Horror Comicbook Cavalcade: Bela Lugosi's Tales From the Grave #1 (2010)

Clearly a labor of love, Kerry Gammill (as publisher, editor, writer and artist ) is all over
Tales From the Grave from the first pages.

Released in 2010 by now-defunct independent publisher Monsterverse, Tales From the Grave #1 is an old school horror anthology of stories in the classic horror comics tradition. Each story is presented by a fictionalized version of late horror film icon Bela Lugosi with assists from both his loyal (and intellectually dense) assistant, Hugo, and a sexy Elvira-esque vampire femme fatale, Nosferina.


Issue #1 cover credited
to Basil Gogos.

The first of five individual issues was released in 2010.Worthy of its hefty cover price of $4.99, Tales From the Grave delivers eight stories of varying length, utilizing a wide variety of artistic styles (including one "photo strip" featuring Lugosi and Tor Johnson action figures). Back matter consists of a collection of artist renditions of Lugosi as his most famous screen character, Dracula. Among the artists providing story and art is veteran comic creator (and personal favorite), and Monsterverse publisher and editor-in-chief, Kerry Gammill.

My own appreciation of Gammill's work began, during the hey-day of my Superman comicbooking, when he shared cover pencilling duties on Action Comics with George Perez, eventually taking the role over fully with issue around issue #565. Gammill's efforts produced some beautifully classic cover work vaguely reminiscent of the zany late 1970's runs and included the "Reign of the Superman" arc featuring the Super-stand-in who would later become the Eradicator.

Gammill's story (the first panel of which is posted above) "Unpleasant Side Effects" is book-ended in Saturday Monster Matinee fashion by Lugosi. More playful (and little "gross") than scary, it is an effective and entertaining romance, the quality of which is elevated by Gammill's pencils.


Each subsequent story, such as the Western themed "Eyes of the Prairie" by Derek McCaw and Rafael Navarro, follows a similar structure. Lugosi creeps around the corners teasing the bad things to come and returns at the narrative's conclusion to tie up loose-ends before riding of into the sunset.

What would old fashioned horror be without a little (tame) cheesecake?

It's really only in the latest "edition" of Lost Lugosi's Film Theater (teased above by Nosferina) that our star takes an active role in the story, playing his second most familiar film role, evil scientist (or "white Haitian voodoo master" as in 1932's White Zombie). Of course, it wouldn't be a Lugosi project without at least a mention of Dracula, and this fanboy need is very nicely met by the inclusion of an informative text piece by eminent Lugosi scholar and author Gary D. Rhodes.

A very entertaining piece of horror-comedy-nostalgia comic book creation, Bela Lugosi's Tales From the Grave #1, which was published in October 2012, was followed up five months later with the publication of the equally enjoyable issue 2. Both issues are very likely still available for purchase in your local comic shop and make for fine Halloween reading.

Since the post was originally published in October 11, 2012, four issues of Bela Lugosi's Tales From the Grave have been published. Each is consistently entertaining and follows the same corny, scary, goofy and high quality established by the first issue. Issue 2, published in 2013, also features a very cool cover painting by practical effects god Rick Baker, re-envisioning Popeye the Sailor as something a little more... evil. Seek it out--if you dare!

Run Reader: Bring the Thunder (2010)

From interior of Bring the Thunder #1.

With summer break upon me, it is once again time to go back through my longboxes in search of comic book runs (both long and short) worthy of a re-read. This is not always easy as my longboxes are chock full of titles I read only briefly (not wanting to commit the finances to lesser tales) or others that, while still holding some entertainment (or continuity) value are not ready to be revisited just yet. Then, there are those titles purchased out of curiosity that ran only a limited number of issues, that were picked up just this purpose... re-readability without necessity of years of the dreaded "comic book continuity" required for enjoyment.

Issue 1 cover by
Alex Ross.

Like most fanboys of the early 2000's (and using a common lure with many of Dynamite's publishing line during this time), it was Alex Ross's fantastic cover that brought me to pick up issue 1 of Bring the Thunder. At the time I was knee-deep in Project SuperPowers, another series with which Ross had some creative control, so picking it up seemed a no-brainer. I mistakenly assumed this mini-series was somehow related to Project SuperPowers, which had a deep mythology much of which I had been previously unaware. Upon the umpteenth re-read of this four issue miniseries, I remain glad I was wrong. Bring the Thunder is the most unusual of modern comic book number ones in that it is a miniseries that introduces a brand-spanking-new character, not a legacy character or a reboot, but something previously unseen.

