Babyteeth #2 picks up right where the first issue ended. To recap, in Babyteeth #1 we met Sadie Ritter, a pregnant sixteen year-old living in SLC. Confused and scared, she hides her pregnancy from everyone except her older sister, Heather. When Sadie goes into labor, her contractions register on the Richter scale….literally. With each contraction comes a massive earthquake.
“The world trembled as the boy approached, and when he arrived, it cowered like a beaten dog.”
When her baby is finally delivered, Sadie names him Clark (after Superman). Others will call him by different names. Among them are The King of Ash, Void-Lord, The Antichrist, and The Final Son. Sadie serves as our guide, telling the story in past tense as we’re seeing it unfold in real time (Babyteeth #1 is set to drop on Clark’s actual birthday).
In Babyteeth #2, we get to see Sadie’s little family rally around her, even though she refuses to give up Clark’s daddy. Being a single teen mother is tough enough, and out of nowhere, Clark won’t latch, won’t take a bottle, and won’t sleep. Add in that whole Antichrist thing, breaking open barriers between earthly and demonic planes, unleashing eternal suffering on all mankind, and the assassins already hunting baby Clark down to kill him, and Sadie has her hands full.
It’s the end of the world (as we know it) in Babyteeth #2
Donny Cates (Redneck, God Country, Ghost Fleet) delivers another brilliant script full of dark humor, terrifying reveals, and tender moments. There’s even a sly nod to Ghost Fleet. Garry Brown (Black Road, John Carter: The End, The Massive) delivers characters that are distinctive and authentic, with a wide range of emotion. Brown’s settings are also on point. From the SLC to a secret board meeting in a bunker, every setting has an idiosyncratic look and feel.
I’ve said it before, and I’ll say it again: Everything Donny Cates touches right now is red hot. Don’t miss out! The only way to ensure getting your hands on a first print copy of Babyteeth #1 or Babyteeth #2 is by pre-ordering. Save 20% up front with a pre-order, or pay eBay prices later.
In 2002, a three-issue comic book miniseries from IDW lit the horror comic genre on fire. The brilliantly simple premise behind this comic is right in the title: 30 Days of Night. Everyone knows vampires are nigh invulnerable and that their only major weakness is sunlight. However, what would happen if a clutch of vampires were freed from this limitation for an entire month?
Welcome to Barrow, Alaska, population double digits. North of the Arctic Circle, the sun doesn’t set for thirty days and doesn’t rise again for thirty more. Led by a vampire named Marlow, a pack of vampires descends on Barrow with ruthless aggression. These aren’t the charming, sexy creatures found in some of the modern stories. Not even close. They’re feral monsters, taking immense pleasure in the suffering of their prey.
Standing between the vampire brood and the surviving residents of the town are Eben Olemaun and his wife Stella. Eben is the town sheriff and is investigating a wave of petty crimes around town prior to the invasion. Weird stuff, but nothing too serious. Dogs and cell phones turning up missing, that kind of thing. When everything hits the fan, these strange occurrences begin to make sense.
30 Days of Night Doesn’t Feature Your Normal Vampires
Writer Steve Niles (Criminal Macabre, Disciples, Aleister Arcane) didn’t allow the Olemauns any convenient “outs” when penning the graphic novel. The sun isn’t going to rise in a few hours, so there’s no time for the humans to regroup and plan. Garlic is a joke. Who even thought of that garlic thing? (Ancient Egyptians. I know.) Crosses are ineffective. Shotgun blasts to the face only make the vampires angrier and uglier. The only thing that seems to work is decapitation.
Steve Niles actually worked on the movie script five years later when Columbia Pictures partnered with Dark Horse Entertainment to bring the story to the silver screen. This lent continuity between the graphic novel source material and the movie. The major plot points remained mostly untouched between the two mediums.
The Changes Between Movie and Comic Are Minimal
There are only a few major differences between the graphic novel and the film script. The movie script has omitted two minor subplots. The book had a conspiracy theorist mother/son duo in New Orleans trying to prove the existence of vampires to the world.
