Tag Archives: dark fantasy

Chilling Adventures of Sabrina: Issue #8

Since this is probably my favorite graphic tale on the shelves these days, it goes without saying that I was pretty excited to hear that it is also being developed into a television series. According to the studios:

“‘The Chilling Adventures of Sabrina’ reimagines the origin and adventures of ‘Sabrina the Teenage Witch’ as a dark coming-of-age story that traffics in horror, the occult and, of course, witchcraft. Tonally in the vein of ‘Rosemary’s Baby’ and ‘The Exorcist,’ this adaptation finds Sabrina wrestling to reconcile her dual nature — half-witch, half-mortal — while standing against the evil forces that threaten her, her family and the daylight world humans inhabit.”

(Source: Indie Wire)

Anyway, this issue continues to explore the darkest corners of human nature, including incestuous thoughts that Sabrina’s resurrected father entertains. But for me what makes this issue, and the series as a whole, most interesting is the incorporation of mythology and occult philosophy.

As a back story, Sabrina performed an act of necromancy to raise her dead boyfriend, Harvey. Unbeknownst to her, she actually resurrected her dead father in the form of her boyfriend. Sabrina’s aunts summon psychopomps to ferry the resurrected soul back to the realm of the dead. “Psychopomps are creatures, spirits, angels, or deities in many religions whose responsibility is to escort newly deceased souls from Earth to the afterlife. Their role is not to judge the deceased, but simply to provide safe passage. Appearing frequently on funerary art, psychopomps have been depicted at different times and in different cultures as anthropomorphic entities, horses, deer, dogs, whip-poor-wills, ravens, crows, owls, sparrows and cuckoos.” In this story, the psychopomps are visually depicted as cerebral jellyfish, sort of brains with tentacles, which is interesting when one considers that Carl Jung asserted that “the psychopomp is a mediator between the unconscious and conscious realms.” (Source: Wikipedia)

The installment ends on a dark and foreboding note. Sabrina’s cousin, Ambrose, reminds her of a basic tenet in the mystical arts, that every act has its consequence and the cost of the act must always be paid in full.

“Everything must be paid for, cousin… including Harvey. You ultimately ripped Harvey from his grave… so now you must send someone else to their premature death. Put plainly… you’re going to have to kill someone, Sabrina.”

Everything we do has a consequence, and this should be remembered at all times when we deal with others in the world. Nothing that we do is free from impunity. This is a natural law from which there is no avoidance.

Thanks for stopping by, and keep reading challenging stuff.

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“The Music of Erich Zann” by H.P. Lovecraft

Illustration by Andrew Brosnatch

This short story is unique in its subtle creepiness and explores the way that art, especially music, can directly affect a person’s psyche. Hence, it is way more psychologically unsettling than a straight-out horror story. There is also some great symbolism used here, which we will examine.

The tale is narrated in first person by a student of metaphysics in an unnamed city, but which appears to possibly be Paris. He describes the area and the prominence of the river.

The Rue d’Auseil lay across a dark river bordered by precipitous brick blear-windowed warehouses and spanned by a ponderous bridge of dark stone. It was always shadowy along the river, as if the smoke form the neighboring factories shut out the sun perpetually. The river was also odorous with evil stenches which I have never smelled elsewhere, and which may some day help me find it, since I should recognise them at once. Beyond the bridge were narrow cobbled streets with rails; and then came the ascent, at first gradual, but incredibly steep as the Rue d’Auseil was reached.

Here Lovecraft is setting up the river as a symbol for the threshold between the two states of consciousness. The crossing over the river, moving through the shadows, represents the shift from normal consciousness to the darker subconscious regions of the psyche.

The protagonist rents a room in this shadowy liminal area and soon hears strange music coming from one of the rooms above.

Thereafter I heard Zann every night, and although he kept me awake, I was haunted by the weirdness of his music. Knowing little of the art myself, I was yet certain that none of his harmonies had any relation to music I had heard before; and concluded that he was a composer of highly original genius. The longer I listened, the more I was fascinated, until after a week I resolved to make the old man’s acquaintance.

The distant strains of the weird music cause the student to experience momentary subtle shifts in his consciousness. He is not able to identify what is happening to him, because his conscious mind is still dominant, but he is beginning to open ever so slightly to the possibility of other states of awareness.

Finally, the student is in the room with Zann, when Zann slips into a reverie and begins to play the strange music, which ultimately leads to the student’s complete shift in awareness.

