Comic Review: Mary Moon Volume 1

Mary Moon Comic
Reviewed by Sebastian Grimm

I’m reviewing an old comic Circa 2012 that I picked up at a used bookstore. Mary Moon is a story about a gal who gets bitten by a werewolf and a vampire at the same time, making her some sort of hybrid were-vamp.

This Volume 1 by Black Mirror Comics seemed somewhat like an indie publication and does have a few typos. However, they seem very passionate about their story and there’s even information in the back about how to subscribe to them. Now, I haven’t looked up the website to see if it’s still in service, but here’s my review of this issue.

First off, the art is rather well done. Much better than I would expect from an indie comic company. I enjoyed most of the images. There are a few that are a little out of whack, but overall it’s done well.

This story is an interesting idea. What if you were bitten by a vampire and a werewolf at the same time? Would you be a cross between both of them, or would one be a more dominant feature in your blood?

In Mary Moon’s case, she experiences these beings separately. She’ll be a vampire, she’ll feed on blood, and be stated. Then her werewolf being emerges, feeds on flesh, and is sated. They don’t seem to mix the bloodthirst and the flesh thirst, but hopefully, the victim will stick around long enough to feed bother her beings.

All this being said, about halfway through the book we find her in the emergency room being cared for by doctors. This is where the story falls apart for me. She is supposedly in Transylvania, being cared for by medical professionals there. However, the people in the hospital look like Americans. They use a lot of technical American speech almost as if it’s an episode of Grey’s Anatomy. The primary doctor in the story is so angry, he yells every single thing he says as if that is how his demeanor is. But it’s really strange because he’s overly dramatic at some points. Also, the way he’s painted is like he’s the devil or something when he’s just trying to save this woman’s life–we think. Not only that, the medical procedure is pretty flawed. When she’s bleeding internally, she goes into cardiac arrest and flatlines. They don’t try to revive her in any way shape or form. The doctor just says, “Wrap it up. Time of death is…” For a doctor who was so angry about getting the patient fixed as soon as possible and yelling orders to every nurse, attending, and orderly around, he just drops her when she flatlines?

Besides this 7-10 page scene in the book, the rest of the story is rather well done and interesting. The vampire and wolf art is pretty good and the storyline is enjoyable. I’d give this comic 3 ☆☆☆ out of five, and remember, I am a tough critic.

Sebastian Grimm signing off.

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Guest Blog: From Beast to Man and Back Again

From Beast To Man And Back Again by John C. Adams

Evolutionary impulses drag us back to when we came. Whether we like it or not, they’re always there. There’s only so much we can do to fight against them. We both hope and fear that the natural human impulse to regress will take over. Even worse, in horror fiction, modern science seems to be getting in on the act.

In the 1984 film The Company of Wolves (dir: Neil Jordan), the childhood tale of Little Red Riding Hood is given a modern makeover. Red drifts into the forest and meets a handsome stranger, whereupon Granny’s advice goes right out the window. Well, sexual appetite does that to you. It’s a shame that Red can’t remember the cautionary element of Granny’s werewolf tale, as Angela Lansbury is quick to point out: not to trust a man who’s too proud to piss into a chamber pot. Let’s just say that in Granny’s tale the young bride’s new husband answers the Call of Nature in more sense than one.

The prime mover of sexual appetite is as good a reason to junk steady adult advice as any.

Fairy stories and folk tales abound with examples of spontaneous changes in shape from man to beast and back again. Those old tales are so central to our cultural identity, developed over hundreds of years in writing and for much longer before that via the oral tradition, that it’s no surprise that they are still cropping up in films and TV today.

If it’s natural for us to long to return to our genetic origins, it’s no surprise that modern science isn’t slow in embracing the opportunities to engineer this for us. And big business being what it is, the profit motive lies right at the heart of it.

