The roster of talent involved was bar none the greatest collection of talent this side of hell. What other weekly television show offered the likes of DARIO ARGENTO (SUSPIRIA), JOHN CARPENTER (HALLOWEEN, THE THING), and DON COSCARELLI (PHANTASM, BUBBA HO-TEP)? And that was just on the director’s side. From the literary end of things, MASTERS OF HORROR was a showcase for the works of JOE R. LANSDALE, RICHARD MATHESON, DAVID J. SCHOW and CLIVE BARKER.

When everything seemed to align, the product was impeccable, such as the series’ debut “Incident On and Off a Mountain Road,” with COSCARELLI working from a LANSDALE short story, or the season finale “Haeckel’s Tale,” which featured a short story by CLIVE BARKER, scripted by series’ mastermind MICK GARRIS, and directed by JOHN MCNAUGHTON (HENRY: PORTRAIT OF A SERIAL KILLER). Occasionally, the show was downright embarrassing, and seemed to beg for the name MASTURBATORS OF HORROR, as was the case in the too-cool-for-school episode featuring the work of JOHN LANDIS (AN AMERICAN WEREWOLF IN LONDON) working from a script he co-wrote with his young son MAX LANDIS, “Deer Woman.” This particular entry into the show proved the case that in Hollywood it’s often who you know, and not what you know.

Although many of the episodes could not be considered out-of-the-park home runs, as was the case with WILLIAM MALONE’S “Fair Haired Child,” there was often enough on the plate to leave the viewer with a full stomach, if not craving for additional helpings. Point being, whether viewers thought a particular episode was spectacular or a waste of time, it gave horror fans something to talk about. It also put some of the spotlight back on those outside of the genre’s mainstream.

There are other talented artists working in horror today who do not go by the name of STEPHEN KING. You may know that already, but it’s surprising how many open-minded, well-read people don’t go beyond STEPHEN KING. Perhaps they have a fair reason; KING is, after all, the all-around best working genre writer, and many would say, the best consistent horror writer of the past 50-plus years. Many casual horror fans only need one or two fixes of the scary stuff per year, and good ol’ Uncle Stevie has always been there, happy to oblige. While Uncle Stevie may own the keys to the kingdom, it’s still a free world. There are so many talented, “unknown,” forgotten, overlooked, undiscovered working writers out there that it’s simply mind-boggling. And it’s up to you to go beyond the gates of the kingdom, to see something new, if that’s what you want. The choice is yours. Unfortunately, many times when a reader goes to the local brick and mortar fortress, the bricks are literally made from the ten-pounds of bound pulp lovingly crafted by STEPHEN KING. With publishers pumping so much money into advertising these days (and shelf placement), to convince you, the consumer, of which products to buy, whether you know it or not, your choices are being limited, and your mind is being made up for you.

Again, by no means is this meant to take anything away from STEPHEN KING. No single writer in the horror community has accomplished the level of success that he has, commercially and artistically. Indeed, readers are lucky to be a part of history as it is being made. One hundred years from now, only a handful of artists will be remembered like STEPHEN KING, as the rest will be lucky to be included as footnotes. The footnotes can be just as rewarding, though.

IDW Publsihing’s black-and-white, horror anthology DOOMED is ramping up to release issue two. DOOMED is much like Showtime’s MASTERS OF HORROR, in the sense that you’re getting to tap right into the veins of some of horror’s true legends. It’s also a good place to learn about what other writers exist outside of the “Kingdom.”

Take F. PAUL WILSON, for example. Here is a writer who has been hopping from genre to genre like King Kong using New York City as a jungle gym. One book tackles vampires, the next reads like a cross between Indiana Jones and THE BOURNE SUPREMACY, others show the author doing MICHAEL CRICHTON better than MICHAEL CRICHTON himself, and yet another book looks at religion and personal conviction. Wilson’s hand is steady, and his releases are consistently stretching beyond genre borders. Start with THE KEEP (skip the MICHAEL MANN film adaptation), then check out THE TOMB, BLACK WIND, and MIDNIGHT MASS. Issue two of DOOMED features the second installment of my “Outlawed Legacies” series, this time featuring an in-depth interview with F. Paul Wilson. DOOMED #2 also includes a comic adaptation of a classic F. Paul Wilson short story. And if you’re still interested in checking out more from the author, be sure to collect the elegant yet bone-chilling adaptation of THE KEEP scripted by Wilson for IDW Publishing.

Speaking of outlaws, I recently had the opportunity to have dinner with the “original gangsta of gore” JACK KETCHUM (www.JackKetchum.net). The writer of classics like THE GIRL NEXT DOOR, LOST, and RIGHT TO LIFE (all of which can be found at www.overlookconnection.com) has been extremely gracious to me when it comes to dispensing advice, constructive criticism, and just for good conversation in general.

For those of you keeping score at home, STEPHEN KING had this to say about “BLACK” JACK KETCHUM: “Who’s the scariest guy in America? Probably JACK KETCHUM, the outlaw horror writer….” KING also said, “ KETCHUM has become a kind of hero to those of us who write tales of terror and suspense. He is, quite simply, one of the best in the business.” And who are we to argue with Uncle Stevie?

