Ice Cream Man, Volume 1

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Comics and Graphic Novels Featured Horror Books Reviews

Your average storybook monster is, to be sure, frightening. Your vampires, zombies, bogeymen, ghosts and ghouls are often horrifying and quite deadly. But beyond these classic creeps, I believe there’s a particularly unsettling perversion when one takes something playful or innocent and twists it to evil. When comical clowns become stalking killers. When staring dolls begin haunting households. At this point it’s an overused trope to be sure, but still one that I find truly chilling. And Ice Cream Man Volume 1 is chilling!

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Ice Cream Man vol 1 horror comic cover
Ice Cream Man, Vol 1 horror comic cover

Yet even more disturbing and dangerous are the horrors that lurk in plain sight, hiding behind false smiles or inside the people we trust. In the real world the metaphor of “monster” drops away and the true ugliness of humanity is revealed. Murderers, rapists, pedophiles, psychopaths – even the scariest of creations don’t hold a candle to these that are both frightening and frightfully real. Give me Bigfoot over Bateman and Bates, Dracula over Dahmer and Bundy, Wendigo over Weinstein…you get the idea. 

So now we come to Ice Cream Man, Volume 1. The setting is suburban, idyllic, a 1950s American Dreamland (but with more racial tolerance). Up drives the titular treat seller, playing the tune we all have engraved in our ears from when we were kids. He’s full of pleasantries and colloquialisms as he hands out all the favorite flavors. Yet something is off. There is rot beneath the sugar sweet veneer. A shadow passes over his face. The eyes turn menacing, the grin sinister. And suddenly this harmless character from our youth transforms into something much more nightmarish.

ice cream man art from Ice Cream Man horror comic
“Lickety Split”

I really enjoyed my reading of this first volume in the Ice Cream Man series. Writer W. Maxwell Prince has structured it as a collection of short stories, varying in their plots yet tethered together by themes and the enigmatic Ice Cream Man. “Raspberry Surprise” is about a boy whose venomous spider has killed his parents, but he doesn’t tell anyone. “Rainbow Sprinkles” is about a pair of doped up lovers, one dying and the other distraught yet still hankering for her next fix. In “Good Ol’ Fashioned Vanilla” we see the washed up one-hit wonder Bud Hickey journey to a fantasy world full of rock legends who need his help. And finally, the last story “Every Good Boy Does Fine” is about a man giving the eulogy at his best friend’s funeral while his friend is trapped in an ever-changing hellscape. 

I love how different the stories are, and yet how connected they all feel. Each story has a self-contained arc, but pervasive in all the characters is a sense of immense suffering, whether from emotional pain, boredom, regret, or loneliness. And of course there’s the otherworldly Ice Cream Man who, whether he is a main character or mostly in the background, plays some important part in each tale. He is certainly not one to be overlooked, and he doesn’t let you forget that. It’s also difficult to pin down exactly who or what he is, as he seems to shift from friend to foe and from god to demon. Regardless, what is clear is that he enjoys playing a cosmic, and often deadly, role in the lives of these suburbanites. 

The art is a little different from most horror comics I’ve read, but it seems to fit the vintage-meets-surreal style the series is going for. The characters in particular are drawn in an interesting manner, with faces and features that are slightly Mike Judge meets Junji Ito

sweet place art from Ice Cream Man horror comic
Stuck in the Sweet Place

I will say that Martin Morazzo’s sharp-lined illustrations and Chris O’Halloran’s bold colors work well together in bringing these twisted tales to life. I also particularly like the design of the pages, which usually include a full image background broken up by smaller panels of action and dialogue. It’s a fluid and integrative composition that helps give a sense of immediacy and intimacy to the story.

Ok, I’ll admit it: I’m hooked. I’ve heard the off-kilter jingle and tasted the sickly-sweet treats, and I want more. Ice Cream Man, Volume 1 is a fun and frightening collection of intertwined short stories, full of lifelike characters experiencing bizarre and unnerving turns of events. If the rest of the series is this good then we have a new pop culture icon in the making, and I need to get my hands on the next volume. Lickety Split.


Ice Cream Man, Volume 1 is available now from Image Comics.