In Graham Masterton’s novel Flesh and Blood, the Spellman Institute of Genetics is conducting experiments to implant human genetic material into pigs. Animal rights activists have plenty to say on that subject and are lobbying for a US-wide law banning testing on animals. The pig research (Masterton says his wife always called this book ‘the pig novel’) becomes a cause celebre for them. The pig, Captain Black, is as terrifying as you’d expect:

“His body was awesome enough, but his face made Nathan swallow in discomfort. It was more like the face of a giant werewolf than a hog: it was covered all over in thick glossy black hair, with a hideously flattened snout. Two curved incisors rose from his lower jaw, and strings of drool swung with every step he took.”

Mankind just can’t seem to help themselves from meddling in the mix of human and animal DNA when there’s a commercial excuse for it. But in the 2009 film Splice (dir: Vincenzo Natali) the insanity of experimentation mixing human with animal DNA reaches new heights when two leading scientists splice the DNA of a bird with that of a human. Yikes!

As a species, we are so prone to egotism that we want to be the ones to push the boundaries of creation. Like modern-day Dr. Frankensteins, it’s all about power over the hideous monstrosities we generate.

Like any form of meddling, the best lesson of all is just to leave well enough alone. If only it were that simple…

John C Adams is a horror and fantasy writer. ‘Souls For The Master‘ is available on Amazon and Smashwords.

http://johncadams.wix.com/johnadamssf

Short Bio

John C Adams is a Contributing Editor for the Aeon Award and Albedo One Magazine, and a Reviewer with Schlock! Webzine.

You can read John’s short fiction in anthologies from Horrified Press, Lycan Valley Press, and many others. 

A non-binary gendered writer, John has also had fiction published in The Horror Zine, Devolution Z magazine and many other smaller magazines.

John’s fantasy novel ‘Aspatria’ and futuristic horror novel Souls for the Master are both available on Kindle and via Smashwords.

John lives in rural Northumberland, UK, and is a non-practising solicitor.

Press Release: Play or Die

Samuel Goldwyn Films has announced that the company has acquired North American rights to the horror movie PLAY OR DIE, directed by Jacques Kluger. The film stars Charley Palmer (DUNKIRK), Roxane Mesquida (“Now Apocalypse”), Marie Zabukovec (INTERRAIL), Thomas Mustin (RAW), and Igor Van Dessel (RACER AND THE JAILBIRD). PLAY OR DIEwill be available through On-Demand and on Digital platforms July 2.

In the story, Lucas and Chloe are two passionate gamers. They decide to participate in Paranoia, a very exclusive escape game. After solving the first riddle, they make it to the location of the finale in an abandoned mental hospital, hidden deep in a frightening forest. There, four other participants are waiting for them. Together, they soon realize that only one of them will get out alive.

PLAY OR DIE was directed by Jacques Kluger and co-written with Amiel Bartana. The film is based on the best-selling novel “Puzzle” by Franck Thilliez and published by Fleuve Editions. The film was produced by Jacques Kluger (Kluger Partners), Nexus, and Nadia Khamlichi & Gilles Waterkeyn (Umedia).

The deal was negotiated by Meg Longo on behalf of Samuel Goldwyn Films and Gregory Chambet at WTFilms – on behalf of the filmmakers.

Press Release: American Horrors Channel

Lake Geneva, Wisconsin – The multi-award winning and former Guinness World Record holders Groovey TV are in talks with the American Horrors Channel to develop exclusive content in the form of a 13 episode season that will air later this year.  This series is intended to stream exclusively on the American Horrors channel, available on Roku & online at www.americanhorrors.comGroovey TV is known for its guerilla style and hilariously sarcastic approach to its content. 

“I believe Groovey is a talent that will thrive at American Horrors. His interviews are fun, involving and always interesting to watch.” Said Hart D. Fisher, co-founder of the American Horrors 24/7 linear streaming horror channel. “Groovey’s tongue is a sharpened instrument capable of impaling an elder vampire, let alone a raised in the shadows horror creator, he always draws the best out of his subjects, from all areas of pop culture, for American Horrors, we’re going to narrow Groovey’s focus to the pulpy horror exploitation culture we all know & love.”

