2013 Preview: And Then Emily Was Gone

I’ve had quite a bit of fun this week, laying out my various upcoming comics projects and sharing a selection of awesome artwork I’ve received from my talented collaborators.  For today’s final entry in my little 2013 Preview series, I’ve got something special for you.  Regular readers of this blog will know that I’m a huge fan of artist Iain Laurie.  A hero of the Scottish comics scene, Iain Laurie has blown me away with his unique, visionary artwork on the likes of Roachwell, Mothwicke and Horror Mountain (the latter ranking at number four on my list of the top 10 comics of 2012, up there alongside the best of DC, Marvel and Image), and I’d rank him as one of my favourite artists: not a patronising “one of my favourite indie artists”, but one of my favourite artists in comics, full stop.  Well, in 2013, I shall be ticking one of the items off my comics bucket list and doing a comic with Iain Laurie!

Initially, the two of us were scheduled to collaborate on a different project, something large-scale that still must be kept top secret.  That project is still in the mix with a major publisher, but is in something of a holding pattern at the moment, and could be for some time.  So, rather than just waiting for that to materialise and for us to finally get the greenlight on that, Iain and I decided to come up with something else to work on together in the downtime.  Iain fired three great story ideas my way, one of which was called And Then Emily Was Gone and revolved around the mystery of a missing girl on a remote Highland community.  I loved all three ideas, and due to my vaulting ambition which o’erleaps itself, I decided to combine elements of them all into a single intricate narrative, taking the title from the aforementioned story outline.  From this, And Then Emily Was Gone was born.

AndThenEmilyWasGonePromoGreg Hellinger was once a brilliant detective, specialising in finding missing people who had seemingly vanished from the face of the earth.  But five years ago, he started seeing monsters.  Plagued constantly by nightmarish visions he is unable to comprehend, Hellinger left the police and has retreated into a life of squallor and seclusion, slowly being driven mad by the demons that haunt him.  But one night, a teenage girl shows up at his door, asking for help.  The girl is called Fiona, and she has fled from her home on the Scottish island of Merksay, in Orkney.  Her friend Emily has gone missing, but what happened to her?  Is she a runaway, as the authorities believe?  Has she fallen victim to an ancient supernatural evil, as Fiona fears?  Or is it a monster of the human variety that lies at the heart of this mystery?

Mystery.  That’s the key word that is at the core of And Then Emily Was Gone.  I’m a huge fan of Twin Peaks: there’s a strong case to be made for it being the greatest TV show of all time, and I think it’s fascinating to look at the phenomenom created around that shows central mystery of “Who killed Laura Palmer?”  I think the serialised nature of the comic medium makes it a perfect place to present such an ongoing mystery, and I would love to emulate that with And Then Emily Was Gone.  I talked yesterday about how Bad Sun could be my most narratively ambitious project yet in terms of its scale, but And Then Emily Was Gone could in fact be just as ambitious in its scope.  While I do have a 6-issue arc in mind to introduce us to this dark, eerie world, this is a mystery that could easily unfold over 10, 20, maybe even more issues, depending on just how deeply I want to explore its various dark, murky corners.

Not that the homage to Twin Peaks ends with the mystery element.  I remember seeing not just Twin Peaks, but other works of movie maestro David Lynch – the likes of Mulholland Drive, Blue Velvet and Lost Highway – in relatively quick succession, and they just blew my mind and changed the way I thought about storytelling.  And while my approach to narrative has been mostly straightforward since branching out into comic, I’ve been very curious to experiment with something more off-kilter.  One of my favourite quotes regarding Lynch’s work was how it could exist “in the twilight realm between the crime and horror genres,” and that’s where I see And Then Emily Was Gone existing.  More recent British output such as Kill List and Utopia has also been chucked into the melting pot of influence, hopefully resulting in a comic that’s going to feel deeply strange and unsettling, with even innocuous interactions laced with an impalpable menace and a cloud of dread hanging over the narrative.  Or it’ll just be crap.  Either way, at least it’s going to look stunning!

