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Author: Nick Ozment

Oz loves Godzilla, middle-school G.I. Joe (not old-school, not new-school; middle-school, spooky stories, trees, and really too many other things to list here.
So You’re a Horror Fan and You’ve Never Read…

So You’re a Horror Fan and You’ve Never Read…

H.P. LOVECRAFT?

lovecraftI sit here typing this while wearing a pirate hat and wig of long, black dreadlocks. Why this should be I feel inadequate to formulate into words, lest my attempt to do so come across as the disjointed jargon of a dullard. I will say this, though: I have seen the gibbous moon in lonely places; I have crossed putrid moats under dark mute trees to survey strange runes left by long-lost races, runes undoubtedly concealing eldritch secrets long buried in the muck inhabited by fat mottled sea-worms, secrets that would drive one insane, insane I tell you. So I thought I’d launch this week the first installment of an occasional series called “So You’re a Horror Fan and You Haven’t Read…[author]?”.

Howard Phillips Lovecraft (1890-1937) was almost lost to the crumbling pages of pulp magazines. Even after a book-publishing imprint (Arkham House) was created for the sole purpose (initially) of preserving his work, he remained pretty obscure outside of a small cult following for decades.

Lovecraft would undoubtedly appreciate the irony of himself having a following called a “cult,” and it did not hurt his cred that many among that cult would go on to be among the most influential creators of pop culture in the twentieth century, especially in horror cinema (Lovecraft’s influence really became well-known to a mainstream audience first through film, via folks like H.R. Giger [designer of the eponymous Alien in the Alien films] and director Sam Raimi [Evil Dead et al]. You may have never even heard his name, but if you grew up in the latter half of the twentieth century, Lovecraft’s influence pervaded the horror and science fiction you experienced).

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ARAK Issue # 6: “The Stalkers of the Snows”

ARAK Issue # 6: “The Stalkers of the Snows”

ARAK6CRight off the bat (no pun intended), the cover tips us off that this issue will feature the blood-sucking undead!

In the eerie blue glow of the full moon, a vampire swoops down on sword-drawn Arak like a bomber lugging twin torpedoes. And, oh dear, those sharp fangs aren’t the only pair of pointy objects poised to pierce Arak or poke his eyes out. (Yeah, they’re hard to miss, framed as they are by the yellow moon.)

[Okay, the adolescent male has been sent back to his room in my psyche; now let’s summarize this issue with less juvenile eyes, shall we?]

We don’t get to any vampires until 19 pages in; this issue fits a recurring pattern of narrative structure that reserves the monster-of-the-month for the last five pages or so, while the first four-fifths of the issue covers court intrigue and character development that furthers the overarching plot.

Arak returns from being demon-flung out of the sorceress Angelica’s tent the night before, arriving at Carolus Magnus’s jousting tournament just in time to reveal to the Twelve Peers that Angelica’s brother Argalia cheated by using sorcery when he defeated the champion Rinaldo last ish. Also, by the way, her demons have carted off one of the Twelve, the court magician Malagigi, to White Cathay.

Most of the Twelve (well, they’re down to ten now, since one seat has been mysteriously empty and, of course, poor old Malagigi is a hostage to goat-footed devils) dismiss the charges of the “savage heathen,” since it is his word against Angelica and Argalia, who are both nobility and allegedly Christian.

The ensuing exchange rather amusingly ticks off Arak, who lays out a good case of circumstantial evidence and shows himself to be smarter than just about all the rest of them combined. Even Valda, usually stoically silent, intervenes, telling the rest of her Peers that they should heed the words of Arak.

All this gets her is a snickering remark from the Bishop: “Well, now! It seems rave Valda is smitten with the young savage!” Another one chimes in, “Perhaps we should call her the ‘Iron Maiden’ no more, eh?” Nudge nudge wink wink. Man, and you thought I was juvenile! These guys need a serious come-uppance.

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Weird of Oz Conjures Up Some Other Horrors

Weird of Oz Conjures Up Some Other Horrors

the-conjuring-poster-1This week, I’m going to take a break from the summer heat and my blogging of Arak, Son of Thunder to get all spooky on you. This is a topic I’d normally tackle in the autumn, closer to Hallowe’en, but it turns out that one of the surprise summer hits is a supernatural horror film called The Conjuring. If you enjoyed that film and are looking for some home-viewing follow-ups, here are a few to consider…

The Messengers (2007)

As the movie poster for The Messengers tells us, “There is evidence to suggest that children are highly susceptible to paranormal phenomena.”

One thing’s for certain: the children in this film certainly are.

A few years ago, I saw a subtitled edition of The Eye, the movie that put Hong Kong co-directors (and twin brothers) Danny and Oxide Pang on the American map, and it did induce chills. Here, as in that earlier film, the Pangs demonstrate their skill at evoking the dread of The Thing You Must Not See: you know something is behind you, but you can’t turn and look because what you’d see might make your heart freeze.

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Arak Issue 5: Tournament of Champions!

