Recommended Reading: Richard McGuire’s Here

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Richard McGuire’s Here imagines, in the pages of a comic, the same thing that I often have: what happened here, in this spot – our house, our town, the grocery store, the lake, the highway – one hundred years ago, one thousand years ago, one hundred thousand years ago? What did it look like? Who, or what, stood in the same spot as I do now, in the year 2016, on the brink of the year 2017? What did it look like before Europeans set foot on these shores? What did it look like before any humans lived here at all? Who lived here? Fell in love here? Died here?

Looking out from my own window, I often imagine what people have stood in the same spot as I do, looking up into the sky, or down onto the yard which stretches out to a small lake. And it is not only at home that I think this, but at work, or when I travel as well.

I do not believe this to be a terribly common type of thinking – or at least, it does not border on obsession for most people – but regardless, McGuire’s beautiful book, as all one’s favorite books do, feels as if it were written directly for me, personally.

The book takes place viewed from one angle. Often, this view shows us a living room. Sometimes it is painted different colors. A year – 1957, for instance – is set in the top left corner. But then other windows open in the living room. Some of these boxes show us other times, with other people – or maybe the same people, only aged – in the living room. Other boxes show us a forest. Or a view of another house, up to the right, in the distance. Some show Native Americans trading with European colonizers. Some show dinosaurs. Or dancing. Or melting ice cream. Or family disputes.

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McGuire orchestrates these scenes in a way that sometimes seems random, only to have the various random instances begin to line up, to harmonize, in a kind of symphony of time. He has taken brief moments from the years and years of time that have passed here, in this spot, and given them meaning through their mosaic juxtaposition with other, disconnected moments. Divorced from the context of their time, these moments gain force and sublimity when placed alongside other, disconnected images because they establish a kind of fraternity between all these people, and all these slices of time, which are separated by degrees on the linear spectrum of space-time. Looping back and forth between past, present, and future, McGuire demonstrates the connectedness of everything not through some corny anecdote about all these people being related, or all of them remembering everything that has happened in this spot (they surely don’t, as they are attached, like all of, primarily to their own existence) but through the simplicity of shared, finite space which stands in contrast to the infinite march of time.

McGuire illustrates the book to reflect this. The living room is solid, blocks of color and definite lines. But the people who move through it are often fuzzy, not quite defined. And the further into the past we go, the more the people, and the space itself, begin to blur. The space itself (sans living room) becomes a lawn with a scribbled house in the distance. Then, further back, a forest, which becomes murkier and murkier as we are transported further into the past, until it becomes primordial ooze, ill-defined space, but still our space, the space we see when we look into the living room. In the future, the house is gone. Overtaken by the ocean. Then dried out, but unlivable. Then slowly but surely, life emerges again.

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A late foray into the future: where a group of tourists enter the frame, led by a guide who begins to explain some customs of the 21st century – the carrying of wallets and keys, etc. – and then uses a device which gives the onlookers a view of the past, a view not dissimilar from the one McGuire has given us in the pages of his comic. This breaks, somewhat, the spell of the book – as if McGuire is trying to explain the magic of these windows into the past and future. For a moment, the imaginative and metaphysical experience of watching the pages of time flip, seemingly at random, is understood as merely a function of some future device, meant to intrigue bored tourists. But then that window collapses, and the chorus of voices, the painting of rooms, the noise of television and radios, the waves of future seas all come crashing in again overwhelming the tourists (of which we are now one) with the weight of time and the countless lives lived in these brief windows into the past and future.

McGuire’s book is a kind of miracle in that I cannot imagine it taking any other form. He uses the medium of comics to do something only comics can do – utilizing the boxy frames so often associated with comics to stunning effect. It is an elegy and a celebration of time and space and the moments we find together in the madness of the here and now, and the moments that led up to this one, and the infinite moments that will follow our forgetting.