Iain has been bombarding me with fantastic character sketches and designs, but I simply can’t wait to start seeing his sequentials.  The first issue script is written, and it’s going to me amazing seeing Mr. Laurie bring it to life.  As is the case with Bad Sun, the plan is to compile a submission package and shop And Then Emily Was Gone out to publishers.  But, as is also the case with Bad Sun, there is also a plan in place to get the first issue of this series ready to launch at Glasgow Comic Con in July.

Which brings me to an announcement.  I am now confirmed for Glasgow Comic Con on 13th-14th July, at the CCA in Sauchiehall Street, Glasgow.  I’ll be in attendance, sharing a table with both Chris Connelly and Iain Laurie.  This is very exciting news for me, as – and I was shocked to discover this – Glasgow Comic Con 2013 will mark Iain Laurie’s first ever official appearance at a comic convention!  So, rush in your droves to our table, get sketches, get copies of his other fantastic comics, and pick up And Then Emily Was Gone!

UPDATE: I’m now able to share with you guys a sneak peek at a couple of mind-blowing interior pages for the first issue, as drawn by Iain Laurie.  Take a glimpse inside the nightmarish world of Greg Hellinger…

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My Top Ten Comics of 2012

We’re back a bit earlier this year, so apologies to any groundbreaking comic that comes out of nowhere in the last two weeks of December and blows me away.  This marks the third time I’ve run this feature on my blog, which I guess makes it a tradition of sorts.  There’s been an interesting shift in the tides as far as my comic reading goes.  Last year I spoke of DC’s dominance in my reading list, but one year on and the new car smell has faded from much of DC’s New 52.  The very best of the bunch are still going strong, but my DC reading list has thinned considerably in 2012, with yet more titles still hovering on the precipice of being dropped.  Marvel, meanwhile, has enjoyed a slight resurgence, with me sampling and enjoying a few of the Marvel NOW! launches and jump-on points.  But the big story of this year for me has been Image, who have been on a real roll, launching intriguing new titles left and right throughout the year and enjoying perhaps their best year ever.  Taking everything into account, the field of contention for the year’s best comics is so strong that, as of the writing of this intro, there are several comics still in the running to claim the #10 spot.  One honourable mention that was incredibly close to inclusion on the list was Thor: God of Thunder, by Jason Aaron and Esad Ribic, one of the best debuts of the year.  The only thing holding it back from a top 10 inclusion was that, with only two issues released, I thought I needed to see more of the series before I could fairly judge its merits in the context of a whole year.  Maybe in the 2013 list! Will the New 52 debuts that leapt into the top 10 last year retain their placement on the list?  Will the mighty Scalped emerge as the winner for the third year in a row?  Read on and find out!

10.  FATALE

Fatale3aThe first Image comic to make the list, but not the last.  Fatale was the first in a wave of high-profile new series launches for the publisher, with the powerhouse pairing of Ed Brubaker and Sean Phillips launching a new creator-owned slice of pulpy noir to accompany an impressive portfolio that already includes Criminal, Sleeper and Incognito.  After arguably the high-point of both their careers thus far with last year’s Criminal: Last of the Innocent, I was highly eager to see what the pair had in store next.  What sets Fatale apart from its stablemates is that the noir aesthetic is filtered through the lens of the horror genre.  Drawing in equal parts from Lovecraftian pulp and Satanic horror cinema of the 1960s and 1970s (The Exorcist, Rosemary’s Baby, a good dose of Hammer Horror) the result has been a narrative that substitutes overt shocks for a gradual, creeping dread that steadily built over the course of the first arc.  The second arc, while not quite as focused, still retained some degree of this finely cultivated atmosphere.  The story revolves around Josephine, an apparently-immortal woman who is gifted/cursed with the ability to make any man fall madly in love with her if they so much as look at her.  The narrative has strands spreading along both the present and various eras of the past, becoming increasingly intricate as it goes along.  It’s a limited series, but Brubaker says it keeps on getting bigger as he realises there’s more and more story to tell.  The comics themselves are fine packages, published on nice quality paper, and complete with various fascinating essays about pulp and horror fiction by Jess Nevins.  Not as immediately gripping as some of the comics higher on the list, but a quietly commanding comic that certainly merits recognition.

