EC Comics: Death’s Double Cross – Twins of Paranoia

Death’s Double Cross was the second tale published in Crime SuspenStories #1.  Although this isn’t Wally Wood’s finest work, he and Al Feldstein achieved a tantalizing story filled with paranoia and murder.  Told from Ruth’s point of view, we learn she’s no longer happy with her marriage.  Even though her husband John provides financial security, she’d rather be with the love of her life – John’s adventurous identical twin brother Ronnie.  Since Ronnie and Ruth have mutual feelings for each other, they agree to kill John so they can finally be together and attain his wealth.

Weeks after John’s “mysterious” drowning, Ronnie marries Ruth and their relationship is filled with hot dates and joyful bliss.   But as time goes by, Ronnie drifts away from being his fun-loving self.  However, it’s not the lack of affection that keeps Ruth awake each night - Instead, it’s the occasional and “accidental” bank vault falling from the sky! Has Ronnie grown to be just as boring as John?  Or did the wrong twin drown?


So it’s fairly obvious this story can be paired with a movie showcasing twins.  However, let’s up the ante and not feature just twins, but Siamese twins!  In Brian DePalma’s SISTERS (1972), Grace (Jennifer Salt) is a smalltime reporter who witnesses a murder from the apartment across the street.  Grace sends authorities to the crimescene, but the door isn’t welcomed by a crazy woman – Instead they’re greeted by the delightful actress Danielle (Margo Kidder).  The police search the apartment but find no evidence of a dead body.  Since Grace's reporter instincts cannot drop the case, she ultimately discovers Danielle’s dirty little secret:  Danielle was surgically detached from her Siamese twin sister Dominique.  Even though Dominique died at the operating table, is she somehow still causing trouble for the lovely Danielle?

DePalma really cuts his teeth with SISTERS.  He films an extended split screen sequence that could be one of  his greatest:  In one panel we see Grace leading authorities to the crime scene.  In the other, we see Danielle trying to hide any evidence of a dead body.  This simultaneous action brings so much suspense, we’re not sure if we should be rooting for Grace or Danielle.  

Along with the visual tension, DePalma brings a sense of paranoia.  Since Danielle is no longer affixed to Dominique, her equilibrium has been lost.  Danielle compensates for this deficiency in a Jekyll and Hyde manner.  Especially in times of intimacy, the innocent Danielle is easily switched into the jealous and murderous Dominique.  Even though Danielle constantly fears transformation, these violent outbursts are necessary in order to maintain inner balance.  In the EC Comics tale, paranoia is still prevalent, but it manifests from a different perspective.  It’s not the twins who live with distrust, but Ruth, the Femme Fatale who helped scheme the murder of John.  However, it’s not her conscience that keeps Ruth living in dread.  Instead she’s terrified of being murdered herself since she’s uncertain if the wrong twin emerged from the bottom of the lake.

Tarantino Comics - Issue 51

There’s no doubt about it - DEATH PROOF is an exploitation film.  So how would you classify it?  Is it a Horror film?  An Action flick?  Or an All-American Carsploitation?  Thankfully Brian Kong captures all these genres in TARANTINO COMICS #51.

I personally like to breakdown DEATH PROOF into two different parts.  The first half is a horror flick.  Stuntman Mike (played by Kurt Russel) is the charming serial killer who stalks and kills beautiful groups of women.  Unlike most murderous bad guys, he doesn’t wreak havoc using a pickaxe or a glistening ligature.  Instead, Stuntman Mike gets his jollies by colliding his death proof car into unsuspecting victims at breakneck speeds.


After Stuntman Mike recovers from his first set of on-screen murders, DEATH PROOF transforms into a high-octane adrenaline rush.  Brian Kong captures this changeover by drawing the fiendish Stuntman Mike in the background of this cover.  Even though his monochrome presence is found lurking over his new prey (who I like to call the Zoe Bell posse), Mike is in for a big surprise when the film shifts into a roadsploitation action movie.  Brian hints at this transformation by illustrating the spunky Abernathy Ross (Rosario Dawson) in the foreground.  Flourished with a pop of pink, Abby’s presence ensures this issue of TARANTINO COMICS isn’t grim – Instead it’s a wild and dangerous ride fueled with fun in the process.

EC Comics: Murder May Boomerang – Parental Revenge

Comic books are not merely tales of super-heroics.  In fact, several publishers feature comics without mentioning an inkling of a masked vigilante.  This may seem like a new phenomenon, but stories like these go back to the 1950’s when EC Comics was producing books.  Although their inventiveness led to their demise, EC Comics shouldn’t be remembered as the publisher brought to their knees by children psychiatry.  Instead, I hope EC Comics can be remembered as the original masters of genre: Crime, Suspense, Fantasy, War, and Terror.   

Good luck finding EC Comics in the back issue bins – You’d be fortunate enough to find a pricey issue hung high on the wall of a reputable comic shop.  Luckily for our sakes, these stories are available through archives from Dark Horse, Gemstone, and Fantagraphics.  As I’ve been reading through these beautiful reproductions, I’ve struggled finding ways to reflect on their body of work.  Thankfully the Pure Cinema Podcast inspired me with their Double Feature format: Thematically pair (1) EC Comics tale with (1) Cinematic Picture.

