Book Review: Respectable Horror

Book Review: Respectable Horror by K.A. Laity

Horror is a wide-ranging genre, which can be tailored to a variety of tastes.  Some folks prefer their scary fiction with a maximum of gushing blood and sharp objects being plunged into soft flesh; others like a more genteel approach that emphasizes the subtle wrongnesses and growing atmospheric dread that comes before the end.  This collection is geared towards the latter audience, with one of the inspirations being the work of M.R. James.

Respectable Horror

There are seventeen stories in all, starting with “The Estate of Edward Moorehouse” by Ian Burdon.  The title character went missing in a remote section of British coastline seven years ago.  He’s been declared dead, and a relative is looking through his estate and discovers that Mr. Moorehouse was searching for traces of a buried village on a beach mentioned in an old text.  He decides to honor the man by visiting the same beaches.

This is a thoroughly modern story with Facebook ™ and SIM cards, but ancient evil has adapted to the new technology.

The final story, “The Astartic Arcanum” by Carol Borden, is more of a period piece.  A Cthulhu Mythos tale, it pits poet Nita Sloan against a cabal of wealthy old men in Detroit who want to change the world.  It would appear that her latest work might be the only thing that can stop them–provided they don’t manage to sacrifice her to their dark god first!

Some other standouts include: “The Feet on the Roof” by Anjana Basu.  Set in 1960s India, there is culture clash between a wealthy widow and her daughter.  The daughter just up and vanishes one day, but then mysterious footprints begin to appear where no footprints should be.  It’s nice to see a horror story set in India that is by someone who actually comes from there.

“Miss Metcalfe” by Ivan Kershner is a Bradburyesque story about a substitute teacher.  It is the day before Halloween, and there’s a new substitute teacher, with a radically different lesson plan.  It involves bats.  Nicely spooky, and dances right up to but not past the line.  Read it to your kids.

“The Well Wisher” by Matthew Pegg concerns a series of poison pen letters.  One target of the letters has already been driven to suicide.  A governess may be able to unravel the mystery of the “Well Wisher”, but can she do so without revealing her own dark secrets?  Innovative, but also comfortably period.

My least favorite story was “Recovery” by H.V. Chao.  An author with writer’s block has moved to a small French village in the hopes it will help.  It hasn’t, but he’s enjoying listening to the guest next door speak to a lover who never answers.  The story never reaches spooky, just barely making it to odd.

Most of the other stories are decent to quite good; this would make a fine Halloween present for a sweetheart or other book  lover.

Comic Book Review: Joe Kubert Presents

Comic Book Review: Joe Kubert Presents by Joe Kubert and others

Joe Kubert (1926-2012) was one of the all-time great comic book artists.  The bulk of his work was done for DC Comics, including many Hawkman and Sergeant Rock stories. Joe Kubert Presents was his final series, a tribute to him by the company he’d done so much for.   Mr. Kubert was given free rein to choose which stories to do, and which other creators he wanted to share the spotlight with.  Rather than risk an announcement of the series ahead of time only to not be able to deliver (this had happened to him before), Mr. Kubert insisted on having several issues “in the can” before it was put on order forms for retailers.  The sixth issue was nearly complete when he died.

Joe Kubert Presents

The first issue leads off with “Hawkman”; this iteration is closest to the science fiction-inspired Silver Age version, but not in continuity with any previous story.  Katar Hol and his partner Shayera (Hawkgirl) are sent from the utopian planet Thanagar to observe Earth up close and determine what steps should be taken in the future.  The Thanagarians worry that the Earthlings will not mature out of their destructive behavior before they develop interstellar travel.

The aliens land in Africa, observe the wanton slaughter of wildlife and environmental destruction, and decide to visit a nearby village.  Unfortunately, this particular village sits atop a toxic waste dump; the poverty-stricken villagers have become economically dependent on the storage fees.  The villagers worry that the Thanagarians have come to stop the practice and react badly.

