Some common tropes of the cabin horror genre include: 

• The remote location: The cabin is often located far from civilization, making it difficult for the characters to get help or escape from their attackers.
• The group of friends: The main characters are often a group of young adults who are on vacation together, allowing for the opportunity to explore themes of friendship and group dynamics.
• The supernatural threat: The cabin horror genre often features supernatural elements, such as ghosts, demons, or other monsters.
• The slasher element: Cabin horror movies may also include a human threat, such as a deranged killer who is stalking the characters and picking them off one by one.
• The final girl: A common trope of horror movies in general, the “final girl” is typically a female character who survives the attack and is left to face the aftermath of the horror. 

Cabin horror has been popular since at least the 1980s, when movies like Friday the 13th and The Evil Dead helped popularize the subgenre. However, the genre has continued to evolve over the years, with movies like The Cabin in the Woods and Knock at the Cabin Door playing with audience expectations and subverting some of the traditional tropes of the genre.

Below are examples of popular films, books, and graphic novels in the cabin horror genre.

Cabin Horror Movies

The Evil Dead (1981) – A group of friends travel to a remote cabin in the woods for a weekend getaway, but stumble upon an ancient tome that unleashes a demonic force that possesses them one by one. This movie is a classic example of cabin horror, featuring a remote location, supernatural threat, and group of friends being stalked by an unseen enemy. 

Friday the 13th (1980) – A group of counselors arrive at Camp Crystal Lake to prepare it for the summer season, but are stalked and killed by an unseen assailant. This movie helped popularize the slasher subgenre of horror and features a remote location, group of young adults, and a killer on the loose.

The Cabin in the Woods (2012) – A group of friends travel to a remote cabin for a weekend getaway, only to discover that they are being monitored and manipulated by a mysterious organization. This movie plays with the audience’s expectations of the cabin horror genre and features elements of both supernatural and science fiction horror.

Tucker and Dale vs. Evil (2010) – Two hillbillies, Tucker and Dale, buy a remote cabin in the woods for a vacation home, but their attempts to enjoy a peaceful weekend are interrupted by a group of college students who mistake them for deranged killers. This movie is a comedic take on the cabin horror genre, featuring elements of both horror and satire.

The Cabin (2018) – When a group of friends go on a weekend trip to a remote cabin in the woods, they unwittingly stumble upon an ancient curse that begins to take over their minds and bodies. This curse brings the cabin and the surrounding woods to life, creating a hostile environment where the friends are constantly under attack. The supernatural elements of the film add a layer of mystery and terror to the already tense situation, creating a unique and engaging horror experience.

The Lodge (2019) – Two children and their stepmother are snowed in at a remote cabin during the holidays, but as various conflicts begin to escalate, it becomes clear that something sinister is at play. The movie explores the deteriorating mental states of the characters as they become trapped in the cabin, which creates an atmosphere of dread and uncertainty. As tensions rise between the characters, strange occurrences begin to happen, and the line between reality and nightmare becomes blurred.

Cabin Horror Books & Comics

The Troop by Nick Cutter (2014) – A group of boy scouts and their troop leader venture to a remote island off the coast of Prince Edward Island for a weekend camping trip, but are soon stalked by a horrifying creature that feeds on flesh. The book also features elements of body horror, as the infection caused by the creature causes gruesome physical transformations and mutations in the characters. The combination of the group’s struggle for survival and the disturbing physical changes they experience creates a chilling and unsettling atmosphere.

Wytches by Scott Snyder and Jock (2014) – A family moves to a small town in New Hampshire to escape their troubled past, but are targeted by a coven of witches who dwell in the nearby woods. This graphic novel adds terrifying narrative turns with the inclusion of the witch’s dark magic and the mystery surrounding the town’s past, creating a gripping and chilling read. Overall, Wytches fits within the cabin horror genre due to its remote setting, supernatural elements, and atmosphere of terror and suspense.

The Cabin at the End of the World by Paul Tremblay (2018) – A family vacations at a remote cabin in the woods, but are soon visited by a group of strangers who claim that the end of the world is imminent and that they need the family’s help to prevent it. The book creates a sense of claustrophobia and isolation within the cabin, as the family members are cut off from the rest of the world and forced to confront the strangers who have invaded their sanctuary. The story also does a great job of blending elements of psychological horror with supernatural and apocalyptic themes, creating a sense of unease and tension that builds throughout the book.

Camp Slaughter by Sergio Gomez (2019) – The story follows a group of teenagers who are sent to a summer camp in the woods, but soon discover that the camp has a dark and deadly history. The camp was the site of a mass murder years before, and the spirits of the victims have returned to seek revenge on those who dare to set foot on the grounds. The isolation of the camp and the surrounding woods creates a sense of claustrophobia and paranoia among the characters, as they realize that they are cut off from the rest of the world and facing unknown dangers lurking in the shadows.

The Shuddering by Ania Ahlborn (2019) – A group of friends embark on a winter vacation in a remote cabin in the mountains, only to discover that the cabin and the surrounding woods hold a dark and terrifying secret. The book also features elements of supernatural horror, as the friends are confronted by mysterious and malevolent forces that seem to be connected to the cabin and the surrounding woods. The supernatural elements of the story add to the horror and create a sense of unease and uncertainty as the characters struggle to survive and uncover the truth about the cabin’s dark past.

Ben Long

Ben’s love for horror began at a young age when he devoured books like the Goosebumps series and the various scary stories of Alvin Schwartz. Growing up he spent an unholy amount of time binge watching horror films and staying up till the early hours of the morning playing games like Resident Evil and Silent Hill. Since then his love for the genre has only increased, expanding to include all manner of subgenres and mediums. He firmly believes in the power of horror to create an imaginative space for exploring our connection to each other and the universe, but he also appreciates the pure entertainment of B movies and splatterpunk fiction.

