)
Rus Wooton (Ghosted, The Walking Dead)

Best Colorist:
Jordie Bellaire (Pretty Deadly, The X-Files)
Jay Fotos (’68, Locke & Key: Omega)
Francesco Francavilla (Afterlife with Archie)
Miroslav Mrva (Ghosted)
Dave Stewart (Abe Sapien, B.P.R.D., Hellboy: The Midnight Circus)

Best Web Comic:
Chopping Block (choppingblock.keenspot.com)
Crossed: Wish You Were Here (crossedcomic.com)
Last Halloween (last-halloween.com)
My Blacks Don’t Match (drewrausch.com/comic/its-alive)
The Eighth Seal (thrillbent.com/comics/the-eighth-seal)

Hall of Fame Inductees:
Gene Colan
Archie Goodwin

We congratulate all of the Nominees for what they bring to the comic reading community. To be nominated by the Ghastly Award Judges is a big honor and the Ghastly Awards are here to celebrate your achievements.

Ghastly Awards
www.ghastlyawards.com

Judges:
Decapitated Dan, Steve Banes, Pedro Cabezuelo, Rachel Deering, Denise Dutton, Mike Howlett, Belinda “Spaced” McNeill, Lonnie Nadler, Bree Ogden

Founded in 2011 by Decapitated Dan with the help of Steve Banes, Mike Howlett, Lonnie Nadler and Mykal Banta, the Ghastly Awards recognize outstanding achievements in Horror Comics over a range of 15 different categories. The nominees are chosen by other horror comic book professionals and winners are chosen by a panel of judges. Since the start of the awards, 5 more judges have been added into the group.

The Awards were named for acclaimed comics creator “Ghastly” Graham Ingels.

Starting in 2013 the Ghastly Awards switched over to a Submission based process. Comic Publishers and Creators can submit their books for nomination consideration throughout the calendar year. The top five nominees in each category will be chosen by the Judges, and will then be voted on by the Judges, Creators and Fans to decide the winners.

The Ghastly Award Judges work strictly on a volunteer basis. There is no paid staff and the awards are completely funded from the generous donations of its sponsors.

The post The 2013 Ghastly Award Nominees Announced! appeared first on Bloody Disgusting!.

Due to the amount of worthy titles being put out on a regular basis, narrowing my selection down to ten was nearly an exercise in futility. I finally put my list together and what you find is a melting pot of comic book culture, covering everything from the Big Two to indie publishers to webcomics.

I had no idea who Sam Alden was a few months ago, and now he is near the top of my creators-to-watch list. “Haunter” is gorgeously crafted silent webcomic that fuses elements of fantasy, horror, and adventure. The vibrant coloring combined with the smooth flowing narrative creates the sense the monster is chasing you, making for one of the most re-readable comics of the year.

Read it here.

I’m a sucker for anything Lovecraft related, and I.N.J. Culbard is a master at adapting the master of horror’s adjective-laden prose into comic book form. “The Shadows out of Time” is perhaps one of Lovecraft’s most eccentric stories and Culbard brings it to life with a multitude of surreal and dark imagery. It’s an impressive adaptation, even with some details left out. This is a must read for Lovecraft fans.

Thor has always been a hero that demands epic storytelling, and what could be more epic than three Thors (past, present, and future) duking it out against the brutal and unwavering God Killer. Although Esad Ribic is off the book now, he captured the gloom of the story perfectly, adding to the horror of the first few arcs. I feared the book would decline after such a stellar “God Killer” storyline, but Aaron continued the dark tone by introducing Malekith and his sinister plans for Genocide. Jason Aaron writing has the God of Thunder at the top of my reading pile every month.

Hellboy was on hiatus for a while, and, though he’s not back in the land of the living, it’s a welcomed return that means his death will have a true lasting effect on the series. The book also marks Mike Mignola’s long awaited return to interior art and it’s some of his best work ever. Mignola has one of the most distinctive and beloved styles in the history of comics. When you see a Mignola page, you know it is his in an instant and that has always set “Hellboy” above the rest. “Hellboy in Hell” is simply a great comic.

A metafictional mystery that investigates the relationship betweens characters and the work of art itself, David B.’s “Incidents in the Night: Volume 1” is a terrific post-modern tale. Although it has been out for quite a while in France it was just translated to English this year. It’s a surreal film-noir style story about a serious collector who sets out to find a specific journal that brings him into a world of dreams, and away from the angel of death. It’s has nightmarish, yet tempting environment that completely sucks you in.

