Superhorror (1976) edited by Ramsey Campbell

The Far Reaches of Fear (1980) 

(previously published as Superhorror [1976]), edited by Ramsey Campbell (1980) containing the following stories:

• The Viaduct by Brian Lumley
• Fog in My Throat by R. A. Lafferty
• Christina by Daphne Castell
• The Case of James Elmo Freebish by Joseph F. Pumilia
• The Hunting Ground by David Drake
• The Petey Car by Manly Wade Wellman
• Wood by Robert Aickman
• The Pattern by Ramsey Campbell
• Dark Wings by Fritz Leiber.

Campbell's first original anthology really sees him come out of the gate running. Hell, his first three original anthologies (this, New Terrors and New Tales of the Cthulhu Mythos) show a keen mind in the unfortunately not-all-that lucrative world of original horror anthologies. But the 1970's and early 1980's were somewhat financially kinder to the purveyors and writers of short stories.

As with New Terrors, the range of the stories is impressive: Castell's melancholy, M.R. James-tinged ghost story; Drake's terrifically tense tale of a wounded Viet Nam vet come home to a war with something inhumanly worse than the Viet Cong; Pumilia's homage to the EC horror comics of the 1950's; Lafferty's surprisingly understated (for Lafferty) tale of existential science-horror; Wellman's slice of homespun Appalachian creepiness; Leiber's X-rated tale of doppelgangers; Lumley's perfect, awful piece of childhood horror; Aickman's typically mysterious tale of clockwork toys and malign wood-working; and Campbell's own unusual take on predestination and fate.

It's a solid selection of stories under either this name or its original title of Superhorror (the latter hardcover has an awesomely creepy cover). I originally got the latter for 25 cents from the Tillsonburg library in about 1982. Highly recommended.

New Terrors

New Terrors II, edited by Ramsey Campbell (1980; 1984), containing:

Sun City by Lisa Tuttle; Time to Laugh by Joan Aiken; Bridal Suite by Graham Masterton; The Miraculous Cairn by Christopher Priest; The Rubber Room by Robert Bloch; Drama In Five Acts by Giles Gordon; The Initiation by Jack Sullivan; Lucille Would Have Known by John Frederick Burke; The Funny Face Murders by R. A. Lafferty; Femme Fatale by Marianne Leconte; Can You Still See Me? by Margaret Dickson; One Way Out by Felice Picano; The Ice Monkey by M. John Harrison; Symbiote by Andrew J. Offutt and Across the Water to Skye by Charles L. Grant.

Second half of Campbell's British New Terrors anthology of original horror stories divided for American paperback publication. The stories range from the solid and familiarly M.R. Jamesian "Lucille Would Have Known" (though James never wrote a ghost story about bus tours) to the brooding, Kafkaesque "The Miraculous Cairn" and the post-modern prose-poem "Drama in Five Acts." Range is indeed what we have here, without sacrificing terror, horror or the occasional gross-out seen most prominently in "Bridal Suite." "Symbiote" and the grotesque "Femme Fatale."

Several of the stories are almost perfectly representative of their authors, especially M. John Harrison's "The Ice Monkey" -- suggestive but ultimately nebulous terror set in a relentlessly broken urban wasteland counterpointed with the dangerous Sublime of nature --and R.A. Lafferty's weird-ass, Chestertonian "The Funny Face Murders." Old masters like Aiken, Bloch and Lafferty rub shoulders here with both the up-and-coming (Masterson, Tuttle, Harrison and Priest) and the relatively obscure to the horror genre (Dickson, Picano and Gordon). In all, a wide-ranging and often deeply disturbing anthology. Or at least half of one. Highly recommended.

Strange Choices

DAW Year's Best Horror Stories Series V (1976), edited by Gerald W. Page (1977), containing:
The Service by Jerry Sohl; Long Hollow Swamp by Joseph Payne Brennan; Sing a Last Song of Valdese by Karl Edward Wagner; Harold's Blues by Glen Singer; The Well by H. Warner Munn; A Most Unusual Murder by Robert Bloch; Huzdra by Tanith Lee; Shatterday by Harlan Ellison; Children of the Forest by David Drake; The Day It Rained Lizards by Arthur Byron Cover; Followers of the Dark Star by Robert Edmond Alter; When All the Children Call My Name by Charles L. Grant; Belsen Express by Fritz Leiber and Where the Woodbine Twineth by Manly Wade Wellman.

An odd entry in DAW's long-running horror annual with a lot of previously unpublished stories and several stories that aren't really horror at all, the latter most notably those by Munn, Bloch, and Cover. The best stories here are by Wagner, Drake, Lee, and Leiber, the last of which is one of the oddest and most affecting Holocaust stories I can think of. Manly Wade Wellman contributes a fairly representative tale of backwoods supernatural goings-on, more tall tale told around the cracker barrel than actual horror.

