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Welcome back to Haunted MTL’s ongoing horror comic review feature, Graphic Content. In our fourth installment, we’ll be keeping up with John Constantine: Hellblazer and Sink. With previous favorite Killadelphia on break, we’re giving a new series a try titled The Grieviling, from a well-regarded horror comic team.

As always, we’re always looking for title suggestions. So please let us know in the comments what you’d like for us to tackle.

John Constantine: Hellblazer #6

A striking, moody cover.

Issue #6 is a single-issue story titled “Quiet.” This issue spends some quality time with John’s newest assistant, Noah who has been floating in and out of the hospice care where his mother resides since we were introduced to his character. This episode uses time with him to examine some of the other lives within the ward, but more to the point, provide a glimpse of the ills of society. This issue plays on a larger leftist critique on the Tory government though Noah’s own story. This is classic Hellblazer storytelling; monsters and metaphors. The comic turns the satirical eye to a building of the elderly and the infirm, unable to die, turning it into a site of stalking by a ghost, feeding on the lives of the dying.

A ghost that just so happens catches the eye of John Constantine thanks to Noah. While John is quick to figure out what is going on, the day is “saved” as much as it can be in Hellblazer through Noah. John may be forever damaged goods and a right bastard, but something about him seems to make others into better people. It’s a quick, single-issue story, but it’s fine stuff.

Aaron Campbell returns to art duties and as expected his art is a perfect fit for Constantine’s world. The illustrations are about as rough as prior issues, in that the forms are solid but the lines have a rougher quality to them, like a pencil or a pen that is drying up. It gives Hellblazer‘s London a certain aura. Especially given Jordie Bellaire’s coloring style. Characters are given full-color consideration whereas the backgrounds offer more unified and slightly limited pallets. There are, of course, the glimpses of the magical world which have a very painterly and abstracted air to them. The Campbell and Bellaire team-up continues to impress.

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4 out of 5 stars (4 / 5)

John Constantine: Hellblazer #6 was written by Simon Spurrier, illustrated by Aaron Campbell, and colored by Jordie Bellaire.

Sink #3

Sink‘s minimal cover designs are well done.

Sink #3 is a story titled “A Head Full of Wasps” and continues the anthologized glimpse at the damaged lives of Sinkhill. This time around, however, the story starts us off in Edinburgh and introduces us to another Sinkhill toughie, but one who has changed significantly in their time away from the neighborhood. The story follows the old killer, at the behest of the children of a recently passed friend, returning for revenge.

It’s a fascinating issue revolving around identities, dead-names, and again, as with the prior two issues, the ways trauma manifests within and around people in this community. Also, the clowns are back. Horrifying. While this is definitely more of a crime book, I feel comfortable tackling it as horror. I mean, sure enough, horrific things happen. If you read horror for monsters then maybe with Sink it works because the monsters themselves tend to be so abstract. Sinkhill itself is a monster. Transphobia is a monster. The various horrible bastards of each story are monsters in their own ways.

While each issue has been anthologized in tackling different figures, there are connections being formed. I also hope we see more of Florence again. That’s an interesting view of the world I’d love to experience more.

Alex Cormack’s artwork here is stunning and the paneling in a particular moment with a shattered glass is fascinating and an example of the kind of visual storytelling only ever possible in comics. Of course, the comic is also suitably bloody with buckets of gore after a particularly brutal bar brawl. Of particular notice are the way Cormack tackles scarred and lacerated hands. 4 out of 5 stars (4 / 5)

Sink #3 was written by John Lees and illustrated and colored by Alex Cormack.

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The Grievling #1

The Grievling looks great from cover to page.

The Grievling is a two-part limited series that pairs horror-comic icon Steve Niles with artist Damien Worm. The first issue is a moody, simple tale of accidental murder and asks difficult questions of the culpability of minors.

Lily is the “weird” girl at her school. The sort of arbitrarily chosen punching bag of the normative-skewing children at her school. Lily’s time spent at the graveyard, at her mother’s grave freaks out local kids and on Halloween night their bullying of her results in tragedy. Lily comes out of the experience with a new lease on life and a strange new entity along for the ride. It’s very much like the first half of a pilot of a Netflix-style drama. It’s effective storytelling and there is a good setup to something larger, but it feels extremely calculated. Less a true desire to tell a story on its own terms and more of a desire to have a book to pitch to studios.