Nowadays you can find Ben hustling his skills as a freelance writer and editor. When he’s not building his portfolio or spending time with his wife and two kids, he’s immersing himself in his reading and writing. Though he loves horror in all forms, he has a particular penchant for indie authors and publishers. He is a proud supporter of the horror community and spends much of his free time reviewing and promoting the books/comics you need to be reading right now!

readingvicariously.net/

Advertisements

The post Cabin Horror Genre and Recommendations appeared first on Puzzle Box Horror.

You find yourself in the middle of a dark and creepy abandoned hospital, your only source of light a flickering flashlight. You’re searching for your missing daughter, and you have a gut feeling that she’s somewhere in this building. As you move deeper into the hospital, you start to feel like something is following you, and every shadow seems to hold a new threat. Suddenly, you hear a sound coming from one of the rooms and it sends shivers down your spine. You slowly push open the door and find yourself face to face with a horde of twisted and deformed creatures, their eyes glowing in the dark. They let out a blood-curdling roar, and you realize that you’re low on ammo.

Classic.

What is Survival Horror?

“Survival horror” is a subgenre of the horror genre that focuses on a character or characters attempting to survive against some form of deadly threat, often in a situation where they are helpless or poorly equipped. This genre typically involves a combination of horror and action elements, as the characters must not only evade or hide from the danger, but also actively fight back against it.

In survival horror games and movies, the protagonist is often portrayed as vulnerable and in a disadvantageous position, such as being stranded in an isolated location or being pursued by a powerful and deadly monster. The goal of the protagonist is to survive by using limited resources, solving puzzles, and making strategic decisions.

The genre is characterized by its emphasis on suspense, tension, and fear. The atmosphere is often creepy and foreboding, with a focus on creating a sense of dread and unease for the player or viewer. The genre often incorporates elements of science fiction horror, with storylines that involve the supernatural, mutants, or viral outbreaks. It’s challenging to effectively trace the history of survival history because it overlaps with so many other genres. Instead we will just give a brief overview as it relates to video games, movies, and books.

Survival Horror in Games

The survival horror genre is most commonly associated with video games, and here its roots go back to the late 1970s through 1980s, with the release of horror-themed cartridge games like Haunted House (1972) and Sweet Home (1989). These early games established the basic formula of a character navigating through a dangerous environment while facing off against frightening creatures.

The survival horror genre came into its own in the 1990s with the release of Alone in the Dark (1992) on the PC and Resident Evil (1996) on the PlayStation console. These games popularized the genre with their combination of survival mechanics, such as resource management and puzzle-solving, with intense action and horror elements. The success of Resident Evil in particular paved the way for other successful survival horror franchises like Clock Tower (1996) and Silent Hill (1999), and it was Capcom who first coined the term “survival horror”..

In the 2000s, the genre experienced a resurgence in popularity with the advent of new gaming technologies and a greater focus on creating immersive and atmospheric experiences. The release of games like Dead Space (2008), Amnesia: The Dark Descent (2010) and the Outlast series brought a new level of intensity to the genre, emphasizing psychological horror and creating more intense, frightening experiences for players.

In recent years, the survival horror genre has continued to evolve, incorporating new technologies and gameplay mechanics to create more immersive and terrifying experiences. For example, Until Dawn (2015) allows players to control multiple characters and the game changes based on decisions made, while Dead by Daylight (2016) features one versus four gameplay where one player is the killer and the other four attempt to survive. As virtual reality games become more popular, survival horror will continue to push the boundaries of what is possible in the world of horror gaming.

Other popular survival horror video games include: Fatal Frame (2001), Resident Evil 4 (2005), The Last of Us (2013), and The Evil Within (2014). The Last of Us also being a fan favorite tv show.

Survival Horror in Movies

Much like in gaming, the history of survival horror in movies can also be traced back to the 1970s and 1980s, with early films like The Texas Chain Saw Massacre (1974) and Halloween (1978) setting the groundwork for the genre, and later being followed by movies such as The Thing (1982) and Predator (1987). These films established the basic formula of characters facing off against dangerous and terrifying threats, often with limited resources and weapons. 

The 1990s saw survival horror being blended with other subgenres, such as “body horror”, with films like Candyman (1992) and Event Horizon (1997) bringing a new level of intensity and gore to the survival horror genre. These films expanded on the core formula of survival horror, incorporating elements of science fiction and supernatural horror to create even more frightening and suspenseful experiences for audiences.

In the 2000s, the survival horror genre experienced a resurgence in popularity with the release of successful films like The Ring (2002) and Saw (2004). These films brought a new level of psychological horror to the genre, exploring the dark and twisted thoughts and motivations of the characters in a way that was both terrifying and thought-provoking. Other great movies from the era include 28 Days Later (2002), The Descent (2005), The Mist (2007), Eden Lake (2008) and The Ruins (2008).

More recently, the survival horror genre has continued to evolve and expand, with newer films bringing an increased level of realism and immediacy to the genre, creating more anxiety-inducing and unnerving experiences for audiences. You can find survival horror happening in the woods with The Ritual (2017), in the snow with Frozen (2012), in a alligator-filled hurricane with Crawl (2019), on a deserted island with Sweetheart (2019), and under the water with movies like 47 Meters Down (2017) and Underwater (2020) 

Other popular survival horror movies include: Buried (2010), The Shallows (2016), A Quiet Place (2018), and Alone (2020).