The other omitted subplot had a second vampire leader descend on the town and question the wisdom of a feeding frenzy in a world where vampires had been relegated to folklore. Since no one really believes in vampires, bringing attention to their existence with this feeding frenzy could be suicidal in the long game.
An obvious difference is that the graphic novel doesn’t really have any other human roles besides Eben, Stella, and The Stranger. The series is so fast paced and brutal in its pacing, there really isn’t any room for extra characters. They aren’t needed to move the story. The movie, needing to fill two hours of screen time, added and developed a few more characters.
In the 30 Days of Night comic, Eben and Stella are happily married. The movie begins with their relationship being strained almost to the point of divorce. By the end of the film, they come around and realize how much they still love one another. This was likely another pacing issue.
Ben Templesmith Gives The Comic The Edge
The most glaring difference between the page and the screen is the overall aesthetic. There is just no way the filmmakers would have been able to match the art by Ben Templesmith (Fell, Criminal Macabre, Silent Hill: Dying Inside). Using an almost trash polka palette (with the addition of deep, dark blues), Templesmith brought a unique blend of surreal images and photorealism that would be impossible to recreate in another medium.
Clearly, some changes have to be made in order to make a comic book mini series into a feature length film. In this case, having the original writer on the team that penned the movie script meant that those changes were minimal and made sense in context with the source material. The endings of both stories are almost identical. The major plot points weave between both stories almost seamlessly.
Based solely on the artwork by Ben Templesmith, I’m going to declare the 30 Days of Night comic was better. There’s absolutely nothing wrong with the film; there just isn’t any comparison to the imagery in the pages of the graphic novel.
In 2012, Mike Mignola (Hellboy, Lobster Johnson, Baltimore) teamed with Christopher Golden (The Myth, The Boys Are Back in Town) to co-create and co-author the novel Joe Golem and The Drowning City. The tale takes place in an alternate timeline Manhattan, which is currently under thirty feet of water.
Simon Church is a Victorian-era detective who is kept alive for more than a century via a complex combination of bio-mechanical magic, clockwork gears, spit, and shoelaces. His assistant, Joe Golem, has bizarre dreams that speak to him of a former life. He has visions of being mud and stone and hunting witches. Unfortunately, he can’t quite piece together his own origin.
Four years after the release of the illustrated novel, Mignola and Guest revisited The Drowning City with a five part prequel comic book miniseries, The Rat Catcher and The Sunken Dead.
Mignola’s latest book The Outer Dark takes place two years after Rat Catcher. Three Germans on a water taxi attack passengers and police. One of the Germans, Bodo Wegener, escapes after killing two people with his bare hands while screaming in German about the otherworldly voices in his head. The local detectives usually end up on Mr. Church’s stoop when things get a little too weird, and this case is definitely “Simon Church weird.”
Joe Golem — The Outer Dark Sports an All-Star Creative Team
Patric Reynolds (Aliens: Fire and Stone, Hellboy and the BPRD: 1954) did the art for Rat Catcher and is also the artist for this new series. Reynolds brings an aesthetic to the project that looks like it’s straight from a pulp mystery novel. The Drowning City doesn’t exactly look like a place I’d want to raise children but I’d definitely want to explore it in daylight.
Mignola and Golden give us a script that will appeal to fans of horror, pulp, noir, steampunk, monsters and magic. There is enough backstory that a new reader can easily pick up the series. However, if you haven’t already read The Rat Catcher and The Sunken Dead, I’d recommend picking up the hard copy. Readers of series like The Goon and The Damned will feel right at home with Joe Golem.
Donny Cates (Redneck, God Country, Ghost Fleet) is back at it again. This time, he’s partnered with Garry Brown (Black Road, John Carter: The End) to bring us Babyteeth #1, a story of the not-so-immaculate conception and birth of the Antichrist. Where does this not-so-immaculate conception take place? In Salt Lake City Utah, of all places.