While I understand the good intent of the story, it really does look like technologically advanced white people lecturing primitive native Africans on proper respect for the environment.  And the Hawks destroy the natives’ livelihood and leave without considering that consequence, so their victory leaves a bitter aftertaste.

“Spit” is a recurring feature about an orphan who runs away from the orphanage and winds up stowing away on a whaling ship.  In short vignettes, he suffers much abuse, but eventually learns how to survive at sea and decides to become a whaler.  The first few chapters are in sepia tone, but the finale is mostly in full color.  One (landlubber) character is implied to be a pedophile, but is thwarted before he can do anything.

“The Redeemer” is three chapters of a series Mr. Kubert solicited back in the 1980s before he discovered he wouldn’t be able to deliver it on time.  Jim Torkan is the title character, a man who reincarnates across time and space  to gain the wisdom he will need to eventually save the human race from itself.  He is the target of the Infernal One, who sends agents to tempt Torkan from the path of righteousness, so that the Redeemer will be under his control.

The first two chapters take place in the far future, as Torkan is a scientist whose space station is invaded by murderous robbers seeking a chemical he’s developed that can control minds.  His love interest is actually an agent of the Infernal One who tries to convince him to join up with the would-be dictator to save his own skin.  The third chapter has Torkan as an ex-Confederate soldier just after the Civil War.  The story carefully avoids mentioning what the Confederacy fought for beyond “justice and right” (hint: slavery), but it was all a waste and Torkan is without purpose.  He gets involved in a treasure hunt, but at the end discovers something more precious than gold: himself.

“Farewell” was Kubert’s last Sergeant Rock story.  The son and grandson of one of Easy Company’s soldiers visit a D-Day beach and the cemetery nearby.  They discuss the possible death of Rock, but in the end it doesn’t matter if he is buried here–a piece of each soldier who fell rests with every other soldier.

“The Biker” is about a wounded Afghanistan veteran and motorcyclist who bunks down for the night in an abandoned house.  But maybe not as abandoned as it looks.  Some excellent coloring work here.

Then there are two stories written by Joe Kubert, but with art by other people.  “The Ruby” (art by Henrik Jonsson) is about bandits attacking a Himalayan temple–it turns out to be a possible origin story for an obscure DC character.   “Devil’s Play” (art by Brandon Vietti) is a Kamandi story, as the last boy on Earth battles the animal-men that have taken over the planet.  This story offers a different explanation for the Great Disaster than usual.

The series also contained several “U.S.S. Stevens” stories by Sam Glanzman, telling tales of his WWII service aboard that destroyer.  “The Figurehead” is the most interesting of these, featuring an eccentric crewmate of Mr. Glanzman’s who may or may not have had unusual abilities (it’s possible that this is a sailor’s yarn and he’s pulling our leg a bit.)  This material has been collected separately, along with Mr. Glanzman’s other memoirs.

Brian Buniak gives us “Angel and the Ape”, based on the Bob Oksner series about private detectives Angel O’Day (an attractive human woman) and Sam Simeon (a cartoonist who also happens to be a gorilla.)  It’s not quite in continuity with any other appearance of the characters, but as a comedy strip, continuity was never a huge issue.  The pair are hired to prevent a restaurateur from being murdered; they do so but he is shot anyway, and they have to figure out whodunnit.  After they solve that case, a reporter gets the story of their origin (or at least Angel’s version.)  There’s an energy and attention to humorous background details reminiscent of early Mad, but sometimes the exaggerated art style can go a bit off.

If you are a fan of Joe Kubert’s art, this volume is a must-have; if you’re indifferent to that, the stories are only average, and the problematic material may knock this down a star or two for you.  I liked this very much.

Comic Book Review: Vertigo CYMK

Comic Book Review: Vertigo CYMK edited by Scott Nybakken

Disclaimer:  I received this volume from a Goodreads giveaway for the purpose of writing this review.  No other compensation was offered or requested.