To kick things off, we’re starting with the first tale published in Crime SuspenStories #1.  Scripted by Al Feldstein and masterfully illustrated by Johnny Craig, MURDER MAY BOOMERANG is a revenge story as cold as any.  This tale is about a son convincing his elderly father to retire after a life filled with nothing but hard work. Hoping to kick-start his dad’s stress relief, the two men go on a hunting trip in the woods. After a supply run, the son returns to the cabin finding his father beaten by an escaped convict. Hoping to capture the escapee, the two men scour the roads for the criminal last seen in hunting regalia.  Spotting the suspected man, the father comes out of his delirious trance and shouts “He’s the one!  He’s the one!”  Blind with rage, the son hits the man with his car leaving him for dead in his tracks.  Ending this tale with the classic EC twist, the father once again shouts “He’s the one!  He’s the one!”  as they drive pass another man in hunting attire in a nearby town.  

Revenge exploitation is a common staple for the cinema – However the act of vengeance is usually inspired by wrongs committed to a spouse or child.  Just like this EC tale, BLUE RUIN differs by featuring a man who retaliates for his parents.  A homeless man named Dwight (played by Macon Blair) learns his parent’s killer is being released from jail.  Leaving his sedentary life, he brutally murders the convict with a knife.  Unfortunately, some evidence is left behind leading the killer’s family back to Dwight.  To keep his own sister and nieces safe, Dwight must take down the entire criminal family before they claim their own revenge.

The acts of vengeance performed in MURDER MAY BOOMERANG and BLUE RUIN are quick but filled with mistakes.  The revenge sequences are performed in silence - One man is quickly run down by two tons of steel while the other is quietly hushed with a shiv to the head.  In the EC tale, an innocent man is pointed out by his shell-shocked father.  In BLUE RUIN, the convict didn’t murder Dwight’s parents – instead the convict was only covering for his father who actually performed the homicide.  

Regardless of why revenge takes place, it never ends well for any party involved.

Tarantino Comics - Issue 50

Comic books love to celebrate milestones.  Whether it’s the 1st issue or the 1000th, artists strive to render a cover that will be recognized for the ages.  For instance, the 50th issue of The AMAZING SPIDER-MAN is easily identified by any comic book fan.  With a simple layout, fans effortlessly visualize the words “Spider-Man No More!”  underneath the defeated Peter Parker walking away from his costumed life.

In the case of TARANTINO COMICS, our 50th cover is just as iconic.  Drawn by Amanda Rachels in 2014, this cover image highlights everything important in DEATH PROOF:  Powerful Women and Fast Cars.

In most slasher films, the targets tend to be dimwitted hussies and douchey jocks.  In DEATH PROOF, Tarantino mixes things up by making the victims strong women we can root for.  Yes, these “cool” girls get murdered by Stuntman Mike.  However, we spent time listening to their conversations, sharing shots of Chartreuse, and dancing to tunes by the juke box.  Therefore we feel an attachment with these characters and become impacted by their demise halfway through the film.

TARANTINO COMICS #50 celebrates the last “hang out scene” with Arlene, Shanna, Lanna Frank, and Jungle Julia.  As I look at this image, I reminisce how this female crew rocks out to the percussive beats of “Hold Tight!”   Just like the film, Amanda portraits each foreboding casualty within their own frame.  But as the bright headlights shine across their faces, this posse meets their death just as the murderous 1970 Chevy Nova darts out from the center of the page. 

Amanda’s layouts are masterful and her likenesses are superb.  I’ve always enjoyed her art.  Plus, she’s a huge Tarantino fan and always includes subtle details – For instance, did you see Jungle Julia’s leg hanging outside the passenger window?  Going back and gazing upon other covers drawn by Amanda, I think this might be my favorite.  She continues to make leaps and bounds and I can’t wait for her to illustrate another issue!

Tarantino Comics - Issue 49

ONCE UPON A TIME IN HOLLYWOOD has reinvigorated my love for the cinema.  So far, I’ve seen it (3) times (once even on 35 mm film).  Each viewing not only reminds me of Tarantino’s love for the movies, but his passion for the film-making process.  It’s a picture that makes me want to create something of my own.   Although I’ll never shoot a movie, at least I can ponder on the flicks I love and discover new ones to dissect.  Hence I feel refreshed and want to start writing again.  

Since I’m an Optical Engineer by day, I have a greater appreciation for cinematography:  Why was this scene backlit this way?  What lens was used for this shot?  How come the camera was framed from this perspective?  As I ask these questions, I realize comic artists must ask the same things.  Between panel layouts, point of views, and depth of focus, these are all tools that coexist in the (2) mediums that I love – Welcome to Tarantino Comics.  