Granted, the story isn’t bad, and sure enough there is potential for an amazing show, but The Grievling is just a pre-visualization for something else. It’s not a comic because it needs to be a comic. It’s a marketing tool. It is a fine read, and it is interesting, don’t get me wrong.

It just feels so much like a marketing tool. The arbitrary two-issue length seems too calculated and whatever elements that interest most about the concept are not likely to be explored well enough. There is a compelling story in here about the dark side of children but that is likely not going to be explored well enough within two issues, leaving the antagonist children as just hollow characterizations of kids gone bad with little of the exploratory depth the characters deserve. Hell, Lily’s relationship with her father and the tragedy within her family also need room to breathe, but two issues just does not seem like enough space to tackle that.

Damien Worm’s artwork is great for the material and it’s no wonder Niles and Worm have continued to work together. They seem like a perfectly aligned creative entity. Their previous work on The October Faction is well regarded, and Worm’s style delivers for the story playing out in the first issue.

I just wish the end product didn’t feel so calculated for a Netflix deal.

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3.5 out of 5 stars (3.5 / 5)

The Grievling #1 was written by Steve Niles and illustrated by Damien Worm.


Stay tuned for another installment of Graphic Content this month. If you have a comic you’d like to see us cover please let us know!

David Davis is a writer, cartoonist, and educator in Southern California with an M.A. in literature and writing studies.

Book Reviews

Monastery Series 7: a Book Review

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Hello again dear readers. Today we are looking at yet another instalment of Monastery. Once again, I’ll be eating my words. Every time I think the story can’t get any crazier, it does and you’ll understand why soon enough. Without further ado, let’s go!

Plot

We start with quite a tension point in the story (then again, it is always tense nowadays). Rocky’s been abducted and the gang is at a loss for words or motivation, all except Thomas, that is. At this point, all they want is to get Rocky back, even if it means abandoning the search for truth. I can appreciate how Thomas is now a foil not only to those hiding secrets but also to his cousins. Without him, there is no story as far as I’m concerned. However, there were some moments where even I thought he could’ve been a bit more tactful around others’ emotions.

We also see that at least for the time being, Rocky is safe. His POV is so well done I wanted to pull him out of the page and give him a big cuddle. Unfortunately, it looks like he’s yet another collateral damage of the family’s mess. 

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Speaking of mess, Cassandra and Francis reach a fascinating opposing point. She’s concerned Francis is showing no remorse over killing George Turner, or over killing an innocent dog. Could Albert please ask around if there is a special circle of hell for people like him? It’s interesting how Cassandra, no matter how messed up she is, still has some sense of right or wrong. As for Francis, someone needs to take that gun off him ASAP as he’s all too happy using it.

As we all predicted, the Nicole-David-Fred love triangle finally blew up, and boy, how did it. Erica goes full-on scorned woman and drugs Nicole. She then parades her in the middle of Monastery for everyone to see in a wedding dress. Threatening to pour acid on her face is just an added touch to the terror.

Although this turns out to be just a mind game on Erica’s part, we get some insightful character revelations. Nicole’s reasoning for toying with the two guys becomes more understandable, although I still cannot excuse it (and I’m speaking as someone who actually likes Elena Gilbert). I think she could use some therapy to sort out the trauma inflicted by her dad’s affair. At this stage of her life, she shouldn’t end up with either guy. David is also at fault and I think he should work on making it up to Fred. If he and Nicole sail off into the sunset now, it would leave a bad taste in a lot of reader’s mouths. Then again, if Fred does decide to take her back, it would be his choice. Something tells me this ordeal is far from over. 

We end series seven of Monastery with Thomas receiving yet another blow when his dad betrays him and destroys all the progress of their investigation. So much for trusting family, or authorities for that matter. What is going to happen now?

