No, I’m not talking about Loki, or Black Widow, or any part of the Marvel Cinematic Universe. I’m talking about The Conjuring universe, which stretches to nine films with The Conjuring: The Devil Made Me Do It. The Conjuring franchise succeeds where so many other cinematic universes have failed not just because of their strong filmmaking and compelling performances. Many people love the Conjuring films because they tell true ghost stories. 

Based on the case files of ghost hunters Ed & Lorraine Warren (portrayed by Patrick Wilson and Vera Farmiga), the Conjuring movies are part of Americans’ long history of fascination with real-world hauntings and paranormal experiences. But before they were blockbuster films, these stories were successful books, which captured victims’ encounters with the mystical in the written word. 

If you just can’t get enough of real-world hauntings, here are ten other collections, sure to keep you up at night. 

The Haunted House – Walter Hubbell

One of the earliest non-fiction haunting novels, The Haunted House set the standard for the genre. Published in 1879 and written by actor/amateur sleuth Walter Hubbell, The Haunted House adapts a diary kept by the author during a summer spent in the Teed House in Nova Scotia, Canada. Hubbell was drawn to the location after learning about teenager Esther Cox, who began undergoing unexplainable phenomena after escaping sexual assault. Even before Hubbell arrived in the town, local witnesses saw the moving furniture and threatening messages left by malevolent forces. The novel captures all these details, which served as the basis of a lecture tour Cox embarked upon after finally escaping the ghosts’ thrall. 

The Amityville Horror – Jay Anson

Ghost stories have been around longer than the United States itself. But the modern American version starts with The Amityville Horror. Not only did the story launch one of the longest-running film franchises, but it set the standard for 20^th century haunted house stories. The book follows the 28 days in which the Lutz family stayed in their Long Island house on 112 Ocean Drive. A year earlier, young Ronald DeFeo Jr. murdered six members of his family, reportedly driven to act by demonic voices. Combining strong reportage with powerful prose, Anson brings the reader into the horror that the Lutzes endured during their month of dread. 

The Haunted – Robert Curran

When Jack and Janet Smurl moved into their new Pennsylvania home in the summer of 1986, they expected a few pests. But nothing could have prepared them for the demon occupying the house since 1974. Written by journalist Robert Curran and based on case notes from the Warrens, who were called upon to investigate the house, The Haunted is one of the classics of true American ghost stories, rivaled only by The Amityville Horror. Curran captures in vivid detail the Smurl’s harrowing experiences, from the ghastly smells that filled the house to the inexplicable pounding they had to endure. 

The World of Lore: Dreadful Places – Aaron Mahnke

Started as a mere experiment in marketing, the podcast Lore by Aaron Mahnke quickly grew into a sensation, spawning two television series and several books. In many ways, the show’s success is no surprise, as Mahnke does diligent research to bridge the gap between creepy folklore and true facts, often revealing that actual history is far more terrifying than anyone could make up. The World of Lore collects some of the best stories that Mahnke has uncovered, from hauntings in Colorado’s Stanley Hotel, the same place that inspired the Overlook Hotel in the Stephen King classic The Shining, to specters floating along the streets of New Orleans. 

The Demon of Brownsville Road – Bob Cranmer and Erica Manfred

When Bob and Lesa Cranmer got a deal on their Pittsburgh dreamhouse, they thought it was just a stroke of good luck. The previous owners were ready to sell and accepted Bob’s lowball offer with no more negotiation. But shortly after the Cranmers moved in with their four children, they understood why the previous owners wanted to leave. Paranormal instances of lights turning on themselves developed into full-on mental attacks on members of the family, forcing them to reach out for help from the Catholic Church. Working with editor Erica Manfred, Bob Cranmer talks not only about his family’s ordeal but traces the evil through the years to 18^th-century violence. The Demon of Brownsville Road is available at Horror Hub Marketplace.

Graveyard: True Hauntings from an Old New England Cemetery – Ed Warren

“White Ladies” are one of the most popular genres of true ghost stories, tales about mysterious female figures who float along with fringe spaces in shimmering white clothes. In Graveyard, Ed Warren retells his own confrontations with a White Lady ghost who haunted Connecticut’s Union Cemetery. Although we can no longer see that footage that Warren claims to have shot of the Union Cemetery White Lady, we can read his detailed account of the events. 

Horror in the Heartland – Kevin McQueen

When one thinks of American horror, it’s usually the deep south or New England that leaps to mind. But in this academic book for Indiana University Press, Dr. Keven McQueen uncovers hauntings in the Midwest. Moving through states better known for their football teams and auto factories, McQueen describes spectral sightings in Wisconsin and unexplained phenomena in Ohio. Well-researched and thoroughly enjoyable, Horror in the Heartland reminds us that mysterious spirits can manifest anywhere. 

The Uninvited – Steven LaChance

Many of the books on this list come from ghostwriters or reporters who collected accounts of hauntings from the victims. But with The Uninvited, Steven LaChance shares his encounter with the supernatural. Told from a visceral and immediate first-person perspective, The Uninvited traces LaChance’s initial recognition of odd phenomena in his Union, Mississippi home to more horrific attacks, including murdered pets and even sexual assault. Although the story reads like a gripping paperback thriller, LaChance grounds it in his own life events, which only sharpens the terror. 

Grave’s End – Elaine Mercado

Although undoubtedly intense, most hauntings tend to be fairly short. After all, who would stay in a haunted house for more than a month? But Grave’s End tells a different type of story, one not of escape but of endurance. Mercado relates incidents of spectral interference that happened to her and her two daughters over a thirteen-year period. Grave’s End features all the chilling detail you would expect from a ghost storybook, but it takes a unique approach, explaining how Mercado and her family found the strength to fight through the horror and make peace with the spirits surrounding them. 

House of Darkness/House of Light – Andrea Perron

This list could not be complete without Andrea Perron’s House of Darkness/House of Light, published in 2011. Perron’s account served as the inspiration for The Conjuring, describing the trials endured by her family in 1970. When the Perrons moved into a Rhode Island house, they quickly become inundated by attacks from a hateful spirit called Bathsheba, who targets Andrea’s mother Carolyn. Like many of the other books on this list, the story does involve intersession from the Warrens. But the real draw is Andrea’s perspective, who tells in her own words her family’s petrifying encounters. 

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And while much of the emphasis surrounding the conversation is placed on British movies, there are plenty of overlapping examples in film, TV, and literature from around the world. Not to mention the actual elements that make up the genre are diverse, and range from folklore to the occult to witchcraft. 

Simply put, it’s complicated.

To that end, this article is not going to be an exhaustive look at the genre (that’s what the books and documentaries are for), but rather a brief overview of the term, its tropes, and popular examples. Think of it as a primer; a starting place in the shallows of the vast ocean that is folk horror. Ready to wade in?

Origins of the Term

The British music scene experienced something of a folk revival in the 1960s, and that, coupled with the rise in Neopaganism, led to a general infatuation with and exploration of older belief systems. Bands like Black Sabbath and Led Zeppelin explored occult themes in their songs, and the writings of famous occultist Aleister Crowley gained popularity. It wasn’t long before the fascination with folk and occult themes found its way into the world of cinema. And that’s not to say that music was the only vehicle for introducing folk horror, as disillusionment with modernism and outrage at governing bodies engendered in many a desire to return to nature and the simpler, older ways of life. At the same time, our post-industrial life has made us unused to rural life and uncomfortable with isolation.

When cult classic The Blood on Satan’s Claws came out in 1971, the Kine Weekly referred to the film as “a study in folk horror”. The movie’s director Piers Haggard also used this term when describing his film. Later the term received renewed attention in 2010 when writer/actor Mark Gatiss interviewed Haggard during a section of the BBC documentary A History of Horror. These two moments, 1971 and 2010, appear to mark the emergence and then subsequent revitalization of the expression “folk horror”.

Elements of Folk Horror

Though it can be difficult to pin down the exact definition of folk horror, there is a general agreement that it is more of a mood, an atmosphere, than anything else. You know it when you see it, though it may be hard to explain why. Even common tropes can vary widely depending on geographic region and time period, and movies with very dissimilar plots can still fall under the folk horror umbrella. But for the purpose of simplicity, we will highlight what writer and filmmaker Adam Scovell (owner of the Celluloid Wicker Man blog) describes as the “Folk Horror Chain”, or the four basic thematic/aesthetic tenets of folk horror: Rural Location, Isolated Groups, Skewed Moral and Belief Systems, and Supernatural or Violent Happenings.

Rural Location: This was a big one for movies in the 60s and 70s because it saw a move away from filming in studios and out into the natural world. This element typically involves a fascination with pastoral landscapes and locations outside of urban life. Often there is an outsider who stumbles upon or is forced into a rural community, and who usually becomes some sort of scapegoat or sacrifice to traditional/pagan beliefs. Some argue that this element also encompasses ideas of psychography and location being a “state of mind” in more urban communities, such as in Roman Polanski’s film Rosemary’s Baby (1968).

Isolated Groups: This element typically takes one one of two meanings – either an individual is isolated from their normal physical environment or they’re isolated from those who share their same moral beliefs. For example, the characters in David Bruckner’s The Ritual (2017) find themselves stranded in the forest but also in discord with people who worship much different gods than they. This element is a link between the previous one and the next because isolation usually happens in rural environments, and it’s made even more upsetting because the antagonistic forces don’t act or think the same as the protagonist.