Sadie Ritter is a pretty normal teen, except for one thing. She’s pregnant, and her baby is the Antichrist. While you might expect this story to unfold in the exact opposite manner as the Nativity, it’s actually pretty innocent. That is, if you can get past the mystery of the baby’s father and the massive earthquakes that coincide with Sadie’s contractions. There’s also the matter of the destruction of the barriers between earthly and demonic planes.
Sixteen Years Old, Nine Months Pregnant with the Antichrist
When asked about Babyteeth in an exclusive interview with TFAW last month, Donny Cates gave us the elevator pitch. “Sadie Ritter is sixteen and pregnant with the Antichrist. Once the baby is born, all hell comes with it. It’s very sweet.”
Garry Brown’s art style is well known for beautiful brutality. The depth of detail Brown provides in the landscape and scenery makes the modern day setting of Salt Lake City jump off the page. The expressive detail he lends to the characters’ faces sells Cates’ script beautifully and helps make Babyteeth a highly emotional read.
Donny Cates Knocks It Out of the Park in Babyteeth #1
Everything Donny Cates is writing these days is pure gold. With God Country currently in its fourth printing, Redneck already going back to press for it’s second run, and the brilliant showing here by Cates and Brown, Babyteeth #1 will undoubtedly fly off the shelves as well.
H.P. Lovecraft’s name is indelibly linked to the horror genre. A true master of spinning the mundanely macabre into cerebral terror that pesters the mind long after you’ve finished reading his works. Lovecraft’s voice reaches out of his grave and aims to scare us into our own. The Lovecraftian horror stories are his legacy, and some of today’s top creators are carrying the torch.
He’s introduced the psychological and the existential to our fears, invented incredible monsters to feed upon us, and shone new (albeit flickering) light on the oblique things that have always quickened our pulses. It’s no surprise his influence has exerted itself all things horror, including comic books.
Locke & Keyis something of a comic phenomenon. It’s been re-released in several reprints including a master edition and a holiday set. It’s also been turned into a coloring book, a card game, adapted into an audioplay, and there was even an infamous TV pilot.
Both the Harrow County and Locke & Key series share a legacy of Lovecraftian horror that helps to define them as something beyond mere scary stories. While there are countless comics that have been influenced by Lovecraft’s work, these two series stand apart when looking at the elements that truly make Lovecraft’s work singular.
What makes a Lovecraftian story truly different than your average tale is its execution. Lovecraft tales are an intricate combination of a gothic story of inherited guilt, a monster story about a powerful otherworldly being, and part psychological trauma. These stories offer more than just your typical jump and scare horror. Lovecraft’s stories are dark and threatening, pushing readers beyond their boundaries of belief.
Harrow County is Ripe with Lovecraftian Horror Touches
Slow burning, lingering terror is what you expect when imagining Lovecraft’s work and it’s absolutely what you get in Harrow County. It’s a visceral new take on the tradition of small town witch stories. It builds a sense of dread, slowly unveiling the truth of the dark magic that haunts the eponymous county. The heroine, Emmy, finds that she is intimately tied to the terrible legacy that has mired Harrow County in fear for generations, leading to revelations that stain the rest of the unfolding story. Harrow Countytakes this classic structure of a witch story and broadens it with Lovecraftian themes of inheritance, the resurgence of eldritch powers, and toxic superstition.
Harrow County is the kind of story that sits on your chest, making it subtly harder and harder to breath as the panels pass. It’s makes you feel anxiety about putting your feet near that unthought of gap between your bed and your floor, and reminds you that you really should run up the basement stairs.
It’s not just a New England Witch story. It’s a story about the things we see in the dark and the what they could become if only given the right injection of magic. It’s not just a ghost story. It’s the story of the primordial things that made us first image them away as ghosts.
Locke & Key Echoes Lovecraft’s Love of the Forbidden
Much like Harrow County, Locke & Key is filled to the brim with its share of monsters. The Locke family is faced with ghosts, a manipulative echo that lives at the bottom of of their well, living shadows, giants ,and demons that threaten to rip apart the very fabric of their world. The story reminds us, however, that the most dangerous monsters can be the people that have been right next to us all along.