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Inspiration for Van Helsing and Vampire Hunters

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Featured Horror Books
Van Helsing
Van Helsing by BagoGames

This week, for the third installment of our Dead Author Dedication in honor of Bram Stoker. We’re going to be discussing one of his characters who doesn’t get quite as much attention as the vampire king Dracula, but is still a character that blossomed beyond the original story by Stoker. The mysteriously knowledgeable and most famous vampire hunter, Dracula’s nemesis, Abraham Van Helsing.

Polish journalist Adam Węgłowski has claimed he has finally solved the mystery of our favorite good guy and that the Stoker character is actually based on the real-life of a historically documented vampire hunter. While it has been understood that Stoker may have originally modeled Van Helsing after a real individual, it wasn’t until Węgłowski’s research that a name could actually be attributed as the main source of inspiration.

Who Was the Inspiration for Van Helsing?

Born December 14, 1666, in Angerburg (known as Węgorzewo today)–Georg Andreas Helwing (or Helwig in some places), was a part of the Duchy of Prussia–a fief of the Crown of Poland. Helwing was an incredibly learned man of letters and a reportedly brilliant scientist. In Koenigsberg, Helwing studied philosophy and theology and pursued his education while traveling; eventually, Helwing ended up in Venice and Leida where he collaborated very closely with Herman Boerhaave, a Dutch Botanist.

Georg Andreas Helwing
Georg Andreas Helwing

It wasn’t until 1691 that he returned to his hometown; shortly following his father’s death, Helwing took up employment as a Lutheran pastor. Aside from his religious line of work, he was also a physician who took a great deal of interest in studying botany and other natural sciences while doing his duty as a clergyman. What is really interesting about Helwing though, is that despite his fairly mundane line of work, he was also a student of the paranormal and supernatural. This, of course, led him to study vampires and werewolves in particular and even went so far as to talk about how the inhabitants of Masuria fought supposed vampires by decapitating them during the bubonic plague epidemic. Węgłowski’s research shows that peasants of the time also had a “habit of stabbing the corpses with stakes.”

From Helwing to Van Helsing

So with what we now know about Georg Andreas Helwing and the little we know of the mythology of Van Helsing, are the two really connected in a meaningful way? Well, within the books and papers that Helwing wrote, many of those had to do with vampires; Węgłowski makes the link not only with the similarity of surnames but also with the kinds of education that both Helwing and Van Helsing pursued. Scholars believe that Stoker also had the fortune to find out about Vlad the Impaler–his inspiration for Dracula–from his friend Ármin Vámbéry, so it is speculated that he found out about Helwing from the same source.

While Helwing may have not hunted vampires in the sense that we might think today–he didn’t actually believe in vampires–he did hunt the folklore which led people to believe in them and therefore display the practices they did. In Helwing’s homeland, the bubonic plague (1708-1711) brought the height of vampire hysteria, where he was able to describe an incident where the people of the village found a monster; he reported that “after singing a song for the dead, the head was chopped off with a spade and thrown back into the tomb together with a live dog.” This was due to the widespread belief that the dead could rise from their graves as vampires and further spread the disease which was exterminating the population. Like Van Helsing though, Helwing risked his life to save those in danger, according to Węgłowski. The only difference is that Van Helsing attempted to kill monsters, and Helwing attempted to eradicate disease.

Dracula (1931)
Dracula (1931)

Abraham Van Helsing

Interestingly enough, Van Helsing has gone through a transformation in his appearance in television and cinema; in Dracula (1931) with Bela Lugosi as well as Bram Stoker’s Dracula (1992) with Anthony Hopkins, Van Helsing makes his appearance as a man who is more advanced in age. Television and cinema of the modern age are more likely to have Van Helsing be portrayed as a younger, rogueish looking, strong but not violent man in an effort to capture the hearts of women and spark a fan base. There are of course pros and cons to both portrayals of this character, an older Van Helsing while knowledgable seems frail, where a younger Van Helsing seems physically capable, but perhaps a bit less wise.