The Cover story is something of an unpleasant mess, while Brennan's story starts strong with weird occurences in shunned places before veering into what almost seems like self-parody with the revelation of the hidden menace. Munn's novella -- the longest piece in the anthology -- is a somewhat overripe bit of Westernized Orientalism. Lee and Wagner offer us intriguingly offbeat riffs on fairy tales and legend. Not a great volume in the series, but fairly solid. Recommended.

Docudramamine

Paranormal Activity 3, written by Christopher B. Landon, based on characters and situations created by Oren Peli, starring Chloe Csengery (Katie), Jessica Tyler Brown (Kristi), Lauren Bittner (Julie), and Dustin Ingram (Randy Rosen) (2011): The 'documentary/found footage' subgenre of horror films, so popular right now, harks back to the 19th-century beginnings of what we now recognize as the horror story. Mary Shelley's Frankenstein was told in the form of letters and diary entries; Bram Stoker's Dracula added fake newspaper clippings to that mix; Edgar Allan Poe played with fiction and fact within stories that were sometimes published as 'fact.'

H.P. Lovecraft moved the documentary style in a more holistic fictional direction, having his narrators tell ostensibly true tales about fictional events and mythologies and framing everything inside the conceit that the fiction was the real truth about the universe, and recognized fact the fiction.

I have a great fondness for these attempts at documentary horror -- at their best, they're much better than almost every other filmed attempt at horror in the last twenty or thirty years, in part because they move so resolutely away from the grapohic violence of the slasher films that have dominated the horror film genre since the late 1970's. Suggestion and subtlety are what work best in these movies, and Paranormal Activity 3 comes up with some lovely moments of 'found' horror.

The fictional backstory of the three Paranormal films situates the entire narrative within the subtext of long-term child sexual, physical and emotional abuse, abuse that spans generations and is part of the horror. It's a classic example of Stephen King's 'sub-text school' of horror, in which the supernatural stands in for something too mundanely awful to be depicted on film.

Thankfully, one can also say 'pooh!' to sub-text and simply enjoy the movies as a depiction of the pervasive and perhaps unkillable influence of supernatural evil. That the threatened protagonists are spiritually and intellectually unsuited to a confrontation with elemental and generational evil is part of the point of the movies, I think -- no one is coming to save them because they're too dumb, or too conditioned to an unintellectual passivity, to make any real effort to save themselves. They're reactive, not pro-active.

I won't bother with the plot of the movie, or even the characterization. It all makes more sense if you've seen the first two films, though if you haven't you may be a lot more shocked at some of the plot developments. There is clever, killer use of a camera mounted on a rotating fan within the story world, with menace building as we move at a set pace back and forth from foyer to dining room and back again, and things start to appear that shouldn't be there.

There's also one of the smarter, more realistic character reactions to a haunting that I've seen in some time -- a secondary character seems to have seen Eddie Murphy's hilarious bit about The Amityville Horror and reacts accordingly when threatening weirdness occurs. Highly recommended.

Atom Heart Brother

DC Archives: Action Heroes Volume 1, written by Joe Gill, Steve Ditko and others, illustrated by Steve Ditko and others (1961-1966; reprinted 2004): Charlton Comics was pretty much the lowest of the low when it came to American comic-book publishers of the 1950's, 60's and 70's. But the company did have one major asset: artist Steve Ditko (co-creator of Spider-man and Dr. Strange for Marvel) liked working for them because while they paid badly, they left him pretty much alone to do as he pleased.

DC bought the Charlton Comics stable of super-heroes in the early 1980's, a purchase that nearly led to Alan Moore and Dave Gibbons's Watchmen series being about those same heroes -- Moore initially pitched his dystopian, revisionist superhero series as being about the newly purchased Charlton heroes. DC decided to instead integrate the heroes into the DC Universe, and Moore revised Watchmen so as to be about new but similar heroes.

Captain Atom (who would become Dr. Manhattan in Watchmen) stars in this first collection of notable Charlton superhero comics of the 1960's and 1970's. With Charlton, 'notable' almost universally means 'Steve Ditko.' Ditko does full art on some of the earlier Captain Atom adventures before being inked indifferently by others on the latter adventures. It's Ditko at the height of his career as an artist, and the early 60's stories look especially good, with fine linework and some lovely, weird cosmic vistas.

Captain Atom gains his powers of flight, super-strength, and nebulous, atomicky other things after getting blown up by a nuclear bomb and then somehow reassembling himself. Now highly radioactive, he wears a containment suit so as not to irradiate everyone around him, and battles a hodgepode of Communist spies and alien menaces. Well, and a space dragon in one off-beat story that seems like it was cribbed from some of the odder adventures of Captain Marvel or Marvelman.