Groovey the founder of Groovey TV had this to say, “To be in the development stages of creating an exclusive content television series with Hart Fisher and American horrors is beyond exciting and really a dream come true. My childhood self is high fiving the crap out of me right now!

More details about Groovey TV on American Horrors will be released as the situation develops.

About American Horrors:
American Horrors brings the viewer the scariest world premier feature films and shorts, in house produced original programming (Gorecast, American Horrors, True Crimes, The Horror Show) as well as in depth interviews with their favorite horror creators, cutting edge filmmakers, darkest musicians and exclusive never before seen on broadcast TV music videos by the bloodiest acts in heavy metal, rock n roll & rap! American Horrors is the world’s greatest uncut 24/7 linear streaming horror channel and is available on Roku & online at http://americanhorrors.com/!

About Groovey TV:
Groovey TV is a closely affiliated group of artistic ass kickers that bring the rain without spilling their beer all the while covering the music, movies, games and events that are undeniably rad. Multi-award winning and former Guinness World Record holders “Most TV Interviews in 24 Hours” which was 70 and was held from 2014 to 2016.  The Groovey TV YouTube channel currently has 2 million views and 800 videos.

Press Release: POV Horror

TERROR FILMS is hellbent on ensuring that you can find their films literally everywhere! On the heels of their recent partnership announcement with VOD streaming site Popcornflix, the digital indie genre distributor is at it again as they prepare to launch seven of their found footage films on the popular subscription streaming service – POV HORROR.

The release will include a mixture of titles. To begin the partnership the wildly successful Hell House LLC and politically charged Savageland, will debut on this platform. Next, the stalkeresque thriller The Documentary will be available. The slate will also highlight films from international filmmakers such as The Blair Witch Project spoof The Claire Wizard Thesis (from Australian filmmaker Ishak Issa), the critically acclaimed Be My Cat: A Film for Anne (from Romanian filmmaker Adrian Țofei), the paranormal thriller The Follower (from French filmmaker Kévin Mendiboure), and the never-before-seen Documenting the Witch Path (from Swedish filmmaker Carl Sundström). The official poster has been included here, for Documenting the Witch Path, with the official trailer set to release soon. This documentary follows three young filmmakers in search of a haunted lake where innocent women, accused of witchcraft, were drowned in the 17th Century.

TERROR FILMS’ President Joe Dain had something to say of this partnership. Dain said of the film slate and working with POV HORROR: “we are thrilled to be working with POV Horror. In this very competitive market, we rely on platforms such as POV Horror to help us continue to grow our digital footprint and introduce our ever-growing and diverse library of horror films to new audiences.” A larger audience can see the best TERROR FILMS has to offer on POV HORROR, this April!

POV HORROR will release Savageland on April 28th, followed by more TERROR FILMS horror all summer long!

Terror Trax: CADAVERIA

CADAVERIA

Cadaveria, vocals
Marçelo Santos, drums
Peter Dayton, bass
Live guitarist: Enrico Toselli
CONTACT:
http://www.cadaveria.com
https://www.facebook.com/cadaveria
Twitter: @cadaveriaofficial
Album/Song/Tour
We are excited about right now Far Away From Conformity, remixed and remastered:
http://www.cadaveria.com/web/shop/far-away-from-conformity-cd-digipack-2017/

What singers or bands inspired you growing up?

Venom, Mercyful Fate, Sepultura.

Who are your favorite artists today?

Tool

What non-musical things inspire your music?

Cinema, poetry, life.

Is there a place where you go to be inspired?

My soul.

What’s been the greatest achievement of your band?

To release five studio albums, a double DVD and many music videos, to play lots of gigs all around the world and to be 100% independent.