Skewed Moral and Belief Systems: In Robin Hardy’s The Wicker Man (1973), Sergeant Howie finds himself in a community whose religious beliefs and practices are at odds with his own. Across other examples there is a common thread of “modern” or “Christian” beliefs finding themselves in direct conflict with occult or pagan beliefs. This collision of morality and religious belief leads into or is specifically connected to the final element of the chain.

Supernatural or Violent Happenings: Folk horror stories are often steeped in, or at least influenced by, folklore of the particular region they’re set in, and this final piece of the chain usually involves either supernatural beings or some form of ritualistic violence (or both) related to that folklore. Invocations of demonic entities, horrific sacrifices, occult practices, and pagan idolatry are all par for the course. 

British Folk Horror

The current popularity of folk horror, at least what our primary audience would be familiar with, owes a lot to British cinema, and in particular the Hammer Films production company. A group of films from the 60s and 70s, known affectionately as the “Unholy Trinity,” is what many point to as the birth of the genre. These movies are Witchfinder General (1968), the aforementioned Blood on Satan’s Claw (1971), and The Wicker Man (1973). These three films helped distinguish some common characteristics of folk horror, namely the picturesque landscapes, the isolated communities, and the emphasis on sacrifices and supernatural summonings. And yet, showing how intangible the genre is, these are also three very different movies in terms of plot.

Strong examples of the genre can also be found in British television from the same time period. There was the BBC’s Ghost Stories for Christmas series, which adapted several of M.R. James’s short stories with folk horror elements, such as Whistle and I’ll Come to You (1968), A Warning to the Curious (1972), and The Ash Tree (1975). There was a drama series from the BBC, titled Plays for Today, with standout hits like Robin Redbreast (1970) and Penda’s Fen (1974). And there were still other enduring examples of the genre like Children of the Stones (1977), a miniseries made for children but still incredibly terrifying.

Though the British rise in folk horror began in the 1960s and 1970s, there was something of a resurgence in the genre in the 2010s. Some of these newer British films (and in the UK more widely) took the tropes and themes from decades previous and put their own modern spin on them, while others sought to return to folk horror’s roots, so to speak, with their emphasis on ritual, folklore, and mankind’s connection to nature. While there are many examples to pull from – folk horror appears to be trending right now – several standout movies include David Keating’s Wake Wood (2009), Paul Wright’s For Those in Peril (2013), Elliot Goldner’s The Borderlands (2013), and Corin Hardy’s The Hallow (2015). Another prolific filmmaker in the genre is Ben Wheatley, whose canon of folk horror movies includes Kill List (2011), Sightseers (2012), A Field in England (2013), and In the Earth (2021).

Most of the common examples in British folk horror are from film, however there are many books from Britain that include plots and tropes from the genre. In fact, as it goes, some of the oldest examples of the genre are found in literature, from authors such as Arthur Machen, Algernon Blackwood, and M.R. James. Some shining examples in more modern literature include Adam Nevill’s The Ritual (2011) and The Reddening (2019), Andrew Michael Hurley’s The Loney (2014) and Devil’s Day (2017), Thomas Olde Heuvelt’s Hex (2016), and Stephanie Ellis’s The Five Turns of the Wheel (2020) – as well as numerous comics, such as Simon Davis’s Thistlebone (2020) from 2000AD. 

American Folk Horror

Though the term originated in the British imagination, the evolving genre of folk horror has set roots in American cinema and literature as well. In some cases this involves American filmmakers creating movies very much influenced by the British tradition, such as Avery Crounse’s Eyes of Fire (1983), Robert Eggers’s The Witch (2015), Gareth Evans’s Apostle (2018), and Ari Aster’s Midsommar (2019). These films have strong similarities to their British cousins in regards to their emphasis on British landscapes and lore. The Blair Witch Project (1999) is another movie that could be included in this group, though it doesn’t fit the mold quite as well.

There are also many crossover elements between the genres of southern gothic and folk horror, and these commonalities can be seen in films such as Charles Laughton’s Night of the Hunter (1955). There is also a sub-genre of film called “hicksploitation” or “hillbilly horror” which spawns from the southern gothic tradition and which, upon first glance, may not seem to have much to do with folk horror. Yet, when one applies Scovell’s folk horror chain theory, the similarities begin to arise. Films that would fit in this category include movies like John Boorman’s Deliverance (1972), Tobe Hooper’s The Texas Chainsaw Massacre (1974), and Wes Craven’s The Hills Have Eyes (1977).

In American literature, elements of folk horror can be seen as early as the works of Nathaniel Hawthorne and Washington Irving. Other popular novels and short stories in the genre include Thomas Tryon’s Harvest Home (1973), Stephen King’s “Children Of The Corn” (1977), Shirley Jackson’s “The Summer People” (1984), Raymond E. Feist’s Faerie Tale (1988), Elizabeth Hand’s Wylding Hall (2015), John Langan’s The Fisherman (2016), and Victor Lavalle’s The Changeling (2017).

A Genre Diverse and Divergent

As we continue to reevaluate and redefine what folk horror is, we begin to notice a few common truths: the genre has existed in some form or fashion long before the 60s and 70s, and some version of it can be found in almost every country around the world. Beowulf, Sir Gawain and the Green Knight, early forms of mystical poetry, and even some of Shakespeare’s plays all have folk horror elements. The earliest example in film comes from the Danish-Swedish fictionalized documentary Häxan: Witchcraft Through The Ages (1922). Sweden has Ingmar Bergman’s Hour of the Wolf (1968). Australia has Peter Weir’s The Picnic at Hanging Rock (1975). Japan has Kaneto Shindo’s Onibaba (1964) and Kuroneko (1968). And on and on it goes.

Also the more we explore the foundations and tenets of folk horror, the more we find examples which lie outside of the commonly accepted cannon, but which end up fitting the mold in diverse and interesting ways. Some titles here would include Sam Peckinpah’s Straw Dogs (1971), Bernard Rose’s Candyman (1992), Guillermo Del Toro’s Pan’s Labyrinth (2006), Edgar Wright’s Hot Fuzz (2007), Jordan Peele’s Get Out (2017), Ari Aster’s Hereditary (2018), and even the Paranormal Activity franchise. 

As it should be clear by now, attempting to box the folk horror genre into an easy-to-digest definition is simply not possible. We didn’t even get into the various histories of folklore and dark fairy tales around the world and their individual influences and appearances in the genre. We also didn’t get into the overlapping traits in genres such as science fiction and cosmic horror. What we did accomplish, hopefully, is to give you a taste of the world that you will carry with you into your own exploration of this wonderfully diverse genre known as folk 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/

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Triangle 2009

Triangle is a twisting, turning, chilling British horror/thriller from Christopher Smith, director of Severance (2006) and Black Death (2010). A potent hybrid of old school slasher à la Friday 13th (1980) and mind-bending science fiction in the vein of Predestination (2014) and Coherence (2013), this unsettling nautical romp is certain to please fans of both. When Jess, a single mother, embarks on a boating trip with her friends, a storm forces them to abandon their vessel for a seemingly deserted cruise liner. Once aboard, the group are faced with a deranged killer, along with waves of psychological mayhem and headache-inducing time loops. 

As the name may suggest, Triangle is centred around the infamous Bermuda Triangle, a region in the western part of the North Atlantic Ocean. The region is said to have played setting to, and been the culprit of, a great number of obscure sightings and disappearances leading back to 1492. It was then that Christopher Columbus and the crew of the Santa Maria sailed through the triangle to arrive at Guanahani, though not before reportedly seeing a strange and unknown light in the sea fog. Since then a great deal of boats and aeroplanes have disappeared in the sinister sea-region, from the USS Wasp in 1814 to Turkish Airlines flight TK183 in 2017, some carrying upwards of a hundred passengers at the time of disappearance. 

Triangle does great justice to the eerie and unexplainable legend of the Bermuda Triangle, it’s warping story leaving viewers guessing and re-guessing until its bleak and poignant closing scene. Weight is added through Smith’s use of bloody violence and tense horror, creating a soft hybrid of a film which remains as entertaining and thought provoking now as it ever was. 

Bermuda is not the only area that has a mysterious triangle. The Alaska Triangle has similar tales albeit over land.

The Blair Witch Project 1999

This pioneer of the found-footage subgenre shocked audiences in 1999 with a claustrophobic and wholly believable portrayal of young adults falling victim to the legend of the mysterious Blair Witch. After setting off into rural Maryland to document and hopefully capture some evidence of the insidious figure, including interviewing locals and camping in some questionable spots, Heather Donahue, Joshua Leonard and Michael C. Williams (playing themselves) soon become lost in the vast wilderness. Seemingly stalked and tormented by the very myth they sought to invoke, the three encounter dread and distress enough to make any viewer think twice about their next camping trip.

Of course, the legend of the Blair Witch is just that, a legend. That being said, it had more of an interesting start than most. Writer-directors Daniel Myrick and Eduardo Sánchez fabricated an entire urban legend regarding the town of Burkittsville, Maryland, plastering missing-person posters around the 1999 Sundance Film Festival and claiming their footage was real. Sundance legally had to confirm the film as a work of fiction, though this did not lessen the impact the marketing ploy had. The rise of a $60,000 indie flick to $248,000,000 blockbuster is staggering, as is the influence the film has had on the horror scene long after its release. 

