Friday, 21 November 2014
Thursday, 29 October 2009
There's no denying Terry Gilliam's place among the great auteurs of modern cinema, but even his usual visual flair can't paper over the cracks in this landscape. There are moments here of bewildering imagination, but also lengthy sequences where the narrative slows to a crawl and the dialogue appears to have been made up on the spot.
The late Heath Ledger makes a decent stab at capturing his character's splintered personality (a trait underlined by the trio of actors drafted in to play the same role in Parnassus' dreamverse) and Lily Cole is surprisingly effective in her first major screentime, but the overall impression is of a disjointed jigsaw which simply doesn't fit together coherently.
Wednesday, 23 September 2009
Those familiar with Mark Neveldine and Brian Taylor's previous collaborations, the frenetic Crank and its equally cartoonlike sequel Crank 2: High Voltage, will find little to surprise them during the first half of their latest shoot-'em-up, set in a future America where millions engage in a live-action version of Second Life and the top-rated tv show features convicted criminals fighting to the death in the hope of gaining their freedom. (The latter may remind some of the 1987 adaptation of Stephen King's pseudonymous The Running Man, but it's closer in treatment to an obscurity from that same year, Deathrow Gameshow.)
It's at the mid-point, however, that the script edges towards a rather more interesting meditation upon the nature of identity in a world where nanotechnology can provide you with a physical avatar, under your direct mental control. That it only strays a short distance in that direction is most likely rooted in a desire not to alienate the film's target audience, although the cliched depiction of one player as a semi-naked couch potato with sexuality issues won't endear it to some. In all, a mildly interesting misfire.
Thursday, 16 April 2009
Repackaged as Let the Right One In for its belated UK release, Lat den ratte komma in is the most intoxicating blend of childhood sensitivity and gutsy fantasy since Pan's Labyrinth. By turns a convincing portrait of pre-teen terrors (bullying, divorce, first love) and a gory vampire thriller, it's utterly engaging and shockingly effective, with stand-out performances from the two leads (Lina Leandersson is stunning as the sometimes sweet, occasionally feral Eli). By a wide margin, the best horror film I've seen this year.
Wednesday, 25 March 2009
The first big screen pairing of rising BBC3 "stars" James Corden and Mathew Horne is many things - unfocussed, flabby (even at 86 minutes), ultimately tedious (quite an achievement for a movie featuring semi-nude female vamps) - but the one thing it isn't is another Shaun of the Dead. LSK is neither as good as it could have been, nor as bad as some of the critics have indicated: another misfiring British sf/horror comedy, in other words, to join the ranks of Evil Aliens, The Revenge of Billy the Kid and When Evil Calls. You'll have far more fun watching the "Lesbian Vampire Lovers of Lust" episode of Dr Terrible's House of Horrible.
Thursday, 12 March 2009
The award-winning online archive eFanzines just posted Are You Still Here?, a selection of material I've written over the past twenty-three years. The most daunting part was making the final cut; I'm almost tempted to put together a second volume (you have been warned...).
Wednesday, 4 March 2009
[First published on LiveJournal, November 2005:]
In common with [my friends Fran and Sandra], I've somehow slipped onto the Penknife Press e-mailing list, the company's name presumably arising from the item you grab to slash your wrists when the latest teaser chapter arrives.
Sunday's extract was from The Last and Final King by Obi (sorry, who?), ominously entitled "Book I, Chapter I":
Life is a f***. In and out, in and out, over and over again. Like a sine wave. Like a wave good-bye. It feels good to push it in, but the feeling doesn’t last. It fades like the sound of a plucked guitar string, or a train whistle breezing by the station. Good-bye! You have to pull it out just so you can push it back in, just so the feeling will be intense again. And there you are again as the feeling fades, and you want it to last forever, so you pull it out again. Your rear end is bobbing in the air, and to what end? The feeling that fades and keeps you bobbing? Is this what forgetting history is like? What about your own personal history? In and out, in and out, over and over again.Sorry, your arse is bobbing in the air whilst you wave goodbye to a train whistling through a tunnel and try to remember how to play the guitar? Is this death by a thousand similes?
I want to forget, but I can’t.Try harder. I certainly am, right now.
One of the joys of having TCM included in your cable package is discovering movies which have somehow slipped you by over the past four decades. Sadly, A Fine Madness (1966) is not one of the cases for celebration.