It would be useless to describe the playing of Erich Zann on that dreadful night. It was more horrible than anything I had ever overheard, because I could now see the expression of his face, and could realise that this time the motive was stark fear. He was trying to make a noise; to ward something off or drown something out—what, I could not imagine, awesome though I felt it must be. The playing grew fantastic, delirious, and hysterical, yet kept to the last the qualities of supreme genius which I knew this strange old man possessed. I recognised the air—it was a wild Hungarian dance popular in the theatres, and I reflected for a moment that this was the first time I had ever heard Zann play the work of another composer.

Louder and louder, wilder and wilder, mounted the shrieking and whining of that desperate viol. The player was dripping with an uncanny perspiration and twisted like a monkey, always looking frantically at the curtained window. In his frenzied strains I could almost see shadowy satyrs and Bacchanals dancing and whirling insanely through seething abysses of clouds and smoke and lightning. And then I thought I heard a shriller, steadier note that was not from the viol; a calm, deliberate, purposeful, mocking note from far away in the west.

At the point in which the student finally experiences his shift to the subconscious, he looks out of the window, which here is another symbol for the separation between the conscious mind and the subconscious. As he peers out, he is actually peering deep into his psyche and becoming aware of the primal darkness that lurks within.

Then I remembered my old wish to gaze from this window, the only window in the Rue d’Auseil from which one might see the slope beyond the wall, and the city outspread beneath. It was very dark, but the city’s lights always burned, and I expected to see them there amidst the rain and wind. Yet when I looked from that highest of all gable windows, looked while the candles sputtered and the insane viol howled with the night-wind, I saw no city spread below, and no friendly lights gleaming from remembered streets, but only the blackness of space illimitable; unimagined space alive with motion and music, and having no semblance to anything on earth. And as I stood there looking in terror, the wind blew out both the candles in that ancient peaked garret, leaving me in savage and impenetrable darkness with chaos and pandemonium before me, and the daemon madness of that night-baying viol behind me.

As a musician, I am keenly aware of the power of music to communicate directly to the psyche. Sounds and tones evoke emotional states in a way that is difficult to explain. For that reason, as well as the superb crafting of language, this tale has earned its place among my favorite Lovecraft tales.

Thanks for stopping by, and feel free to share your comments below.

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“Outcast – Volume 1: A Darkness Surrounds Him” by Kirkman and Azaceta

I recently visited my daughter in Los Angeles. While I was there, she insisted on taking me to her favorite comic store: A Shop Called Quest. It was a very cool store and while we were there, she encouraged me to purchase the first volume of “Outcast,” certain that I would like it. She knows me well.

The tale is basically about demonic possession and exorcism. The main character, Kyle, is an outcast in society, grappling with his own personal inner demons. But outcast is a double entendre in this book. It also refers to the casting out of demons, an innate power which Kyle seems to possess. He accompanies a preacher who senses an impending rise in evil and is striving to combat it.

The artwork and writing in this book are both excellent. The artist uses shading techniques to illustrate the differences between events that are happening at the time, and events that are being relived through memory. The format works very well.

This is a nice, creepy story, perfect to start the Halloween season. I will leave you with a quote from the text that I found interesting.

Look at this world around us, filled with wickedness. I think about the things I’ve seen and I can’t help but ask, “Why God, why?” And let me tell you a secret. He does not answer back. Sometimes I get a feeling and sometimes there’s a sign… but I don’t hear his voice. Not like Moses did, or Abraham, or Jesus… why? Maybe he got too preoccupied with the war and he forgot about us. Maybe he’s losing.

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Diablo House: Issue 01

I recently visited Spain, and while I was in Barcelona I was understandably impressed by the Gaudi architecture I saw there. For this reason, as well as my interest in 70’s horror comics on which I was raised, this new graphic series caught my attention.

The style of this is very similar to the horror comics of the 1970’s, where you have a host narrator who guides your through the tale, offering comedic commentary on the story. In “Diablo House,” the host is Riley, who is a cross between a California surfer dude, the Cryptkeeper, and Cousin Creepy. He guides the reader through rooms in the house, which is an architectural blending of Gaudi and Aztec style.

Judging from the first installment, it seems that each issue has a single tale with a moral, which I like, since I often find myself losing the thread of serialized comics. The story in this issue deals with greed, vanity, and insecurity, and how people will step on others in their insatiable quest for more money, power, and prestige. And of course, it has the moral twist about the negative ramifications associated with this type of obsession.

This issue definitely piqued my interest, so I will check out some more. If you are a fan of the classic horror mags, then you might find this interesting too. Check it out and feel free to share your thoughts. Cheers!