The Blair Witch Project relied on a strong cast utilising a lot of improvisation to help its desired effect come to life. Not just for the claims of authenticity (though it did help those) but for the raw and genuine atmosphere running through the flick. The actors camped for ten days in the Maryland wilderness while cremembers posed as their antagonist, leaving stick figures and bloody packages at camp, shaking their tents in the early hours. Only Heather, of the three, was given any information about the witch to ensure the others gave authentic reactions and asked plenty of questions. 

While this type of filmmaking can come with complications, such as the actors’ parents being sent sympathy cards over their children’s fictional deaths to this day, it shows a complete commitment from cast and crew. To make something with this impact, small sacrifices must sometimes be made, though we’ll leave it up to the creators to decide whether it was worth it.

Willow Creek 2013

When Kelly (Alexie Gilmore) and Jim (Bryce Johnson) travel into Humboldt County, California on a camping trip to find the famous wildman, Bigfoot, their faith and will to survive are tested in equal measure. 

If Willow Creek isn’t a tribute to The Blair Witch Project then it’s at least a loving nod. Effectively sparse and utilising tireless and detailed acting from what is effectively a cast of two, prolific writer/director/comedian Bobcat Goldthwait’s directorial foray into tense horror is a potent one. It shares Blair Witch’s theme and structure almost to a tee, other than replacing Myrick and Sánchez’ fictitious urban legend with one very much known in the real world.

Bigfoot, also referred to as Sasquatch in Canadian and American folklore, is an ape-like wildman of worldwide legend and innumerable alleged sightings. While all accounts of the Bigfoot are anecdotal, or highly disputable video footage or photographs, it manages to retain one of the highest cult followings of any urban legend, with followers deeply entrenched in the culture of searching out and worshipping the elusive ape-man. 

Bigfoot has been a figurehead in popular culture for years, appearing on television, in films and countless pieces of merchandise. A few horror films such as Exists (2014) and Evidence (2012) have included the towering hair-covered phenomenon as an antagonist, though none quite so efficaciously as this one.

Ringu 1998 / The Ring 2002

This Japanese frightfest and its American counterpart are a perfect example of a western adaptation done right. Japan has always had a distinct and dynamic take on horror as a genre, favouring dark spaces, pale ghosts with jet black hair and some truly unsettling signature sounds. One may think that a western attempt would completely miss the mark (or, as they tend to, miss the point completely) on such an unmistakable style, though Ringu’s remake The Ring proved to be as good if not a more accessible way to deliver its story to a wider audience. 

When journalist Rachael (Naomi Watts) comes across a videotape that allegedly kills people seven days after watching, she must act quickly to decipher the meaning behind the object before it claims her own life. Featuring a solid performance from Naomi Watts along with a morbidly bleak atmosphere and some horrendously chilling imagery, The Ring managed to take an age-old Japanese urban legend and present it in a way certain to scare the worldwide masses. As if Ringu wasn’t unnerving enough.

The story itself is, as you may have guessed, based on an old Japanese legend dating as far back as the 12th century. Somewhere between 1333 and 1346 a fort now known as Himeji Castle was erected on Himeyama hill in western Japan. A samurai named Tessan Aoyama was said to have taken a particular fancy to a young servant of his named Okiku, so much of a fancy in fact that he vowed to take her away and marry her. When she refused his advances, the samurai hid one of the ten priceless golden plates Okiku was charged with looking after. He told her that if she did not agree to marry him he would openly blame her for the plate’s disappearance, an accusation that would undoubtedly lead to her being tortured and executed. In full knowledge of her predicament, Okiku was said to have committed suicide by throwing herself into a well in the castle grounds. Each night, so the tale goes, she would crawl back out of the well, appearing to Aoyama on a nightly basis until he went mad from her haunts. She was regularly heard counting the plates she had sworn to protect, throwing a destructive tantrum whenever she realised that number ten was still missing. 

Ringu proves that a terrifying story does not have to be wholly original; sometimes a rework of an ancient tale will do just nicely. 

Candyman 1992

Candyman is the quintessential urban legend brought to life. Based on a 1985 Clive Barker short story entitled The Forbidden, the film shares a few similarities. The infamous Candyman, with his aura of bees and hook for a hand, will appear to anyone who either uses his name in vain or flat out refuses to believe in him. Say his name five times in a mirror (yep, that’s where that came from) and he’ll appear behind you, ready to drive his deadly hook into your tender form. That’s if you’re brave or stupid enough to even bother.

A graduate student named Helen comes across the Candyman legend while researching her thesis paper. Her examination into the insidious entity brings his attention right back on her, and soon she finds herself fighting for her life against an age-old evil that apparently only she didn’t know not to mess with.

Candyman has taken his share of inspiration from several sources, most notable of which being the Hookman legend. In the story, a young couple are getting steamy in a parked car when an emergency radio bulletin says that a mental patient with a hook for a hand has escaped the nearby asylum. The girl becomes terrified when she hears something scraping along the car, convincing the boy to drive off. When he does, neither of them notice the metal hook hanging from the door handle. While the similarities here are purely aesthetic, the Hookman appearance is unmistakable in any form.

The other clear inspiration for this 1992 classic is one of the many manifestations of the ‘say their name five times in a mirror’ dare, Bloody Mary. One of the most widely known tales to date, Bloody Mary is said to have been a witch who was burned for practicing black magic, though more modern retellings say that she was a young woman who died in a car crash. Every kid’s first sleepover isn’t complete without a game of Bloody Mary, making her one of the first spirits many of us will have encountered.

Links

https://en.wikipedia.org/wiki/List_of_Bermuda_Triangle_incidents

https://www.imdb.com/title/tt1187064/

https://www.imdb.com/title/tt0185937/?ref_=nv_sr_srsg_0

https://www.thrillist.com/entertainment/nation/blair-witch-project-true-story-burkittsville-maryland

https://www.mirror.co.uk/film/blair-witch-real-truth-behind-8844017

https://www.vice.com/en/article/8xzy4p/blair-witch-project-oral-history-20th-anniversary

https://en.wikipedia.org/wiki/Himeji_Castle

https://screenrant.com/candyman-movie-real-urban-legends-inspiration-tony-todd/

https://www.popsugar.co.uk/entertainment/where-does-candyman-legend-come-from-47313482

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

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Sci-Fi Horror Authors

Joseph Sale

Joseph Sale is a prolific novelist and editor. His first novel, The Darkest Touch, was published by Dark Hall Press in 2014. He is published with The Writing Collective and has authored more than ten novels, including his Black Gate trilogy, and his love-letter to fantasy: Save Game. He grew up in the Lovecraftian seaside town of Bournemouth. His short fiction has also appeared in Tales from the Shadow Booth, Idle Ink, Silver Blade, Fiction Vortex, Nonbinary Review, Edgar Allan Poet, Storgy Magazine, and numerous anthologies.

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

My name is Joseph Sale, but many call me the Mindflayer. I am a writer of horror, fantasy, science fiction, and many things in-between, as well as an editor; two titles I edited last year went on to the Bram Stoker preliminary ballot, and one is on the Nomination list! I love helping writers achieve their vision. As I say frequently, “The aim of an editor is not to point out what is wrong, but to see what the writers intended, and help them achieve that.”

In terms of horror writing, it came slightly later on for me. When I was initially starting out as a writer, I was mainly trying to write sword & sorcery fantasy. They were very hackneyed and derivative, and ultimately, they didn’t really read like “me”. They were Tolkien clones, aping the archaic style (but falling far short of it). But one day, I encountered a little known writer called Stephen King! The first book I ever read by him was The Stand. It blew my mind. I think I felt like King had found a way to translate that fantasy epic feeling into a modern setting. From then on, I became a horror junkie, and I started to write horror. I quickly realized that horror facilitated an exploration of darker themes; it allowed me to take off the shackles of decency and normality and delve into the roiling darkness of my own psyche in a way my previous attempts at swashbuckling fantasy had not allowed. This was a very therapeutic and healing process. Ultimately, in exploring the darkness, which only horror allowed me to fully do, I came to the light, so to speak.

2. 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?

Wow, this is a hard question. I think my first tip would be less is more. I had a tendency to over-write to the nth degree when I started out. I still think that maximalism trumps minimalism in writing, and I prefer over-written to the “stark” and soulless prose of many popular writers today, but too much is very clumsy and ultimately detracts from the very emotional power one is trying to generate. 

My other piece of advice would be to listen. By this, I mean to the inner voice. Sometimes, the intellect cannot solve a problem, only intuition and the deeper Muse can. It might sound flighty and poetic, but it is the truth in my experience. We all have this reservoir of knowledge. Our subconscious makes the right decision before we know it consciously. I too rarely listened to my creative intuition back then. Now, I am always waiting for that quiet voice to speak. 

Next, structure, structure, structure. Many writers seem to believe they can find their way without understanding the internal structures of narrative (and I certainly used to be one of them). However, now I’ve learned (and teach) the 5-Act structure, it has totally transformed my fiction. I would highly recommend the 5-Act structure for its simplicity, versatility, and clarity (for more information, check out my blog here). However, we all have to find the one that works for us! 

Lastly, I highly recommend joining a mastermind group / writer’s sharing group (again, something I never did until recently). The feedback and energy of a group is invaluable. That sense of community, being able to puzzle out problems with others, and also having access to workshops – all of these are so empowering. I am a member of Let’s Get Published run by amazing writer Christa Wojciechowski. It’s been a transformative experience.