 

Recommended Reading: From Hell

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Welcome to October here at Deja.Revue. If you have not noticed already, I tend to be a fan of the creepy, the weird, and the left-field in comics. So I though October would be a perfect time to indulge those predilections even more than I already have. Horror, as a genre in comics, has always been just off to the side. Less flashy than superheroes, and something of a mutant child of crime comics, the genre has a breadth and depth which is, in my opinion, almost unmatched. I do not hope to cover the whole diverse range of the genre in the coming month, but I do hope to give you a survey of some of my favorite works on page and screen. If you would like to read further, Paste has an excellent list of horror comics you should read. For further reading on the history of horror comics, check out Mike Howlett’s essay in the back of this excellent horror anthology that I will not have the time or space to write about this month. If all goes according to plan, I will have a column each Monday for you, culminating, fittingly, with Halloween at the end of the month. Don’t forget to turn off the lights.

It has been three or four weeks since I put down the heavy copy of Alan Moore’s From Hell that I borrowed from the library. It was nearing 2 AM, and while the tome sits silently on a shelf in my house currently, the real weight of the book has pressed on my mind almost constantly since I finished reading it.

Moore is a giant of comics who also has no trouble voicing his skepticism and impatience with the direction of the medium. He has essentially disowned his two best-known works, V for Vendetta and Watchmen, over the cash-grab way in which the film adaptions of each were brought to theaters (it is also important to note that Moore sees his work as fundamentally unadaptable, that is, he made them comics for a reason and comics they should stay – but that is a topic for another time). Lately, he has moved away from comics altogether. In a recent interview with Vulture promoting his new novel Jerusalem – a nearly 1200-page post-post modern novel that seems to share more than a little DNA with From Hell – he said, when asked about the influence of his superhero work:

I am really in a bad mood about superheroes. I’m not the best person to ask about this. What are these movies doing other than entertaining us with stories and characters that were meant to entertain the 12-year-old boys of 50 years ago? Are we supposed to somehow embody these characters? That’s ridiculous. They are not characters that can possibly exist in the real world. Yes, I did Watchmen. Yes, I did Marvelman. These are two big seminal superhero works, I guess. But remember: Both of them are critical of the idea of superheroes. They weren’t meant to be a reinvigoration of the genre.

The irony of much the current superhero-saturated climate is that it ostensibly owes a great debt to the aesthetics and moral weight of Moore’s work, yet it misunderstands and misinterprets that work – much as if one had taken the wallpaper from a house, pasted it on a billboard, and claimed to have reproduced the house.

One need only to read Moore’s other work to recognize that his interests and fascinations lie almost entirely outside of the (to him) childish realm of caped heroes. From Hell is the ur-text for understanding where Moore is coming from. The book mixes deeply researched history with conspiracy, the occult, penny-dreadfuls, architecture, Nietzsche’s theory of eternal return, melodrama, freemasonry, and the poetry of William Blake (to name only a few touchstones from which the book takes its flight). One of the great pleasures of reading the work is pouring over the dense endnotes after finishing each chapter to discover what Moore made up, what he speculated on, and what is cold fact. In the endnotes we find Moore the scholar as well as Moore the author. These notes are casual, even conversational, in tone and they are bunched at the back of the volume that I read. However, they served as a much needed breather after the densely packed pages of each of the 16 chapters.

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Not only is each chapter dense with detail, but most are terrifying in an apocalyptic sense. The book, on its surface, is about the Jack the Ripper murders which plagued London toward the end of the Victorian era. To this day, the murders remain unsolved and, as a result, an entire culture of amateur investigation and conspiracy has grown concurrently with the Ripper legend. While Moore cobbles some of these theories together in order to form the central plot of the book, this is the opposite of a whodunit. Moore does not hide the murderer or his work from the eyes of the reader. The killings are depicted in harrowing detail as the work of William Gull – royal physician to Queen Victoria – who, on the one hand, carries out the murders to cover up an embarrassing royal family secret while, on the other, turning this bit of dirty work into a grand pagan sacrificial ceremony with the city of London serving as the altar. The book explores Gull’s life, showing the events that lead to his rise in social standing and seeing him through to the murders and on to his ultimate fate. Moore also follows the victims, investigators, and various accomplices (both witting and unwitting) who are all tied intricately and disastrously with the bloody business. Gull (through Moore) sees himself as a prophet of the century to come – the chosen one tasked with the business of birthing the 20th century with all of its wars, its famines, its depressions, its industries, and its revolutions.

