Month: January 2014

Cody Goodfellow’s THE BLIND READING THE BLIND: Episode I — Every Man an Omega Man

    Let it be known here and henceforth by even the thickest-headed of trollful misinterpreters blowing Cheeto-dust nose-bubbles in their chocolate milk as they read this, that I am no firm friend of propaganda disguised as entertainment, and rebuke the notion that every cultural artifact has an underlying socio-political […]

Visual Frights: A new face for horror, science fiction, fantasy – – the Evil Jester

Issue #1 debuts with stories from noted writers Jack Ketchum, the same Jonathan Maberry, William F. Nolan, and Joe McKinney. Ketchum’s story ‘The Box’ , adapted by editor Taylor Grant with art by Beni Lobel is the opening offering, and a great choice as the text version was the winner of a Bram Stoker Award for horror writing. While all the stories in EVIL JESTER PRESENTS #1 are capable of inducing shudders that originate in the spine, nothing creates a full-body feeling of dread like ‘The Box’, which may continue to haunt long after the last page is finished. The tale is narrated by a father, who begins as a happy family member taking his wife, son, and two daughters on a Christmas shopping trip by train when an seemingly innocent moment of curiosity triggers a dramatic change in the family dynamic. This goes well beyond the tropes of dysfunctional families – – more like disintegrating families. Even in the most visibly adjusted families, we’ve all heard parents wonder if deep down they truly know and understand their children. ‘The Box’ takes that parental dread and projects it into a worst case scenario. As the distance between the father and his family members grows further and further apart the sense of isolation and loneliness is overwhelming. You’ll be making room for ‘The Box’ in your storeroom of memories, as this is a story that may linger on. Artist Lobel is very adept at portraying facial expressions and conveying the emotions that affect the characters in the story. Once bright and beaming faces turn pale and indifferent as the story progresses. Lobel also colored the story, and uses both warm and cold colors in the appropriate panels and scenes. Chilling, indeed.