9.  CHEW

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After dropping out of the list last year, Chew makes a return to the top ten.  There was never really any substantial drop in quality; this offbeat series about a near-future world populated by various strange and delightful characters with food-based powers has always remained a consistently fun read, but perhaps that made it easy to take for granted as shiny new titles vied for my attentions.  But with the excellent Special Agent Poyo one-shot spinoff and the recent “Space Cakes” story arc, Chew has really upped its game and re-established itself as one of the most inventive comics on the market.  Everybody loves Rob Guillory’s gleefully demented artwork, such an integral component of the book’s identity that the very thought of a fill-in artist is horrifying.  But perhaps not enough credit is given to the deceptively intricate writing of John Layman.  With the way each issue works so well as a standalone caper, it would be easy to assume Chew is lightweight comedic fare.  But while there’s no doubt the book is funny – I laugh out loud at least once every issue – when you actually look at the ambitious narrative that has been crafted over the course of the series, it’s a surprisingly dense mythology.  We’ve now reached the halfway point of the series, and with the heartbreaking shock of issue #30, we could be heading for a change in dynamic for the second half.  But whatever lies in store, I’m certainly onboard for the long haul.

8.  WOLVERINE AND THE X-MEN

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I’ll confess, I’m shamefully late to the Wolverine and the X-Men bandwagon.  I almost picked it up at the beginning.  But that was when my interest in Marvel was at its lowest ebb, and when DC’s New 52 was making big demands on my pull list, and one of my favourite writers, Jason Aaron, was launching two new Marvel titles – Wolverine and the X-Men and The Incredible Hulk – in the same week.  I didn’t want to add more than one new Marvel comic to my monthly reading list.  So I chose The Incredible Hulk.  Now, I quite enjoyed Aaron’s run with the Green Goliath, it had some engaging ideas behind it.  But based on the tidal wave of positive feedback I’d been hearing for Wolverine and the X-Men, I began to suspect I may have made the wrong choice.  My decision to sample issue #19, billed as the Marvel NOW! “jumping-on point” for new readers, confirmed it.  Fun and accessible – two words I haven’t typically associated with X-Men comics – the strength of the issue encouraged me to pick up the previous few issues at my LCS, which included Wolverine and the X-Men #17, the Doop issue drawn by Mike Allred, perhaps one of my favourite single comics of the year.  That sealed the deal.  I went back to the start, and have been gorging myself on collected editions and back issues to get caught up.  What I love about this series is that every character earns their place.  No one is here because they were popular during Claremont’s run or whatever.  This is an ensemble piece, and every character – be they student or teacher – has something to contribute.  Which brings me to perhaps my favourite aspect of the series: the return to the school dynamic, previously crucial to the appeal of the X-Men franchise, but all too often overlooked amidst the more general superheroics.  I might have been late to the party, but better late than never!