Survival Horror in Literature

The history of survival horror in books and comics can be traced back to the Gothic novels of the late 18th and early 19th centuries, such as Mary Shelley’s Frankenstein (1818) and Bram Stoker’s Dracula (1897). These early works established many of the core themes and motifs that would come to define the survival horror genre, including the use of suspense, tension, and fear to create a sense of danger and unease. A lot of the genre owes thanks to the works of Lovecraft as well, which often feature investigative narratives and characters struggling to survive insurmountable odds.

In the 20th century, the survival horror genre continued to evolve and expand in the world of literature with the publication of books like Stephen King’s Salem’s Lot (1975), Scott Smith’s The Ruins (2006), and Comac McCarthy’s The Road (2006), along with the creation of popular comic book series like The Walking Dead (2003). These works brought a new level of intensity and realism to the genre, exploring the fear and desperation of characters facing off against dangerous and unpredictable threats.

Moving into the 21st century, the genre has continued to thrive in the world of books and comics, with the publication of works like Josh Malerman’s Bird Box (2014) and of graphic novels such as Grant Morrison’s Nameless (2017). These works bring a new level of sophistication and complexity to the genre, exploring the psychological and emotional aspects of survival in the face of horror and danger.

Other popular survival horror books/comics include: 30 Days of Night by Steve Niles (2002), The Last One by Alexandra Oliva (2017), The Hunger by Alma Katsu (2018), The Luminous Dead by Caitlin Starling (2019), Below by Laurel Hightower (2022), and The Deep (2015) and The Troop (2016) both by Nick Cutter.

Final Thoughts

Today, the survival horror genre remains one of the most popular and enduring and diverse subgenres of horror, attracting fans with its multitudes of settings and its combination of suspense, tension, and fear. The genre continues to evolve and expand, with new games, movies, and other forms of media that explore new and exciting directions for survival horror.

Ben Long

Ben’s love for horror began at a young age when he devoured books like the Goosebumps series and the various scary stories of Alvin Schwartz. Growing up he spent an unholy amount of time binge watching horror films and staying up till the early hours of the morning playing games like Resident Evil and Silent Hill. Since then his love for the genre has only increased, expanding to include all manner of subgenres and mediums. He firmly believes in the power of horror to create an imaginative space for exploring our connection to each other and the universe, but he also appreciates the pure entertainment of B movies and splatterpunk fiction.

Nowadays you can find Ben hustling his skills as a freelance writer and editor. When he’s not building his portfolio or spending time with his wife and two kids, he’s immersing himself in his reading and writing. Though he loves horror in all forms, he has a particular penchant for indie authors and publishers. He is a proud supporter of the horror community and spends much of his free time reviewing and promoting the books/comics you need to be reading right now!

readingvicariously.net/

The post The Diverse History of Survival Horror appeared first on Puzzle Box Horror.

Imagination could conceive almost anything in connexion with this place.

H.P. Lovecraft – At The Mountains of Madness

The first thing to notice is the size of the At The Mountains of Madness Illustrated book, released by Free League Publishing. A hardback at 26x36cm, displaying the beautiful and atmospheric artwork of Baranger, has an obvious air of quality; a first glance bringing hopes that it only echoes the scale and majesty held within. It might be considered impractical by those wanting to read anywhere other than a desk, but the thing holds an intrinsic weight that makes your perusal all the richer. A foreword by Maxime Chattam compares the tale to the icy horrors of The Thing (1982) which, again for a first time reader, was rather exciting. 

Before reading I was asked by a friend, “Does he picture the monstrosities at the camp?” Of course I had no idea to which monstrosities he was referring, though it was a question I kept coming back to while wading through the heavy descriptions of the first few pages. Well-placed illustrations aid the flow of the story greatly, as well as some resizing of sentences for emphasis that helps bring home the point of many of Lovecraft’s ramblings without feeling cartoonish. Much of the artwork acts as flavouring, in the way sound effects and music would to an audiobook, and by the time the aforementioned monstrosities are encountered, and pictured vividly, it feels like a true horror payoff within an already interesting story of exploration. The things look incredible and prove Barangers skill and imagination to be far above that of simple docking ships and icy wastes, though these introductory scenes are inarguably stunning. 

While I can’t compare to the simple text-only format of this particular story, I can somewhat to other stories in Lovecraft’s oeuvre, and here the imagery is a refreshing and welcome addition. While I fully believe that the power of Lovecraft’s monsters exists in our inability to comprehend them on a physical level, seeing the big slimy nasties in this case puts us much closer to the mentality of the poor souls at the dig site. 

Baranger’s art expertly treads a tightrope between detail and atmosphere, displaying a degree of realism that should by rights be impossible to achieve alongside the sense of wonder permeating each piece. The more you look, the more layers reveal themselves within portraits of sunset-drenched mountaintops, views of meetings through frosted cabin windows and some sparse yet effectively-placed gore including the harrowing scene of a man’s bust-open chest. These aren’t simple accompaniments but integral parts in this telling of Lovecraft’s tale, inserted with intent to aid the reader’s immersion but also to stand as their own pieces, rich and textured. 

At The Mountains of Madness – Illustrated Book Cover

* Puzzle Box Horror may earn a commission when you buy through links on our site.

The story itself is fantastic. A classic, even by Lovecraft’s standards. His style can be long-winded and hard to fall into for some, though this works for his longer pieces such as this one. The themes of exploration and the wonder it conjures were perfect to set up the icy horrors in the mountains; as the many details of the expedition are reeled off one can’t help but feel the excitement of it all. The overload of information, once pushed through, leads on to discoveries vivid and startling, made all the more realistic by their precursing pages. Lovecraft has the ability, mainly through his grounded and earthly first acts, to make readers begin to question just what, if any, horror (as we now know it) will be about to occur. This makes the subsequent deaths, tentacled abominations and nightmarish icy wastes that much more impactful and unexpected. All of this is helped greatly by purposeful and well-thought-out text formatting, mainly being some upsized sentences which add a great deal of weight to occurrences and help break up some of HP’s longer esoteric rants. 