3. What is your favorite aspect of the sci-fi horror genre?

Horror and sci-fi have been linked for a long time, Mark Shelley’s Frankenstein being a prime example. I often conceive of science fiction arising from a place of anxiety. In the case of Frankenstein, this is certainly true – it’s clear that Shelley was disturbed by the idea of men playing God with galvanization, and, by virtue of doing so, supplanting the woman as the natural mother and giver of life. One need only look to the atomic bomb for further evidence that technology should be viewed with healthy suspicion. 

Another way to look at it is that in some ways, sci-fi horror is an oxymoron, and I am always interested in contrasts! Horror is sometimes said to be the only genre defined by an emotion. The aim of horror is to make us feel something: horror, revulsion, disgust, paranoia, perhaps even terror, the list goes on. That is a very raw, potent thing. Science Fiction, on the other hand, is in general more intellectual. It appeals to the left side of the brain. It is imaginative – hugely so – but it comes from a place of trying to logically envision a future, be it dystopian or otherwise. When we blend the two together, we have a recipe for success: the rational science – the logic of humankind – pitted against the irrational horror. In many ways, this is mythopoeic and psychological, it almost seems to describe the battle between our conscious minds with our unconscious fears. It is a marriage made in heaven. And, of course, we all know that logic will never truly triumph over emotion, which makes the presence of horror in a sci-fi universe all the more powerful. 

4. What are your top three favorite sci-fi horror books?

Three?! Only three? You are cruel. 

Biomelt by Carlton Mellick III has got to be up there. The book is a work of genius. The science fiction is perfectly blended with horror. In this crazy, crazy novel, the overpopulation problem has been solved by people being “combined” in a bizarre scientific procedure that merges their physical matter, experience, and personality. I can’t say much more than that or it will give the game away – suffice to say something goes horribly wrong. This book is overflowing with incredible ideas and characters, including my personal favorite, a serial killer known as Porn Eyes, because he has watched so much holographic pornography it’s been seared onto his eyeballs. Amazing stuff. 

To cheat a little, and branch out into the realm of graphic novels, I would also say Grant Morrison’s Nameless. Essentially, an asteroid named Xibala is heading towards Earth, and it’s going to be an extinction event. A group of astronauts is dispatched to destroy the asteroid, Armageddon–style. However, it soon becomes apparent that Xibala is no mere asteroid, it’s a remnant of a cosmic war, fought by Lovecraftian beings, a gateway to a dimension best left unfound. It is a truly harrowing read that effortlessly moves between science fiction, terrifying cosmic horror, and finally, into a universe of dream-language. It is mesmeric and profound. Don’t expect answers to come easy, though!  

The last I’d have to recommend would be the great Frankenstein. Shelley’s prose is so potent. Every time I re-read Frankenstein, I see new things in it, new depths. Its relevance has only increased as time has gone on. Now, we have the capability to “improve” children by “removing” genetic defects – we are, more than ever, a society playing God, and if nothing else that has serious consequences for the psyche. 

There have been many attempts to artificially modernize Frankenstein but invariably – at least in my view – they fail because they remove the best part of it: the language. Shelley’s style, and her sense of “what lies beneath”, is what makes the novel the powerhouse it is. The only remotely successful attempt in my view is Junji Ito’s manga-isation, which is a masterpiece (and which also remains extremely faithful to the original). I think the key thing is that for all Victor Frankenstein’s wordy monologuing on science, life, despair, creation, much is left unsaid in Frankenstein, and that is its true power, and a lesson to all horror writers.

If you’re interested in learning more about Joseph Sale, check out his website at www.themindflayer.com. You can also follow the author on Twitter (@josephwordsmith) and Goodreads (@Joseph_Sale). Finally, to purchase books check out the author on Amazon.

Caitlin Starling

Caitlin Starling is an award-winning writer of horror-tinged speculative fiction. Her novel The Luminous Dead won the LOHF Best Debut award, and was nominated for both a Locus and a Bram Stoker award. Her other works include Yellow Jessamine and a novella in Vampire: The Masquerade: Walk Among Us. Her nonfiction has appeared in Nightmare and Uncanny. Caitlin also works in narrative design, and has been paid to invent body parts.

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

I started writing really young and never really stopped, though my interests and goals have of course shifted over time. In particular, there was a period after high school until my mid 20s where I convinced myself that professional writing was far too hard and unrewarding a field to pursue. It sounds very cynical, but it was actually extremely freeing. It let me just write what I wanted to, without needing to stress too much about what it was “for”. I wrote a lot of fanfiction and did a lot of text roleplaying back then.

The whole time, I was undeniably drawn to tell darker stories (though not, notably, tragedies – those are way too sad!), but for a long time I didn’t think I liked horror. Really, I thought I was too much of an anxious weenie for it! And yet there I was, sending my characters through hell, always reaching for the most unsettling, fucked up option whenever I needed some details. I wrote so many words about death curses, obsessive research that led to ecstatic oblivion, seances gone horribly wrong, the terror of your identity being changed without your permission… Eventually, around the time I started what became The Luminous Dead, I figured out that I’d been writing horror of some kind all along, and decided to lean into it and start doing my homework so I could make it scarier for everybody.

(There are still times where I wonder if I’m “really” writing horror, and then a reader will offhandedly mention that I’ve made low battery notifications traumatic, and it’s like, yes, okay, I might not be scared of what I write, but everybody else sure is!)

2. 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?

Have fun whenever you can. It gets way harder the more pressure is on you, but no matter what point of your career you’re in (at least up to where I am now!). Stepping back and writing something because it’s fun is always some combination of relief, freedom to experiment, and opportunity to learn without necessarily realizing you’re doing it. Like I already mentioned, I spent so many years writing fanfiction or doing text-based roleplaying with friends, and I banged out more words and tried more approaches with the “fun” writing than I ever managed to with my “serious” projects. Plus it was just enjoyable, and kept me focused on the truth that, no matter how hard it gets (and seriously, it gets hard, it just does) I still just fundamentally enjoy writing.

3. What is your favorite aspect of the sci-fi horror genre?

Technology doesn’t care if it’s good for us (neither do the people who create it, in a lot of cases). Every helpful facet of every tech advance seems to come with either a tradeoff or an unexpected consequence. It’s just really fun to play with, honestly: how can I take this neat invention I’ve created because it’s cool or to solve a plot issue and use it to cause even more plot issues. With The Luminous Dead, Gyre has a suit that keeps her fed and warm and protected from the cave. It carries her gear. It connects her to the surface so she isn’t alone. Great! Now what horrible things also come along with that? How does she get plugged into that suit, and what does it feel like a week on, a month? What happens if the communications feature doesn’t so much stop working as work in a way Gyre doesn’t understand? What’s it like, to be cared for and constrained by the same indispensable object that has no feelings about you either way?

So not only does tech change the landscape of what your characters can do or explore, and not only can it be a weird and surprising new threat, but those two things can be completely linked. It’s elegant and honestly really upsetting sometimes!

4. What are your top three favorite sci-fi horror books?

Annihilation by Jeff VanderMeer, which is a completely intoxicating mindfuck. I feel like it’s what would happen if The Thing and House of Leaves had a really environmentally-conscious baby.

The Last Astronaut by David Wellington does some extremely cool stuff with expectations of physical scale in space that I really, really loved. Not to mention some great psychodrama.

The Murders of Molly Southbourne by Tade Thompson is just a wild ride, start to finish. The sequel just cranks it up even higher. Clones! Secret government programs! Constant, relentless violence against yourself! It really has everything.

(Also, as a bonus: Leviathan Wakes by James S. A. Corey – first of The Expanse novels, you may have heard of them – isn’t a horror novel per-se, but the horror elements in it? Incredible.)

If you’re interested in learning more about Caitlin Starling, check out her website at www.caitlinstarling.com. You can also follow the author on Twitter (@see_starling), Instagram (@authorcstarling), and Goodreads (@Caitlin_Starling). Finally, to purchase books check out the author on Amazon.

Scott Jones

Scott R. Jones is a Canadian writer living in Victoria BC with his wife and two frighteningly intelligent spawn. He is the author of When The Stars Are Right: Towards An Authentic R’lyehian Spirituality (Martian Migraine Press) and the weird fiction story collection Shout Kill Revel Repeat (Journalstone/Trepidatio). His debut novel Stonefish was published by Word Horde in 2020. He was once kicked out of England for some very good reasons.

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

I’m a Canadian fella from the west coast of British Columbia, so I’ve been steeped since childhood in that weird PNW vibe. Also, grew up in an apocalypse cult, so combine the two influences and you’ve got me and my work: paranoia, things in the woods, ultraterrestrial entities offering bad deals, crumbling “real” realities, compelling false realities, and so on.

2. 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?

I’m pushing 50 now and I know I lost a certain momentum by taking a long break from writing at the turn of the century, which I absolutely should not have done. I’d tell myself to not take that break, basically. Consistency in output is key; it doesn’t have to be good output, even, just make sure you keep at it regular-like. I’m not a “write every day” guy because c’mon, that’s impossible for most, but yeah, be consistent with putting your butt in the seat and your fingers on the keyboard.