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Chilling Adventures of Sabrina: Issue #7

It has been a full year since the last issue of Sabrina came out, probably because Roberto Aguirre-Sacasa was busy writing for the television show “Riverdale” (which I watched with my daughter and is quite good). Although it was a long wait, it was well worth it. The quality of this comic, in terms of both writing and visual artistic style, sets it in a class by itself.

Essentially, this is the back story concerning Sabrina’s father, Edward Spellman, who is resurrected and inhabiting the body of Sabrina’s boyfriend, Harvey Kinkle (a little Electra complex happening here). Edward recounts his initiation into the dark arts, his rise to power in the Church of Satan, and how he came to be imprisoned in the limbo dimension.

This installment is dark and disturbing on multiple levels. The content is macabre, the imagery intense, it is psychologically distressing, and the tale leaves the reader with a sense of tension and foreboding which is stoked by what is left unsaid. For truly, it is the unknown possibilities that stir the deepest fear within us, and Aguirre-Sarcasa is a master when it comes to leaving just enough of the story hidden to evoke the most profound terror in the reader.

Readers should be warned that this is not a comic for the timid. But if you love the macabre and long to peer into the stuff of nightmares, then get thee to the store and buy a copy.

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“Tales from the Darkside” Issues 2 – 4: Manifestations of the Shadow Self

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I decided to wait until all three issues in this mini-series were published so I could read them consecutively, and I’m glad I did. Sometimes I forget some of the details from the earlier installments in a serialized arc.

This story is about the struggle between the conscious mind and the primordial shadow part of the psyche. The main character, Brian Newman, finds himself in a struggle with a manifestation of his shadow self, who he calls the “big winner.” The big winner is the opposite of Newman, who is timid, uncertain, and withdrawn. Big winner is more like the trickster archetype: capricious, boisterous, and prone to the chaotic. As the big winner begins to take control of his reality, Newman agrees to undergo experimental surgery to gain control of this darker self. As you can imagine, things do not end well.

Before the surgery, the doctor explains to Newman that the manifestation of his shadow self is the result of a brain abnormality.

The anomaly in your brain is connected to an overdeveloped amygdala, a more primitive part of your mind. The part of you that can distort reality – this big winner – is undoubtedly very id like. Impulsive. Childish. A sort of negative image of yourself.

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The surgery does not go as planned, and instead of reigning in the shadow self, that darker aspect of reality becomes the prevalent reality. What is so fascinating about this concept is that, truthfully, our reality is based solely on perception that is agreed upon by the majority of people. But this begs the question: what happens when the paradigm of reality shifts? And this is what occurs in issue 4.

Here we encounter two kids who are constantly wired into their devices. They are obsessed with a sort of virtual reality app that allows them to control the “windows” through which they view their world. What they create through the app manifests in reality, and their darkest fantasies are manifest. What is eerily accurate about this portrayal is that virtual reality gaming can actually tap into the primordial center of the brain, the amygdala. Is it possible that virtual reality will one day alter our actual reality? It’s a thought-provoking question.

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Because the darkside becomes a part of them. It waits for them when they close their eyes, when they sleep… if they ever sleep again. Just below the surface of what they think is real… the darkside is always waiting.

Anyway, this arc is a great read. The writing and artwork are outstanding, and the concepts are challenging and relevant to our world today. I highly recommend giving this series a read.

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House of Penance: Issue 04 – The Addictive Power of Violence

HouseOfPenance_04

I really like this series and its exploration of issues of sin and atonement. The artwork is dark and surreal and the writing is sparse yet moving. But this installment in the series also explores the related issue of addiction, specifically addiction to violence.

My favorite definition of addiction is that it is the constant searching for something outside yourself to change the way you feel within. For this reason, you can become addicted to anything that elicits a powerful feeling inside, and violence can certainly fall into that category. I have known people in my younger days who were addicted to the adrenaline rush of violent behavior, starting fights for no reason other than the thrill of the fight.

In this issue of the graphic novel, there is a scene where several men who are serving their penance for violent acts discover a room that houses confiscated weapons waiting destruction. The men stare through the glass with a deep longing in their eyes, like the recovering alcoholic struggling with internal conflict as he stares through the window of a liquor store.

If we honestly look at our society—the films we watch, the books we read, the games we play—we are forced to admit that we are a society that is addicted to violence, and yet we act surprised and abhorred when we hear stories of people actually committing violent acts. Now I am not condoning the censorship of violence in the arts, just as I would not condone banning alcohol, but we need to acknowledge that violence, just like drugs, is addictive and remain vigilant with ourselves.

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