Popular Vampire Hunter Culture

Van Helsing is not the only vampire hunting character we have seen throughout vampire movies, because it seems that with every horror and adventure story involving vampires we get another hunter or slayer to rely on to save us from the monsters. Van Helsing’s status as a vampire hunter inspired such characters as Buffy Summers in Buffy the Vampire Slayer (1997 – 2003), Angel (1999 – 2004), the Blade franchise where we see the vampire-human hybrid Blade try to eradicate the vampire threat. Then we also have the underdog heroes, like the Frog Brothers in Lost Boys (1987) who represent those of us who don’t have super powers, but still have a powerful need to protect people from evil.

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Interview with “Wendigogo” Author Kris Silva

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Featured Horror Books Indie Horror Creation Indie horror writers
Wendigogo book cover by author KA Silva

PBH -Tell me a bit about yourself and what got you into horror writing?

Author Kris Silva wearing antlers

KS – The earliest memories I have of loving spooky things were from trick-or-treating as a tiny child, and then an old Time-Life Library book about ghosts and the paranormal which I read at about 6 or 7, which really sparked my fascination. My dad bought me Stephen King books in the 80s when I was way too young, but I devoured them anyway and sought out more. I read Poe, Ambrose Bierce, and Lovecraft (the unholy trinity) as a teen, and then branched out into pop stuff like Anne Rice. Horror has always been my go-to for fun reading, and I enjoy most subgenres of horror films as well. I have been a fiction editor since 2013, working on romance, science fiction, and urban fantasy for Graythorn Publishing, and freelancing as well. Wendigogo is my first published novel, and the first in a planned series of at least four books with these characters. 

PBH – You’ve covered a wide range of characters in the book, what inspired you to bring them all together? 

KS – I knew I wanted to feature Ojibwe and other local Wisconsin folklore heavily. When I read about the lake monsters, the mishibizhu or mishipeshu, having one of them as a character seemed like a perfect devil’s advocate to pit against my bookseller protagonist Morty. Honestly Marie the mishibizhu wrote herself into the book! Also, with as much creature lore as there is in the Northwoods, having a cryptid hunter nosing around just made sense, and so Garwood Quell came to life. Morty’s best friend Kim and girlfriend Darcy are what anchor him to his humanity as things become progressively worse for him. Some of their interactions are comic; Morty and Marie in particular fell into such a wonderful bickering over the pros and cons of eating people. Kim and Morty have an easy, boisterous bromance going on. But then we have Quell desperately trying to hunt down the monster, because he feels it’s his duty to do so; and an ancient shaman who’s become bored and sees a wendigo as the perfect opportunity to inject a little chaos into the world for his own amusement. Morty has far more to deal with than he can handle sanely, just in interacting with the rest of the cast.

PBH – Wendigo! We love wendigos here at Puzzle Box Horror, what is it about the wendigo that made you bring that creature into the story? 

 KS -I ran across the concept of the wendigo while researching Wisconsin weird stuff in 2014, prior to moving here that same year, but my ideas fizzled out. It wasn’t until 2019 that the wendigo resurfaced in my head, right about the time I became utterly fed up with the current political climate. It hit me that what I needed was a wendigo to prey upon all the greedy people happily selling out their fellow humans for a fat paycheck. The wendigo has always been a symbol of greed and gluttony, eating their neighbors even when there was abundant game. I wanted to twist that a bit, to make my wendigo ravenously hungry like the monsters of lore, but to have him turn that hunger upon selfish people. The fact that descriptions of the wendigo vary widely and wildly even in original Native American sources gave me some leeway in fashioning him, as well. They’ve been described as anything from skeletal, lipless corpses to giants with hearts of ice. One legend says they can look like anything in the forest! They’re native to Wisconsin, Minnesota, and Canada, and there’s even a Windigo Fest at Manitowoc, WI every October; I attended last year and was further inspired by the range of wendigook wandering the streets!

PBH It’s hard to write a novel, what kept you going and what advice would you give authors trying to finish a project?  