3. What is your favorite aspect of the sci-fi horror genre?

I think it speaks to a truth we are increasingly feeling to be relevant to our existence in the 21st Century. Lovecraft warned us of the “black seas of infinity” that surround our species and true to form, we are exploring that void of unknowing and correlating our contents! Will we go mad from the revelation? Seems we’re halfway there already. Sci-fi horror and weird horror are the genres in which we can explore these ideas most effectively, to my mind.

4. What are your top three favorite sci-fi horror books?

Solaris by Stanislaw Lem

Annihilation by Jeff Vandermeer

Communion by Whitley Striber

If you’re interested in learning more about Scott Jones, check out his website at www.scottrjoneswriter.com. You can also follow the author on Twitter (@PimpMyShoggoth) and Goodreads (@Scott_R_Jones). Finally, to purchase books check out the author on Amazon.

JZ Foster and Justin Woodward

Born and raised in Ohio, JZ Foster moved to South Korea after college and lived there for 8 years, running a small English school, marrying a Korean woman and having a baby. In his time in South Korea, he’s become well versed in Korean politics and has done multiple radio interviews on South Korean and North politics. Since returning to the U.S., he’s launched his writing career and three series.

Justin M. Woodward lives in Headland, Alabama with his wife and two small boys, Nathan and Lucas. He is the author of three novels and dozens of short stories. You can follow him on all social media to reach out to him.

On a space station on Mars, a terrible mistake opens a gate to an alternate reality — and something comes through from the other side. After the station cuts off communication, a crew is sent to investigate, but they’re unprepared for the nightmare that awaits them…

Enter the world of Reality Bleed, a sci-fi thriller series by best selling authors J.Z. Foster and Justin M. Woodward (published under their press Winter Gate Publishing). Fans of Doom and Aliens will love this!

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

J.Z. Foster: Like most horror writers, I’ve been watching horror movies and reading horror books since I was a kid. I still have a deep love for the Resident Evil games/books, and the movie Aliens has honestly had an impact on my life. I started writing because I had a hard time trying to find the types of books that I wanted to read. That and I love telling stories. I ran roleplaying games for my friends for years before I ever started writing, so I was telling stories then too.

Justin Woodward: I was interested in horror at a young age. I vividly remember begging my parents for the latest Goosebumps book every time we went to the store. I always wanted to create my own stories, even wrangling my babysitter into helping me “write a horror book”. To this day, I’m not sure what happened to that. Unfortunately, I didn’t start actually writing long fiction until I got the idea for my first novel, The Variant, which was more of a sci-fi thriller than horror. It wasn’t until the idea for Tamer Animals came about that I took the plunge to delve deeper into my dark side.

2. 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?

J.Z.: I only started outlining stories recently, and I found out that it helps a lot. I’d definitely recommend new writers do that! Other than that, I’d tell others (and myself) not to be too hard on their own work. Sometimes it’s difficult for writers to judge if their own work is ‘good’ or not, and all it ends up doing is slowing down the writing process.

Justin: Don’t waste time. Don’t second guess yourself. Put the content out there and be true to yourself. Don’t worry about following trends or the market, and don’t depend on anyone but yourself.

3. What is your favorite aspect of the sci-fi horror genre?

J.Z.: Certainly world building. I like creating a unique world for the characters to live in. I feel that in sci-fi, the world and environment needs to be a character itself.

Justin: I think I’m drawn to the fact that most things depicted in sci-fi horror are things that are actual possibilities in the real world, all we need to do is give it enough time.

4. What are your top three favorite sci-fi horror books?

J.Z.: That’s a good question, I’m not sure! Certainly a lot of Lovecraft and the Alien books, along with a myriad of comic books I’ve read in the genre. I can give you three movies though: Aliens, Pandorum, and The Thing.

Justin: Believe it or not, I haven’t read a ton of sci-fi horror. I was always into the genre as far as films go, but I never really got deep into the literature side of it. A few I’ve enjoyed are I Am Legend, John Dies At The End, and 1984.

If you’re interested in learning more about JZ Foster check out his website at www.jzfoster.com You can also follow the author on Twitter (@jzfosterauthor), Instagram (@jzfosterauthor), and Goodreads (@J_Z_Foster). Finally, to purchase books check out the author on Amazon.

If you’re interested in learning more about Justin Woodward, check out his website at www.justinmwoodward.com. You can also follow the author on Twitter (@justinmwoodward), Instagram (@justinmwoodward), and Goodreads (@Justin_M_Woodward). Finally, to purchase books check out the author on Amazon.

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 On the Verge: Sci-Fi Horror Authors You Need to be Reading appeared first on Puzzle Box Horror.

There are so many excellent sci-fi horror movies out there that it was very hard to narrow this down to a manageable list. Even with an “Honorable Mentions” section at the end, we know we missed plenty of viable candidates. Let us know some of the better films we left off down in the comments below!

Color Out of Space (2019)

Did you know colors could be scary? H.P. Lovecraft certainly thought they could be, and he wrote a deeply unsettling story to prove it. Color Out of Space is a cosmic horror film based on that titular story, and it’s about the Gardner family who find that a meteorite has crash-landed on their farm. Suddenly, their once peaceful life in the country is shattered as the family finds themselves fighting an alien being that can infect and mutate their bodies and minds. Come for the Nicolas Cage performance, stay for the grotesque practical effects. With a slow build in the first half and a wild spree of body horror in the second half, Color Out of Space is a rare example of a Lovecraft adaptation done right. 

Annihilation (2018)

Criminally underrated and suffering from a shoddy release, Annihilation is a film that deserves your attention and awe. Based on the book by Jeff Vandermeer, it’s a story about a group of scientists who venture into a mysterious zone called “the Shimmer” to collect data and locate the early explorers who have vanished inside. The movie shares some similarities with the book, but writer/director Alex Garland also made some significant changes and it’s best to view them as alternate entries in a shared universe. It’s notoriously difficult to translate cosmic horror to the big screen, but Annihilation manages to do it and do it well. Full of mind boggling images and a deep unfurling dread, this is a movie that really translates a sense of hopelessness and unfathomable fear.

Timecrimes (2007)

Though perhaps more of a sci-fi thriller than horror, there are enough shocking scenes and gut-twisting suspense to earn the Spanish language film Timecrimes a spot on this list. The film opens with a man named Hector spying on a beautiful woman. His moment of voyeurism is suddenly disrupted when he is attacked by a man whose head is wrapped in bandages. Fleeing the scene, Hector is able to find refuge in a remote lab where a scientist convinces him to hide in what turns out to be a time machine. To say more would be to spoil critical scenes, but just know this movie, though saddled with a low budget and amatuer actors, is a wonderfully confounding and deeply disquieting.example of sci-fi horror.

Event Horizon (1997)

Sure it flopped on its initial release (as did several other films on this list). Sure it’s been panned by critics and holds a highly debated place in film fandom. But whether you hate or, in our case, love it, there’s no denying that Event Horizon is fully ingrained in pop culture and space horror sensibilities. If you’re not familiar with it, it’s about a spaceship that stumbles across a portal to hell. As this infernal dimension begins to assert it’s dark influence the crew is slowly driven into a violent madness. Full of existential dread and shots of pure horror, Event Horizon is a film not to be missed. Just hope you return from the experience in a better state than the crew.

The Fly (1986)

We’re big fans of both body horror and practical effects over here at Puzzle Box, and one of the movies that best combines those two elements is David Cronenburg’s The Fly. Really there are many great choices in the Cronenburg cannon, but picked this one for its engaging premise and delightfully gross effects. Jeff Goldbloom, who gives a particularly captivating performance, plays a scientist whose failed experiment in teleportation transforms him into a gigantic insect. It’s a disgusting and nightmarish riff on Kafka’s The Metamorphosis, but it’s also a surprisingly poignant look into the complexity of human relationships. 

Re-Animator (1985)

Herbert West, a slightly off-kilter scientist, has discovered a secret formula that can reanimate dead tissue and ultimately bring the deceased back to life. After a successful trial run on a fellow student’s cat, West takes his extraordinary elixir to the morgue and from there all havoc breaks loose. Though the movie is loosely based on an H.P. Lovecraft short story, there were some major changes made and a lack of overall otherworldly dread. Instead we get a gloriously violent and darkly comedic romp full of gore and humor, all centered around the delightfully cheesy performance of actor Stewart Gordan. And really, what more could you want?

The Thing (1982)

John Carpenter’s The Thing is a masterpiece of paranoia and gorey practical effects. Based on the novella Who Goes There? by John Campbell Jr, Carpenter’s version is actually the third adaptation of the story and by far the most famous. In an isolated arctic setting, a team of scientists uncover an ancient alien being. Despite their best intentions, the creature is revived and begins to take them out one by one. What makes this plot particularly terrifying is the alien’s ability to mimic other lifeforms.The frenzy of shapeshifting that ensues, from the normal humanoid forms to the outrageously bizarre spectacles, keeps the scientists (and the audience) guessing on who is friend or foe. For the staff at Puzzle Box Horror, this is easily one of our favorite sci-fi horror films.

Scanners (1981)

Ok we swear this isn’t cheating, but we’re double-dipping in the Carpenter oeuvre. His movie Scanners, essentially about a group of telepathics seeking world domination and the counter-group fighting to subvert them, is what we consider essential viewing when it comes to the sci-fi horror genre. Yes it has the infamous head-exploding scene, and yes it’s as entertaining and memorable as you’d assume from a Carpenter film. But it also features some fine character acting and touches on some intriguing sociopolitical themes. Overall it’s a satisfying blend of cerebral commentary and visceral chaos. 