A lot of the issues with visualizing Lovecraft’s elder beings are in no way as apparent here as within the realms of film and television. This particular undertaking allows the story itself, beholder of all of the real power here, to remain the focal point while all additions serve as flavor and make the whole ordeal that much more vivid and evocative. The mind still builds on these images, just as it would visualize on a story while reading. I absolutely must know what happens next in this tale, though I will wait to purchase the second volume of this version rather than find the classic story in a collection I own. That should say it all. 

Joe Clements

Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft.
Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature.
He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.

linktr.ee/Joeclements

The post At The Mountains of Madness – Illustrated appeared first on Puzzle Box Horror.

Bitter Root (2019) presents a historical fantasy where the power of hate can literally transform your being. Told through a kaleidoscope of colorful images, humorous banter, and breakneck action sequences, this series is what you’d get if Mike Mignola combined his Hellboy comic series with the Lovecraftian-inspired novel Lovecraft Country. It’s a fun dark fantasy that balances a ton of themes while also managing to land each punch. 

The narrative is set in 1924 Harlem not too long after the 1921 Tulsa Massacre. It focuses on the Sangerye Family, who were once a family of notorious monster hunters before they were broken up by tragedy and personal differences. When a new supernatural danger hits the streets, the Sangerye’s must overcome their past challenges and reunite in order to save New York and quite possibly the entire world. 

* Puzzle Box Horror may earn a commission when you buy through links on our site.

This first volume serves as a quick introduction to the different members of the Sangerye family where, much like other comic book super families such as The Umbrella Academy and Doom Patrol, special attention is given to what makes each of them unique. Every character rocks their particular skill set while providing a distinctive perspective on their world that is both generational and intrinsic to who they are. A personal favorite of mine is Berg, who gets an A+ in etiquette and monster brawling. There’s also Ford, who is a Django-type legend that kicks ghoul ass with a massive glock like something out of Doom.

Despite a story that is built on serious themes, the content never feels heavy. This is mostly attributed to the vibrant art style that resembles Mike Mingola’s, along with a dash of whimsy found only in golden age Disney films. The opening quite literally has music dancing off the page as we’re introduced to the sights and sounds of 1920’s Harlem. Another standout in this comic is the liberal use of color. Each page seems to have its own color palette, always more bold and surprising than the previous page. 

Fans of Guillermo Del Toro and Jim Henson would lose their mind with the cast of monsters that we come across in these five issues. From orcs and Final Fantasy-like sprites to the more gargantuan crow-head behemoths, you will be treated to a smorgasbord of monstrosities. Most of the ghoulish entities are drawn with a cartoonish quality that gives this dark fantasy a satirical layer, like when a gaggle of Ku Klux Klan members are transformed into slobbering goblins. They appear as scary and ridiculous as the hate that created them. 

While the pages are filled with action, the horror lies in the reality of the world that the Sangerye’s are living in. It’s a world that’s not too far from the Harlem it was based on or the state of America that still exists to this day. Despite the sunny disposition that this comic carries, this is ultimately a story about hate and how it can literally change you into something monstrous. There is a moment in the comic when the family wonders if this transformation can be reversed or if it’s permanent. The response to that question is answered, but I imagine that it will be examined more deeply in future issues. 

These five issues are undoubtedly a jazz set charging with energy, breaking only to give each character a momentary solo. This first volume of Bitter Root has nearly everything you could want from a dark fantasy comic series. The world-building balances neatly with its socio-political themes as we are introduced to both the magic and conflict that surrounds this whimsical family’s lives. This volume concludes with a stunning reunion and eerie revelation that will definitely have you ready for the next set of issues. The Sangerye’s are here to stay as they weave their magic, brawl through hordes of snotty imps, and stomp down on the hate that is attempting to consume their world.

Bitter Root Vol. 1 is available now on Amazon and Image Comics.

Max Gutierrez

Like most Constant Readers, Max’s love of horror began with Stephen King. After devouring stories of rabid dogs, sinister cars, and bloodied prom queens he went on to the next best thing: Slashers. While he enjoys the mindlessness of Jason Takes Manhattan and Malignant, he’s also a major sucker for complex stories like Midsommar, The Only Good Indians, and Get Out where the genre is used to tackle very real horrors that don’t wear a mask. Horror films may take up most of the space on his shelves, but he also has a deep love for comics and literature that can make you look over your shoulder without the suspenseful score.

When he’s not consuming every medium of entertainment, Max works in Civil Engineering while finding time to be a struggling writer. He writes for his own personal enjoyment and occasionally for the pleasure of others with hopes of eventually publishing a work of his own. He believes that horror is the one genre that isn’t afraid to explore the world with full and total honesty.

The post Bitter Root Vol. 1 – Harlem’s Very Own Crew of Monster Brawlers appeared first on Puzzle Box Horror.

* Puzzle Box Horror may earn a commission when you buy through links on our site.

Readers are immediately thrown into the action with the biker gang (The 13 Horsemen) riding into a trailer park in pursuit of a demon leader named Corbin. It’s clear the bikers have done this before, as they begin systemically blowing demons apart with guns and searching the trailers. The violence is relentless, brutal, and bloody. This opening scene also gives fair warning to the reader that though the Horsemen are a tough group, they aren’t impervious to injury and death. It’s a wonderfully chaotic start and really helps set the tone for the series as a whole.