This is where Moore expands the scope of the whole enterprise. The book is grotesque, yes (and though Moore is notoriously heavy-handed when it comes to working with artists, Eddie Campbell draws the book with the kind of ugly beauty it requires, making every panel seem as if it were illustrated using soot from a cobbled London street), but this is not what makes the book terrifying – and it is terrifying, being among the very few books I have read which left me wary of the dark corners and late-night creakings of my own home – what makes the book utterly terrifying is the universe-size canvas on which Moore projects his story. The sense that this is all happening now – that it all has happened – that it all will happen again – turns the book into a deeply personal, though still cosmic, kind of horror. It is a book with a bleak view of humanity. Its dark energy saps the hope from your body – the horror is bone deep.

From Hell is not a story of good vs. evil. The book never even whiffs at the illusion that good has any chance of prevailing. We watch, helplessly, as mundane, political evil opens the door for darker, more sinister kinds of evil. We watch as the “good” characters, compromised as they are, grasp at straws in order to stop the murders only to find that, once the crimes have been solved, the few people who care are helpless to do anything to stop Gull. And we watch as Gull’s obsessions grow and, eventually, utterly consume him. This consuming obsession spirals out from the book (there is something of “The Tell-Tale Heart” in this) to engulf Moore’s obsession, as documented in the copious endnotes, and the macabre obsession of Ripper enthusiasts, salivating over a string of murders that terrorized a city and took the real lives of real people and turning them into a hobby. Perhaps this is why the book is so horrifying, because, by the end of From Hell, haven’t we, the readers, become one of them?

New Comic Book Day Top 5: Oct. 26th

Hello Revuers! It’s Tuesday which means it’ time for another edition of New Comic Book Day Top 5. Where I pick my top 5 most anticipated books that are coming out this week. This Wednesday looks to be especially exciting with many new series’ starting from major and indie publishers alike. As always feel free to tell me what you think of the list in the comment section below, and please tell us what’s on your pull list. We love to hear from our readers, plus I love finding out about new series’ that people are enjoying. Without further delay, let’s jump right in.

 

5: The Skeptics #1

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The Skeptics is a new series from the fantastic Black Mask Studios features the talents of Tini Howard (Writer) and Devaki Neogi (Artist). The story is summed up as follows: “A stylish, political adventure about a pair of hip, clever teens who fool the world into believing they have superpowers. It is the 1960s. The Russians have the A-bomb, the H-bomb, and now the most terrifying weapon of all: a pair of psychically superpowered young people.” The story then focuses on the heads of the USA military looking to find equivalent super powered beings from America to be on Par with Russia. The preview art for this series looks amazing and the premise promises to be a wild ride.

 

4: Batgirl #4

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Batgirl #4 is a continuation from issue three. Batgirl realizes that she has fallen into the trap set by The Teacher. She realizes that in order to save Kai she will first have to come face to face with this new mysterious villain. Writer Hope Larson has delivered an interesting and compelling plot so far this series. I think the title overall benefit from being on the slower once a month schedule. This allows the artist Rafael Albuquerque and Color Artist Dave McCaig time to really build a beautiful and rich world around Hope Lasron’s world. Batgirl is still one of the best titles from the overall spectacular DC Rebirth initiative.

 

3: The Prowler #1

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Confession from me. I have been a big Spider-Man fan since I was 7. In fact Spider-Man was/is my favorite superhero. The Prowler was also one of my favorite Rouges in his gallery (Mysterio is my favorite [maybe I just really love purple and green color schemes for villains!?]). So when I heard they were planning a Prowler solo series I was pumped. I had already been excited about him getting more of a role in the new (NOW!?) ASM series. Writer Sean Ryan and Artist Jamal Campbell have a lot on their plate but the preview art makes it look like they have delivered. I can’t wait until I can read this one.