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Overall thoughts

I said a lot of my thoughts while discussing the plot of the episode. As usual, Monastery is full of of drama, mystery, and outright terrifying things to keep us on our toes. The one plot thread I am holding in my hand just waiting to see where it leads me is Madam Witch. Her very fairytale-like deal with Cassandra implies she owes her one of the grandkids. Not to mention the implication that Henry has some kind of special powers. I can’t wait to see how that ties into what happened to Albert. The next part can’t come out soon enough!  5 out of 5 stars (5 / 5)

More thoughts from the author:

1. Something I talked about before in another article about Monastery a little but something that I picked up on in this episode. Cassandra, although definitely not perfect, still seems to uphold some kind of morality within her. Such as how horrified she is when Francis doesn’t feel bad that he killed George. Was this something you considered when writing these characters, someone who’s not afraid to get their hands dirty but still has some kind of empathy vs someone who doesn’t?

Absolutely – that is my favourite type of character! Who doesn’t love an anti-hero with a grey moral compass, but a moral compass nevertheless? Cassandra is capable of the most atrocious acts, but she always has her family’s best interest at heart – or what her idea of their “best interest” should be.

Interestingly enough, we’re slowly learning how Francis is the result of Cassandra being the way she is, and he himself certainly blames her for much. Francis only has his own interest at heart… yet he killed George because of what the old creep had said about Cassandra! Again, grey area.

2. The whole Erica scene is genius on many levels. I actually got a couple of questions in regards to it. One – were you always going to pull the whole ‘none of the torture devices were real’ trick on the readers to toy with their emotions or were you thinking of doing it for real but backed out? Two – I thought the way the town’s residents acted was very fitting of the story and of modern society. What was your intention with having seemingly everyone witness the ordeal?

Funny, I cannot remember whether that mini-twist was always part of the equation, but I concluded that I didn’t want Erica to be hated or irredeemable – I wanted to make it more about the lesson being learned than the payback.

As for the townspeople witnessing the whole thing, there were three reasons I did it: a) the satire, because, has mentioned in previous Q&As, Monastery is a satire of small-town life, and we all know small-town folks love a good scandal; b) the humour, as I went all out in making an over-the-top situation even more over-the-top; and c) plot convenience because, as that all goes down, Francis is shooting up the Keane house and I didn’t actually want any neighbours to know and call the cops as it wouldn’t serve his arc… at this point.

3. The one storyline that I’m still wondering as to how it will tie into everything is Madam Witch and the whole first-born son hints that are very fairytale-like. Are we meant to take it as an allusion to the paranormal in this story (such as the seances they had in the previous episode) and that more is coming? As it is not outright stated since the murder mystery is the forefront with the town not really caring there’s a werewolf roaming around.

There will be a paranormal twist to the murder mystery and how it’s covered up, I promise – after all, one mustn’t forget that Cassandra owes Madam Witch – but we don’t know what she owes her for.

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As for the werewolf, hmm… Been a while since he’s made an appearance, has it not? Wouldn’t it be a darn shame if one of our protagonists came face-to-face with him in the next episode?

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Book Reviews

Our Hideous Progeny Review: Frankenstein’s Dinosaur

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“It was a grey and foggy March day when we brought it to life at last. I had expected there to be thunder, or at the very least some rain; I had expected that on such a momentous occasion, Nature would be obliged to provide us with a fitting backdrop.” – pg 2, Our Hideous Progeny by C.E. McGill

Our Hideous Progeny is C.E. McGill’s debut 2023 novel and unofficial sequel to Frankenstein by Mary Shelley. Like certain aquatic reptiles, McGill is already making a splash with Our Hideous Progeny being named a Best in Fiction Book of 2023. It had been on my to-read list since its release, but I’d been stalling until I read the original Frankenstein. With Poor Things and Lisa Frankenstein (both absolutely bizarre movies about women containing multitudes) hitting theaters, I finally caved and did my required reading.

Our Hideous Progeny follows Mary Sutherland, a 19th century descendant of Victor Frankenstein, striving to be a scientist. However, she is stopped by social mores, her husband’s poor decisions, and her family background. When she finds Victor Frankenstein’s journal, she sets out to not just create life, but to create a dinosaur. 

As a note, reading Frankenstein isn’t a prerequisite to enjoy Our Hideous Progeny, however it enhanced the experience. Whereas Frankenstein is about the aftermath of his experiment, Our Hideous Progeny is about the lead-up. Both contain similar themes of hubris and men defying God rather than taking responsibility for their actions. However, the focus on different moments in the experimentation provides a fresh recontextualization. Additionally, motherhood is the lens through which Our Hideous Progeny views the original story, providing additional nuance to this continuation of the narrative.