KS – This book was a perfect stew in my brain: fascinating research into Ojibwe lore, my love of winter storms, my own rage at unfettered capitalism, and finding the right physical model for Morty. Once I knew how he looked and sounded, and knew I wanted him to eat the guilty, everything flowed easily from there. I wrote a complete draft over the course of nine months. I thought, dreamt, ate and breathed these characters, particularly Morty, so that every time I sat down to write another chapter, the dialogue practically wrote itself. I’ve always been more focused on characters than mapping out intricate plots and I feel like that helped. If you’re trying to write a novel, know your characters. Know exactly how they’d react in any given situation, what they would say to each other, why they would support or oppose each other. Love your characters! They should feel like old friends you know intimately. Even the antagonists. Explore their voices and points of view, make extensive notes about them each. Then drop them in the middle of whatever craziness you’ve planned and write down what they do. Keep writing it. Write out of order if you’re inspired by a scene farther ahead but don’t know how you get there yet; it’ll flesh itself out if you understand your characters well. Also, be prepared to rewrite. A lot. Especially after your editor is through shredding it! I’m in the midst of writing book 2 now (tentatively titled Love Song of the Murder Deer) and diving deeper into the relationships between the main characters as Morty struggles to control the ancient manitou inside him.

Author Kris Silva in a Wendingo costume

PBH – You must be a horror fan, can you give us some movie and book recommendations? 

KS – Though Wendigogo’s plot is nothing like these films, Cabin in the Woods and Tucker and Dale vs Evil very much inspired the comic horror tone. Really anything that mixes comedy and horror is a must-see for me, even deliberately awful films like Velocipastor! I rewatch Cabin at least once a year; it’s my favorite movie, just brilliantly written, acted, and directed. And the last-act splatterfest manages to be both gory and hilarious! I love ghost stories and creature features, but well-done comic horror is my favorite subgenre. For books, I enjoy Rick Gualtieri’s “Tome of Bill” series, about a nerdy vampire struggling with truly evil vamps, Bigfeet, witches and more. The whole series is irreverent and geeky. For more serious fare, I devour Stephen Blackmore’s Eric Carter series about a modern-day necromancer in L.A., dealing with ancient Aztec gods and ghosts. His books are blood-soaked, moody candy. For scary films, The Ritual has a bit of a wendigo vibe to it despite being set in Europe. And I’m looking forward to seeing Antlers. Also, not strictly film, but the Netflix series “The Haunting of Hill House” is utterly masterful and genuinely frightening, well-paced, and with so much packed into each episode. Not to mention it has lots of in-jokes for Shirley Jackson fans.

PBH – Where can we find and follow you for updates on the book? 

KS – The Reluctant Wendigo series has its own Facebook page; updates, contests and such are all announced there. I am frequently on Twitter as @gravewriter71 (warning: lots of politics and random silliness as well as wendigo stuff and book news). The book is available through amazon (ebook and print) and ebook through Barnes & Noble (for both sites: https://books2read.com/u/mv5BzX ). My publisher Graythorn is also offering signed copies: https://graythorn-publishing.square.site/product/wendigogo-by-k-a-silva/14?cp=true&sa=true&sbp=false&q=false

PBH – Anything else you want to tell us?

KS – Thank you very much! I really like your site and will frequent it. Lots to explore, and the tone is both smart and friendly. Glad I happened across it. —- PBH – awe thanks we have fun here.

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Interview with Female Horror Author Kat Howard

Categories
Featured Horror Books Indie Horror Indie horror writers Women in Horror
End of the Sentence Cover
The End of the Sentence

How would you feel if you suddenly started receiving letters from someone you didn’t know? Personal letters, from someone who seemed to know more about you than you ever wanted to admit to yourself? The End of the Sentence (2014) delivers–it’s not only difficult to put down, (or stop listening to, if you opt to experience it as an audiobook) but it is also easily digestible and instantly gives the reader that desirable feeling of unease and fear.

With every turn of the page, we find ourselves more and more deeply immersed in the life of Malcolm Mays, a man whose life is falling apart as he moves into a foreclosed home in Ione, Oregon–what he doesn’t realize is that the original owner never left and doesn’t intend to. The end of his 117-year sentence is almost over…

Interview with Kat Howard

We found out that you’re not just a horror writer, but you have also explored the science fiction and fantasy genres, so what initially drew you to horror fiction?

I’ve always loved horror. Some of the first “grown up” books I read were by Stephen King, but even before that I loved stories that scared me. I like to write horror because sometimes that’s the genre that works best for what I have to say. Plus, it’s fun writing stories that might give people the shivers.

Can you tell me about how you and Maria Dahvana Headley decided to come together to co-write The End of the Sentence?