 

2: Doctor Strange and the Sorcerers Supreme #1

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This new Dr. Strange series arrives two weeks before the release of the Marvel Studios film. Coincidnece? I think not. Do I care? NO! Robbie Thompson is set to write the series which means it’s going to be fantastic. I love the way he tackled Silk and Spidey, so I can’t wait for him to take on Dr. Strange. The art will be by the amazing Javier Rodriguez, who has recently been on the Spider-Woman series. If there’s one character that I think working on a Spider-Man series before hand would benefit you it would be Sr. Strange. There’s a lot of room for humor and sarcasm just like in Spidey titles. I am also intrigued by the team up aspect of it. The idea of Dr. Strange in a mentoring role is hilarious to me.

 

1: Bloodshot USA #1

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Bloodshot USA comes to us from Valiant Entertainment. It features the all star level talent of Jeff Lemire (writer), Doug Braithwaite (artist) and Brian Reber (Color Art). The story is set in New York where a criminal organization has released a biowarfare weapon that has turned the population of New York into blood thirsty zombie like creature, and it’s up to Bloodshot to ensure the contamination doesn’t spread. This title just sounds like plain fun, shoot em up comics to me with no shortage of action. The preview art looks incredible. Especially the color art work by Harvey nominated color artist supreme Brian Reber (wow, that was quite the run on sentence). I haven’t read too many Valiant series’ but this one looks like a real winner.

 

So there you have it! Did your most anticipated books make the cut? Tell us in the comments below. We would also love to see you list of most anticipated comics!

 

-Andrew Horton

 

 

 

 

Every Comic Book Movie (Ever): Hellboy II: The Golden Army

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Welcome to October here at Deja.Revue. If you have not noticed already, I tend to be a fan of the creepy, the weird, and the left-field in comics. So I though October would be a perfect time to indulge those predilections even more than I already have. Horror, as a genre in comics, has always been just off to the side. Less flashy than superheroes, and something of a mutant child of crime comics, the genre has a breadth and depth which is, in my opinion, almost unmatched. I do not hope to cover the whole diverse range of the genre in the coming month, but I do hope to give you a survey of some of my favorite works on page and screen. If you would like to read further, Paste has an excellent list of horror comics you should read. For further reading on the history of horror comics, check out Mike Howlett’s essay in the back of this excellent horror anthology that I will not have the time or space to write about this month. If all goes according to plan, I will have a column each Monday for you, culminating, fittingly, with Halloween at the end of the month. Don’t forget to turn off the lights.

The designation of Hellboy II: The Golden Army as “horror” is dubious, to be sure. I will not spend the bulk of this article defending its inclusion in my run of horror-related pieces (and anyways, I will more than make up for this genre fraud next week), but I will say that the guiding hand of director Guillermo del Toro, along with the soul of the source material, are enough to merit an exploration of this film in the present context.

I have yet to write about the first Hellboy film directed by del Toro, and while I think one could jump into Hellboy II without seeing the first (a virtue of most comic book films 1978-2011), I would recommend seeing Hellboy because it’s a gem. The setup is fairly simple: the titular character is a world-ending demon from hell who ends up being raised by a kindly British professor and expert in the occult. As an adult, he works for the Bureau for Paranormal Research and Defense (B.P.R.D.) along with other agents with “enhanced talents.” Hellboy likes cats, beer, cigars, and the music of Tom Waits. Ron Perlman plays Hellboy in one of the great character/actor matches in all of film history.

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The plot of the film is not particularly important. There are ancient artifacts, a troll market, an abandoned underground city, a forest god. What makes this film distinctive is the meticulous, handcrafted nature of everything put on camera. Del Toro is famous for this. I might say that Hellboy is a better film than its sequel, but Hellboy II is a better film to look at. Every frame is stuffed to the edges with real things, intricate things. Every item in the film is something you could pick up and flip through, or open, or play with. The tactile, physical nature of the film extends to the enormous cast of creatures that populate the various set pieces. If you look far into the background, what you will see are extras in heavy costume and makeup, filling up a world so that we can be engulfed in it.

This is an old idea of horror – going back to the silent era – that mise en scène sets the mood, and plays a larger part than plot in building atmosphere and suspense. The sets of Hellboy II are lavish, but they range from the playful to the sinister. These are not merely dark places, but whole worlds unto themselves.