Sean Connery takes the lead role of tortured poet Samson Shillitoe, with Joanne Woodward largely wasted as current wife Rhoda, forced to work as a waitress whilst the beligerent bard stumbles around New York, seducing virtually anything female with a pulse and moaning - incessantly - about his inability to complete his second poetry cycle. No one appears sure whether this is a drama about creative insanity, an adult comedy (for its period, that is; the only naked chest we see is Connery's) or some hamfisted combination of the two.
Whilst we ponder the tagline "We should all be so crazy", our poet dodges city cops to avoid paying alimony to his first wife, acts with no concern for anyone but himself, sails through a lobotomy with no obvious effect and reacts to the news of Rhoda's pregnancy by punching her on a public street. As Shillitoe fends off an outraged crowd, THE END fills the screen, and barely a minute too soon.
I realise attitudes were different 43 years ago, but surely even back then, audiences would have had difficulty identifying with a violent, adulterous wifebeater who believes the world owes him a living because he sold fewer than 200 copies of his only volume of poetry? Maybe there's a good reason I'd never caught up with it.
[First published on Livejournal, February 2009]
Tuesday, 3 March 2009
[First published in my online Sunday Mercury column "Toby Jugg", September 2008:]
I just returned home from watching the scary thriller The Strangers at the Cineworld on Birmingham's Broad Street.
But for all that movie's chills and blood spills, the evening's most horrific moments look place a few hundred yards away in Bishopsgate Street, at the City Tavern.
I had an uneasy feeling as I walked into the fairly tiny bar and noticed seven of the eight beer taps were turned around to indicate that particular brew was out of stock.
Raising my voice so I could be audible over the blaring television in the corner of the room, I jokingly asked the glumfaced barman if there had been an unexpected influx of real ale fans.
No, he explained, the management had put the entire array of bitters on tap, found no customer base whatsoever and were now abandoning the strategy before it cost them any more money.
A sad story, but another reason for the scheme's failure occurred to me as I began to drink my pint of the sole remaining bitter, Fox's Nob. Never before have I been led to suspect its title originated from the beer being brewed in a vulpine urinal. (I must point out I have enjoyed Fox's Nob in the past, but this clown was serving up pints of pure vinegar.)
By this juncture, my companion had turned up and was looking askance at the insipid half-pint of Fosters he'd ordered. Little wonder that when we left shortly afterwards, there were only two
It's obviously sad when a pub goes this far downhill, but boarding up that particular hostile hostelry would be a mercy killing.
Friday, 27 February 2009
Many of the reviews for Clint Eastwood's Gran Turino have conjured up the iconic image of "Dirty" Harry Callaghan, but that's to miss the point: Walt Kowalski is not some maverick cop trying to protect the public from its own perceived lack of moral grit, he's a bitter war vet who's increasingly more of an alien in his run-down Detroit community than the "gooks" whose arrival he despises.
Eastwood now resembles a Rockwell sketch of Mount Rushmore, with a growl low enough to be detected by whales fifty miles away, and he brings a depth and humour to Walt which allows us to empathise with him whilst finding distasteful many of the views he expresses. Ironically, this strength proves one of the film's weaknesses: it relies too much upon its star, and one can't help wondering how differently Eastwood the director would have handled the material. Still, if this is indeed his swansong in front of the camera, it's a damned fine performance to go out on.
[First published on LiveJournal, February 2009]
Thursday, 26 February 2009
It’s not only the future which remains an uncharted continent: the past is just as capable of sneaking around and biting you on the butt. Shortly after I returned from running the Eastercon fan lounge last year*, Ann exiled me to the attic; no, not like the hideous mutant twin in some Lovecraftian potboiler, but because the second floor of our home contains the accumulated debris of my near-forty years on this planet.
Old fanzines, books, comics, toys, film posters, lost religious relics… The attic is crammed to the rafters with the odd, the obscure and the patently useless, much of which has never actually left the premises, a curious side effect of buying the house you grew up in. More terrifying, there are glimpses of other potential life paths left untrod: computer manuals from a two-year cul de sac in the mid-1970s when I hedged my career bets by taking a programming course at college; layouts and synopses for comic strips; the clockwork cine camera with which I toyed at becoming the next Ray Harryhausen; heaps of notes for novels and short stories aborted or stillborn. It’s strangely both unsettling to see so many youthful fancies buried under so much dust.