Jeff Lemire’s creator owned work has always pushed the boundaries of the medium with his almost-naïve art style and unconventional panel layouts. “Trillium” thrusts mainstream comics to a new level, using experimental issue designs that match the content of the book. He’s one of the only creators working for the Big Two who experiments with the medium, and for that alone he deserves all the praise he gets. “Trillium” is thrilling sci-fi adventure with a heart that showcases Lemire’s command over his art.

What many people don’t take the time to understand is that comics are simply a different form of storytelling, and like film or literature, it has its advantages and disadvantages. “Five Ghosts” is the kind of story that could only be told in comic books. The creators take full advantage of the medium, utilizing sequential art to its fullest. While I imagine the book might be optioned for a film deal in the near future, no big screen adaptation will come close to what the book offers in comic form. “Five Ghosts” is a gorgeous pulpy adventure that smashes genres together with poise and confidence.

Scott Snyder may be churning out some of the hottest superhero titles, but his roots will forever remain in horror. “The Wake” pulls from a plethora of deep-sea legends, drawing inspiration from the likes of H.P. Lovecraft and Jules Verne. The ocean is a terrifying, enigmatic abyss that we know so little about, and Snyder is able to tap into that fear of the unknown with his adept writing. For a story that mostly takes place in a small, claustrophobic, Alien-esque submarine, it is so massive in scope that you can feel the importance of the book with every issue. “The Wake” is a master class in horror storytelling.

There is no genre more overrun with bankrupt imagery than horror. It’s increasingly difficult to scare or shock readers with imagery alone, yet somehow Emily Carroll manages to do it on a consistent basis. “Out of Skin” in a simple and profound story, and it’s the simplicity that makes it utterly disturbing. It’s beautiful, brazen, and original horror. “Out of Skin” proves that Emily Carroll is one of the most cerebral minds working in horror comics right now.

Read it here.

44FLOOD continues push the frontier of sequential art. “LUST” is as much a provocative story as it a piece of art. From the minds of menton3, Ben Templesmith, and Steve Niles, “LUST” explores human desires, their alluring nature, and their precarious affects on the mind. This is a comic that asks important questions about human existence and never shies away from the truth, and that is where the real horror comes from. It is superlative work that bleeds with passion, dread, and brilliance.

Honorable Mentions:
There are a few books that I just loved later in 2013, but I thought it unfair to put them in a best of the year list when only two issues have been released. Those books are “Afterlife with Archie” and “Drumhellar”. Kurtis J. Wiebe’s unique party/fantasy mashup “Rat Queens” also deserves a mention. You need to be reading those titles heading into 2014.

Another stellar title is “Ballistic” from Black Mask Studios. They are among the top three publishers of the year in my opinion, unfortunately I’m a bit behind on their titles.

Lastly is the absolute gem that is Abby Howard’s “The Last Halloween” (read it here). It’s hilarious and morbid in the best way.

The post [BEST & WORST ‘13] Lonmonster’s Top 10 Comics Of 2013 appeared first on Bloody Disgusting!.

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Niles delivers a great final installment to conclude, what is arguably, one of his best books in the Criminal Macabre universe to date. His charmingly unique take on Frankenstein’s monster Adam, and the overall execution of his quick-witted and raw script, is exactly what makes the story so compelling and original. There’s never a dry moment in the narrative, as he demonstrates his mastery of comedic timing and propensity for plot twists to keep the readers entertained. A lot happens in regards to Cal’s evolving supernatural identity, and by the end of the issue there’s a pretty significant transformation that takes place, leaving the fandom with tons of unanswered questions to mull over until the next story.

This issue continues with Jason Hemlock’s sinister plans coming to light. The supernatural expert has nefariously taken detective Cal McDonald, Mo’Lock, and Adam up ten thousand feet above ground, to put his villainous scheme to steal Cal’s powers into action. The result of the epic showdown has a major effect on Cal, changing everything he thought himself to be.

Niles’ writing is both light and gritty when the story calls for it, and strikes a perfect balance for a horror story of this nature. The plot is never overbearing or densely populated with heavy exposition, but delivers just the right amount of information and teases to hold the readers’ attention, while tiding them over until the next book. Each individual character is solidly envisioned and characterized, which allows for Mitten to effectively produce more brilliant work to bring Niles’ universe to life.