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The playfulness of del Toro’s design spills over into the rest of the film. This movie is fun. And not in the way that a movie trying to be fun is fun, but in a genuinely, organically pleasurable way. The emotional beats are simple and build gently on the groundwork from the first film. They are effective because the actors never oversell them, and in fact, the film is more subdued than one might imagine. One of the film’s best moments involves Hellboy and Abe Sapien (a sort of mer-man who also works for the B.P.R.D.) lamenting their troubles in love over beers and singing along, gently, to Barry Manilow. It’s an unexpectedly warm and touching scene.

Couched in del Toro’s elaborate world, the characters’ dramas both big and small never feel silly playing out in such lovingly constructed environs. Hellboy and his girlfriend, Liz Sherman, a pyrokinetic, hash out their domestic problems in blazes of flame. Only later when they reach a shadowy chamber where one of del Toro’s more terrifying creatures (a dark angel with eyes dotting its wings) hands them their fate, do they put their arguments behind them and commit to each other for good. The small scale of the human drama could feel absurd in this fantasy world, but it doesn’t because del Toro and his actors treat the world with respect – they know how fragile it is, and things do threaten constantly to fall apart.

Hellboy II is a monster movie where the monsters are the bad guys and the good guys. Really, its not even that, because the good guys are fighting to subvert their own dark destinies, and the bad guys fight for what they believe to be a noble cause. But it still manages to be an excellent evocation of classic creature features, showing reverence to its references and giving care and attention to its own creations. We need more comic book films like this. We need more horror films like this. Hellboy II is not a perfect film, but it is a film undoubtedly assembled with love and passion by all involved. With all that care put on the screen, how could we not enjoy it?

New Comic Book Day top 5: Oct. 12th

Hello Revuers! Tomorrow marks a fantastic New Comic Book Day. It’s the best day of the week in my opinion. I’m looking forward to many titles but for this segment, as always, I have narrowed it down to my top 5. Two titles are from DC, two are from Image and one title is from Marvel. If you agree or don’t agree wit my picks let me know in the comment section below. I love hearing each week what our readers are picking up! Without further delay let’s jump right in.

 

5: Supergirl #2

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Supergirl #2 comes to us from the creative team of writer Steve Orlando and artist Brian Ching. This issues sees Supergirl clash with Cyborg Superman who was revealed at the end of issue 1 of Supergirl. Supergirl #2 was a vast improvement on the Rebirth special issue of Supergirl, and I look for issue 2 to continue this trend. The reveal of Cyborg Superman at the end of issue one was a surprise and sets up an interesting antagonist for Supergirl to face off against. The art by Brian Ching was superb, building a world that’s aesthetically pleasing and unique. The variant covers by Bengal have been some of my favorite variant cover work to date. I can’t wait to pick up issue 2 tomorrow.

 

4: Southern Cross #8

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Southern Cross #8 is written by Becky Cloonan with art from Andy Belanger. This series from Image comics has been consistently one of the best series’ they put out. I love the genre bending the story explores. Is this series Sci-Fi? Is it horror? A little of both? The driving mystery of the series keeps the reader coming back for more and more. This issue sees the continuation of the story arc ‘ROMULUS’ The second story arc of the series. I don’t want to go into too much detail and spoil the first arc for you so I’ll just say this. Spaceship. Paranormal activity. Government conspiracy. All of the covers are by the spectacular Becky Cloonan, who is just as talented of an artist as she is a writer. If you haven’t read this series yet, so yourself a favor and pick up the first trade (it’s only $9.99!). Read it, and then go buy the new issues.

 

3: Great Lakes Avengers

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I was a pretty big fan of the origianl volume of the Great Lakes Avengers, so when Marvel announced that a new series featuring the GLA would be part of their (newest) NOW! initiative I was excited. The series comes from writer Zac Gorman and artist Will Robinson. The story shows that the GLA have been reinstated as members of the Avengers and have been moved to a new headquarters in Detroit. Detroit is about 3 hours away from where I live so that’s kind of exciting for me (I know, I’m a huge nerd).  IT looks like all of the original members are back except maybe Squirrel Girl (who is seen in cut out form in the cover). I’m sure that this new series will follow in the humorous tradition of the previous volume.