Vertigo CMYK

I don’t talk a lot about colorists.  In most comics, they’re not noticed unless they really screw up, or there’s a particularly striking image.  But they are an essential part of the color comics creation process.  It’s the colorist who makes sure that the characters have the same color clothing and hair from panel to panel and page to page.  The colorist has to choose appropriate background colors that will complement the foreground without hurting the eyes, and create mood with appropriate shades for the circumstances.  It’s a difficult job and one that doesn’t get the attention it deserves.

The reason I bring this up is because this anthology comic book is all about color.  It’s named after Cyan/Magenta/Yellow/blacK, the four inks used in tiny dots to create all the colors in the “four color” printing process that allowed color to work on cheap newsprint paper.  For many years it was used both for the Sunday comics and comic books.  The latter are printed on fancier paper now, allowing for more shades and variations, but “four-color” is a history that all comics creators know.  This was originally a four-issue series with each color getting a focus.

The Cyan section leads off with “Serial Artist” by Shaun Simon (writer), Tony Akins (artist) and Andrew Dalhouse (colorist.)  A struggling musician falls in love with a girl he finds “tagging” a building.  When he inherited a funeral parlor, he feels obligated to make a go of that instead.  His girlfriend has an idea for bringing in some business…he really should have asked more questions about that building she was putting graffiti on.

Many of the pieces aren’t full stories, but mood pieces or story fragments.

One of my favorites is “Adrift” by Jody Houser (writer)  and Nathan Fox (artist who did his own colors.)   A bereaved girl has a conversation with her little sister’s “Barbara Jean” doll while they wait for her grandmother’s funeral.  The doll’s garish magenta clashes with the gray tones around her in a way that emphasizes she’s not of this world.

The Black section tends towards…well, darker pieces, but a couple of them play against this expectation.  “Super Blackout” by Gene Luen Yang (writer) and Sonny Liew (art & colors) is about an app that allows you to erase photos on your smartphone–but that’s not its true purpose.  There’s some effective use of app icons to carry the story with a minimum of dialogue.

Each section ends with a story by Fabio Moon, who does all the chores himself.  They form a connected narrative about a vase artisan and his friend who lose one gallery and go in search of another.  The artisan is able to see this loss as an opportunity and sees hope in the future.

While some of the pieces are weaker than others, it’s a beautiful assortment.  I should mention that this is a Vertigo “mature readers” title, so there is some violence and nudity, as well as rough language.  There are stories that involve suicide and rape, both off-page.  (It doesn’t wallow in it like some other Vertigo series have, however.)

I’d recommend this book especially to art students to see how different colorists work with artists and writers to enhance the stories.

Manga Review: Dream Fossil

Manga Review: Dream Fossil by Satoshi Kon

Satoshi Kon (1963-2010) was an acclaimed anime director, making a handful of movies (including Paprika) and one television series, Paranoia Agent.   His themes of confusion of dreams and reality, and madness lying just below the surface of society, made his works fascinating.  He also spent some time as a manga creator, creating several stories in the 1980s before going into anime full time as an assistant to Katsuhiro Otomo (Akira).  This volume collects his short works.

Dream Fossil

The lead story is “Carve.”  After a war polluted the old places of habitation, most of humanity moved to “The City”, a haven of high technology.  However, when a minority of humans started developing psychic powers, they were kicked out of The City, and scrape by in the now less toxic old cities.  Sculptor Kei and his female friend/model Ann notice that Specials are starting to disappear from their neighborhood.  Are The City people up to something?

The fifteen stories cover a range of genres.  There’s a couple of baseball stories, some slice of life, a samurai thriller, and some more speculative fiction.  The characters tend towards the realistic, even if the circumstances are often bizarre.

One standout is “Kidnappers”, about a car thief who discovers that he has a small child in the back seat.  He wants to get the kid back to the parents, but doesn’t want to go to jail for swiping the vehicle–and the actual kidnapper is after him too.  The main character is well drawn as a bad person, but one that doesn’t want to be that bad.