The artwork continues to be a franticly penciled representation of the events in Niles’ story, and it works remarkably well considering the suspense and horror elements of the book. Composition-wise, Mitten has a great knack for visual storytelling, and makes use of all the panel space he lays out for himself. He has a very distinctive style of art that has come to be recognizable, with his scratchy lines and airy depictions of characters and settings. Michelle Madsen’s colours are skillfully rendered onto the pages using dark tones to evoke the mood of the narrative. Her contributions to Hemlock’s occultist activities make for some of the best panels in the entire series. Justin Erickson’s consistently fantastic covers should also be commended. He definitely saved the best for last.

4.5/5 Skulls

Review by – ShadowJayd

The post Review: ‘Criminal Macabre: The Eyes of Frankenstein’ #4 appeared first on Bloody Disgusting!.

WRITTEN BY: Steve Niles
ART BY: Dennis Calero
PUBLISHER: Dynamite Entertainment
PRICE: $3.99
RELEASE: December 4, 2013

I’ll admit that when I read the first issue of “Ash and the Army of Darkness” I wasn’t completely into it. The characters and the universe are sacred to me, and the material in the first issue didn’t feel particularly new. Ash was the same old blubbering hero he always was, and his dialogue was pretty much a rehash of most of his more iconic lines.

Issue # 2 is an improvement. Niles is really able to let loose and sink his teeth into the world. His Ash is a little more coy here, a little less of a motor mouth, and finally on top of his enemy. It’s a cool change and one that works.

Meanwhile Calero’s art is filled with strong backgrounds and jagged panels. The result is a series of bold images with a jagged but unrelenting pace. It may seem strange at first, but given the tone of the book it totally works. The backgrounds are minimalistic, but serve to reinforce the foreground.

The narrative pushes forward into new and interesting territory. Although I wish it had done so with just a little more of a kick. Things feel a little dragged out from last month’s conclusion. It’s a difficult balancing act because there are so many characters that we need to catch up, but a little less time with Ash would go a long way.

The finale is big and sets the stage for a huge battle in the future. Ash is pretty much a messiah figure in this world and how that will come into play seems to be on Niles’ mind. The balancing act between Ash’s good and evil persona lingers in the background with every successive page, and with the book of the dead missing in action it’s anyone’s guess how it might turn up again.

“Ash and the Army of Darkness” doesn’t do much to justify its own existence, but it remains to be a fun experiment in an established world. The characters are undeniably entertaining, and the plot can amount to something much larger than what originally inspired it.

Right now the series fails to capture the zany insanity that the film is known for, and as it stands is my most major gripe. With a little more attention to the fun side of “Army of Darkness” and a little less time spent on moving the pieces into play for the longer game issue three might be able to capture the film’s magic.

Rating: 3/5 Skulls.

The post Review: ‘Ash and the Army of Darkness’ # 2 appeared first on Bloody Disgusting!.

With only two more issues left in the miniseries, Niles and Mitten keep the story zooming right along, creating a sense of purpose and connectedness to a greater overall narrative that seems to lead back to the brutal childbirth scene that opened the series. In this installment, the Frankenstein monster’s vision continues to worsen; Cal maintains his love affair with pills, alcohol and projectile vomit; and Mo’Lock sets in motion the next stage of the book with his suggestion to enlist the help of alleged supernatural expert — and distinguished surgeon — Jason Hemlock. This ostentatious occultist is able to save the Frankenstein monster from going blind, and potentially solve the mystery behind the dying ghoul dilemma. But of course, there’s a catch.

The character dynamics, and the welcomed familiarity of the “Criminal Macabre” universe, really make up the essence of the story. Behind the serious aspects of their relationships, there’s a lightness to the overall tone that shines through Niles’ humor, and Mitten’s pencils. As expected, Cal and Mo’Lock are as fully developed and engaging, as they are aggressively compatible. But it’s Frankenstein’s monster who really steals the show this time around. His sullenly polite and intellectual interactions with Cal, as well as his incredibly delightful dynamic with a few enamoured children are arguably some of the best moments the issue has to offer. There’s a specific scene in which Mitten illustrates the most wonderfully cheesy grin to ever grace the face of the beast, and it’s almost impossible to imagine readers not adorning the same expression in that instance.