The only real constant is box upon box of fanzines, the bulk collected in the long-ago days when such material was the mainstay of British convention auctions, but very nearly as much archived during the past decade. That’s the great strength of fandom: like attics, it never demands you act your age.
*Intervention, Liverpool, 1997
[First published in Omega #22, October 1998]
This morning's post included the first entry for the 2009 Delta Film Award, which will be announced in October at the 20th Festival of Fantastic Films. The competition is open to both UK and non-UK film-makers, and is presented to the best non-professional movie screened at the Festival; recent recipients include Small Things (UK), Contretemps (France) and the acclaimed Eddie Loves You (UK).
Wednesday, 18 February 2009
It's certainly been Kate Winslet's year: two dramatically different roles in two excellent but very distinct movies. I can understand why Our Kate eventually earned the BAFTA for her portrayal of the emotionally amputated Hanna Schmitz in The Reader: it's a greater challenge to bring a sterile void such as Schmitz to the screen and make her believable, than someone whose emotions are bristling right on the surface, like the sparks on a Van de Graaff generator.
Which is not, in any sense, to downplay the weight and solidity of Revolutionary Road. There have been many films exploring the private dreams and nightmares of those who live in silent desperation within the facade of the post-WW2 American Dream (The Ice Storm immediately springs to mind), but this entry accentuates the sense of loss by offering its protagonists -- frustrated mother-of-two April and her sexually oppotunistic husband Frank (Leonardo DiCaprio, also at the top of his game) -- a way out of the rut they've slipped into.
Whilst 1955 Connecticut society looks on in horror born out of ill-disguised envy, the pair plan their escape to a Europe which has taken on a mythic status for them, only to have any real hope of freedom crushed by their own weaknesses. There's a grim inevitability to the movie's final chapter (one which, for personal reasons, I found very difficult to view), but it was obvious from the opening scenes that a happy ending was unlikely to be on the agenda.
[First published on LiveJournal, February 2009]
Tuesday, 17 February 2009
I have to confess I haven't kept much of an eye on Woody Allen's career since Hannah and Her Sisters back in 1986. Mighty Aphrodite (1994) proved mildly diverting, as did Bullets Over Broadway (1995), but neither displayed the invention or self-assurance of Annie Hall (1977), Sleeper (1973) or even Everything You Always Wanted to Know About Sex (1972). The indifferent reviews which greeted his more recent projects scarcely had me running to the box office, but word of mouth on Vicky Cristina Barcelona hinted that Allen might be back on form.
Ah, if only. Despite the best efforts of his cast (headed by Rebecca Hall and Scarlett Johansson as the eponymous Americans adrift in Catelonia, Javier Bardem as the fiery artist who beds them both and Penelope Cruz as his equally tempestuous ex-wife), this is a lightweight tale, its limitations underlined by the invasive narration which Allen presumably hopes will paper over the cracks in both plot and characterisation.
A stray thought hit me as I sat in the cinema tonight: had this film been set in a sinkhole housing estate, with boringly mundane protagonists rather than artists and poets, would we actually give a toss about their bedhopping antics? Romantic locations do not a romance make, nor the occasional witty line a winning comedy.
[First published on LiveJournal, February 2009]
Monday, 16 February 2009
The View from the Bridge
Life’s a bridge,
spanning the gulf
between the moment of our birth
and the instant of our death
Some choose the duration of their journey;
others barely step on at one side
before reaching the other
Do we have further bridges to cross?
And should we decide instead
to leap over the barrier’s edge,
what awaits us in the darkness below?
Sixteen Weeks On
Nothing lasts forever
No one stays the same
This is no rehearsal
Life is not a game
Some believe they're special
That the rest of us are wrong
Convince themselves the middle verse will
Stretch beyond the song
I still recall our meeting
The life and love we made
But joy's a dream, and fleeting,
When even ours could fade
Thursday, 12 February 2009
Available in English for the first time, this truly chilling collection of short fiction by a Spanish devotee of the Marquis de Sade whose suicide in 1987 may well disguise real-life crimes as horrific and as sordid as those he envisioned, no easy task, holds the same grim fascination as a road traffic accident.