From the very beginning, it is evident that Locke & Key draws on Lovecraft for inspiration. References to his work are made throughout, but most importantly, the very first issue finds the Locke family relocating to the New England town named Lovecraft after the murder of their patriarch. The true significance of this is because Lovecraft’s settings are so iconic, with many of his works taking place in pastoral villages or small towns in New England. In fact, this type of setting is so deeply associated with the late writer that it’s gained the nickname “Lovecraft Country.” This setting is used with purpose, as these places resist modernity and foster an eerie isolation that glances at the modern world, but shies away from it.
In Locke & Key, you see echoes of Lovecraft’s fascination for the forbidden, especially when it comes to the idea of hidden knowledge. Several of his stories touch on the subject of the erasure or obscurement of memory, and the discovery of secret things hidden from the minds of others.
These stories find their answer in the magic of the Keyhouse as it blurs the lines between memory, fantasy and reality. To Lovecraft, knowledge was a primeval power that upon looking into its depths could drive a person to madness. This destructive quality is threaded throughout Locke & Key, with the blooming knowledge of the Keyhouse becoming poisonous to the people tied to it and reaching beyond the pages to disturb the minds of the people who read about it.
Harrow County and Locke & Key are those rare series that will linger in your bones for long after you’ve finished reading them. Both share a similar heritage that makes them something more than just your run of the mill scary comic both as they are heavily influenced by the master of horror craft, H. P. Lovecraft. Both embrace the themes he used to terrify his audience while translating them into a new medium, all the while haunting an entirely new genre with them.
Just in time for Halloween, Vertigo Comics debuts Coffin Hill, a supernatural horror series written by novelist Caitlin Kittredge (author of the Nocturne City and Iron Codex series) with art by Inaki Miranda (Fairest).
Coffin Hill stars Eve Coffin, a rebellious, teenage lowlife from a high-society family with a curse that goes back to the Salem Witch trials. Following a night of sex, drugs, and witchcraft in the woods, Eve wakes up naked, covered in blood, and unable to remember how she got there. After a stint as a Boston cop that ends in a bullet wound and unintended celebrity, Eve returns to Coffin Hill, only to discover the darkness that she unleashed 10 years ago in the woods was never contained.
Coffin Hill debuts October 9 — read our exclusive interview with Caitlin Kittredge below to learn more, check out a four-page preview of Coffin Hill #1, and pre-order the series to save 20%!
Caitlin Kittredge: Sure, I’d be happy to! Coffin Hill is a wonderful, supernatural horror comic — written by me. (Laughs.) It’s about a woman named Eve Coffin, who 10 years ago participated in a black magic ritual that irrevocably changed her life and the life of her three best friends. She’s now a former Boston PD officer who’s forced to go back to her hometown, the site of the ritual, and she finds out that the evil she called forth is still there, and she’s probably the only one who can put it back to rest.
For a decade, she’s tried to escape it, and there are a lot of dark family secrets, black magic, and there’s also a mystery for her to solve, because when she comes back to town, she finds out that kids who are roughly the age she was when she conducted the ritual have been disappearing into the Coffin Hill woods, which are these spooky, dark, primeval woods outside of town that people tend to get lost in for inexplicable reasons, and report strange happenings, and see strange things.
So all of that is waiting for poor Eve when she comes back from Boston, not in the best of shape, and kind of looking to settle down for a bit. In a nutshell, that’s what you can expect from the first issue.
TFAW:Awesome! What do you find most interesting about the character of Eve Coffin?
CK: I think Eve is interesting in terms of characters that I’ve written before, in that she’s probably the most morally grey of the protagonists I’ve written. My protagonists tend to be a little more good and lawful than she is, and I’m having a really good time exploring what she is and isn’t willing to do, in terms of doing bad things for the right reasons.
It’s also an interesting contrast to write her when she was young, a decade ago, because she was pretty happy using black magic and getting what she wanted, not really caring about anyone else. Which of course led to some pretty bad consequences for her.