Maria’s a dear friend. We were guests at an annual convention (ConFusion) and made a comment about wanting to write something together in front of Bill Schafer, the head of Subterranean Press. He said he’d buy it, and we wrote a contract on his arm. (There was a much more official contract later.) It was honestly a joy of a project to write with her.

How did you come up with the idea of The End of the Sentence?

Maria had recently moved, and had been getting mistaken letters delivered to her address. Things kind of went from there.

Kat, we understand that this was your debut novella, how did it feel being named one of NPR’s Best Books of 2014?

I literally fell out of my chair when I found out. I’m really proud of the work we did on this novella. It remains one of my favorite things that I’ve written, and so I’m always extremely happy to see it find readers. Seeing it recognized like that meant so much.

A Cathedral of Myth and Bone
A Cathedral of Myth and Bone

Is there anything new that you’ve published or are working on that you’d like to talk to us about?

As this is a horror venue, I have to say I was extremely pleased when my recent collection, A Cathedral of Myth and Bone, was long-listed for the [Bram Stoker Award]. It didn’t make the final ballot, but just to see it recognized was a delight. I’m currently working on A Sleight of Shadows, the sequel to my novel An Unkindness of Magicians.

A lot of our fans are actually aspiring writers and artists, do you have any advice for them?

I always feel a little weird about giving advice, because I feel like I’m still figuring things out myself. But I think that one of the great (and yes, sometimes terrifying!) things about writing or art is that there are so many ways to come into the field. Don’t cut yourself off because you think you’re too old, or you should have gone to a different school, or that people have already done what you’re interested in. No one else can make what you will.

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Interview with Horror Author Gavin Gardiner

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Featured Horror Books Indie Horror Indie Horror Creation Indie horror writers

Tell me a bit about yourself and what got you started in horror writing.

The truth is, I took to the writing game quite late. Although a life-long lover of horror, the idea to try my hand at writing my own novel didn’t come until I hit 30, and was the result of endless evenings dissecting the genre with my friend and horror analyst Ewan Rayner. Our conversations eventually led me to wondering whether the expanded understanding I’d developed from these challenging chats could translate into my own story. 

In the three years it took to complete For Rye and find a publisher, I also wrote a novella, several short stories, and a bunch of non-fiction pieces, all of which have also been published in print and online. It’s funny how such an impulsive undertaking, born mostly of curiosity, can end up taking your life in a whole new direction. Guess I’ve got Ewan to thank (or blame) for that. 

Horror Author Gavin Gardiner


The story is set in a town called Millbury Peak. Can you tell me a bit about the town you created?  

Millbury Peak is indeed my own invention. The most interesting kind of horror to me is that which festers behind closed doors, kept unseen behind a façade of normality. My mum summed up this kind of horror perfectly with two words: seems normal. I believe this brand of suspense resonates with us because there is an unspoken demand that we all go about our daily lives as functioning members of society, and to varying degrees bury our own writhing horrors within us. We must all seem normal

Anyway, I had the feeling that a small country town would be the perfect setting for this high-standing, respected family whose lives are, in actuality, a living hell behind closed doors. The husband and father of the family, Thomas Wakefield, is the adored town vicar. He also happens to be the cause of the hell his family must endure. 

Geographically, Millbury Peak effectively ‘replaces’ the town of Newark-on-Trent in the East Midlands, with the River Trent being overwritten by my fictional River Crove. The story opens in the city of Stonemount (again, made up) which replaces Nottingham, and I also created an island in the Outer Hebrides called Neo-Thorrach which features in the story. As you can see, I’m somewhat carving out my own fictional world within our own world. I’m afraid the reason for this is, at this time, strictly confidential. 

The book sounds like a crossover between murder, psychological horror, and maybe the supernatural. Can you expand on that and give us some background on where that came from? 

A crossover between murder and psychological horror is a great description! There are two mission statements about my work that I plan on sticking to for all my fiction. One of those is that my work will never be supernatural, and the other…well, that will be revealed in my next book. 

Regarding my avoiding the supernatural: I want to make it clear that I have a deep love for supernatural horror. The Blair Witch Project is my all-time favourite horror (and perhaps film) and so it’s not that I lack an appreciation for it. 