That said, there’s some naturally dark and mysterious imagery to be enjoyed, as always. Specifically in Hemlock’s dungeon-esque office, and the final splash page at the L.A. Eye Bank where Cal and Mo’Lock go scavenging for new eyeballs for the monster. Unfortunately, what they find is another horrific obstacle standing in their way, and a perfect lead-in to next month’s issue.

Niles writes these characters, and presents the naturally paced narrative in a way that’s not overbearingly expository, but thoroughly engaging; and Mitten’s art continues to produce a perfectly gritty atmosphere to his entertaining script. They feed of each other’s talents really well, and deliver another commendable installment to the “Criminal Macabre” repertoire.

4/5 SKULLS

Reviewed by – ShadowJayd

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I stepped into a comic book shop in the middle of Times Square. Midtown Comics, I believe it was. The place was crowded, shoulder to shoulder with the usual NY hustle and bustle. I managed to talk with someone that worked there, mentioned I was doing reviews of Dark Horse Books and was told that Criminal Macabre by Steve Niles with art by Ben Templesmith was what I was looking for.

Cal McDonald, ex-cop turned occult private detective is about as rare as they come. He’s the kind of guy that likes to drink, smoke joints, and pop pills while chasing down the likes of vampires, werewolves, zombies, & ghouls, etc.

While tracking a blood sucker, McDonald stumbles upon a massive plot between the vampires and werewolves mixing efforts to steal a rare strain of Bubonic Plague, run the population of Ghouls out of the sewers of Los Angeles, and change all life as we know it into Monsters.

Joined by Mo’Lock, McDonald’s best friend who also happens to be a Ghoul, and Lt. Brueger the supernatural doubting Thomas so to speak, they must find a way to stop the likes of the mysterious Maynard Crandall and his… “want to release what transformed him on the entire world.”

This book is a great read. Cal McDonald is an interesting character to say the absolute least, and the idea that he is a borderline alcoholic/drug addict monster hunter is just really different in a strange yet refreshing and demented way.

Steve Niles’ (30 Days Of Night / Freaks of the Heartland) continues to amaze readers with dark, moody content prefect for candelabra lit evenings. While the art of Ben Templesmith is just what the doctor ordered as a visual remedy to Niles’ scribe.

READ THIS!
jAMIE Madrox

Pick up ‘Criminal Macabre’ #1-5 from Dark Horse Digital for $5.99 here.

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WRITTEN BY: Steve Niles
ART BY: Dennis Calero
PUBLISHER: Dynamite Entertainment
PRICE: $3.99
RELEASE: October 30, 2013

I don’t envy teams who choose to take on a property like this. It’s hard to continue a beloved story, and it’s even harder when you’re using someone else’s characters, harder still when the medium has changed. So when you consider the list of obstacles in front of any adaptation it’s nice to see one that succeeds.

Steve Niles is clearly a fan of Army of Darkness. The spirit of the original films is captured on the opening page. In the following pages he’s able to seamlessly weave in quotes from the film, letting us know we’re in good hands. Albeit a little too often for my own tastes, but even still, Ash is bombastic. He’s not the easiest to capture, and Niles does an incredible job at translating the characters energy through the page.

The story itself actually makes a ton of sense. In a brilliant plot point Ash’s own actions undo his salvation. The retooling of an old ally into an antagonist is a great way to continue the story, and it feels like a logical extension of the story on every level. Niles even makes sure to end the issue with an air of intrigue, which will leave you eager for next month.

The story meanders a little in action sequences early on, reminding you of the violence in this world. However, Calero’s work here will have you grinning from ear to ear. Panels like Ash stealing a kiss, or his maniacal smile as he smashes a deadite’s skull to dust will reassure you that you’re in good hands.

Although this may be a minor gripe, Raimi’s original films had camera work unlike any other. Framing and shot composition were of such vital importance to telling the story. While emulating said style would be nigh impossible, Calero doesn’t seem too eager to try. The paneling left me wanting a little more dynamic arrangements and detail. All too often are backgrounds left completely blank.

The script takes itself a little too seriously, but it’s setting the table for so much more. If the sharp dialogue keeps up, and Niles remembers to have some zany Evil Dead style fun then this series will be an absolutely joy to read. For now it’s a compelling enough setup for the larger story that will have me coming back for more.

“Ash and the Army of Darkness” welcomes new and old fans alike to enjoy the misadventures of Ashley J Williams in the 1300’s with a fun, gore soaked, continuation of a beloved story. Bring on issue # 2!

Rating 3.5/5 Skulls.