Often surreal (the war-maddened masturbator of "Necrophile" stumbles out of New Worlds via the films of Jorg Buttgereit), frequently fantastical (no more so than in the flying torture chamber of "Ikarus") and never less than mind-numbing, The Eyes is memetic toxic waste: there are images here which refuse to creep back into the shadows, much as one would wish them to. Be warned: these are dark tales of insanity and inhumanity, foul splinters in the mind's eye. Read them at your own risk.
[First published in Critical Wave #44/45, April 1996; more than a decade on, The Eyes remains available from Headpress, which ran the Critical Vision imprint]
There's a tendancy, when eulogising the recently deceased, to recall only that which portrays them in a favourable light, and to downplay the less commendable facets of their personality or career. In the case of Bob Shaw, however, no such well-intentioned distortion is necessary; he was, quite simply, one of the nicest people whose company I have ever had the good fortune to share.
My first contact with Bob, more than twenty years ago, exemplifies his generosity and good nature. It was the spring of 1975, and I had learned of science fiction fanzines through the short-lived World of Horror; I'd already received several copies of the Dr Who Fan Club newsletter, but this (curiously) was sponsored by the BBC and had little or no contact with the fabulous fannish universe the WoH column hinted at. Within months, a friend and I were drawing up our own plans to enter the fray, with one of those dry-as-dust serconzines pretty much endemic at the time.
By coincidence, Marvel had recently added Unknown Worlds of Science Fiction to its black & white line, a surprisingly honest attempt to drag sf comics out of the 1950's EC vein and towards the New Wave occupied by the likes of Moorcock and Ellison (who were both represented in due course, along with adaptations of work by Wyndham, Silverberg, Weinbaum and Niven). More importantly to this tale, Marvel decided to lift Bob's "Slow Glass" concept from his Hugo-nominated "Light of Other Days" for use as a framing device to give each issue an overall cohesion; instead of EC's Crypt Keeper, shopkeeper Sandson Tyme would startle his customers with visions of distant worlds and strange futures.
Despite this peripheral involvement and the somewhat variable quality of the strips, Bob wrote to offer his congratulations and - apparently on an editorial whim - his address was published in full. I'm unaware as to whether he was subsequently buried in fan mail, but I grabbed the chance to contact a Real Skiffy Writer and, surfing a wave of teenage chutzpah, even included a short questionnaire for use in our proposed first issue.
As it turned out, the fanzine took a further two years to materialize, by which time Bob had replied to this and several other letters, the "interview" had turned up in another location entirely and, best of all, I'd had the opportunity to meet him in person. Better still, it was in a Novacon bar, which is on a parallel with joining John Huston on safari or Ernest Hemingway at a bullfight. He was entirely at ease, and within moments so was anyone who took an adjoining seat. As I swiftly learned, no matter how successful he became as a science fiction author, he never really evolved from the youngster who tapped at Walt Willis' front door a half-century ago and immediately boosted Irish Fandom by fifty per cent; at heart, he remained a fan.
It's difficult to put into words my admiration for Bob. I enjoyed and respected his sf novels, adored his fanwriting (frequently reprinting the lesser-known pieces in my own fanzines) and always valued our occasional chats at conventions, or on the telephone. Our final lengthy exchange was a short while before Novacon 25, concerning a less than favourable review I'd given A Bit Of BoSH in Critical Wave #41 (entirely down to the editors, I must add); then as always, Bob was supportive, understanding and, above all, honest. In a sense, we ended as we began, fan talking to fan.
Despite his achievements in professional print, Bob's is a greater loss to fandom than to sf as a whole. I doubt he ever regretted that balance for a moment.
[First published in Critical Wave #44/45, April 1996, which also included a 1975 article by Bob Shaw and additional tributes to him from fellow science fiction authors Stephen Baxter and Keith Brooke]
Wednesday, 11 February 2009
Tuesday, 10 February 2009
There was a time, just before the Dark Days of Thatcher, when virtually every corner newsagency held more wonders than the Cave of the Forty Thieves. Rotating racks held in their wire grasp the latest superhero yarns from the likes of Marvel and DC / National (anyone else remember Atlas, possibly the shortest-lived publisher of all time?), imported trashy paperbacks and – for a scant few years during the first half of the 1970s – the bizarre confabulation of hallucinogenic plotting, twisted metaphor and no-holds-barred illustration which would shortly gain infamy as the Skywald Horror-Mood.