7.  SWEET TOOTH

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Much like Chew, Sweet Tooth is a series that has been consistently great each month since its beginning, but which slipped from my top ten last year, only to return to the rankings in 2012.  In the case of Sweet Tooth, the fresh burst of momentum has come from the title’s impending conclusion.  Over the course of this year, all the plot threads have been getting drawn together and paid off, with – as of the writing of this list – only one issue remaining before the whole series is wrapped up.  Jeff Lemire has been doing very well with his work in the DCU, but this post-apocalyptic drama about a young animal/human hybrid boy, a battle-hardened old man, and their travels through a wasteland ravaged by a global pandemic – both written and drawn by the Canadian cartoonist – remains his best ongoing series.  And it’s a title that I feel has long been unfairly overlooked.  It is so well-crafted, filled with heart and characters you care about, and Lemire does some really interesting, ambitious things with his art, his layouts, and at times even the very structure of the comic itself.  I’ve talked a lot about what a void in my comics-reading life the end of Scalped will be, but I might be almost as sad to see Sweet Tooth go.  On the plus side, I’ll be first in line to check out Trillium, Jeff Lemire’s follow-up Vertigo project in 2013.

6.  THE MANHATTAN PROJECTS

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And to think, I almost didn’t buy this comic.  I’m afraid I must confess that, before The Manhattan Projects began, I wasn’t the biggest Jonathan Hickman fan.  I’d tried a few of his Marvel titles, but they’d ultimately left me cold.  But the buzz around the first issue, along with the enticingly high-concept proposal for the series – an Expendables-like team of famed scientists from history teaming up to engage in bonkers super-science – was enough to whet my appetite and make me give it a try.  I’m glad I did.  Each issue has at least one moment where I have to stop and say to myself, “That’s utterly demented!”  And, unlike lesser comics that I feel have been cynically engineered around an “Oh shock, WHAT A TWIST!” beat as a cliffhanger each issue, The Manhattan Projects manages to introduce a genuine shock revelation with each chapter in a manner that feels organic, because it tends to come from the characters and inform their portrayal.  This series has really made me a fan of Jonathan Hickman and his approach to storytelling, and since enjoying this I’ve picked up the first couple of issues of Secret, dipped my toes into his epic Fantastic Four run, and devoured The Nightly News, a wonderful comic that’s probably my favourite thing he’s done.  I’ve also become a fan of the offbeat artistic stylings of Nick Pitarra, whose visualisation of this crazy world have very quickly become definitive.  A gem of a book, that keeps going from strength to strength and getting better with each issue.

5.  SCALPED

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What’s this!?  Scalped at last toppled from the number one spot!?  I assure you, its lower placing on the list year is down to the insane quality of the comics above it, rather than any decline in the series itself, which came to an end this year.  The year in Scalped began with the dramatic conclusion to the “Knuckle Up” story, before segueing into “Trail’s End”, the final storyline that brought the saga’s major storylines to a head while still managing to leave a few tantalising loose ends dangling at the end.  This final victory lap made for some highly rewarding reading for loyal Scalped readers, as some of the catastrophic events we’ve been waiting to inevitably happen for years finally took place.  But even as the end drew near, Scalped never felt like it had checked out early.  “Trail’s End” immediately threw us off-kilter by picking up after a leap forward in time, with the status quo of several characters suddenly shifted and us left playing catch-up.  And from there, Jason Aaron steadily turned the screw and built up a sense of dread and uncertainty where, even right up to the last issue, we weren’t sure how it was all going to end, who would live and who would die.  There ended up being quite a few surprises with the way all that worked out.  And one of the biggest joys of Scalped this year is that, if I can recall, all the issues released in 2012 were drawn by the mighty R.M. Guera, who added so much to the rough, rugged aesthetic of the book.  It will be greatly missed, and my 2013 Top Ten Comics list will feel emptier for its absence, but Scalped has, for my money at least, cemented its status as one of the greatest comic books of all time.