As the story progresses it begins to fall into a rotating wheel of plot points: traps are sprung, our heroes are taken prisoner, a miraculous escape happens, and the cycle continues again. That’s not to say there’s anything wrong with a predictable set of events, and many TV shows and comics in this genre follow similar paths, but there aren’t many major twists or surprises. Still, the stakes continue to rise and there is a forward momentum that keeps things tense and entertaining. Each rotation of the plot wheel brings James (leader of the gang) one step closer to finding the demon that killed his wife and child so many years ago. There’s also plenty of great cliffhangers, both at the end of each issue and during the stories from one page to the next.

With thirteen-plus characters to focus on, it’s no surprise that we don’t get a lot of depth and background for our demon slayers. However, there are moments sprinkled throughout that help define their personalities and several hints at larger backstories. So even though you don’t know their life histories, you still have a good sense of their relationships and motivations. The scarred and mysterious character they refer to as Father is particularly intriguing, and I’m very interested to see what his connection is to the demon army and story at large.

The demons themselves are quite the terrifying bunch: glowing red eyes, ghostly pale skin, and viciously sharp fangs. Most of the ones harassing our heroes are foot soldiers, though there are a few climactic moments where larger beasts are unleashed upon the group for epic battles. My only small complaint is that the demons are extremely similar in appearance and mannerisms to vampires. If I were shown images from this and 30 Days of Night I would have a hard time telling the difference. There’s even a moment where a frightened police officer refers to them as vampires, so maybe it’s intentional? Not a deal breaker by any means, just an element that was a little distracting. 

Not only has author Nat Jones written a riveting and action packed story, but he’s filled it with perfectly detailed illustrations and compelling colors. The art style is heavy on the sketching and light on the shading, enabling the coloring to play a major role. The extensive presence and multi varied shades of reds, oranges, and yellows do a good job of complimenting the action and drawing you into the fiery hell that has been unleashed upon the earth. Also the lettering by Janice Chiang functions as an exemplary model of how to weave onomatopoeia into tense fight scenes for dramatic effect. 

13 Horsemen strikes just the right balance between dramatic tension and over-the-top bombastic violence. It’s exactly the right tone needed for a story about warring bikers and demons, and it matches well with the frenetic pacing and gripping visuals. Despite a few shortcomings in plot repetition and conveniences, the reading experience was one of unbridled enthusiasm. There’s plenty to relish here, and, as the ending would suggest, there may be plenty more demon fighting fun on its way. So grab your holy gun, hop on your Harley, and let’s ride!

13 Horsemen is available now from Storm King Comics.

Ben Long

Ben’s love for horror began at a young age when he devoured books like the Goosebumps series and the various scary stories of Alvin Schwartz. Growing up he spent an unholy amount of time binge watching horror films and staying up till the early hours of the morning playing games like Resident Evil and Silent Hill. Since then his love for the genre has only increased, expanding to include all manner of subgenres and mediums. He firmly believes in the power of horror to create an imaginative space for exploring our connection to each other and the universe, but he also appreciates the pure entertainment of B movies and splatterpunk fiction.

Nowadays you can find Ben hustling his skills as a freelance writer and editor. When he’s not building his portfolio or spending time with his wife and two kids, he’s immersing himself in his reading and writing. Though he loves horror in all forms, he has a particular penchant for indie authors and publishers. He is a proud supporter of the horror community and spends much of his free time reviewing and promoting the books/comics you need to be reading right now!

readingvicariously.net/

The post 13 Horsemen – Biker Gang vs Demons appeared first on Puzzle Box Horror.

For those who are new to the urban legend of this ax-wielding man-beast, Goatman was a creature that preyed upon the local lover’s lane in Fletchertown Road, Maryland or at least that was the tale that the teenagers spun. His origin can also be traced to a sinister experiment conducted on goats that took place in the Beltsville Agricultural Research Center. Supposedly, this terrible act transformed one of these poor creatures into a vengeful, predatory beast that terrorized the wilds in the surrounding area.

This account builds off of the legend and follows a family that decided to spend their vacation in a seedy cabin in the woods. When they arrive at the cabin they are greeted with a plethora of signs signaling that maybe they should pack up and return home, but vacations only come every once and awhile so why waste it? Unfortunately, their decision has grisly consequences as they discover the Goatman, who’s sure to ruin their plans.

This simple story is perfectly paired with minimalistic art that is full of dark spaces and cinematic imagery. The illustrations reminded me a lot of the cel animation from A Scanner Darkly (2006) executing a fine balance between realism and minimalism. With the identity of a slasher, it doesn’t actually rely on gratuitous violence and instead employs a Hitchcockian approach by leaving a lot of the kills up to the reader’s imagination. While it works for the most part, there is a brutality to Goatman that goes missing in its simplicity. 

For a short comic in a single setting, we are treated to an extensive cast of characters that only serve as mincemeat for the sinister satyr. However, once the bodies start dropping and the titular villain takes the stage, the ride becomes all too brief as it speeds through kill after kill. 

Goatman charges in full of sound and fury, but it’s curtains before you notice he was ever there. If the goal was to wet your appetite for more of this sinister Billy, then this one definitely hits the nail. You can’t call it in an origin story since this book adds little to no lore about this horned villain, but it serves as more of an introduction of the havoc that is to come. He’s been unleashed and I can’t imagine that this is the last we have seen of him. This book is very much a catalyst to a larger series that can potentially give this horror legend the spotlight it deserves as it leaves a messy trail of lads and lassies who should have just canceled their vacation plans.

Rise of Goatman is available now digitally from Afterlight Comics.