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But recently, we’ve been seeing the psychosexual genre trending upward in comics and graphic novels— “psychosexual” being the psychological issues that come with sexuality. For example, although the sexually intimate relationship between The Joker and Harley Quinn is merely implied, we see Quinn deal with psychosexual breakdowns on the regular.

Now for the real coup. Psychosexual Horror is really starting to find its way into comics. When you add horror to the mix, the psycho part of psychosexual changes a bit. Emotions and sensibilities change. They are emotions and sensibilities you’d have when confronted with horror. So psychosexual horror of a very interesting mix — I’ll just say it, it’s essentially getting turned on by horror.

Over the last five years, there’ve been five psychosexual horror comics/graphic novels released that I highly suggest reading. This is my list of “must read” psychosexual horror comics/graphic novels… so pay attention, you fiends.

I’m actually cheating a bit on the timeline here because Black Hole was a series of comics that ran for nearly ten years ending in 2005. But in the last 5 years, Pantheon released a collected edition TPB of the series.

Black Hole centers around a group of Seattle teens who start contracting a new STD (which spreads like crazy because ALL THE SEX!!!). The mysterious STD begins to mutate these kids. Mutations that are very horror worthy. Like… a tail. Unsettling shit, for sure. In this particular example of psychosexual horror, the horror is a direct result of the sexuality. And the psycho comes after. It’s a phenomenal example of the genre as it can be taken literally or metaphorically. It deals with sex and its consequences, being an outsider, fear, and hatred. It’s a horror comic on a deeper level. An emotional level that is married to sexuality and loathing. Essentially, this is the body horror that Cronenberg helped to create throughout his early career.

This is a collection of short horror comics that are insanely sexual, in a really crazy, read at your own risk, sort of way. This is skin-crawling horror, and it IS such a horror strictly because of the use of sex in the stories.

For example, one might not think that necrophilia would find its way into a mainstream graphic novel. But it does. And it’s so extreme (as with the rest of the stories in The Furry Trap) that you quite literally have to pick your jaw up off the floor. This type of psychosexual horror is heavy on the “psycho” and “horror”, using “sexual” as a means to an end. Read it though. Seriously. Then you can send me hate mail.

Lust is the type of psychosexual horror that is just so damn beautiful. It’s…well, it’s the opposite kind than The Furry Trap (and I mean that as no insult at all). I’ve been quoted before as saying this is a big, terrifying, sexual, wonderful, beautiful, hot lusty piece of horror art. It deals with lust (obviously) but also chastity–virtues and vices. But not in an after-school special sort of way, in a horrifying way. It showcases Niles’ signature horror writing. Something no one can deny as being in the top tier of horror comic writing. But almost more importantly, it utilizes the very different strengths of both Templesmith and Menton3 to augment Niles’ horror, ultimately leaving you stunned and frozen with emotion. LUST is the literary fiction, the black tie gallery art of psychosexual horror.

This is the type of comic series that you don’t want to think of as psychosexual horror (RE: my description above “getting turned on by horror”) and I’ll concede that this is not the type of psychosexual horror that will turn you on — hopefully. But it fits the bill in almost every way.

One psychotic to another — father and son — enjoy killing young girls and making dolls of their flesh and remains (like it or not, that’s a form of sexual fetish). The sexuality here comes in hints and innuendos. And yea, it’s creepy as hell. Not the type of sexual fetish that should work for the average person. But it’s there, side by side with a horror infused storyline of murder, mental illness, distrust in others and in yourself.

Echoes is a terrifying read, it will give you ALL THE EMOTIONS. As a good psychosexual horror should.

TEOTFW utilizes simplicity and dread to overwhelm you with fear. It utilizes dark fetishes to overwhelm you with emotion. It’s a subtle yet very dark psychosexual horror that stays very true to the genre. The type that makes you wonder about your own darkest desires.

There is a lot of murder, a lot of self harm, a lot of sex, a lot of loneliness… and a lot of these four things happen on the same page. It combines to give you an eerie feeling of spaced out sexuality and lost mayhem. This dark psychosexual horror comic is so terrifying in its bold statements yet simplistic art. It will trip you out and make you question a few of your true emotions.

Honorable mentions:

Marvel’s illustrated Picture of Dorian Gray and DC’s Batman: Mad Love. Both of which are way more subtle than the five comics/graphic novels listed above, but are still beautifully fantastic psychosexual horror comics.

Editorial by – Bree Ogden

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