 

2: All-Star Batman #3

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All-Star Batman is written by Batman scribe Scott Snyder, with art by John Romita Jr and features some of the best color work in any comic book series on the shelves today, from Dean White. At the close of the last issue we see that even those that Batman trusts the most have turned on him. It’s one thing when it’s Two Face and some bounty hunters you have to worry about, but what will Batman do now that even the police are after him? This road trip with one of his most deadly enemies has turned out to be quite the handful. I dare say that this series is one of the top series’ in the stellar Rebirth initiative by Dc Comics. I think it benefits a lot from being on the traditional once a month schedule as opposed to the twice monthly pace of most of DC’s big titles. This once a month schedule allows Snyder to take his time developing the story. The art by Romita JR. doesn’t feel rushed at all, but rather sweeping and grandiose. As I mentioned before the color work by Dean White is next level work. Truly an All-Star creative team for All-Star Batman.

 

1: Reborn

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The big guns are out for Reborn, a new series from Image comics written by Mark Millar with art by Greg Capullo. The general plot deals with the idea: Where do I go after I die? In this series you go to a place that’s not heaven or hell, but rather a place where you have to fight to survive. A place where you have to make a reckoning with everyone you ever wronged or treated nicely. The story sounds interesting and I trust Mark Millar will do a magnificent job. What really intrigues me is the art by Greg Capullo. This is the first comic book project for Capullo since his legendary run on the New 52 Batman with Scott Snyder. I am excited to see the world that he create for the readers. One of his strongest area is in character design (he designed the current Batman look), so I am curious what he will do having free reign over an environment. Not having any limitations should produce some incredible work from the comic book veteran. All in all this series has me intrigued.

 

So there you have it! Did your most anticipated books make the cut? Tell us in the comments below. We would also love to see your list of most anticipated comics!

 

-Andrew

 

 

Bedtime Stories That Keep You Awake: On Through the Woods by Emily Carroll

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Welcome to October here at Deja.Revue. If you have not noticed already, I tend to be a fan of the creepy, the weird, and the left-field in comics. So I though October would be a perfect time to indulge those predilections even more than I already have. Horror, as a genre in comics, has always been just off to the side. Less flashy than superheroes, and something of a mutant child of crime comics, the genre has a breadth and depth which is, in my opinion, almost unmatched. I do not hope to cover the whole diverse range of the genre in the coming month, but I do hope to give you a survey of some of my favorite works on page and screen. If you would like to read further, Paste has an excellent list of horror comics you should read. For further reading on the history of horror comics, check out Mike Howlett’s essay in the back of this excellent horror anthology that I will not have the time or space to write about this month. If all goes according to plan, I will have a column each Monday for you, culminating, fittingly, with Halloween at the end of the month. Don’t forget to turn off the lights.

At one point or another in your life it is likely that you have crawled into your bed, or crawled out of it, and thought you heard something. Maybe it was down the hall. Maybe it was on the roof. Or maybe, just maybe, it was under your bed. Your ears begin to ring. Your pupils dilate. You concentrate on the darkness and the silence. Your feet stiffen on the cold floor or your body tightens under the warm covers. You recede into the blankets, blocking out the world – a cotton fortress of your own making. It is absurd. Whatever that something is, it can get through. It will not be fooled by your disguise. It knows you are awake. In fact, it prefers you to be awake. It prefers that you wait in the silence, in the stillness, contemplating your immanent fate.

But there is not anything there. Not really. This absence is the source of terror, for it creates a gaping vacuum which our minds set quickly to populating with all sorts of morbid, grotesque, and devilish boogeymen. For some, this wild speculation, this endless suspension in the realm of horror, can create a kind of high – one you keep chasing. This helps explains the popularity of horror films, but more elementally it explains the enduring tradition of the campfire story, the legend, the myth, of which film is merely one of the most recent modes of delivery.