4.  IAIN LAURIE’S HORROR MOUNTAIN

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There is perhaps no comic I’ve enjoyed continually rereading more this year than Iain Laurie’s Horror Mountain.  Given its lack of distribution it may be unlikely to appear on many other top ten comics lists this year, and that’s a great shame, as this is one of the most original, darkly inventive comics of 2012.  Horror Mountain is a standalone collection of shorts introducing various warped and depraved characters from the shadowy recesses of cartoonist Iain Laurie’s mind, with such unforgettable monstrosities as Captain Tits and Nazelbahhn.  The resulting end product plays a bit like a sketch comedy show broadcast in Hell.  By turns surreal, horrifying and strangely hilarious, Iain Laurie’s Horror Mountain is perhaps the purest, rawest expression of a singular creative voice in comics you’ll read all year.  Iain Laurie is one of the most exciting creators in comics right now, and I can’t think of anyone more deserving of having a breakout year in 2013.  I imagine his work best presented in the oversized hardcover format of X’Ed Out and The Hive, the recent output from Charles Burns.  The only thing preventing Iain Laurie’s Horror Mountain from getting higher on this list is that there isn’t more of it.  If you’re at all the kind of person who reads through these year-end “best of” lists to figure out what comics to buy next, then this should go to the top of your list.  BUY IT NOW. (Also available digitally for just $1!)

3.  BATMAN

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Last year I predicted that Scott Snyder and Greg Capullo’s fantastic work on Batman would earn the comic a high placement on this year’s list, despite the book not placing in the 2011 top ten: I opted to go for Scott Snyder’s Detective Comics instead, since the Batman run had at that point just begun.  Sure enough, here it is.  In the intervening 12 months, Batman has emerged as unquestionably the crown jewel of the New 52, not just in terms of sales, but in terms of quality.  The Bat-titles are strong in general right now – I currently read and enjoy Batman & Robin, Detective Comics and Batman Inc – but Batman reigns supreme.  The year got off to a blistering start for the title, with Batman #5 soaring out of the gates as an early contender for the best single comic book of 2012, not to mention one of the best single issues of an ongoing Batman comic I’ve ever read.  Featuring Batman trapped in a labyrinth by the Court of Owls and gradually losing his mind, with trippy, boundary-pushing artwork by Greg Capullo, this saw Batman pushed to the brink of defeat and despair in a way that shocked many readers.  This was the high watermark for the “Court of Owls” saga, and though it might have faltered slightly in the last chapter or two, for the most part “The Court of Owls” was a textbook example of how to tell a gripping, high-stakes Batman epic.  And now it looks like the all-star creative team is set to top it with “Death of the Family”, the currently-unfolding storyline featuring the hotly-anticipated return of The Joker.  Scott Snyder has done a stellar job of injecting a sense of genuine danger and peril into the “illusion of change” world of superhero comics, crafting nightmare scenarios where even jaded comics readers are left on the edge of their seats wondering how the hell Batman can possibly prevail.  And Greg Capullo is giving us perhaps the finest work of his celebrated career.  If Batman can maintain this dizzyingly high standard, I fully expect it to rank highly on next year’s list as well.