Alien (1979)

It’s impossible to talk about sci-fi horror without the angular, toothy distorted image of a xenomorph coming to mind. The whole alien franchise is fantastic (yes, even that one), but we have to give credit to the one that started it all. Ridley Scott’s Alien is dark, tense, and claustrophobic; a slow-burn of mounting dread and unseen foes until about the halfway mark when it explodes (literally) with stomach-churning horror. Featuring the unforgettable designs by H.R. Giger and inspiring decades of filmmakers after it, Alien stands as a shining example of the “horror in space” genre.

Invasion of the Body Snatchers (1978)

It’s not often that a remake is better than the original, but the 70’s version of Invasion of the Body Snatchers is arguably superior to its predecessor. The enthralling performances of the leads, the creepy practical effects, the unnerving musical score, and the harrowing ending all work in perfect unison to make this a shockingly scary film. The cold war paranoia of the first movie has also been updated to showcase more relevant social metaphors, such as the loss of self and breakdown of community. Body possession movies have always been terrifying, and this one, about an alien plant that consumes its sleeping host and assumes their form, is a must-watch entry in the sci-fi horror genre.

Honorable Mentions

Possessor (2020)

The Invisible Man (2020)

Life (2017)

Ex Machina (2014)

Europa Report (2013)

Sunshine (2007)

Slither (2006)

28 Days Later (2002)

Donnie Darko (2001)

The Faculty (1998)

Demon Seed (1997)

Mimic (1997)

Cube (1997)

Tetsuo: The Iron Man (1989)

Aliens (1986)

From Beyond (1986)

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 Best Sci-Fi Horror Movies appeared first on Puzzle Box Horror.

SYNOPSIS: Ruby Miller is free at last. Free from her past, her tormentor, her shitty family and the even shittier odds she was given at birth. But freedom has a price, and when the young girl hell-bent on starting a new life crashes her cherry red 1989 Pontiac Bonneville on America’s loneliest road, she finds out just how dear that price is. From the Bram Stoker Award nominated author of Dear Laura and White Pines comes a new novella, a searing tale of fire, revenge and redemption, a coming-of-age tale with a bite, because, let’s face it… happy endings are for children, and some girls just want to watch the world burn.

Review by Ben Vicariously 4/5 stars.

This story starts with a bang (literally) and is paced like wildfire, zipping through a tale of a young girl’s burning fury being unleashed upon the world. Ruby’s traumatic past haunts her still, and all she wants to do is see the world burn. She is the girl on fire, and her killing rage is both righteous and overwhelmingly destructive. Unfortunately for those around her it is only going to escalate.

To read the full review, click here!

Girl on Fire by Gemma Amor is available now.

Tritone

Tritone’s love of horror and mystery began at a young age. Growing up in the 80’s he got to see some of the greatest horror movies play out in the best of venues, the drive-in theater. That’s when his obsession with the genre really began—but it wasn’t just the movies, it was the games, the books, the comics, and the lore behind it all that really ignited his obsession. Tritone is a published author and continues to write and write about horror whenever possible.

puzzleboxhorror.com

The post Book Recommendation “Girl on Fire” appeared first on Puzzle Box Horror.

Fortunately, comic book creators have been flocking to horror over the past few years. Like their superhero brethren, horror comics can offer mind-twisting visuals that other media can’t quite provide. By mixing words and images, comics involve readers’ imaginations while using pictures to push their minds into places they would never go on their own. 

With the expansion of third-party publishers like Aftershock Comics and with indie mainstays like Image moving away from cape books, writers and artists have many places to let their creativity run to the dark side. So if you’d like to get some four-color fear, here are ten recent horror comics that will keep you up at night. 

• Infidel (Image Comics, 2018)

Horror has always been an ideal genre for addressing social ills such as racism. But writer Pornsak Pichetshote takes it to the next level in his comic Infidel, drawn by artist Aaron Campbell. The tale of Aisha and Medina, two Muslim women of color and longtime friends living in an apartment building that recently housed a suspected terrorist, Infidel is a ghost story about the ghosts that still haunt America. Pichetshote grounds his characters with believable dialogue (even as they discuss heavy issues), and Campbell’s frantic linework creates figures who are both recognizably human and relatably flawed. But when covered with José Villarrubia’s unsettling colors and designer Jeff Powell’s inventive lettering, the human and the supernatural collide to make a terrifying, but ultimately compassionate, piece of fiction. 

• Gideon Falls (Image Comics, 2018-2020)

Too often, “Cosmic Horror” brings to mind only images of Cthulhu rising from the deep or unknowable aliens arriving from space. But in their series Gideon Falls, writer Jeff Lemire, artist Andrea Sorrentino, and colorist Dave Stewart add a new menacing figure to the sub-genre: the Black Barn. Over 21 issues, Gideon Falls unravels the mystery of the Black Barn, a haunted building that appears to those going mad, including the series’ protagonists, a struggling priest and a life-long mental patient. Sorrentino and Stewart create some of the most unique and disturbing visuals in horror of any medium, including a fantastic cubic double-helix that brings together two characters in different times and places. It’s the kind of thing one can only see in a comic book, a rare example of ineffable horror. 

• Maniac of New York (AfterShock Comics, 2021)

As a head writer for The Daily Show and Mystery Science Theater 3000, Elliott Kalan has made the very serious look very ridiculous. But Kalan does the opposite with Maniac of New York, offering a grimly realistic take on silly slashers like Friday the 13^th Part VII: Jason Takes Manhattan. In Maniac of New York, Kalan and artist Andrea Mutti follow the municipal response to a seemingly unstoppable masked killer. By focusing on the mundane parts of a fantastical story, Kalan and Mutti heighten the horror in the established slasher genre, showing how people “just doing their jobs” can be the only thing between a normal life in New York and a grisly death. 

• Something is Killing the Children (BOOM! Studios, 2019 -2020)

When it comes to dead children in horror, it’s hard to top Stephen King or Guillermo Del Toro. But James Tynion IV and Werther Dell’Edera come close with their Eisner-nominated series Something is Killing the Children. When the children of Archer’s Peak begin to go missing, a mysterious drifter named Erica Slaughter arrives to help. Dell’Edera is never precious about depicting young children being ripped apart by an insect-like monster, and colorist Miquel Muerto heightens the drama by washing the creatures in sickly greens and blues. But Tynion finds plenty of spaces for believable emotions and actual humor to enrich the characters, never falling back on “Man with No Name” stereotypes when writing monster hunter Slaughter. 

• The Low, Low Woods (DC Comics, 2019 – 2020) 

For years, DC Comics’ Vertigo imprint was the premier home for horror comics, producing landmark Sandman and Hellblazer runs. But even though DC shuttered Vertigo in 2020, its spirit remains alive in the Hill House imprint, curated by author Joe Hill. For his first run, Hill scored a coup by recruiting Nebula Award-winning writer Carmen Maria Machado for The Low, Low Woods, drawn by Dani and colored by Tamra Bonvillain, with letters by Steve Wands. Set in the richly realized mining town of Shudder-to-Think, Pennsylvania, The Low, Low Woods tells a horrifying story of systemic misogyny and the cruelties of capitalism from the perspective of teen girls El and Octavia. Dani’s scratchy artwork recalls the linework of Vertigo in its prime, powerfully rendering women with sinkholes in their bodies and skinless men. But it’s the believable motivations of the city’s men that make The Low, Low Woodstruly terrifying. 

• The Immortal Hulk (Marvel Comics, 2018 – Present) 

While Vertigo may have established DC as horror’s home with the Big Two publishers, it’s important to remember that Marvel was in the monster business before it did superheroes. In fact, many of the first Marvel heroes, including Spider-Man and the Thing, were originally designed to be monsters. That’s particularly true of the Hulk, who was a Jekyll and Hyde riff who became a monster at night. Writer Al Ewing brought that element back for The Immortal Hulk, an environmental allegory that ties the gamma energy that transformed Bruce Banner into the Hulk to Satan and Hell. Artist Joe Bennett and inker Ruy José draw from Rob Bottin’s effects on John Carpenter’s The Thing to make Banner’s transformations feel painful and visceral. Combined with Paul Mounts’s other-worldly colors, The Immortal Hulk successfully mixes body horror with supernatural terror to create one of the scariest comics currently running. 

• “Billions Alone,” Venus in the Blind Spot (VIZ Media, 2020)

Unsurprisingly, master horror mangaka Junji Ito goes to some pretty weird places in his collection Venus in the Blind Spot, including stories about a man hiding in an easy chair and body-shaped holes in caves. But the collection’s most chilling story is its first one, “Billions Alone.” Just as young agoraphobe Michio finally decides to enter the world again, he must deal with a killer who’s sewing people together. What begins with a lone joined couple quickly spreads to larger and larger groups, giving Ito a reason to draw disturbing tableaux of bodies joined together. But this grisly conceit serves to explore themes of loneliness and a fear of groups, a concept that hits that much harder during a pandemic. 