She’s definitely tried to turn it around since then, but she’s still quite flexible on what is or isn’t lawful, or good or bad. She does what she thinks is right, but maybe not what everyone else considers right, or legal — or justified, even! It’s been really fun to get to explore someone who’s more of an antihero.
TFAW:I was wondering how someone could be a “lowlife from a high-society family.”
CK: Yeah! (Laughs.) Her family is very old, they’re very wealthy — they’ve been in New England forever. They have tons of blue-blooded old money. They have lots of high-society cred, and Eve’s just not interested in that at all. When she was a teenager, it was because she was rebelling. She didn’t want to be a debutante. She didn’t want to go to tea parties and take ballroom dancing lessons, and she kind of went out of her way to be a jerk to her parents, as we all do when we’re 16 or 17.
All images courtesy of DC Entertainment.
Her family has a lot of powerful black magic, and she was able to take it further. And then, when she saw the result of what she had done, she tried to conduct this ritual that went horribly wrong. It kind of skewed everything being part of this high-society family had to offer her. So she said, “Write me out of the will, I don’t want to have any contact with you, I’m going to make it on my own in Boston.”
Then 10 years later, she’s starting off a very successful career in the Boston PD, and she’s really badly injured on the job in the first issue, and she has to come home, because she has no more money and no more prospects. She has to come limping back, and face her wrongs and her family and say, “Well, I can’t make it on my own, I guess I have to come home now,” and then she finds out things in her hometown are not as great as she thought. She gets sucked back into everything she left when she ran away 10 years ago.
TFAW:Which family members is Eve going to be interacting with? Who’s left of her family?
CK: She is definitely interacting a lot with her mother, whose name is Eleanor. She’s basically the rich high-society matriarch from hell. Just add some magical powers to the mom from the TV show Revenge, and you’ve got her. She’s kind of hell on wheels and she’s awful, but awful characters are so fun to write that I try to fit her in here and there wherever possible.
You get to see her in the past in the first issue, interacting with Eve when she was a teenager. It was so much fun to write because I remember when I was 16 — “No Mom, I hate you, get away from me!” and mix it all up with black magic. Their screwed-up family dynamic was just so much fun.
Eve also has a very strong connection with her grandmother — she was the one that she felt closest to as a kid, and the one who gave her what little moral compass she has. Her grandmother was very different than her mother. She wasn’t selfish and out for herself. She took legacy of black magic the Coffin family has very seriously. It’s like a weapon; you have to be careful who you point it at, and only use it when it’s absolutely necessary.
Eve’s had a tiny bit of good influence from her, which is what I think saved her from turning out terrible like the rest of her family. I hint at other Coffins in the first couple of issues, all the way back to the Salem witch trials, and I can say maybe, possibly, you may see them later on in the story arc, all the way back to the 1600s. But I don’t want to give out spoilers.
TFAW:Eve, like Luna Wilder from your Nocturne City series of novels, is a cop. What is it that captures your attention about the combination of the supernatural and the police life?
CK: I think, on a basic level, it’s because when you’re a cop, you have to be very logical, and very reality based and fact based. And obviously, when you’re dealing with the supernatural, that flies right out the window.
Eve is unique because she’s always known that such things exist — she herself has the ability to tap into otherworldly powers and abilities that most people don’t consider to be real, but then she’s also trying to get as far away from that life as she can. I thought being a cop was a pretty natural job for someone who was trying to help people, and base herself in reality as much as possible. I really like the juxtaposition, on a personal level.
For a long time, before I got into writing, I thought I wanted to go into law enforcement. So it’s a field I feel an affinity for. I find cop characters very interesting when they’re morally grey, like Eve is, and it leads to a lot of interesting paths for your character to take, and interesting conflicts for me, as a writer, to explore. It’s one of my personal things that I like to poke at again and again with my stories, and see if I can tease out new, interesting fault lines from it.
CK: It is, it’s the very first thing I’ve ever written for comics!
TFAW:What was it about the premise of Coffin Hill that made it a comic rather than a novel, for you?
CK:Coffin Hill started off as an idea I had for a novel years and years ago, and I think the reason it never worked is it needed to be laid out in a specific way, and it needed that visual punch to bring all of these twisty, disparate plot elements together.