Issue 2 cover by Ross.

For better or worse, however, as a comic book Bring the Thunder faithfully adheres to the majority of tropes one expects from a superhero origin, especially a non-superhero-y, "grounded" one. If, like me, the reader is willing to accept that there are not too many new ways to tell this type of story, and that the quality of the read relies on the execution, then you are in luck. As scripted by Jai Nitz and visually told by artist Wilson Tortosa and colorist Marlon Hagan, Bring the Thunder is an ably (if workman-like) introduction to the character of Captain Wayne Russell, an elite para-rescue jumper in the Air Force serving in Afghanistan who is given tremendous power.

The narrative structure of the series is a very familiar one. Issue one begins as many origin stories do: we meet our "hero" in the midst of combat and reflecting back upon how he got to this point in the story. The first pages of the first issue and the final pages of the last, serve to frame the origin. Russell's voice, as written by Nitz is an accessible one for the reader. While monologuing internally, Russell explains the application of his former military experience in a variety of settings. The reader additionally witnesses Russell's power set development as he does, and is offered further insight into his motivations. There are moments though when a third-person omniscient perspective shares with us those working nefariously in the background to potentially exploit Russell's new-found abilities.

From interior of issue 2.

For the experienced comic book reader, the rest writes itself: military man gets powers, returns to home to find family member in trouble, engages community roughnecks on behalf of said family member, government wants to weaponize this new power, hero needs to battle a power-doppelgangers, and so on. What makes Bring the Thunder of interest, however, is the depiction of the twin settings of Chicago and Afghanistan and the way in which one is reflected as being similar to the other, and the characterization of the main character, Wayne Russell. Despite the military nature inherent in the proceedings, the writer also avoids the pitfalls of jingo-ism: bad men, regardless of being in Chicago or Afghanistan are not presented in as stereotypical a fashion as others might.

The real shame is that this four-issue miniseries seems to have been the entire story as no more adventures of Wayne Russell were published. The conclusion of this story left me feeling very much as I had after viewing any number of superhero origin movies: I know it's necessary to establish who the character is, but I really look forward to the next adventure when the necessary exposition is out of the way. Unfortunately, for Bring the Thunder we are left with only an interesting, if not uninspiring, introduction to a character lost to the longboxes.

The hero's "combat "costume" revealed in issue #4.

Holiday Flick: Rare Exports: A Christmas Tale (2010)

My introduction to the world of Rare Exports came two years ago when I  happened upon a film short entitled Rare Exports Inc. (2003), and its sequel Rare Exports: The Official Safety Instructions (2005). Produced and directed by Norwegian filmmakers Jalmari and Juuso Helander, both were produced as faux documentaries, and collaboratively contributed to developing a mythos around the exportation "distinguished, extremely rare products" to faraway countries from the wilds of Lapland (Finland).

Rare Exports: A Christmas Tale (2010) is the full-length fantasy film directed by Jalmari Helander that takes elements from both and develops them into a singular  origin story of sorts for the company's product about whom the earlier two "infomercials" are made. Set near the Korvatunturi mountain, Rare Exports tells of a young boy who inadvertently discovers the secret behind the "real" Santa Claus.

The film focuses on a group of local reindeer herders whose Christmas is disturbed by excavations on the mountain. A scientist has ordered a team of workers to dig open what he calls "the largest burial mound in the world". An explosive used by the team uncovers what is referred to as a "sacred grave". However, the occupant of the grave is still alive. Soon, the reindeer important to the local people are mysteriously killed, and children and supplies begin to disappear from the town. It emerges that the occupant is the source of the original Santa Claus myth; a supernatural being who, rather than rewarding good children, punishes the naughty. One family, however, manages to catch the culprit in a trap, and plans to sell it to the scientist to cover the losses caused by his excavation.

Jorma Tommila and Onni Tommila.