Skyward had been formed in 1970 as a partnership between former Marvel production chief Sol Brodsky and 1950s comics publisher Herbert Waldman, launching two black & white horror magazines in the style pioneered by James Warren and Creepy. All around them lay the desolation wrought by the national hysteria of a mere fifteen years earlier, when the classic work of Bill Gaines and his EC crew (Tales From the Crypt, The Vault of Horror, The Haunt of Fear) had been swept aside along with those bandwagon-jumping copycats whose lower standards had greased the wheels of the McCarthyist panic.
Like Creepy and its stablemates (Eerie, Vampirella), the first Skywald titles, Psycho and Nightmare, cocked a bloody snoot at the regulations imposed by the Comics Code Authority since 1955 and which would effectively hamstring the mainstream industry for the next two decades. The similarity both alarmed and infuriated Warren, who vented his spleen with an ad in the 1972 New York Comic Convention programme booklet, awarding the fictitious Xerox Award to Skywald Publishing, “whose apings of Creepy & Eerie (Psycho/ & Nightmare) gave no new meanings whatsoever to the word ‘imitate’.”
One bemused reader of that advertisement was Alan Hewetson, former assistant to legendary comics writer/editor Stan Lee, who’d only just become Skywald’s editor following Sol Brodsky’s decision to rejoin Lee at the Marvel Bullpen. (Ironically, Warren had bought some of Hewetson’s earliest scripts and would reportedly offer him an editorial role in early 1973, which Hewetson politely declined as he “already had a home”).
“I had […] absolutely no axe to grind concerning Jim,” Hewetson later told Stephen Sennitt, author of Ghastly Terror!: The Horrible Story of the Horror Comics and a contributor to the comics writer’s own memoir The Complete Illustrated History of the Skywald Horror-Mood. “His annoying attitude that he wanted to own the entire market was simply a personal eccentricity.”
The fledgling company chose to respond in print in Psycho #9 (November 1972), by which time Hewetson had settled into his new role. “I had just gone through my own confrontation with [Warren] over his loyalty oath business and the thought struck me that this was a great opportunity to nip this crap in the bud before it got out of hand. […] The basis of his attack was that we copied him, and the basis of my response was that he had copied EC in the first place. I don’t think he enjoyed seeing that particular opinion in print.”
It’s impossible to doubt Hewetson’s commitment to the horror genre. The day after receiving Waldman’s invitation to join the new writing team, he bade farewell to his then-wife Julie and drove five hundred miles from their home in Ottawa to Skywald’s office in New York. By early October 1970, he was “hanging out” with such leading artists and writers as Tom Sutton, Bill Everett, Ross Andru, Mike Esposito, Bob Kanigher and Syd Shores, working up scripts which would finally see his byline in the pages of Nightmare by issue three (April 1971), the first not to rely upon reprint material. Reminiscing over those days in a column for The Comics Journal, Hewetson recalled his 24 year-old self thinking “This might be a nice place to work.”
First impressions panned out, and the following eighteen months allowed Skywald’s newest staffer to develop the curious cocktail of Lovecraftian mythology, frothy (occasionally turgid) prose and often nauseating gore which would become the hallmark of the “Horror-Mood”.
Its philosophy was perhaps best expressed in a curiously upfront one-pager for Psycho #13 (April 1973), “Prologue to Horror”: “Horror is a weird word that confuses as it teases… for it means many things… and many things mean Horror… It is a word slightly beyond definition, for Horror is people and emotion and expression… Horror is people… vampires… werewolves… corpses… obscure monsters… But in effect… it is you… afraid of what such beasts and fiends might do to you…
“Horror is emotion, therefore…the unnameable, indescribable fear that overcomes you when you are presented with something you can neither understand nor accept in your mind… which is why Horror is incurably linked to madness and lunacy…
“Horror is an expression of inner knowledge buried at the back of your brain… For you know… that fiends, monsters, and your fear of the unknown and secondary horrors…
“The Real Horror is you… and the unbridled, brutal alter-ego madman inside you who is capable of horrors far more evil than the world now knows…
“What is Horror? … You are!”
This unsettling approach to what had become a cosy comics genre is apparent in “Limb From Limb From Death” (Nightmare 1972 Annual), a tale very much in the EC flavour of thirty years earlier which swiftly hooked itself into my teenage cranium and has remained there ever since. Newly-installed editor Hewetson commented upon the latest entry by writer Hewetson: “This story has to go down as one of the most gruesome, horrible tales ever written and illustrated! Yet, it holds a fascination that made us read it through! .. And so we want to share it with you!”
