On this day in 2007, THOIA was born! And I'd say we've had a pretty goddamn good run when you look at how much fantastic stuff is curated and collected here in the archive over these many 17 years. Of course I owe it all to the continued few of you out there that never stopped coming to my web house and leaving constructive, clever comments, and basically just become a perfect part of the Karswell Chum Squad. I once again also give a big shout-out thank you to those who suggested stories, donated scans, and basically just helped this blog expand and grow to the monster that it has become. My motto has always been "NEVER STOP" but realistically, how many more years can this go on? Only time will tell. So for now I think it's equally time to give the bigger boss His due, by paying a visit to another house where the horror... never... stops... from the February 1976 issue of Beyond the Grave #4.
8 comments:
I mean it too, --thank you everyone! :)
Right back at you, Mr. Karswell!
Wow ... I'm not sure what to say about the art on this one. It's really unique and really strange, all at the same time.
First, out of the way, I love the cliche haunted house on a hill with the most dangerous walkway ever, I mean, the answer to the question of where the owners went is they obviously fell off going to get groceries!
The art: It'a amateur at times on the figures (page 4, last panel) but then when it's doing architecture it's great, the house on the splash, the impossible stairs on page 5. And then it dazzles with great FX, the devil appears, the swirling lines on the last page, and it's full of tone effects here and there. It's almost as if there was more than one artist on this one. It's really unique, I really poured over this there's so much to see.
Page 4, panel 2 (stairs with web) is a incredible image -- the framing is next level.
BTW: There's a cool bit of continuity in the art; the splash and the mansion at the end both have that split path and it looks pretty close to each other. Extra points there.
I am honored to be a member of The Karswell Chum Squad. Glad to be of any help that I can.
I did notice on AEET that there are many followers but few commenters, I guess some are just shy or don't have anything to say, but rest assured Karswell, your blogs brighten up our day and night. Don't confuse silence as a lack of interest, most likely many are scared speechless from the horror tales you post.
And now considering the story-
This is Enrique Nieto's Opus. This is The horror tale portraying his skills as an artist in spite of the less than stellar printing. Even though Charlton's printing press was declining with each use, Nieto's work still shines through.
Nieto's style is his own, unique in its own way. The same way a horror comic connoisseur can recognize Lou Cameron or Steve Ditko without having to look up the artist's signature, once you see a few tales of Nieto, you recognize his work instantly.
The old man being Ziggy was telegraphed when he started talking about how Ziggy was scared; how would he know if he wasn't Ziggy?
The devil is a great bit of art though why he wants to hang out in a cellar is a mystery. Maybe the owners had laid in some really great wine?
So he disappears into the crosshatching there are the end? I mean, that'd be pretty terrifying, but then everybody had been doing it for the first five pages, too.
The art really is a collection of stylistic this and that, and they don't all work well side-by-side. It's interesting to see the artist channeling Mugnaini here and there, especially early in the story. But all those swirly background lines (panels one and four, page one), moody as they are, still feel out-of-place ornament obscuring the sequential storytelling--and I think they would have even with more successful printing. The colorist really promotes these mood effects, but I think it just creates visual confusion. The splash looks like it takes place on a fantasy world with two eclipsing moons. But then again, why not?
HAPPY BIRTHDAY! Man, seventeen years! This blog is almost old enough to vote. And I must be over halfway to hell myself already. I wonder what percentage of pre-code horror you've posted here. The actual epoch--lasting what, about six and a half years in real time?--seems nearly infinite looked at like this. Like M*A*S*H's Korean War, stretched out for a decade. Only way better.
Thank you for everything!
On Panel 4 of Page 4, "Ziggy" has something like a David Bowie look.
Maybe it isn't a very great resemblance, but still, is that a deliberate joke, considering his name?
I never have much to say but have enjoyed your postings greatly over the years. The suspense on this post was nicely built up. The art worked well for me. Thank you very much Steve. Your efforts are appreciated.
Thank you! :)
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