• Stillwater (Image Comics, 2020 – Present)

First, I need to make this clear. The most terrifying thing Chip Zdarsky ever wrote was this one-panel Frog-Man bit in Original Sins #5. But Stillwater comes pretty close. Co-created and drawn by Ramón K. Perez, with colors by Mike Spicer and letters from Rus Wooton, Stillwater takes place in a town where no one can die. While that sounds good, the town’s strange ability means that no one can age, including children, which drives a desperate mother to sneak her toddler son Thomas out of Stillwater. But when circumstances bring a now-grown Thomas back to the town he no longer remembers, tensions and Stillwater grow between those who long for outside contact and the fascist Judge who wants to keep them hidden from the world. While that synopsis makes for good thriller material, Zdarsky and Perez take the story to some genuinely disturbing places, including characters being buried in the ground for weeks on end or living through a bomb explosion. 

• Daphne Byrne (DC Comics, 2020)

The other standout in Hill House Comics’ inaugural batch is the Victorian ghost story Daphne Byrne, written by Laura Marks and drawn by horror legend Kelly Jones. Daphne Byrne follows the adolescent title character after her father’s death in Victorian England. While her mother’s loneliness drives her to a disreputable medium, who has darker plans for the Byrne family, Daphne is visited by a dark young man who promises the girl companionship and power. In the classic Victorian style, Daphne Byrne blurs the lines between fantasy and reality. But instead of only asking us to question Daphne, Marks and Jones make everyone into an unreliable narrator of their own stories, from the man suddenly wooing Daphne’s mother to the elderly rationalist who offers his help. 

• “Strands,” Razorblades: The Horror Magazine #3 (Tiny Onion Studios, 2021) 

In addition to writing some of the best recent horror comics (including Something is Killing the Children!), James Tynion IV has teamed with writer Steve Foxe to bring back the anthology comic with Razorblades: The Horror Magazine. In its first three issues, Razorblades has already featured some truly memorable stories, but my favorite so far is “Strands,” by Jess Unkel and Jenn St-Onge. St-Onge’s vibrant linework and innocent figures belie a chilling story about a widower who notices bits of her late husband’s hair still lingering in her home. Both a sweet story about missing a loved one and a genuinely haunting tale, “Strands” builds to a satisfyingly shocking ending. 

The post 10 Horror Comics That Will Keep You Up At Night appeared first on Puzzle Box Horror.

The Beauty Of Horror: A GOREgeous Coloring Book

This horror coloring book by Alan Robert is one of the most popular on the web, and you’ll see why as you glance into its pages. GOREgeous features “an onslaught of severed heads, monsters, deadly weapons, and skeletal remains” as you “visit burial grounds, the zombie apocalypse, serial killer lairs and gruesome torture chambers.” Their words… cute, right? Invest in this page-turner that has tons of gore-geously good reviews on GoodReads on Amazon, and get that red crayon ready for all the blood, clown noses, and leftover guts. You’re going to need it. 

Horror Coloring Book for Adults : Horror Stress Relieving Illustrations with Scary Monsters, Creepy Scenes, and a Spooky Adventure

This horror coloring book isn’t for the faint of heart. You won’t find any “good witches” or soft scares within these black-and-white pages – only the most terrifying and intricate illustrations that will freak you out and frustrate you as you try desperately to color within the lines. Trust us, once you see the complexity of these designs, you’ll see that you’ll need the entire box of crayons. That being said, this horror coloring book is ideal for the artsy scare lover… and you’ll want to stick this art up on your bedroom wall for the most gorgeous horror house on the block.

Zombie Coloring Book

Take a break from witches, skeletons, and killer clowns as you go back to basics with a horror staple: zombies. These undead creatures will always have a place in your favorite scary movies and TV shows… and now on your nightstand, too. Choose from 20+ zombie illustrations – ranging from ugly and gross to interesting and a bit cute – and fill them in with your favorite colors to bring life back into your relaxation routine with a few undead monsters. Sure, the title of this book is a mouthful, but Zombie Coloring Book really is an incredible habit for everybody!

Alice’s Nightmare in Wonderland Coloring Book 

Plenty of children’s movies are a lot more creepy once you watch them as an adult, like Alice in Wonderland. Between the Chesire Cat’s scary smile and the Queen of Hearts yelling about beheading children, this classic Disney film is almost as scary as any horror film from the early 2000’s. And it gets even more horrifying with this adult coloring book that features demonic versions of the film’s classic characters. A giant, murderous rabbit is something that you didn’t even know you needed until now, and you can make him any color you like for ultimate nightmare fuel. 

The Beauty of Horror 2: Ghouliana’s Creepatorium Coloring Book

It’s pretty rare in the world of horror for the sequel to be just as spooky and stunning as the original – unless we’re talking about horror coloring books for adults. Ghouliana’s Creepatorium has just as many distorted ghosts and scary skeletons as the GOREgeous book that we told you about earlier… and it doesn’t even need to be Halloween to stick these finished illustrations up on your refrigerator. Let loose and embrace your inner artist with these spooky designs that never go out of style… and know that there are plenty more coloring books to try in the The Beauty of Horror lineup. Thanks, Alan Robert!

Carly Kazempoor

I am a lifelong pop culture junkie with immense passion for all forms of art and entertainment. On a typical weekend, I can be found at a concert or musical, chasing ghosts on the Haunted Mansion at Disneyland, or watching way too many makeup tutorials on YouTube.

The post Best Horror Coloring Books for Adults appeared first on Puzzle Box Horror.

Demon House

Released: 2018

If you thought the Amityville house was haunted and terrifying, just wait until you watch one of our favorite paranormal documentaries and true crime stories about the Ammon family. This tale of paranormal activity and demonic possession took place only a decade ago in Indiana, and while some had their doubts about the Ammon family’s claims of levitation, death threats, and ghostly shadow figures… you can’t ignore the facts of Demon House. Paranormal investigator Zak Bagans shot this documentary on the property, only to have it demolished just two years later due to the terrifying events. Dread Central’s Steve Barton calls Demon House “one of the single most compelling horror documentaries on the existence of the supernatural that I’ve ever witnessed,” and Puzzle Box Horror definitely agrees. 

Beware the Slenderman

Released: 2016

Slenderman, the infamous creepypasta character with mile-long limbs and no face, stepped out of the shadow of internet forums and into the spotlight with this documentary – and the crime that inspired it. Remember the two 12-year old girls from Wisconsin who stabbed their friend 19 times in 2014, only to say that it was an order from the Slender Man? This documentary tells you all the details of that horrifying day – with interviews, creepy footage, and background on the Slenderman. How did he go from being a supernatural, suit-wearing stalker that only lived on internet forums, to one of the most terrifying fictional monsters of the 2010’s? They aren’t kidding when they say that the internet is a scary place!

Cropsey

Released: 2009

Without giving too much away, anybody who has seen Cropsey knows that it’s not a supernatural tale in its entirety. It’s also a bit confusing – mixing true crime with the paranormal to leave you wondering who is the true villain in this tale. Is it Cropsey, the boogeyman-like urban legend of Staten Island that people used to scare their kids into being good? Or Andre Rand, the real-life version of the monster who began kidnapping kids and causing terror left and right? This is one of the best horror documentaries that was made before Netflix and Hulu started pumping them out on a regular basis, and you’ll want to watch it five more times just to get every last detail. 

Hostage to the Devil

Released: 2016

Exorcism stories aren’t exactly new in the horror genre. There’s only about a million horror movies about possessed children and the priests who try to free them. But horror documentaries about real-life exorcisms in which the devil literally locks you in a room for days on end? That’s a little more rare, and exactly why you need to watch Hostage to the Devil on Netflix. Based on the book of the same name, this terrifying documentary shares the details of a battle between good (okay, this is debatable) and ancient evil as they fight for the soul of a possessed child. After you watch the documentary, be sure to start Googling all the extra details that didn’t make it on your screen. You’ll never be able to watch horror movies about exorcisms the same way again. 

My Amityville Horror

Released: 2012

Amityville isn’t just your typical haunted house story, it’s the demon house story. Any real horror fan knows the tale of the original demon house – how Ronald DeFeo Jr. murdered his entire family in cold blood, one year before the Lutzes moved in and went running after experiencing insane amounts of paranormal activity and ghostly events. There has been an entire lineup of horror movies (and a lot of skepticism) in the decades since the Lutzes ran for their lives, but there’s something that sets My Amityville Horror apart. It features Daniel Lutz, the oldest member of the family who experienced these horrific events in the demon house firsthand. While he stayed silent for nearly 40 years, he doesn’t hold back in this documentary about America’s most famous haunted house, and you’ll have chills running down your spine with every word he speaks.

Killer Legends 

Released: 2014

If you loved reading the Scary Stories to Tell In The Dark book series as a child (and who didn’t?), then you’re going to love Killer Legends. Ghosts, demon houses, and serial killers all come together with this documentary that dives into the real-life origins behind the world’s most famous urban legends. You know – the murderous mental patient with a hook for a hand, the killer clown, the babysitter who gets a call coming from inside the house. Some are paranormal, and some aren’t… but each one will give you a glimpse of real-world terror that brings back major memories of telling these stories around the bonfire. This is the meta scary documentary if you are looking for variety.