Tonally, the film deftly shifts from being a tale of a hard-working community suffering through financial times in the holiday season to a horror-noir. The soundtrack by Juri Seppä and Miska Seppä provides subtle auditory transitions, while never jerking the viewer out of the film experience. If the marketing of the film weren't so holiday-themed, the surprises and twists (of which there are a few) might carry even greater impact. The beautiful cinematography by Mika Orasmaa, as well as the superb performances by Jorma Tommila and Onni Tommila, as the father and son, respectively, at the center of the story, lend this movie an eerie mid-Eighties Spielberg-Carpenter vibe. Touching, scary, and beautifully rendered, this holiday-horror-fantasy does something extremely unique (at least in my experience) in recent film: it begs to be re-watched.

In a more discerning world, Rare Exports would find its way to becoming a cult-Christmas favorite, so help get that ball rolling by watching it on direct stream via Amazon Prime this holiday season!

Never a good idea to tease "Santa" with a gingerbread man cookie!

Sources:
Rare Exports: A Christmas Tale Wikipedia Entry

Native American Batman: Man-of-Bats

 

Man-of-Bats from Batman #667, by Grant Morrison and J.H. Williams III.  

As part of my on-again off-again flirtation with collecting Batman comic books, I recently began picking up issues of the Batman Incorporated series (actually two series; an eight issue run before DC Comics reboot, a one-shot, and a second ongoing set in the "New 52" DC Universe). There were two factors that contributed to my choice of this title.

 

In addition to the Grant Morrison factor (usually, at the very least, I'll sample his mainstream output to see if it peaks my fancy enough to warrant purchase), I was intrigued by the potential for an updated "Batmen of All Nations" concept as handled by the author. Something about the way Morrison reintroduces or remakes previously concepts with silly Silver Age pasts (such as his excellent update of the ridiculous Batman of Zur-En-Arrh in the relatively recent Batman R.I.P arc), I often find myself to explore older DC issues. Inspiring me to revisit past issues is Morrison's greatest gift to this reader.

The cover to Batman #86 (1954) with art by Winslow Mortimer featuring the
original Man-of-THE-Bats and his sidekick Little Raven.

Taken as a whole, the Batman Incorporated series is well-executed and the introduction of the Batman variants from other countries is well-handled with each of the key Bat-folk, a number of which are re imagined, long forgotten characters or Batman disguises from Silver Age DC Comics, being given the opportunity to develop as characters in a way that is organic.

The updated Man-of-Bats and his partner Red Raven on the cover
to Batman Incorporated #7 (2010), cover by Chris Burnham.

Volume 1 also produced one of my favorite comic books issues in recent memory, Batman Incorporated #7. Featuring Native American Man-of-Bats and his protege (and son), Red Raven, the story follows the two as they deal with crime on the Indian Reservation on which they live and dad, as a physician, works. While not the first Morrison-penned appearance of the character Batman Incorporated #7 was my introduction to William "Bill" Great Eagle's alter ego. A story of father and son bonds, dedication and community BI #7 is one of those classic stories that, while not featuring the eponymous character very much, does focus on those qualities that make him (Batman) a great by turning the emphasis to those (Man-of-Bats) inspired by him.

One need not look much further into the back issue bin to find the earlier (though not by too much) appearance of Morrison's Man-of-Bats story arc by Morrison and current Batwoman artist J.H. Williams III. Apparently, just before I began picking up the Batman RIP storyline, the two collaborated on an arc entitled "Batmen of All Nations" which foreshadowed the Batman Incorporated concept.

Batman Incorporated is still being published (now up to issue #5 of the second volume) with very little loss of steam (or quality), and my new search for the Batman Man-of-Bats action figure begins...

Horror Comics Cavalcade: Bela Lugosi's Tales From the Grave #1 (2010)

Clearyl a labor of love, Kerry Gammill (as publisher, editor, writer and artist ) is all over
Tales From the Grave from the first pages.

Released by independent publisher Monsterverse, Bela Lugosi's Tales From the Grave #1 is an old school horror anthology of stories in the classic horror comics tradition, presented (primarily) by late horror film icon Bela Lugosi with assists from both his loyal (and intellectually dense) assistant, Hugo, and his sexy Elvira-esque vampire femme fatale, Nosferina.


Issue #1 cover credited
to Basil Gogos.

Worthy of its hefty cover price of $4.99, Tales From the Grave delivers eight stories of varying length, utilizing a wide variety of artistic styles (including one "photo strip" featuring Lugosi and Tor Johnson action figures), as well as a collection of artist renditions of Lugosi as his most famous screen character. Among the artists provindg story and art is veteran comic creator, and Monsterverse publisher and editor-in-chief, Kerry Gammill.