It has such a dense, labyrinthine plot, and sometimes that can be hard to shoehorn into one book, without confusing your reader. Since comics are a visual medium, you can switch points of view, and you can switch time periods so easily. You can convey in one panel what it would take three pages to describe in a book, so it lends itself really naturally to a visual story.
I describe the plot of Coffin Hill as a snake swallowing its own tail. Eve thinks she knows what happened, but then at the end of the first issue she discovers that she really doesn’t know what happened that night, and what she thinks she saw was just one tiny part of the bigger picture. Her story arc goes on as more and more of the layers start to peel away, and she starts to get deeper and deeper into this labyrinth of family secrets.
TFAW:What’s been the most surprising aspect of creating a comic book series?
CK: For me, coming from the world of print novels and prose novels, it’s been how fast everything has moved! When you write a novel, you can spend literally years waiting for it to be published.
I started working with Vertigo at the beginning of this year, and Coffin Hill #1 is coming out at the beginning of October — that’s breakneck speed compared to what I’m used to! The artist, Inaki Miranda, and my editor, Shelly Bond, they get back to me so fast — I think they just never sleep. They must drink all the coffee in the world, because I’ll turn in a script, and 12 hours later, Shelly will say, “Great, here’s all my notes!” And Inaki will say, “Here’s my preliminary art!”
It’s been great, it’s been gratifying to me as somebody who’s been used to the slow pace of prose publishing. It’s been fun and very different, and just such a different medium, because there are so many elements, like the art, and all of the editorial input and everything, it’s been really just a great experience so far. So — knock on wood — I’m just going to stay enthusiastic and starry eyed about this as long as I can.
TFAW:How has it been working with Inaki? Were you part of the selection process for the artist?
CK: Shelly Bond actually brought us together. She said, “Here’s an artist working on Fairest, and I think he’s willing to do some concept art for you,” and his concept art was amazing, and he ended up coming onto the book, and I could not be happier. I am not visually inclined, or artistically inclined at all, so I should not have been allowed to make the selection.
I’m so glad that Shelly took the wheel there, because Inaki worked out better than I ever could have hoped. His style is a wonderful match for the kind of story I’m trying to tell. It’s got this wonderful dreamy quality that’s perfect for Eve’s story, especially. In the first issue you see the ritual, and you see the opulent parties she was part of as a teenager, and this sort of stark, gritty, unhappy life that she has now as an adult in Boston. Inaki does such a wonderful job with the juxtaposition, and all of the creepy, magical stuff that goes on. I’m very fan-girly about him.
TFAW:What’s coming up next? Is there anything else you’d like to talk about?
CK: I’m really so excited about Coffin Hill right now, it’s been my focus for the last six months, because I wanted to do the best job possible. And I am writing novels. I’m working on a brand-new urban fantasy novel series right now, but the comic has been my life. It’s been an awesome experience.
Big thanks to Caitlin Kittredge and Vertigo Comics for a fantastic interview! Browse Coffin Hill comics now and pre-order to save 20%.
Good horror stories should not be confined to the Halloween season. Cemetery Dance Publications agrees, and for more than 20 years they have been bringing the spooky, the terrifying, and the macabre to horror readers everywhere.
Starting with a horror anthology magazine in 1988, Richard Chizmar and Cemetery Dance added specialty hardcovers to their publishing efforts in 1992, quickly building a reputation for quality collectible books. Since then they have continued to put a spotlight on horror, mystery, dark suspense, and crime stories from seasoned masters and new authors alike with limited-edition collectible books, often signed and numbered.
Stephen King, Peter Straub, Dean Koontz, William Peter Blatty, and many more have offered up works for the Cemetery Dance library. Many of the print runs on these collectible editions are limited to less than 1,000 signed and numbered copies, so we are really excited to be able to offer them to TFAW.com customers at a 10% discount. You can grab anthologies like The Big Book of Necon, containing works from over 50 contributors including Neil Gaiman, Jack Ketchum, and Peter Straub, or Smoke and Mirrors, featuring original screenplays and teleplays by William F. Nolan, Poppy Z. Bright, and others. If anthologies aren’t your thing we also have a limited-edition slipcased collection of Stephen King: The Non-Fiction, The Dark Tower: Complete Concordance, or signed limited-edition copies of James Newman’s The Forum, a chilling tale about chatrooms for serial killers.