Today’s issue was produced all the way back in 2014 at Megacon in Orlando, FL.  Depicting a memorable scene from DJANGO UNCHAINED, Rando Dixon replicated this terrifying shot in Tarantino Comics #49:

This scene was all about deception.  At first, Calvin Candie was deceived into allowing Django and Schultz to eat at the Big Table.  But after discovering their true intentions (to rescue Django’s lovely bride), Candie reveals he cannot be fooled.  Armed with a hammer, a broken skull, and a helpless Broomhilda, Calvin Candie truly controls the situation.

Dixon exemplifies the tension of the scene with Candie’s chilling expression – Not only is DiCaprio's likeness spot-on, but we know arrogant triumph is hidden behind that charming grin.  

Besides his great illustration, Dixon’s monotoned color palate wonderfully captures the era of this set piece.  Film makers often depict historic times with earthy and muted color tones: yellow, orange, and brown.  Dixon does the same except for the pop of red flowing across Candie’s hand.  As we all know, blood is a common embellishment in Tarantino films and this scene is no exception.  However while filming, Leo actually cut his hand from the shattered skull.  So whether the blood was intentional or not, the viscous liquid makes a great visual for a climatic scene built with tension and fear.

Batman Day 2017 - A Black and White Aesthetic

Since today is Batman Day, I decided to pick up some back issues at my local comic shop (Thanks Coliseum of Comics).  So while we're in the spirit of the Caped Crusader's 78th anniversary, I thought to share another collection I tend to obsess over:  Batman Black and White Statues
 

Inspired by the anthology mini series produced in the 90's, these statues capture the artistic vision of comic book masters.  While most are different depictions of Batman, a few sculptures show diverse stylizations of his Family and Rogues Gallery.  Starting in 2005, I can remember buying my first-ever eBay item - A Batman Black & White statue inspired by Brian Bolland.  Since then, my completist mentality has purchased almost every statue produced over the last 12 years. 

Besides Kim Jung Gi (which I hope to find soon), here are some pictures of all the released statues (I believe there's 79 in total).  With no foreseeable end in sight, DC keeps announcing more and more fascinating designs including John Romita Jr. and Becky Cloonan.  So as long as DC Collectibles continues to "cast" and "forge" these iconic statues, I'll continue to collect!

Frank Miller, Jim Lee, Darwyn Cooke, Jock, David Mazzucchelli, Brian Bolland, Neal Adams

Tim Sale, Simon Bisley, Greg Capullo, Alex Ross, Frank Quitely, Jae Lee, Dick Sprang, Jim Aparo

Francis Manapul, Ethan Van Sciver, Sam Keith, Gotham Knight Series, Arkham Series

Joe Kubert, Bob Kane, Jim Lee, Dustin Nguyen

Carlos D'Anda, Neal Adams, Kelley Jones, Steve Rude, Brian Bolland

Kelley Jones, Lee Bermejo, Michael Allred, Mike Mignola, Ivan Reis, Gary Frank, Dustin Nguyen

Sean Murphy, Matt Wagner, George Perez, Bruce Timm, Cliff Chiang, Eduardo Risso, Tony Millionaire

Tony Daniel, Paul Pope, Nicola Scott, Sean Galloway, Andy Kubert, Carlos D'Anda

Ed McGuinness, Sergio Aragones, Patrick Gleason, Bryan Hitch, Michael Turner

 

Frank Miller, Jim Lee, Greg Capullo, Lee Bermejo, Brian Bolland, Dick Sprang, Paul Dini, Bruce Timm

Rafael Grampa, Jime Lee, David Finch, Rafael Albuquerque

 

Norm Breyfogle, Carmine Infantino, Cameron Stewart, Jason Fabok

Steve Rude, Marshall Rogers, Dave Johnson

Tarantino Comics - Issue 48

Once again I'm sorry for the hiatus, but at least the time void wasn't near as long.  Maybe one day I'll get back into the habit of writing.  But for now, I hope you enjoy today's issue - Tarantino Comics #48 illustrated by Kaymonstar at MegaCon 2014.

Reservoir Dogs has a lot of things going for it - It's an unconventional caper with a funky soundtrack, cool dialogue, and flashbacks mixed with ultraviolence.  In addition to all things awesome, Tarantino conjured up some great performances (especially for a first film).  For instance, the audience welcomes the paternal bond created between Mr. White and Mr. Orange.  As "Lawrence" defends the honor of his fallen "son," Tarantino really amps up the tension between the experienced Mr. White, the quirky Mr. Pink, and the terrifying Mr. Blonde.  However, once Mr. White discovers he's been duped for the entire film, we feel his heart drop as he raises a gun to the head of his dying "partner."

This emotional blow to the gut is beautifully depicted by Kaymonstar.  Even with cartoony flourishes, I empathize with the tears dripping down Mr. White's face.  Even if I had no knowledge of Reservoir Dogs (which is impossible within any Earth of the Multiverse), this image is more than enough to entice a grab off the old spinner rack.

Unfortunately I cannot find an "official" website for Kaymonstar on the internet.  However, if you see her at a show, I highly suggest you checkout her work.  I've commissioned her in the past and all her pieces turned out pretty rad (ranging from Batman and Daredevil to Super Grover).