The decision to base everything I write in our own reality – on stuff that could happen – originates from my fascination with the human mind. Although the supernatural opens up exciting possibilities for a writer, where there are no limits to the things you can conjure up, I believe that no monster can be as terrifying as a monstrous human mind. This is probably why true crime has had such a resurgence and is so overwhelmingly popular at the moment: people are most disturbed by that which could be living next door, or the thought that even their own loved ones could become something truly horrifying. 

Taking my work in this direction also compliments another interest of mine, which is moral complexity. This is something I feel had been lacking in horror for some years, and is somewhat becoming more prevalent, but not to the degree I want to explore it. When you read one of my books, there’s every chance the ‘goodie’ and ‘baddie’, in the traditional sense, will flip by the end of the story. I’ve thought a lot about our designations of good and evil – our insistence on drawing a line between us and them; our denial that the most despicable humans are not a different species, but in fact just a series of arbitrary conditions away from being you, me, or any of the cherished faces smiling warmly over the Christmas dinner table – and I have great interest in my work exploring not only what it takes to make a human monster, but also how slippery the spectrum of good and evil really is. Dealing solely with people, not ghosts or goblins, will allow me dig perversely deep into this theme. 

We talk to a fair amount of new writers. What tips would you give yourself if you could go back to when you started based on what you know now?

Full disclosure: I’m a new writer! I only started my novel three years ago, but have worked my butt off in that time. I’ve remained mindful every step of the way as to what lessons I’ve had to learn, and have plans to start a YouTube series detailing these very lessons. 

The list is endless, but if I could go back and give myself any advice, it would be that self-doubt is not only normal, but necessary. I really had a hard time with this, constantly doubting whether all my work was worth it, or whether the story was a waste of time. I still harbour massive doubts about every new writing project I take on, big or small, but I’ve come to the realisation that it’s that very same doubt that drives me to push my work as far as I can take it.  

I was recently asked in another interview which part of the writing process I find the hardest. I answered (rather awkwardly) that they should all be as hard as each other. If any part of writing a book feels ‘easy’, or is a bit of a ‘break’ from the rest of the process, then you’re not working hard enough. It goes without saying that everyone is allowed to create something just for the fun of it and put that creation out there, but I always advise new writers to remain mindful of their objective. If that objective is to create something that’s going to truly grab a reader by the lapels and shake them, stay with them, and not let go, then they have to take a long, honest look at the effort they’re putting in and evaluate whether it’s enough to meet that objective. 

So embrace the self-doubt, make it work for you, and never forget to push yourself and your work to the limits of your creativity and endurance. Greatness isn’t born out of nothing. Bleed for your work. 


What/who are some of your major influences? 

In terms of literature, Mary Shelley’s Frankenstein shattered my perceptions of what a novel could achieve. Also, I doubt I’d ever have written a book had Jeff Long’s criminally underrated and not-spoken-about-enough The Descent (nothing to do with the brilliant film) didn’t exist. 

I was deep into movies before literature, and my list of cinematic influences is wildly expansive. I think it’s important for a writer to seek inspiration from as many mediums as possible, and I’ve found films to be a useful way of expanding my storytelling palette. Absorb enough films, and you need only close your eyes during the writing of a difficult scene to see how a cinematographer or director or lighting technician might handle its execution. 

We live in a fortunate time when we have a positively bloating wealth of cinema and literature to look back on, and I’d urge writers of every genre to gorge on it all, and find ways to channel it into their own work. 

Where can we get this book after release?  

My debut horror novel, For Rye, will be available from April 9th through most major outlets such as Amazon, Waterstones, Barnes & Noble, and Foyles, and you can also pre-order it now. Visit my website to whet your palate and see if you’re up to the horrors to come: 

What are you working on next?  

I’m currently knee-deep in the planning of my next novel, Witchcraft on Rücken Ridge, a folk horror set up a mountain full of caves, cults, and cannibals. As for how the ‘witchcraft’ element ties into my previously-detailed mission statement of ‘no supernatural stuff’, you’ll just have to wait and see… 

For Rye Horror Book cover

Want to dig in? Read the first 3 chapters for free

Website: www.gavingardinerhorror.com 
Linktree: https://linktr.ee/GGardinerHorror

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