So if you are looking for some chills to keep you cool this summer, check out all of our Cemetery Dance titles.
Whether you love Lovecraftian horror or offbeat family dynamics, you’ll want to check out Locke & Key, the Eisner-nominated series by Joe Hill and Gabriel Rodriguez. Focusing on the Lockes, a family haunted by tragedy that returns to Keyhouse, their ancestral New England home, Locke & Key combines old-school gothic horror with the infinitely relatable struggles of family life.
The Locke children–teenagers Tyler and Kinsey and kid brother Bode–are trying to put their lives back together after being terrorized by Sam Lesser, who brutally murdered their father. They’ve moved to an idyllic New England community, they’ve made new friends–including charming fellow student Zack Wells–and Keyhouse is full of new discoveries.
Like keys that turn humans into ghosts. Or open heads. Or open the Black Door, which just might lead to an unspeakable horror. Did I mention that Zack Wells is actually the reincarnation of Lucas Caravaggio, an old friend of their father’s who mysteriously disappeared more than 20 years ago, and who will stop at nothing to get all of the keys in his possession?
Locke & Key is an excellent horror read because while the artwork is fantastic and the mystery intriguing, the focus is squarely on the characters. You’ll get to know the Lockes and become invested in them, so when all hell breaks loose, you won’t be able to wait until the next issue! For more details about this awesome series, make sure to check out our interview with Joe Hill last October.
On this next-to-last day of Horror Month, we bring you something a little different: The Goon Volume 9: Calamity of Conscience TPB. For those of you not yet acquainted with The Goon, it’s kind of a horror book mixed with The Little Rascals. And a Bob Hope road movie. And . . . well, it’s a little difficult to put my finger on, but it’s funny, tragic, horrific, and great fun to read.
Multiple Eisner Award-winning creator of The Goon Eric Powell teams with acclaimed colorist Dave Stewart to bring this tale of humor, horror, and heartbreak to a close. Prepare for the usual weirdness, as only Powell and The Goon can provide: the living dead (children, priests, and pretty ladies), pretty living ladies, gypsies, backwoods children . . . “dogs” . . . crazy-weird cats, pimps peddling animal love, animals on the receiving end of said animal love . . . evil Shredded-Wheat men, more evil-undead burlesque-house owners, guys with tails, a woky (a woky?) . . . and more!
The once peaceful city of Park Falls has been tainted by a series of gruesome murders and missing persons. Cynthia Ford, known as the town crazy, finds retired police detective Derrick Peters and relates to him her belief about what’s going on in town.
Her explanation? Zombies!
Unable to ignore Cynthia’s information, though not sharing her beliefs, Derrick and others in the town explore the mystery as weeks turn to months and the death toll rises. Could Cynthia be right or has she finally gone insane?
Now just $14.96 (25% off the cover price), it’s the perfect time to pick up Awakening by Nick Tapalansky and Alex Eckman-Lawn. Check out other cool horror stuff on our Horror Month page.
Fans of Joss Whedon’s Buffy the Vampire Slayer and Angel television shows have been loving the ongoing comics series from Dark Horse Comics and IDW Publishing. If you’re a fan of Fox’s late, lamented small-screen Angel but haven’t picked up the comic yet, the Angel Not Fade Away TPB is the perfect place to start!
Written by Joss Whedon himself, with art by Stephen Mooney and Jeff Johnson the Angel Not Fade Away TPB is a three-issue adaptation of the final episode of Whedon’s beloved Angel television series. This graphic novel leads to a climactic battle in an alleyway that fans now know was only the end of the beginning!
This collection includes the three-part Not Fade Away miniseries, as well as the script for the original television episode and spot illustrations.