Joe Gill's writing is, for the most part, a combination of lead-footed dialogue, ridiculous scientific explanations, and Silver-Age bombast. Apparently Gill wrote 150 script pages a week for Charlton at his height of production, so one can't expect much. Ditko makes the whole thing sing, however, his normal characters looking extraordinarily ordinary, his action sequences fluid, his weirdness, well, weird. Doctor Spectro is an especially odd villain from the later issues in this volume, a light-wielding mad scientist who gets split into five light-wielding midgets. Riveting and totally ridiculous at times, this is nonetheless a lot of fun. Recommended.

Why Go There?

The Thing, written by Eric Heisserer, based on the novella "Who Goes There?" by John W. Campbell Jr. and The Thing (1982), written by Bill Lancaster, starring Mary Elizabeth Winstead (Kate Lloyd), Joel Edgerton (Sam Carter), Adewale Akinnuoye-Agbaje (Jameson) and Ulrich Thomsen (Dr. Halvorson) (2011): Totally pointless prequel to John Carpenter's gory, gonzo adaptation of John Campbell, Jr.'s 1938 sci-fi-horror novella "Who Goes There?", which itself bore more than a few suspicious resemblances to H.P. Lovecraft's 1936 sci-fi-horror novella "At the Mountains of Madness." Here, we follow the adventures of the (mostly) Norwegian Antarctic base scientists who first discover the eponymous Thing and who, reduced to two guys in a helicopter at the very start of Carpenter's Thing, try to stop the creature from reaching the American base of that film. Got all that?

Carpenter's film wasn't truly great -- the dialogue and plotting needed a bit more zip for that -- but it was improved immensely by its cast of character-actor All-Stars and its ground-breaking alien special effects work, which still looks amazingly creepy and goopy and disturbing even now. Unfortunately, the CGI here suffers from underdone CGIitis, with the alien, while far more complex in several of its manifestations, lacking weight and heft regardless of its size on the screen.

It doesn't help that the Thing has lost about a 100 IQ points, bursting out of hiding at several points when pretending to stay human would have secured its supposed goal: getting off the isolated Antarctic base to a more populated place with better transporation options so that it could, given its biology, eventually replace everything biological on the planet with itself. Instead, it pops out at inopportune moments so often that one eventually believes that it's actual purpose on Earth is to run around scaring people and breaking shit.

The people aren't much brighter. At one point, a group of them locks two suspicious helicopter-crash survivors in a shack because doing so will protect the group in the event that the survivors are really the Thing. But we've already seen the Thing shoot twenty feet into the air and through a roof from a standing start inside a giant block of ice that it's been trapped in for 100,000 years. How is the shack going to stop it? Oh, well.

Perky young protagonist Mary Elizabeth Winstead (the roller-skating, Amazon-package-delivering love interest in Scott Pilgrim vs. The World) plays a character from the Bones school of incredibly young bone experts. Everyone else is pretty much interchangeable except the actor who played Mr. Eko on Lost, criminally underused here, and the guy playing the base commander, the latter of whom looks like Sting during his Mandolin-playing German-pimp stage. Boy, Sting makes a lousy Antarctic base commander. No wonder the Police broke up. Not recommended.

Time Bandits

In Time, written and directed by Andrew Niccol, starring Justin Timberlake (Will Salas), Amanda Seyfried (Sylvia Weis) and Cillian Murphy (Raymond Leon) (2011): Enjoyable throwback to the at least semi-socially aware science-fiction films of the pre-Star Wars era. Niccols (writer-director of Gattaca and S1m0ne and writer of The Truman Show) pitches his films somewhere between the future and an alternate timeline, and this one, somewhat subtly, appears to take place not so much in the near-future as in an alternate universe where the secrets of human aging were decoded decades or possibly centuries ago.

Those at the top can live forever; those at the bottom scrabble for every minute and second. Time is money, and while no one ages past a certain age any more -- everyone's stuck permanently at 25 once they reach it the old-fashioned way -- death comes for anyone whose clock runs out due to lack of funds after the age of 25. And the elite keep raising the price of everything, forcing the working class (there doesn't seem to be a middle class anymore) to work more and more just to literally survive.

Justin Timberlake plays Will Salas, young, rebellious working-class hero who gets more than a century of extra time (all of it encoded into the green-glowy numeric display everyone has grafted somehow onto his or her right arm) from a member of the elite who's grown tired of life and of the perpetual oppression of the lower classes.

Soon Salas and a daughter of the elite are on the run from Timekeeper Leon. Can they overthrow the way things are and hand out millions of extra years to the downtrodden and the oppressed? What do you think? Enjoyable and clever in the background details (you may actually have fun trying to figure out when time 'stopped' based on the technologym and lack thereof, you see in the movie), but also somewhat rote in its connect-the-dots final half-hour. The movie's heart is pretty obviously on the side of the people and against the banks and corporations. Recommended.