How generous. Predating Stephen King’s similarly-themed short story “Survivor Type” by a mere decade (bear in mind that King was one of Skywald’s earliest cheerleaders, albeit at a time when his name lacked its current weight), this grisly seven-pager centres on three Americans suddenly swept up in a Saharan sandstorm. Driven to desperation by hunger, they grudgingly agree to let one of their number – a surgeon – perform unanaesthetised amputations to supply the necessary protein (oddly, artist Pablo Marcos depicts surgery upon the right arm, hardly the first choice in such a situation). When the group is rescued after just two such feasts, the medic attempts to fool his fellow survivors that he’s kept his promise to sacrifice his own arm by harvesting a convenient cadaver, only to trip into insanity in the final panels (“My god… It’s getting worse before my very eyes… My fingers… The flesh is dropping off… Dripping off like sludge!”)
As mentioned previously, Lovecraftian themes surfaced with deliberate regularity, both in the Skywald comic strips and its editorial pages. Nightmare #20 (August 1974) even announced the launch of the International Anti-Shoggoth Crusade, a tongue-in-cheek campaign against the same ancient forces which provided the plot for that issue’s “The Scream and the Nightmare”.
As Headpress co-editor David Kerekes confided in a footnote to Alan Hewetson’s memoir: “As a teenage boy I understood that the idea […] was not a serious one, but at the same time I would never want to put my name down for such a thing. After all, I had seen the photos of the Skywald staff, and they all looked pretty strange to me.”
Can’t say I blame him. More even than Marvel, with its “Smilin’ Stan” and “Jolly Jack” et al, Skywald ensured its readership was fully up to speed with its current creative team, a right bunch of freaks and weirdos if the artists’ impressions were anything to go by (for example, writer Augustine Funnell’s portrait as part of the first page of “Monster, Monster on the Wall” (Nightmare #12, April 1973)).
“Monster, Monster” also typified another of Skywald’s idiosyncrasies: horror comics had previously produced one-off morality tales of the kind later paid homage by George Romero’s movie Creepshow, but Funnell followed up his initial story with no fewer than six sequels. In a like vein, “The Saga of the Victims” (a bizarre series in which two women are effectively relentlessly tortured by Satan) ran through five issues of Scream, whilst Tom Sutton’s extension of the Frankenstein legend straddled eight issues of all three main horror titles. Nine chapters of the company’s magnum opus, “The Saga of the Human Gargoyles” (like “Victims”, scripted by Hewetson), appeared between 1972 and 1975, with a further two planned but never published; a compilation was also prepped, which would arguably have been the first true graphic novel.
It couldn’t last, of course. Marvel had caught the scent and begun injecting horror themes into its superhero line (Ghost Rider, Werewolf by Night, Tomb of Dracula, The Monster of Frankenstein), meanwhile expanding into the b&w magazine market (beginning with Savage Tales in 1971, followed by Tales of the Zombie, The Deadly Hands of Kung Fu and the much-missed Unknown Worlds of Science Fiction).
As Hewetson told Stephen Sennitt, “[Marvel’s] distribution company was so powerful, because they represented all the top selling titles, that they bullied the local distribution companies into carrying their own magazines almost exclusively. […]
“So, we were banished from all but the really big newsstands. That is what killed us.”
By early 1975, Alan Hewetson knew the company’s days were numbered (Waldman had ordered him to accept no new work and rely purely upon material on file, a sure giveaway) and had in any case become increasingly dissatisfied with the company’s growing dependence upon foreign freelance artists (“There was no Horror-Mood camaraderie with the foreign artists, and no personal one-on-one communication for the most part, which is essential if you are trying to build a ‘team’”).
The boom finally dropped on 25 March, when Hewetson notified his creative team of the immediate cancellation of all three horror titles: Nightmare #24, Psycho #25 and Scream #12 would never make it off the drawing board. His memo blamed “exorbitant production increases, rising printing and distribution costs, and a glutted magazine market”, and requested his colleagues never forget “a time of editorial freedom, and consequently literary and artistic achievement”.