Arak Issue 5: Tournament of Champions!

arak issue 5Wow! By issue 5 of Arak: Son of Thunder, Roy Thomas and Ernie Colón have really hit their stride. With this issue, I figure I’ve ingested a large enough sample size to recommend this title unequivocally to fans of sword-n-sorcery and high fantasy. I mean, it’s not genre-defining or trend-setting or anything, but it’s well done. Good stuff.

They’ve established main and supporting characters, set up the parameters of the plot, and now the cogs and wheels of the long-term story are starting to turn. But before we get to all that, I must make a follow-up observation about the art:

It is surprising how much of a difference an inker can make. On first glance, one might assume the title had a new artist, but no. Colón’s pencils are now inked by Rodin Rodriguez (who is credited as “Inker/Embellisher”). Inkers bring different styles to the table, and the end product really can take on strikingly different characteristics depending on who is laying down those embellishments.

In my description of the art in my post for issue 4, I noted that the inking sometimes feels a bit rough and muddy, occasionally obscuring or flattening out the action. Here is a study in contrast: the characters and scenes in issue 5 really pop; they’re well defined and striking. Rodriguez’s inking is not as dark or splotchy as his predecessor; rather, he brings a more artistic cross-hatching style, with bold, solid lines that better define bodies and objects.

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Arak 4: “A Tree from Some Dark Hell!”

Arak 4: “A Tree from Some Dark Hell!”

arak 4Four issues in to this reading of the entire 50-issue run of Arak, Son of Thunder, and I’ve got to admit…I’m enjoying it.

I didn’t know if that would be the case. I mean, the last time I read one of these comics, I wasn’t even old enough to drive a car. Not all stories fondly recalled from childhood hold up so well to a reunion visit.

But here in this issue we have a killer tree. You gotta love this issue’s title: “A Tree From Some Dark Hell.” (This one has by far the best, most eye-catching cover yet, with Arak and Valda dramatically poised to chop at the hell-tree with their sap-spilling blades.) Ernie Colon’s art seems just about right for the epic tale of Arak, and I’m really starting to appreciate Thomas’s storytelling, which is more interesting and nuanced than one might typically expect from an early ‘80s comic. And did I mention there’s a killer tree!

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Arak Issue 3: Welcome the Iron Maiden!

Arak Issue 3: Welcome the Iron Maiden!

Arak_Vol_1_3IMG_0001Our adventures with Arak the Viking-Native-American continue!

Before I summarize issue 3, I haven’t said anything much about the artwork yet, so I’ll do my best to opine on that a bit. I don’t have a particularly deep background in visual art, other than that I’ve been looking at it all my life (and occasionally drawing a cartoon or illustration here and there), so I speak strictly as a layperson on this. That said, here are my general impressions.

First, the elephant in the room: To younger eyes that grew up on the computer-enhanced visuals of the past decade or so, these old pre-‘90s comics must look terribly quaint. Take a representative comic off the stand today. The colors and depth and lighting effects, the impression of characters leaping right out of the 2-dimensional bounds of the page from explosions that look like they could burn your fingers: such is to be seen in any typical issue of a mainstream comic like X-Factor (which is produced twice monthly!)

So, right off the bat, a typical early ‘80s comic like Arak appears, by comparison, pretty flat, the colors dim and washed-out, with a limited palette of hues and rather pedestrian panel lay-out with few or no “effects.” Older comics look much like their ancestral progenitor: the old newspaper comic-strip or “funnies” pages, because that is essentially what they were, printed with the same technology on the same type of thin pulp paper.

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Weird of Oz Dissects a Zombie!

Weird of Oz Dissects a Zombie!

world war zNow that zombie apocalypse has gotten its most mainstream imprimatur with a big-budget summer blockbuster starring Brad Pitt, I thought I’d take a break from my reading of Arak comic books this week to chime in on the trend. I’ll also revisit and share my original review of the book on which Pitt’s new star vehicle is “based” (and, for those of you who have read World War Z, you’ll know why I put that word in quotes).

I’ve been a fan of zombie films since I was a teen (back in the ‘80s, Barbara Mandrell sang, “I was country when country wasn’t cool”; I guess I could say much the same thing about zombies), ushered into the land of the undead by late-night viewings of Night of the Living Dead (1968) and White Zombie (1932, starring Bela Lugosi, and that’s way old-school).

Zombies are big business these days, the virus finding new vectors to infect untapped audiences and turn them into fans. This unprecedented outbreak began in the early years of the new century with some very well-done and popular films including 28 Days Later (2002), Dawn of the Dead (2004 remake) and Shaun of the Dead (2004). Romero himself, the granddaddy of the whole genre, returned with Land of the Dead (2005) and a couple of subsequent installments in his ever-expanding zombie mythos.

walking deadMore recently, the comic-book series The Walking Dead became a big hit among readers, then went on to be adapted into the AMC series that is currently one of the most popular shows on cable television. Zombie novels have become so ubiquitous, they now constitute their own sub-genre, like vampire or werewolf novels. You might also say zombies have now “jumped the shark,” following the lead of Twilight into teen romance territory (Warm Bodies by Isaac Marion, as well as, apparently, a slew of others in this latest fad. I haven’t read any of these, but I can only imagine: “Is that part of your lower intestine leaking from your abdomen, or are you just happy to see me?”).