My own appreciation of Gammill's work began, during the hey-day of my Superman collecting, he shared cover pencilling duties on Action Comics with George Perez, eventually taking the role over fully with issue around issue #565. Gammill's efforts produced some beautifully classic cover work vaguely reminiscent of the zany lat e1970's covers and included the "Reign of the Superman" arc featuring the Super-stand-in who would later become the Eradicator.

Gammill's story (the first panel of which is posted above) "Unpleasant Side Effects" is bookended in Saturday Monster Matinee fashion by Lugosi. More playful (and little "gross") than scary, it is an effective and entertaining romance, the quality of which is elevated by Gammill's pencils.


Each subsequent story, such as the Western themed "Eyes of the Prairie" by Derek McCaw and Rafael Navarro, follows a similar structure. Lugosi creeps around the corners teasing the bad things to come and returns at the narrative's conclusion to tie up loose-ends before riding of into the sunset.

What would old fashioned horror be without a little (tame) cheesecake?

It's really only in the latest "edition" of Lost Lugosi's Film Theater (teased above by Nosferina) that our star takes an active role in the story, playing his second most familiar film role, evil scientist (or "white Haitian voodoo master" as in 1932's White Zombie). Of course, it wouldn't be a Lugosi project without at least a mention of Dracula, and this fanboy need is very nicely met by the inclusion of an informative text piece by eminent Lugosi scholar and author Gary D. Rhodes.

A very entertaining piece of horror-comedy-nostalgia comic book creation, Bela Lugosi's Tales From the Grave #1, which was published in October 2012, was followed up five months later with the publication of the equally enjoyable issue 2. Both issues are very likely still available for purchase in your local comic shop and make for fine Halloween reading.

Seen It: Detective Dee... (2010)

When advertisements for Detective Dee and the Mystery of the Secret Flame (2010) began showing up on the back cover of many comic books in early summer, I looked forward to its theatrical release. When that, not surprisingly, failed to materialize (at least locally), I held out hope for an accessibly DVD release. Though not an aficionado of  director Tsui Hark's films (most notably 1987's A Chinese Ghost Story), I knew enough about his previous films to recognize that his atmospheric and epic action-orientated aesthetic might be something I would be interested in seeing on the big screen

Though only on a 40" flat screen, rather than a movie theater one, fortunately for me (and you!), it is out and easy to find as it has just recently became available for download viewing on Netflix. Directed by acclaimed director Tsui Hark and starring Hong Kong uber-star Andy Lau in the title role, Detective Dee was a blockbuster overseas.

Detective Dee and the Mystery of the Secret Flame (2010) is an epic mystery and fictionalized account of Di Renjie, "Detective Dee" of the title,  one of the most celebrated officials of the Tang Dynasty. Given its historical context, it is surprising how clearly the potentially cumbersome politic intrigue in the film is presented. While not even close to being a student of Chinese history, I had little trouble following the plot or action. As a Western viewer it was very easy to enjoy the film for what it is: an action mystery with sumptuous scenery and spectacular visual effects, albeit with subtitles.

Following about 15 minutes of exposition, Detective Dee is released from prison at the bequest of the future Emperor, or should I say "Empress" (a significant plot point), to solve the mystery of combustible Chinese officials--victims of what becomes known as "the Secret Flame." During his investigation Detective Dee crosses paths with many colorful (and colorless) characters: albino officer  Pei Donglai who may or may not be a trustworthy ally,  a subterranean, ancient mystic affectionately referred to as Donkey Wang, and what by all accounts is an Asian actor in black face and afro wig(!) intent on , among others, killing the good Detective. Did I forget to mention that much of the action takes place in and around a colossal Buddha statue featured in the trailer above, and that there are ninja deer involved?

Over two hours in length, the film will undoubtedly seem very reminiscent to the domestically popular Crouching Tiger, Hidden Dragon (2000) directed by Ang Lee. Besides some wire-fu (including a tree trunk chase scene similar to the bamboo one in Crouching Tiger, I found Detective Dee more fun. While Crouching Tiger remains a tremendously beautiful and romantic meditation on the Chinese action film, Detective Dee struck me as a simple (yet EPIC!) whodunit which just so happens to involve the aforementioned wild "things." As pure entertainment, Detective Dee and the Mystery of the Secret Flame it is definitely worth seeking out and spending time with.