Max Gutierrez

Like most Constant Readers, Max’s love of horror began with Stephen King. After devouring stories of rabid dogs, sinister cars, and bloodied prom queens he went on to the next best thing: Slashers. While he enjoys the mindlessness of Jason Takes Manhattan and Malignant, he’s also a major sucker for complex stories like Midsommar, The Only Good Indians, and Get Out where the genre is used to tackle very real horrors that don’t wear a mask. Horror films may take up most of the space on his shelves, but he also has a deep love for comics and literature that can make you look over your shoulder without the suspenseful score.

When he’s not consuming every medium of entertainment, Max works in Civil Engineering while finding time to be a struggling writer. He writes for his own personal enjoyment and occasionally for the pleasure of others with hopes of eventually publishing a work of his own. He believes that horror is the one genre that isn’t afraid to explore the world with full and total honesty.

The post Rise of the Goatman – Your Typical Night in the Woods appeared first on Puzzle Box Horror.

Kat Somerville -donning a black leather jacket and a pair of sunglasses- is on her way to the principal’s office again to discuss another incident involving her daughter. Underneath the shades hides a black eye that gives a hint to her vices and proclivity toward violence. Her daughter, Sybil, shares that tendency (medically diagnosed as “Intermittent Explosive Disorder”). Kat – prior to the meeting- learns that her estranged mother has passed away, and that a mysterious party has bequeathed her the deceased’s home. So when things turn dicey at the principal’s office, they flee to Comfort Notch, New Hampshire leaving behind her daughters school and Rich – Sybil’s absent father. Will this Fall-painted town offer the new beginning that she’s hoping for?

An overarching mother-daughter story is at the heart of The Autumnal, contrasting Kat’s protective relationship with Sybil against the – seemingly- non-existent one with her own mother. Surprisingly, Kat isn’t the only one with disdain for her matriarch Trudy, as the entire town appears to share the sentiment, resulting in an empty church for her funeral and the seemingly-chipper townsfolk to openly speak ill of her. Left with a house full of metaphorical ghosts and nothing but time to investigate, Kat will soon learn the reasons behind her mother’s questionable actions, and how she might be connected to the weirdness in this very uncomfortable town. 

Sometimes the best use of horror comes from evoking fear in the mundane. Look at how Hitchcock made you look twice before hopping in the shower, or how The Conjuring (2013) triggered audiences with a simple clap. Thanks to the artist, Chris Shehan, and colorist, Jim Campbell, The Autumnal somehow manages to transform fall foliage into an ominous void. Orange leaves clog the gutters between panels making for a menacing motif once we arrive at the enigmatic town. The townsfolk are constantly observed raking leaves and warning the characters to stay out of the piles leaving you to wonder what’s lurking beneath. Even worse, leaves are shown in more graphic imagery as part of strange deaths and odd funerary rituals. Nature aside though, the town itself is absolutely suspicious as we encounter haunting nursery rhymes and creepy infantile scribblings all hinting to something mysterious and sinister living in the trees.

Puzzle Box Horror may earn a commission when you buy through links on our site.

Part of the joy of reading The Autumnal comes from the storytelling of author Daniel Kraus, who received recent praise for his co-authorship on George A. Romero’s posthumous novel, The Living Dead (2020). Kraus has also worked with Guillermo Del Toro on the novel adaption of the Oscar-winning film, The Shape of Water (2017). Clearly influenced by the previously mentioned counterparts, Kraus is soaring through the literary world at lightspeed and with a range that leaves you wondering what he’ll possibly unleash next. However, based on Kraus repertoire, we’ve just touched the surface of The Autumnal and we are most likely in for a treat.

These first three issues introduce us to an intriguing and authentic mother-daughter duo that I’m eager to watch develop in the coming issues. There’s also much to be learned about the pastoral town and whatever diabolical secret it appears to be hiding. This is definitely a series that you’re not going to want to fall behind on. However, while you wait for the remaining issues maybe it’s best that you avoid frolicking through any of those enticing-looking piles of leaves

Max Gutierrez

Like most Constant Readers, Max’s love of horror began with Stephen King. After devouring stories of rabid dogs, sinister cars, and bloodied prom queens he went on to the next best thing: Slashers. While he enjoys the mindlessness of Jason Takes Manhattan and Malignant, he’s also a major sucker for complex stories like Midsommar, The Only Good Indians, and Get Out where the genre is used to tackle very real horrors that don’t wear a mask. Horror films may take up most of the space on his shelves, but he also has a deep love for comics and literature that can make you look over your shoulder without the suspenseful score.

When he’s not consuming every medium of entertainment, Max works in Civil Engineering while finding time to be a struggling writer. He writes for his own personal enjoyment and occasionally for the pleasure of others with hopes of eventually publishing a work of his own. He believes that horror is the one genre that isn’t afraid to explore the world with full and total honesty.

The post The Autumnal – Folk Horror is Always in Season appeared first on Puzzle Box Horror.

The Thirteenth Floor is about an advanced computer system named “Max” who runs the day to day affairs at the high-rise apartment building Maxwell Towers. He performs routine maintenance, takes messages, sends residents important reminders, and – most importantly for this story – operates the sole elevator in the building. As Max is quick to remind readers, the welfare of his tenets is his primary concern. In fact, Max is so protective that he creates a hidden virtual 13^th floor where he can trap robbers, debt collectors, and other criminals who would seek to harm his residents in some way. The sci-fi horrors these offenders face may be constructs of Max’s imagination, but they are real enough to the unlucky souls who find themselves ensnared. And Max will get them to see the error of their ways, even if it means their death.

Puzzle Box Horror may earn a commission when you buy through links on our site.