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Arak Issue 2: Sympathy for the Devil?

Arak Issue 2: Sympathy for the Devil?

Arak_Vol_1_2See that nine-year-old boy spinning the revolving comic-book rack, seeking out the most lurid covers of monsters and aliens and skeletons in battle fatigues. He’ll rifle through his pocket for some quarters to buy the latest issue of Weird War Tales or House of Mystery or Arak, Son of Thunder.

See that forty-year-old man picking up a thirty-year-old issue of Arak, Son of Thunder, its cheap newsprint pages now yellowing, the staples loose, an older but still potent artifact promising strange adventures and magical mayhem in dreamed-of faraway lands.  This relic of boyhood — the feel of the thin paper; the primitive, splotchy look of the four-color panels; even the smell of it — brings back inchoate memories and associations of a simpler, more carefree time when his future was expanding, not shrinking, when everything was out there to be gotten, not closing in to get him.

Strange Tales 90Something as simple as a comic book can be the bridge between the boy and the man, reminding him that he is still the same being, the same conscious self who lived those years and is living these years and lived all the years in between. It is why, even though he doesn’t collect Star Wars figures, he’d love to hold again a 1978 Kenner Snaggletooth (that little guy from the Mos Eisley Cantina), because he can remember the feel of it in his hands, out in the sandbox at recess, when it was one of the most prized possessions in the world (along with Walrus and Hammerhead).

These, then, are our totems, and the old comics our sacred books.

So let’s get to the second installment of Arak, Son of Thunder, shall we?

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ARAK Issue 1: The Sword and the Serpent!

ARAK Issue 1: The Sword and the Serpent!

araksonofthunder1In the summer of 1981, DC Comics proudly presented “the coming of a great new hero who stalks the fear-haunted shadows of an age of darkness” — Arak, Son of Thunder!

Arak was brought to life by Roy Thomas, who’d cut his sword-and-sorcery eyeteeth launching the most successful S&S comic-book franchise ever over at Marvel (the line of Conan titles), and penciler Ernie Colon. It had all the earmarks of such titles — swashbuckling action, magic, monsters, and mayhem — but Arak was not just another generic brute barbarian among the sundry pale imitations of Robert E. Howard’s iconic character. No, Thomas seems to have had bigger ambitions for this epic tale, both in its historical moorings and its complexity.

Thomas uses the back page, the one later reserved for a letters column, to explain what he was up to, in an editorial entitled “A SHORT HISTORY OF THE WORLD, DC-STYLE!”

The editorial begins with the observation “They called them the DARK AGES — but we hope to make them blaze with the light of adventure and heroism.”

What follows that intriguing lead line is a brief history lesson of the “latter half of the first millennium A.D.,” during which this series is set. Of course, Howard himself used a quasi-historical background for his famous barbarian, but the “Hyborian Age” was set so far in the shadowy past that he had a good deal of leeway. By conceiving his story as historical fantasy set in a more recent era, Thomas does create more work for himself, although, granted, there probably weren’t too many medieval historians who would be reading the comic and calling him out (I certainly wouldn’t know if he got some minor detail wrong about the court of the king of the Franks).

Where his leeway lies — and where he really gets to have fun and play — is in the fact that he clearly defines this as alternate history, predicated on this premise: “Ah, but what if there were another earth somewhere — a parallel planet, existing but a heartbeat away from our world yet forever separated from it — an earth on which events and names and geography were much like our own, but with one all-important difference: What if, on that world…MAGIC WORKED?”

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Prelude to the Arak and Oz Reunion

Prelude to the Arak and Oz Reunion

ArakAs I embark on a close reading of the complete 50-issue run of ARAK, Son of Thunder, I believe an introductory post is justified, wherein I try to rationalize why I would want to do such a thing. Why Arak? Why now? Why me? (And, for some of you: Who the heck is Arak?)

First, a series of snapshots. These will get at the “Why me?” part, I think:

* I am lying in a hammock outside my grandparents’ cabin, nestled in the ponderosa pine forest on the Mogollon Rim of Arizona…White clouds skim across a blue sky, so close you can almost reach up and touch them… The smell in my nose is pine mixed with the crisp scent of newsprint, courtesy of a Marvel Comics Star Wars and a DC House of Mysteries.

g.i. joe** I am curled up on the top bunk of my bunk bed (bunk beds rocked! — they were like having a tree-house/fort in your own bedroom), home sick from school. My dad (Happy Father’s Day, Dad!) walks in bringing the latest bounty from the mailbox: the new G.I. Joe comic. I eagerly rip off the plastic bag, anxious with bated breath to find out if Snake Eyes escaped the exploding bunker at the end of last month’s issue.

*** I am pedaling my bicycle down to the local gas station, eager to check the revolving display stand to see if the new installment of ROM or Captain Carrot and His Amazing Zoo Crew has hit the stand (and, damn, I was in good shape back then, pedaling hither and yon. It was all downhill once I got my driver’s license).

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