Enter Emily Carroll’s beguiling graphic novel Through the Woods. Each of its brief, gothic-inflected tales is meant to put you right back in bed, under the covers, afraid to peak over the edge and see the hand reaching out from underneath. It begins much the same way I have begun this article. By remembering the bed, the darkness, and the hand creeping out, Carroll prepares the reader for what is to come and also reminds us why we get into this stuff in the first place: we are all just chasing after that same, perfect moment of childhood fear over and over.

Carroll’s tales are, I think purposefully, transitional ones. They float in that space between childhood and adulthood (the library from which I checked out the book had it filed in the Teen section): evoking nursery rhymes even as they delve into more sinister territory. Because of this, she introduces some twists and turns which, for more seasoned readers, will feel less surprising. However, the collection also drifts towards a more uncertain, unsteady version of horror. The best of the stories (“Our Neighbor’s House,” “His Face All Red”) provide no answers, and in fact, no conclusions at all. The resulting effect runs much closer to one’s core than stories that end on dramatic revelations or twists (I can almost hear the violins exploding at the end of “My Friend Janna”). None of these stories overstays their welcome. They are gothic folktales, moving at a quick clip, lingering just long enough to send a chill down your spine, or to make the hairs on your neck stand at attention.

Though these nightmares are brief, that does not mean they are unmemorable. Carroll’s art is mostly to thank for that. It is bright and blocky. It channels folk art even as it disintegrates its own borders, dripping over the edges of the loosely defined frames. It is much less a traditional comic book than it is a series of narrative paintings whose accompanying text is incorporated as completely and artfully as the characters and settings. Reds and blues are cut through with inky black and shocks of white. Everything is angled like the set of The Cabinet of Dr. Caligari. Imagine that film bursting in mad Technicolor and you will have an idea of what Carroll’s book looks like.

Like that film, Through the Woods suggests that monsters are real, but that they are often found just behind the eyes of the person sitting across from you, or just beneath the surface of the mirror you are staring into. This is how the monsters hide. And this is why we must, in the dark, when we are alone and we hear that sound again, fill the world with ugly daemons waiting just around the corner: because it keeps us from seeing the real and mundane ones.

Covers of the Week: Oct. 5th

Hello Revuers! It’s time for another installment on Covers of the Week. This segment is where I pick my favorite regular cover and variant cover of the week. This week there were many covers I could have picked but in the end I settled on just two. My favorite regular cover and my favorite variant cover. Now, when I choose my favorite covers it doesn’t have to be from a series I’m reading, but rather just my favorite cover in general. Let’s get to it:

 

My favorite regular cover this week is:

Godzilla Rage Across Time #2

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Since the Godzilla franchise moved to IDW, the series has featured a plethora of amazing covers. This new series Godzilla Rage Against Time by writers Chris Mowry and Kahlil Schweitze and artist Tadd Galusha is no exception. This cover by Bob Eggleton features Godzilla eating pillars from mount Olympias. The almost painted quality of the cover is beautiful. It’s really his attention to detail on Godzilla’s skin that makes this cover stand out. The muted color palette adds to the cover. All in all a solid cover by a fantastic artist.

 

My favorite variant cover is:

Jessica Jones #1

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This variant cover by David Aja is for the newest volume of Jessica Jones (was called Alias, but was changed so it wouldn’t be confused with the TV show from the early 2000’s. Also to line up with the Netflix show Jessica Jones). I really love the story this cover tells. You can get a sense of who Jessica Jones is just by studying the cover. The tri-color palette is perfect for the series as it has more of a noir feel to it than most of the other series’ that MArvel is producing. The light splattering of red looks like blood splatters and adds a nice effect.The series its’ self brings back the original creators with writer Brian Michael Bendis and artist Michael Gaydos. The first volume was published on Marvel’s MAX imprint. The MAX imprint featured more mature content than Marvel’s main line. While this newest volume of Jessica Jones was more mature than most of Marvel’s current lineup it still was quite toned down from the first volume. I would still recommend picking it up though.

 

Was your favorite cover on the list? If not tell me what your favorite of the week was in the comment section below!