2.  SAGA

Saga4aIt has become very fashionable for everyone to gush about how amazing Saga is, and under that sea of hyperbole it might be easy to overlook how good this series actually is.  I’ve read the first issue several times now.  I read it two times in a row on the week I first bought it, before reading any of my other comics from that week, and I remember doing this because I was more excited about rereading this mind-blowing book than reading of my other purchases, none of which could hope to live up to Saga #1.  Since then I’ve periodically returned to that first issue, and recently downloaded it free on Comixology so I can reread it even more on my iPad.  Though I should clarify that the other 6 issues to follow have been great too, establishing a unique, vibrant sci-fi/fantasy world that feels like the basis of a fresh and exciting mythology I’m incredibly excited to explore and learn more about in the years to come.  The best of the crop of new Image comics to launch this year, Saga marks the return of Brian K. Vaughan to comics.  Given how much I adore Y: The Last Man and Ex Machina, that alone was enough to guarantee my interest.  But Vaughan doesn’t rest on his laurels, and isn’t content with just coming back to do what he did before.  No, he’s pushing himself with what could be his most ambitious narrative yet, a huge, sweeping space opera that incorporates various planets, species and cultures, a tale of star-crossed lovers on the run with their baby, and a long-running intergalactic war with unsettling real-world parallels.  But at its core Saga is a book about characters, and it’s amazing how quickly readers have come to care about Marko, Alana, Izabel, Prince Robot IV, The Will, Lying Cat and the rest.  And the art, oh God, how can I not mention the art!?  Fiona Staples has very quickly emerged as one of my favourite artists in comics, and of the breakout comic stars of 2012.  As artist and colorist (and occasional letterer when it comes to Hazel’s narration), Staples is crucial in giving the book its visual identity, crafting an aesthetic that often abandons hackneyed genre tropes where you’d expect to find them and instead crafts something new and often a bit crazy in its place, making Saga feel like no sci-fi or fantasy story you’ve ever encountered before, in any medium.  So integral is Fiona Staples to the book that, when the announcement came that the book was taking a hiatus of a couple of months in between arcs to let her get caught up on her art, the usual grumbling was pretty much absent, with a “Yeah, that’s fair enough, because a fill-in artist would be unthinkable” response proving to be the norm.  This is the comic I look forward to each month above all others.  When Scalped finished this year, I did not expect any comic to fill that “monthly comics crack” void.  I certainly didn’t expect it to happen so soon.  But Saga could very well be the spiritual successor to Scalped, and I can’t think of a better compliment to give a comic than that.

1.  THE UNDERWATER WELDER

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After all that fawning over Saga, it might be hard to believe it only made it to #2 on my year-end list.  Believe me, pretty much right from its stellar first issue, I thought it had the “Best Comic of 2012” spot in the bag, and it would take a very special comic indeed to top it.  It’s a good thing, then, that The Underwater Welder is a very special comic indeed.  Essex County is Jeff Lemire’s masterpiece, and stands as one of the finest comics of the past decade, not to mention one of my all-time favourites.  So, as much as I’ve enjoyed Lemire’s work in the DCU, I had been eagerly anticipating The Underwater Welder – his next graphic novel for Top Shelf– since I first heard about it last year.  And while it doesn’t quite surpass the mighty Essex County, it could very well be Lemire’s most accomplished work since that breakthrough book.  It is very much a thematic cousin to Essex County, given its exploration of fathers and sons and life in a small community, but this tale – of an underwater welder still haunted by memories of a father he lost in childhood as his wife is expecting with a child of his own – takes an unexpected, Twilight Zone style twist into supernatural territory that sets it apart.  While many may know Lemire primarily as a writer, The Underwater Welder shows his outstanding ability as a cartoonist, with a nigh-unparalleled gift for wringing a surprising amount of emotional heft out of seemingly simple images.  Lemire’s artwork feels a lot more precise and polished than it did with Essex County, but still retains that rough, sketchy quality that some might find initially off-putting.  I, however, love it, with Lemire simplifying much of the extraneous detail and honing in on the emotional truth of a moment.  And it’s surprising how immersive the worlds he draws can become, as we build up an emotional investment in the characters and gain a strong sense of place from their surroundings: this book left me seriously wanting to visit Nova Scotia.  Lemire also does some impressive visual experimentation, composing some of the year’s most breathtaking page layouts for this story.  But more than anything else, what I adore about The Underwater Welder is its heart.  Lemire has a gift for telling stories that can feel nakedly emotional without ever coming across as sappy or maudlin, and he does it again with this moving, unconventionally heartwarming tale.  I wish Lemire all the best in his work on ongoing comics.  But I hope that no matter what heights his career as a mainstream comic writer takes him to, he will always find the time to come back to writing and drawing graphic novels like The Underwater Welder, because when he does projects like this, Jeff Lemire is better than just about anyone in the comics medium today.