I absolutely loved this collection of what is essentially a series of interconnected short stories. The recurring format is simple enough: a person Max deems wicked enters the building, Max tricks him into the elevator, there’s a moment of “but wait this building doesn’t have a 13^th floor,” and then Max deposits him into a nightmare world where the wrongdoer either has a change of heart or meets an untimely demise. And while this structure could quickly become monotonous (the comic ran on a weekly basis for almost a year), it’s actually a nonstop ride of excitement and cliffhanger endings that lead perfectly from one issue to the next.

One reason the storyline works so well is the ingenuity of writers Wagner and Grant, who creatively conjure a steady stream of situations for Max to deal with. With each new enemy that enters the elevator, Max cycles through an unending variety of nightmares to get his point across, including spiders, snakes, centipedes, skeletons, rough cars, demons, disappearing floors, and so much more. The writers also come up with numerous conflicts to keep the story moving along. Max hypnotizes several people to aid him, and he is constantly having to outwit a police investigator who seeks to shut him down. Despite the formulaic set up, each issue managed to come up with some new twist that kept me engaged and allowed the overarching plot to build in ways that I did not expect.  

Another reason this series is so great is simply because of Max. He has such a big personality in the story, like HAL from 2001: A Space Odyssey but with more sass. He is constantly breaking the fourth wall to address the readers, making us something of unwitting cohorts in his antics. I also love the way he narrates the story, giving us insight into the reasoning behind what he does (the morality of Max would make for a very interesting analysis piece, but I don’t have time to get into it here). He genuinely cares about the people he is responsible for, and even feels remorse when several decent characters get caught up in his escapades.

On the other hand, Max also delights in tormenting his victims, and regardless of their perceived crimes he comes off a little sadistic and unhinged. Actually, he reminds me of other beloved sociopaths from pop culture, such as Dexter, Hannibal Lector, Joe Goldberg from You, and numerous characters in the TV series American Horror Story. Max has a likeable personality and his heart is mostly in the right place, so we care about him. We are excited to see what schemes he concocts, but we also want his plans to succeed and we’re a nervous wreck when a wrench is, figuratively, thrown in the gears (which happens constantly for poor Max).

I would certainly put this series in the realm of dark comedy. Max enjoys finding ways to make the punishment fit the crime, whether it’s a debt collector being chased by grotesque versions of himself looking to “collect” or a loan shark being stranded at sea on a quickly crumbling raft. No matter the situation Max is ready with a witty, and often grim, one-liner to seal the deal. Not everything about the plot adds up, but that’s not the point and I was very much okay with it. Instead I allowed the story to lift my spirits and carry me along, cheerfully rooting for Max to find his way out of each new debacle. The Thirteenth Floor is billed as 17 stories of pure entertainment, and on that it won’t let you down.

Ben Long

Ben’s love for horror began at a young age when he devoured books like the Goosebumps series and the various scary stories of Alvin Schwartz. Growing up he spent an unholy amount of time binge watching horror films and staying up till the early hours of the morning playing games like Resident Evil and Silent Hill. Since then his love for the genre has only increased, expanding to include all manner of subgenres and mediums. He firmly believes in the power of horror to create an imaginative space for exploring our connection to each other and the universe, but he also appreciates the pure entertainment of B movies and splatterpunk fiction.

Nowadays you can find Ben hustling his skills as a freelance writer and editor. When he’s not building his portfolio or spending time with his wife and two kids, he’s immersing himself in his reading and writing. Though he loves horror in all forms, he has a particular penchant for indie authors and publishers. He is a proud supporter of the horror community and spends much of his free time reviewing and promoting the books/comics you need to be reading right now!

readingvicariously.net/

The post The Thirteenth Floor – A Sentient Computer’s Nightmarish Playground appeared first on Puzzle Box Horror.

With this being a story I’m familiar with and one I managed to enjoy in a single sitting along with all of the gorgeous artwork it swims in, how did Baranger and Free League Publishing do? In short: terrifyingly well. 

Call of Cthulhu is a rather more nautical outing than it’s snowy predecessor in this series and, for those with sensibilities such as my own, holds far more capacity for cosmic horror and its suffocating vastness. This story deals primarily with scale: the ocean, the dreaded city of R’lyeh, and the tentacled megalith himself; almighty Cthulhu. Of course the narrative wades in accounts and letters and newspaper articles in classic Lovecraft fashion, but towards the final act things heat up to boiling point and we’re treated to several devastating views of the alien geometry of R’lyeh and the towering, tentacled form of the lumbering god himself. 

I’ve mentioned in the past that Baranger’s art makes Lovecraft’s writing even more dramatic and far more accessible. You’d be hard-pressed to find someone who hasn’t heard of Cthulhu these days, or at least seen one of the countless artistic depictions of the squid-dragon goliath. He was an obvious choice for this next huge illustrated issue, and the payoff involves some truly chilling images.

In an age of plush toys and parodies it’s good to see my personal favorite oceanic behemoth in a style more befitting his true nature, and in a book big enough to support him. These hand-painted renditions depict the colossal elder god rising from unfathomable depths, looming over a fiery, decimated New York and roaring into the heavens beneath stomach-dropping storms. It truly is the best tribute to the visual horror of Cthulhu that i’ve witnessed, and serves as the perfect accompaniment to Lovecraft’s unsettling tale.

Thematically, the narrative centers around madness and obsession, as is common in Lovecraft’s work, though perhaps not to the extent of detail and thoughtfulness as displayed in this masterpiece of a short story. Implications of extensive lore are found throughout logs, notes, newspaper articles, alien statues and accounts of outlandish dreams. Much of it is a story within a story as our narrator, Francis Weyland Thurston pores over his late uncle’s notes and a strange bas-relief depicting Cthulhu reigning over R’lyeh. Insanity is displayed through obsessive artistry, mass hysteria and primordial cultism. The pervading racism is unfortunately as apparent as we’ve come to expect from this particular author. While the ignorance much of Lovecraft’s work is rooted in should not be glossed over, the style of story helps separate art from artist and merely take this as the views and wording of Thurston and his uncle. 