Horror Noire: A History of Black Horror 

Released: 2019

“Delving into a century of genre films that by turns utilized, caricatured, exploited, sidelined, and finally embraced them, Horror Noire traces the untold history of Black Americans in Hollywood through their connection to the horror genre.” Perhaps one of the most modern horror documentaries on this list, Horror Noire: A History of Black Horror features a lineup of Black horror enthusiasts (including scholars like Tananarive Due and creators like Jordan Peele) to tell the story of Black Americans in a supernatural world. While it’s less scary and more informative, this eye-opening documentary will help you see films like Get Out and Blacula in a whole new way. Grab your popcorn and save up all your mental energy, because you’re going to need it for this mind-blowing horror documentary.

The Nightmare 

Released: 2015

Sleep is an escape from the horrors of everyday life, right? Not when you have sleep paralysis, a terrifying condition that makes you unable to speak, move, or have any control over their body while waking up or falling asleep. The lack of control is frightening enough, as it’s the foundation in which we live our lives – but what do you do when you start imagining ghosts, shadow figures, and supernatural beings in the corner of your bedroom when you can’t move a muscle? That’s exactly what you’ll discover with The Nightmare, a mix of real-world and supernatural horror that interviews those with sleep paralysis to discover the terrifying worlds they’ve created in their minds. You’ll never want to fall asleep again after watching this horrifying documentary, and we mean that literally. 

A Haunting in Connecticut

Released: 2002

No, we’re not talking about the super underrated 2009 scary documentary The Haunting in Connecticut… as this 2002 documentary told the ghost story from your living room first. The Snedeker family moves to Connecticut and finds a beautiful house that they think is a major steal, only to discover that it used to be a funeral home as they experience terrifying visions and paranormal activity from every corner of the property. Awesome. Unlike the movie, this paranormal documentary details how the family called in expert ghost hunter Ed and Lorraine Warren (of The Conjuring fame) to rid the house of demons. Like most demon house stories, the Snedekers haven’t gone without a bit of skepticism… but this is a tried-and-true ghost story that any paranormal lover will love watching on a Friday night. 

The Enfield Poltergeist

Released: 2002

Even the Brits have their ghosts and supernatural fixtures, and The Enfield Poltergeist is definitely proof. Back in 1970’s London, two young sisters started acting strangely – and that was just the beginning of it. There was also moving furniture, levitation, shadow figures and disembodied voices that many came to believe was a poltergeist. Or in other words, a troublesome ghost that has nothing better to do with its time. As one of the original poltergeist tales, this scary documentary is a must-have for any ghost enthusiast. 

Carly Kazempoor

I am a lifelong pop culture junkie with immense passion for all forms of art and entertainment. On a typical weekend, I can be found at a concert or musical, chasing ghosts on the Haunted Mansion at Disneyland, or watching way too many makeup tutorials on YouTube.

The post Scary Documentaries: Paranormal and Urban Legends appeared first on Puzzle Box Horror.

The Best Sci-Fi Horror Comics

Plunge (2020)

First on our list of best sci-fi horror comics is Plunge. A drilling vessel, the Derleth, that disappeared forty years ago in the Arctic Circle suddenly begins sending out distress signals from the Bering Strait. Wanting to investigate further, an oil company hires a salvage team and a marine biologist to go explore the ghost ship. Their mission is to recover the bodies and find out exactly what happened to the ship. The expedition quickly goes awry when they discover the crew isn’t exactly dead, though they aren’t exactly alive either. This six-issue miniseries is gory, surreal, and a wonderful homage to eighties horror.

Plunge (Image Comics) is written by Joe Hill with art by Stuart Immonen.

Come Into Me (2019)

The story opens on a failed demonstration of InBeing, the process by which ropy entrails connect two different people by ports in the back of their heads and allows their minds to form a “synaptic connection”. Sebastian, the creator and scientist behind the technology, is quickly running out of money and desperate to find an investor. Enter Becky, a mysterious and seemingly desperate young lady who convinces Sebastian to bond their minds with InBeing, using his body as host. It’s strange for Becky, seeing the world through someone else’s body and forming a telepathic-like connection with another. If only she had been upfront with Sebastian about her past. As their minds are conjoined and their memories/experiences blend together, the host realizes he failed to anticipate just exactly what could go wrong…and that, like in our online lives, shared data is open to manipulation and exploitation.

Come Into Me (Black Mask Comics) is written by Zac Thompson and Lonnie Nadler, illustrated by Piotr Kowalski, and colored by Niko Guardia.

Destroyer (2018)

Though lighter on the horror than the other entries in this list, Destroyer is still an intriguing take on the creature at the center of Mary Shelley’s classic sci-fi story Frankenstein. In this story the monster has survived into present day America, but he has lost his emotional side and empathic nature. Instead he has become the Destroyer, bent on wiping mankind from the face of the earth. In his quest for vengeance he ends up partnering with Dr. Baker, the last descendent of the Frankenstein family who has recently lost her son at the hands of the police. Also caught up in all of this are two scientists, Byron and Percy, who find themselves desperately trying to protect humanity. It’s a story that is raw, powerful, and not afraid to shine a light on heavy socio-political topics. Sometimes the line between thriller and horror is slim but this one still made our list of best sci-fi horror comics as it fits the bill.

Destroyer (Boom Studios) is written by Victor Lavalle and illustrated by Dietrich Smith, with colors by Joana Lafuente and letters by Jim Campbell.

Nameless (2016)

A group of billionaires have hired occult hustler “Nameless” in a desperate bid to save the planet. An enormous asteroid they’re calling Xibalba is hurtling on a direct course for earth, bearing a strange symbol on its side and a vengeful extra-dimensional god in its core. While trying to stop the death rock, Nameless and his team accidentally set loose the wrathful being and things go from bad to inconceivably worse. That’s the brief synopsis, but this six-part miniseries deals with so much more. Secret experiments, the downfall of civilization, lost planets, epic cosmic wars, a doomsday asteroid, and soul-destroying truths are all par for the course here. This sci-fi horror comic also has a strong cosmic horror vein running through it, featuring terrifying Lovecraftian beings and an overwhelming atmosphere of dread. What could be better in sci-fi horror than a touch of existential dread?

Nameless (Image Comics) is written by Grant Morrison and illustrated by Chris Burnham.

The Disciples (2016)

This sci-fi horror comic is Set in a bleak dystopian future where the solar system has been colonized by the rich upper class, The Disciples is about a girl who has gone missing and the bounty hunters who have been hired to find her. These hunters follow the trail to Jupiter’s largest moon Ganymede, where they discover a group of cultists who have awakened a horrifying force. Turns out the girl is the daughter of a Senator who has joined the cult, and things are about to get a whole lot worse for these well-intentioned investigators. Taunt and terrifying, the comic is reminiscent of the video game Dead Space but with more extraterrestrial ghosts. 

The Disciples (Black Mask Studios) is written by Steve Niles and illustrated by Chris Mitten, with colors by Jay Fotos and letters by Thomas Mauer.

Spread (2015)

In this post-apocalyptic sci-fi horror comic, a strange viral infection called “the Spread” has devastated the land and devoured its inhabitants. While most of the world lies in ruin, there are pockets of humanity struggling to survive in quarantine zones. In one of these zones a man named No happens upon a baby named Hope who can undo the virus with a touch of her hand. Insane creature designs and an interesting cast of characters help flesh out this dark and suspenseful tale of survival. The unholy baby of The Thing and Mad Max bathed in buckets of blood, Spread is full of extreme gore, tentacles, and body horror fun.

Spread (Image Comics) is written by Justin Jordan with art by Kyle Strahm.

Caliban (2015)

In the future hyperspace travel has been invented, allowing humans to explore the furthest reaches of outer space. For all their searching no signs of life have been uncovered, but they have begun to harvest all the valuable resources the universe has to offer. At first it’s just a regular mission out in deep space for the crew of the mining ship Caliban. Everything is going according to plan, until they happen upon a strange alien ship. It would appear the unusual vessel was waiting for them, and what was once a routine trip quickly turns to nightmare. A vicious, hulking something is stalking the corridors, separating the crew and taking them one by one. It’s a tense and chilling thriller reminiscent of Alien, full of shocking moments and terrific artwork.

Caliban (Avatar Press) is written by Garth Ennis with art by Facundo Percio.

The Wake (2014)

The Department of Homeland Security has identified an unnerving new threat, and so they reach out to Lee Archer, a marine biologist, for help. Though she initially declines, the government overrides her decision and sends her deep beneath the sea in the Arctic Circle. There’s an underwater oil rig in that part of the ocean where a group of scientists have made an unbelievable discovery. Part multi-generational thriller and part creature feature, The Wake is a ten-issue miniseries that manages to combine tense horror, beautifully bold artwork, and scientific questions on life and the human condition.

The Wake (DC Comics) is written by Scott Snyder with art by Sean Murphy.

Revival (2012)

The dead have come back to life in rural Wisconsin. In the particular town where our story is set, the CDC has quarantined the area and sent in experts to help out. Revival, labeled as “farm noir,” is interesting because of its unique take on the genre. Yes, it’s a zombie tale full of scares, violence, religious zealots, and government busybodies. But a lot of the series also focuses on a brutal murder and the detective who is trying to solve the crime. Officer Dana Cypress has her hands full dealing with the media, the government, and a full-scale zombie invasion while also investigating a case where anyone, dead or alive, could be a suspect.

Revival is a staff favorite for best sci fi horror comics.

Revival (Image Comics) is written by Tim Seeley, illustrated by Mike Norton, and colored by Mark Englert.

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/

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