Ironically, Marvel, the chief culprit in that “glutted magazine market”, would eventually abandon all of its own black & white titles bar Savage Sword of Conan (“The readers liked colour,” Stan Lee recalled in Les Daniels’ Marvel: Five Fabulous Decades of the World’s Greatest Comics). In doing so, Marvel temporarily abandoned its plans to produce a parallel production line free of the CCA regulations (a plan which resurfaced in 1980 with the launch of the colour anthology title Epic Illustrated, Lee’s final project before moving to the company’s West Coast offices).
Hewetson, meanwhile, moved into screenwriting, appropriately working on an early (aborted) version of the EC homage Tales from the Crypt, whilst many of those he’d groomed went on to greater glory at the mainstream comics companies beside which Skywald had proven such a breath of fresh air. He died in January 2004, shortly after completing his memoir of those amazing, heady days on East 41st Street.
On that final day, Alan Hewetson once again distilled the Mood: “It is horror. In the extreme. The moment of personal, emotional collapse, when most individuals lose their psychological balance and their desire to remain sane.
“It’s the epitome of a successful horror story – if the story is well written, and if you can get under the skin of the character, and empathize with the character when they are experiencing their greatest moment of personal terror, you can share in their primal spinal.
“Too many of these shared moments of terrifying angst, and you die.”
Bibliography: Ghastly Terror!: The Horrible Story of the Horror Comics by Stephen Sennitt (Critical Vision, 1999); Marvel: Five Fabulous Decades of the World’s Greatest Comics by Les Daniels (Virgin, 1991); The Complete Illustrated History of the Skywald Horror-Mood by Alan Hewetson (Critical Vision, 2004).
Special thanks to David Kerekes at Critical Vision.
[First published in Owl Soup #1, summer 2005]
There’s nothing original, so they say (and “they” probably stole that aphorism in the first place). Drama entire can supposedly be reduced to a mere seven plots (six-and-a-half fewer if you happen to be Barbara Cartland), which explains the sense of déjà vu typified by watching the 1996 screen incarnation of Chris Warner and Paul Gulacy’s Dark Horse superheroine Barb Wire and realising Pamela Anderson is channelling Humphrey Bogart in a gender-reversed Casablanca.
I write as one who has succumbed: the appearance of the eponymous hero in “Inspector X”, a cartoon strip I produced for the amusement of classmates at age 12, was lifted wholesale from “I Spy”, a regular in the 1970s weekly Sparky.
But such plagiarism is not always conscious. For the past couple of decades, I’ve followed Alfie Bester’s suggestion in Hell’s Cartographers and scribbled down passing ideas in a succession of notepads and sketchbooks. Amongst them was the synopsis for a short story: guy finds secret of immortality, is mistakenly convicted of murder, realises to his horror that this particular US state doesn’t have the death penalty. Perfect plot for one of 2000AD’s “Future Shocks”, methought, even if my last submission (a mere quarter-century ago) received a two-fingered salute from Tharg the Mighty.
Fast forward to early March 2004: I’m listening to BBC R7 on our new digital radio, and catch a 1990s adaptation of Rod Serling’s 1959 Twilight Zone script “Escape Clause”, wherein hypochondriac Walter Bedeker sells his soul to become immortal and is wrongly convicted of his wife’s murder, etc, etc.
Four days later, I tune in by pure chance to Oneword, another digital station, and hear The Inner Sanctum (a rather over-excited spin on the EC Comics template), wherein a scientist’s widow traps his killer, who committed murder in order to become immortal, but now finds himself behind bars for the rest of his (un)natural.
Okay, okay, I get the point: even though I honestly couldn’t recall seeing the original Zone episode and had never heard of The Inner Sanctum before, I do possess the landmark Gary Gerani / Paul Schulman tvsf overview Fantastic Television (which confusingly juggles the “Escape Clause” details over three columns) and the Jean-Marc / Randy Lofficier programme guide Into the Twilight Zone, as well as Joel Engel’s excellent biography of Serling, so it’s pretty obvious this particular meme slipped into my head years ago. Bugger.
Still, at least I can now devote myself to my latest story idea, positively bursting with originality: two aliens called Adam and Eve flee their dying world and crashland upon an unpopulated planet, stumble across the Statue of Liberty and fall through a time vortex before killing their own grandparents. I suspect it needs a little work, but I’m sure the guys at Dark Horse will love it.
[First published in the Caption 2006 programme book]