There’s also  “Waira”, the samurai thriller I mentioned.  A feudal warlord has been betrayed by his vassal/brother-in-law, his troops massacred, and now he and a handful of surviving followers are fleeing through a mountain forest in the middle of the night.  The brother-in-law and his troops pursue, but their guides warn them that the mountain is haunted by a murderous creature named “Waira.”  Who will survive?  The nature of Waira comes as a bit of a surprise–it’s so out of place that it might as well be supernatural.

I can really spot the Otomo influence in several of these stories.  The art and writing are decent, but Kon doesn’t sparkle here the way he does in his animation work.  A couple of the stories are photocopied from magazine appearances as the original art is lost; this affects the print quality.

The last story in the volume is Kon’s debut work, a two-parter titled “Toriko” (prisoner).  It’s very YA dystopia.  Yuichi, a teenager, lives in a future society ruled by implacable robot police, and in which you must have your identity card ready at all times for any transactions or even just walking down the street at the wrong time.  When he and his friends break curfew, they are remanded to The Center for “rehab” to become “productive citizens.”  Good thing Yuichi managed to snag a weapon!  Downer ending, depending on your point of view.

In addition to a few color pages, there’s also an interview with Susumu Hirawara, a composer who worked with Satoshi Kon on musical scores for the anime projects.  (One last film, Dreaming Machine, is being slowly finished.)

The intended audience varies, a couple would be suitable for young readers, but overall this anthology seems to be seinen (young men’s.)  Several of the stories have lethal violence, there’s some nudity, underaged drinking and smoking, and one story has an attempted rape.

Fans of Satoshi Kon’s other work will want to own this anthology; others will be better served by checking it out via library loan.

Manga Review: Rin-ne

Manga Review: Rin-ne by Rumiko Takahashi

Sakura Mamiya is not quite your normal high school girl.  Due to a near-death experience as a child, Sakura can see spirits.  One day, she meets the new boy in her class, Rinne Rokudo.  She mistakes him for a spirit at first, but the truth is a bit more complicated.

Rin-ne #13

Rinne is a ”shinigami” (death spirit), a not so grim reaper whose job it is to move ghosts on to the afterlife.  However, his ancestry is partially mortal human, which means that he is much weaker than normal shinigami and must use artificial means (often expensive ones) to duplicate their natural powers.  Between that, bad luck, and having his name fraudulently placed as a co-signer on his father’s extensive debts, Rinne is grindingly poor.

Sakura befriends Rinne, and often helps him with his cases.  While she doesn’t have any special abilities beyond spirit sensing, Sakura’s cool head and common sense often come in handy dealing with wacky spirit hijinks.  In the standard Takahashi fashion, more and more quirky characters pop up and refuse to go away for long.

This series uses some of the same supernatural folklore as Takahashi’s last work, Inuyasha, but does not have an over-arcing plot as such, featuring individual stories and short arcs instead.  Rinne is considerably less of a jerk than most of Takahashi’s previous shounen protagonists, and Sakura is much less ill-tempered than many of their female leads.  The obstacles to their budding love are more circumstantial.

Rin-ne is a lighthearted series, despite the constant presence of death.  Many of the situations are silly, even if everyone in the story takes them seriously.

In the volume I have to hand, #13,  Rinne’s deadbeat dad needs to borrow money to pay for something, which leads to the question of what he values so much that he’d be willing to actually shell out payment.  Rinne has several encounters with Right and Left, moon rabbit people who run a scythe repair shop…badly.  Then Rinne is framed for robbery.

In addition, there’s a story set in a dessert buffet, and seasonal tales for Christmas and New Year’s Day.

There’s considerably less gratuitous fanservice than Takahashi’s earlier works, and despite the scythes and ghosts, most of the violence is slapstick.  The primary intended audience is middle-school and up boys, but girls should find it enjoyable too.

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