Baranger’s art remains moody yet grounded and rooted in realism so that when our titular overlord finally awakens, first time readers can breathe a sigh of relief that such an intense story ends on more than just implication. Lovecraft himself would be delighted and terrified at these powerful renditions of his brain spawn. I for one can’t wait to see what comes next in the series; with such an extensive backlog to choose from we’re left with infinite potential for stomach-dropping cosmic horror imagery. 

Joe Clements

Joe first knew he wanted to write in year six after plaguing his teacher’s dreams with a harrowing story of World War prisoners and an insidious ‘book of the dead’. Clearly infatuated with horror, and wearing his influences on his sleeve, he dabbled in some smaller pieces before starting work on his condensed sci-fi epic, System Reset in 2013.Once this was published he began work on many smaller horror stories and poems in bid to harness and connect with his own fears and passions and build on his craft.
Joe is obsessed with atmosphere and aesthetic, big concepts and even bigger senses of scale, feeding on cosmic horror of the deep sea and vastness of space and the emotions these can invoke. His main fixes within the dark arts include horror films, extreme metal music and the bleakest of poetry and science fiction literature.
He holds a deep respect for plot, creative flow and the context of art, and hopes to forge deeper connections between them around filmmakers dabbling in the dark and macabre.

linktr.ee/Joeclements

The post Call of Cthulhu Manifest: Illustrating an Outer-God appeared first on Puzzle Box Horror.

Puzzle Box Horror may earn a commission when you buy through links on our site.

In an alternate post-war 1940s Los Angeles, where occult forces are a fact of life, Mallory Hope is a private detective haunted by his past… and by the demon he works with. When a new case involving a missing boy reminds him of his own lost child, Hope is determined to find him. But he soon discovers all is not what it seems, with dark powers lurking behind the lights of Hollywood. 

Our protagonist, John Mallory, is very much a John Constantine type: a hard boiled private investigator who’s tuned into the magical world existing beneath everyday reality. He’s a man on a mission, navigating the dark underbelly of 1940s Los Angeles with a dry wit and a grim disposition that makes him immediately likeable. He’s rough and tough, and when given the option to run or double down he always chooses the latter (at one point shrugging and saying “It’s been hours since my last beating”). But he’s also compassionate – demonstrated when he risks his life to save a misfortunate child threatened by a gang of violent goons. I was invested in him from the very first page, his narration really helps to carry the story and give it the necessary exposition and snark.

In this story Hope is tasked with finding a young movie prodigy, a child star who has suddenly gone missing. His investigation will take him to various Hollywood locales, from glitzy film production studios to seedy underground clubs. Along the way we learn about his use of magical powers and how these supernatural interactions are slowly draining his life force. We learn about the enigmatic spirit he accidentally conjured, who wears a nun’s habit and gas mask and feeds off his misery. And we learn, to my great excitement, that there is an overarching storyline about him tracking down the dark being who stole away his wife and son.

The writing of Guy Adams is on point here. Literally every single wistful, droll, and pessimistic line from Hope is gold. The story includes a good mix of drama, horror, and humor, and the core mystery of the missing boy would be compelling enough, but the added occult elements really elevate it. Inserting scenes of snake-tongued demons into a detective thriller plot is jarring, but in the best way possible. I definitely appreciate that magic is simply part of the story, and that it’s the dynamic characters who drive the momentum. We get just enough backstory on Mallory to make him engaging, but there’s suggestions of more intriguing reveals in the future. 

And that art from Jimmy Broxton…wow. Normally, I’m a fan of vibrant colors in comics, but the black and white illustrations here just fit so superbly. They’re grungy, gritty, and the art certainly feels like an homage to earlier horror/crime comics. I love the shading and stark contrasts, and how the style bends towards realism in the way the characters and settings are drawn. I also love how Broxton overlays swirling runes and symbols across the panels to let us know when magic is (literally) in the air.

This first volume, in my opinion, is a near perfect story. It’s a horror crime thriller with a solid plot  and great pacing, populated with wonderful character archetypes plucked from the supernatural noir genre that bred it. It has a self-contained storyline, but it expertly weaves in a larger plot and perfectly sets up the next book. At 66 pages it’s a very quick read and it leaves you hungry for more. I absolutely cannot wait to join Mallory Hope’s further adventures in the next volume!

Hope…for the Future is available now from 2000AD Comics

Ben Long

Ben’s love for horror began at a young age when he devoured books like the Goosebumps series and the various scary stories of Alvin Schwartz. Growing up he spent an unholy amount of time binge watching horror films and staying up till the early hours of the morning playing games like Resident Evil and Silent Hill. Since then his love for the genre has only increased, expanding to include all manner of subgenres and mediums. He firmly believes in the power of horror to create an imaginative space for exploring our connection to each other and the universe, but he also appreciates the pure entertainment of B movies and splatterpunk fiction.

Nowadays you can find Ben hustling his skills as a freelance writer and editor. When he’s not building his portfolio or spending time with his wife and two kids, he’s immersing himself in his reading and writing. Though he loves horror in all forms, he has a particular penchant for indie authors and publishers. He is a proud supporter of the horror community and spends much of his free time reviewing and promoting the books/comics you need to be reading right now!

readingvicariously.net/

The post Hope…for the Future, Vol 1 – A Neo-Noir, Pulp Crime Horror appeared first on Puzzle Box Horror.