Advertised as a feminist, queer, and gothic tale about an ambitious woman in science, Our Hideous Progeny hits all those marks. However, some of those descriptors are more prevalent than others. To me, the story reads as mostly historical fiction with a splash of sci-fi and a hint of queer romance. As a queer woman in science, I really liked the book! The prose had a distinct voice that made the experience more immersive. I never doubted Mary’s voice or the time period. The characters were compelling, though in a way where I couldn’t wait for some of them to get punched. 

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I did struggle to reopen the book at times. Mostly, this was due to a fatigue of terrible people making terrible decisions. In this way, Our Hideous Progeny sometimes felt like a 19th century r/AmITheAsshole post, in which you just want to scream at the poster to leave her husband. The situations and writing were believable and entertaining, however, emotionally draining for the mental state I was in while reading. Also, I did expect a bit more dinosaur than was present, (it is finalized at the end and not the beginning) but it wasn’t a book-ruiner for me.

I would absolutely recommend Our Hideous Progeny to those who are a fan of Frankenstein, historical fiction, and science history. Additionally, if you like angry and smart female main characters it would be a good choice too. Check out McGill’s interviews, essays, and more here!

4.6 out of 5 stars (4.6 / 5)

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Book Reviews

Walnut Ridge Review: Aliens, Angels, and Taco Bell

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“One of the Angels walked past the group meeting room. It was not, of course, a real angel in biblical terms. It was a visual approximation of an angel, and that’s what they liked to be called, Angels” – pg 1, Walnut ridge by Dan Scamell

Walnut Ridge is the debut weird science fiction novel by Dan Scamell. The publisher, Dead Star Press, is based out of Phoenix and committed to “unpretentious indie publishing”, with a specialization in weird speculative fiction. A press that had long been on my radar, I was excited to review an advanced reader copy of Walnut Ridge ahead of its March 20, 2024 release!

Walnut Ridge follows a group of people trying to come to terms with a world post-alien takeover. Unlike most end-of-the-world stories, these aliens have promised utopia. As long as you’re converted into goo! The residents of Walnut Ridge, a pre-goo processing facility, must accept utopia or be left on Earth alone. Will they be granted access to the promised land? Or will they become eternal outcasts? Watch Scamell’s promo trailer below!

Video promo for Walnut Ridge from Dan Scamell’s YouTube Channel

In its simplistic form and wacky story, Walnut Ridge‘s plot and prose are reminiscent of an early Vonnegut novel. Through this, Scamell showcases the difficulties of navigating the human brain and the contradictions of human belief, behavior, and intentions. Overall, I enjoyed the plot and character arcs, with the last half of the book being particularly gripping. The plot was original, refreshing, and interesting. Aliens taking the form of angels isn’t a new concept (Ancient Aliens has entered the chat), but the way it’s executed is a creative spin. Likewise, the pop culture references aren’t overdone and play a clear role in the story. Where Walnut Ridge shines in its originality, is the almost entirely internal conflict against the backdrop of a utopia.

While Walnut Ridge reminds me of Kurt Vonnegut, I didn’t consider the prose quite as witty and humorous as I would expect from a Kurt Vonnegut novel, and a touch more explicit. This is worth mentioning for those trying to determine if Walnut Ridge is the right fit for them. The plot is spot on as something that could come straight from Vonnegut or Douglas Adams, however.

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Scamell has described Walnut Ridge as an allegory for addiction and recovery. As someone without that personal experience, I found the characters hard to relate throughout the first half of the book. The self destructive behavior of those living in Walnut Ridge was frustrating to read. At several moments I wanted to shake the main character, Leo, and tell him to grow a spine. Other characters I wanted to shake and tell them to grow up. It is not lost on me that similar frustrations can be felt by family and friends of those going through addiction. I still haven’t decided if I like the execution of the allegory or not, but Scamell certainly left me with a lot to ponder.

I would recommend Walnut Ridge to those looking for weird speculative fiction with a positive spin. Those who have previously overcome addiction may also be particularly drawn to this story. Consider preordering Scamell’s debut novel now!

3.7 out of 5 stars (3.7 / 5)

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