Where was the coolest place to play? Where did you enjoy yourselves the most?

Mexico always welcomes CADAVERIA with a great enthusiasm and we love Mexico back.

What are your favorite horror movies?

Profondo Rosso, Nosferatu, Das Cabinet des Dr. Caligari

What was the scariest night of your life?

When I discovered I have a cancer.

If you could play anywhere in the world, where would it be and who would be your opening band?

I would like to tour the US.

What are you working on now for future release?

I’m writing some lyrics for CADAVERIA sixth album.

Final thoughts / Anything you want to tell the listeners?

Enjoy every single moment of your life.

 

 

Logbook of Terror: Suicide Forrest

Suicide Forest by Russell Holbrook

A fictional representation of a real Cursed Location – Aokigahara Forest

I’m in a forest, all alone. I came here to die, because it was time. I’d heard it on the wind, the soft whisper of my destiny. I saw my path carved out in rivulets of blood that flowed in meandering streams over the bark of the towering trees; The trees that blocked out the cursed sun with their looming, wooden arms.

This is my new, eternal home. I spread out my favorite blanket in a tiny clearing. I swallow twenty-three morphine pills. I wait. I quickly consume seven shots of whiskey. I smoke a cigarette. I wait. The pills and the alcohol stir within. My body weighs me down. When I turn toward a sudden sound of snapping twigs, the motion makes me feel like I am underwater. I nearly tip over. I light another cigarette and drop it in my lap on the third drag. I watch the cherry burn a hole in my favorite green cargo pants. When I feel the lit tobacco burning the flesh of my thigh, I stop staring at the cigarette, pick it back up, and take another drag. The sharp burning sensation in my thigh congeals into a dull throb. I hear a bird above me. I smile.

Life seems so perfect and serene right now. I ask myself why I would want to leave something so nice. I don’t get an answer. I ask again. Still, no answer, no reason, just a knowing that I need to take my own life. I yawn. Now is the time, before I lose all consciousness and control of my motor functions. I pull the small, black pocket knife from my satchel. It is the same knife my father used to slit his wrists, and the same tool used by his father before him. The blade is caked with rust and dried blood.

“No matter what, it can never, ever be washed,” my father had said when he passed the knife down to me. The crust made the knife difficult to open but, after a momentary struggle, the blade was extended. I am staring into the blade’s filthy surface, seeing no reflection, no light, only dark and hopeless, bleak serenity. The wooden handle is black. It is worn smooth from being jostled around in the pockets of three generations of Tessier men, three generations of killers. I think about the knife, about all that it has seen, and about all that it has done: all the flesh it has carved, all the screams and agony it has evoked, all the wonderful horror it has created. I think of the anguish of my victims’ families, and that of my father’s victims, and those of his father before him as well. In my mind I hear their tortured cries. I giggle with nostalgic glee. I sway and nearly topple over. Then I plunge the blade into the center of my left arm. With inebriated determination, I move the knife through my skin and meat, from the crook of my elbow to my wrist. I stare at my arm, watching the blood bubble and ebb and flow from my skin. And then, unexpectedly, I no longer wish to die. I still have so much to do, so much beauty to create. I wish I could take it back, fold the knife back up, put it back in my pocket, and go home. Live a few minutes in reverse to change the course of destiny. I wish and I wish and I wish. Then:

Suddenly I stop: I know it’s too late. My father taught me that we all have expiration dates, both personally and professionally, and that we need to know when to bow out. I remember that this is my time. I lay back and listen to the soft sounds of the forest. I let go.

I’m dead in a forest, all alone. I don’t know how long I’ve been here. I watched beasts take apart my carcass. Birds pecked out my eyes. It felt magnificent to be melding back into nature, becoming one with all life, becoming food, giving comfort and nourishment to creatures in the wild. As I once used my body to take life, now I use it to give life. And I am in the forest and the forest is in me, and forever and ever and ever we shall be.