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REVIEW: Iain Laurie’s Horror Mountain

Surely one of the great injustices of the comics industry today is that Iain Laurie isn’t given the recognition he deserves.  A veteran of the Scottish independent comics scene, Laurie has spent many years plying his craft and developing an eerie, unique art style that seems to channel the essence of Cronenberg and Lynch onto the comic page.  Those in the know are already avid fans – the testimonials on the back cover of this most recent work include gushing praise from the likes of Frank Quitely and Jeff Lemire – but Laurie’s work has yet to catch onto a wider readership.  Some might speculate that it’s because the work is too dark, too twisted, too unusual, but I disagree – I’m of the belief that quality rises to the top, regardless of style, and that there is absolutely a big audience in the comics world for Laurie’s brand of art.  No, I think it’s just a matter of exposure, and Laurie being given a platform big enough to expose more readers to the amazing work he’s been doing for ages.  All I can say is that, since I discovered his work a year ago through Roachwell – the gloriously mental comic written by Craig Collins – Iain Laurie has become one of my favourite artists.  And I don’t mean that in a condescending, “One of my favourite up-and-coming indy artists” way, either.  I mean one of my favourites, full stop.

As a result, anything he works on is pretty much a guaranteed read from me from now on, and so I was very excited to get my hands on a copy of Iain Laurie’s Horror Mountain at Glasgow Comic Con.  Here, the Edinburgh-based creator transitions from artist to full-blown cartoonist, taking on scripting duties as well. and the result is perhaps his most Laurian (Laurie-ish?  Laurish?) project yet.  A collection of gruesome short stories, filled to the brim with fascinatingly ugly people, cancerous growths and hideously deformed creatures with multiple eyes, the apparent use of  stream-of-consciousness plotting creates the sense of being given an express ticket into Laurie’s warped subconscious.

As you’d expect from a book called Horror Mountain, some of these twisted tales are rather unnerving, poking at deeply-routed psychological gag reflexes and making us recoil at the seething body horror and soul-crushing bleakness.  But what you might not be prepared for is how hilarious some of it is.  With titles such as “Fuck Off, Space Monkey” and “A Dinner With Captain Tits” brandished on some of the shorts, it’s clear that Laurie isn’t taking himself entirely seriously, and a strong vein of savage dark humour can certainly be picked up on running through the book.  The comedic highlight for me was “Jamestown”, about a small community of tortured souls that can only communicate with one another through the slogans used in junk mail and annoying banner ads.  “Teen XXX need spanking,” sobs one devastated old man into his drunk.  A sympathetic friend places a hand on his shoulder and says, “You have received an invite to fuck hard.”

While with Horror Mountain, Iain Laurie proves to be a talented writer who does not lose direction without the macabre vision of a Craig Collins or a Fraser Campbell guiding him, the highlight remains his beautiful art, if “beautiful” is a word that can be used to describe such horrific tableaus.  I’m not the most knowledgable person in the world when it comes to critiquing art.  I’m a writer, and so I can go into some detail with relative ease when discussing the writing of a comic in my reviews, but when it comes to the art I too often resort to saying what famous artist the artist in question is reminiscent of.  That’s very hard to do with Iain Laurie, as he has developed a style unlike anything else on the shelves.  He’s almost become a genre unto himself, and it created a bit of a chicken-and-egg conundrum for me where I wondered if his deranged art was dictated by the maniacal scripts he was illustrating, or if said scripts were shaped with Laurie’s distinct style in mind: a question further complicated by this example of what happens when Laurie is left to his own devices.  Still, I find myself very curious indeed to see what Laurie would come with were his stylings applied to something more mainstream, what kind of fascinating middle ground would emerge?  That’s right, I want to see Iain Laurie draw Batman.

The very limited print run of Iain Laurie’s Horror Mountain has surely sold out by now, but you can still order the book online for $3.  That’s right, you can have your third eye opened for a measly 3 quid!  I can’t recommend this book, or indeed all of Iain’s work, highly enough.  Check it out now… if you dare!

Iain Laurie’s Horror Mountain is now on sale via Graphic Eye.