While JACK KETCHUM has become a mentor to me, he was fortunate enough to be the protégé of ROBERT BLOCH. Best known as “the guy that wrote PSYCHO,” BLOCH was one of the most prolific writers of the twentieth century. BLOCH came from the generation that wrote for the pulps (not from the generation that merely collected them or found them in their elders’ musty attics). As KETCHUM informed me, BLOCH was often given advice from H.P. LOVECRAFT, a genre writer who many (too many to count) consider to be the finest to have ever put ink to paper.

If you’re unfamiliar with BLOCH, you need to seek out his work. Much of his material has aged quite nicely, and is just as effective today as it was decades ago. BLOCH’s stories are adapted in DOOMED. In a nice twist of fate, issue number three of IDW’s DOOMED will place a bit of an emphasis on BLOCH’s work. The “Outlawed Legacies” series will find me chatting with none other than JACK KETCHUM about BLOCH’s body of work, and it will also mark my debut of sorts as I adapt a short story of BLOCH’s. While I won’t give away which story IDW’s Publisher/Editor-in-Chief/writer CHRIS RYALL has tapped me to script, I will say that it’s a perfect fit for the style of writing that I do, and for the personal background that I have. (Rumor has it that RYALL’s own adaptation of SHAUN OF THE DEAD was recently praised by FIGHT CLUB author CHUCK PALAHNIUK during a recent radio interview.)

One of BLOCH’s contemporaries was RICHARD MATHESON. So much can be said for Mr. MATHESON. He is, without a doubt, one of the pillars of genre writing as we know it. The man responsible for some of the original TWILIGHT ZONE’s most memorable episodes is also an awe-inspiring fiction writer, both of shorts and novels. His “Duel” was the basis for STEVEN SPIELBERG’s debut film of the same name. You may have also recognized his work in other movies, providing the stories for WHAT DREAMS MAY COME and STIR OF ECHOES. And let’s not forget I AM LEGEND, the story that has inspired more people to take a stab at becoming writers than the BIBLE has inspired people to become Christians.

If you’re looking to get into MATHESON’s work, I strongly recommend you visit Gauntlet Press (www.gauntletpress.com), who seem to have cornered the market with their top-shelf MATHESON releases, many of which are exclusives.

In particular, besides their three-volume MATHESON short story collection, you may be interested in checking out THE LINK, which began as a 557-page outline that the author created for a proposed ABC Network mini-series in the 70’s, and is finally seeing the light of day thanks to the efforts of Gauntlet Press.

Last but not least is DAVID J. SCHOW, another one of my personal favorites. I interviewed SCHOW for the debut of “Outlawed Legacies,” and his stories are also featured in the DOOMED series. Many of you may be familiar with the whole “Splatterpunk movement” that supposedly never existed. If you ask some of the key participants like SCHOW, CLIVE BARKER, and PHILIP (WETWORK) NUTMAN, most if not all of them will say there was no such thing and that at best it was simply a marketing ploy. I disagree with that sentiment in the same way that I disagree with members of PEARL JAM, NIRVANA, SOUNDGARDEN, and THE SMASHING PUMPKINS saying there was no such thing as a “grunge movement.” One cannot argue with SCHOW or NUTMAN if they scoff at such a notion, but the truth to the matter is during that specific period from the mid-to-late eighties, there was a palpable new flavor breaking through from the outside. These writers may not have been intentionally trying to “create a scene,” but they were, in fact, ushering in a whole new brand of horror. Okay, maybe the marketing monkeys at publishing houses may have lumped them together to draw more attention to their efforts. It was a welcome breath of fresh air, though, and along with BARKER, SCHOW was one of the leaders of that new wave.

The problem with being labeled a “Splatterpunk” is just that: an author is being labeled, or potentially pigeonholed. SCHOW, like KETCHUM, like BLOCH, MATHESON, and WILSON, knows no boundaries except those enforced by readers, and in turn, publishers. SCHOW’s writing is sharp as a tack, and while as of late, much of his efforts seem to be focused in Hollywood (as the screenwriter of the upcoming prequel to THE TEXAS CHAINSAW MASSACRE), SCHOW’s fiction (including both short and novel length) is among the finest of his generation (he also scripted THE CROW, starring BRANDON LEE). There really isn’t a bad DAVID J. SCHOW book, but for my money (and yours), I’d recommend starting with something like CRYPT ORCHIDS, LOST ANGELS, or SEEING RED.

With all this talent contributing original source material, it’s easy to see why after only one issue, DOOMED has already generated a bit of a cult following of its own. Like many of these authors, DOOMED is one of those “best kept secrets” that only those in the know seem to be picking up on. As long as you have the guts the buy it, IDW seems to be intent on publishing it. If you’ve read issue one, which I’m told has sold out (although I have seen copies pop up online), then you know what to expect from the second issue. If you’re looking for something that pays homage to the EC Comics of the 50’s, the Warren Publications of the 70’s, and at the same time, elevating the genre to another level by treating it with the proper respect that it rightfully deserves, paired with top notch production values, then maybe you should get DOOMED too. Preorders are being taken for issue #2, which can be purchased straight through this site.

Here’s the official press release from IDWPublishing.com:

The macabre Ms. Doomed is back, and she brings with her four more tales of the damned for her tortured fans... this time out, Chris Ryall and Ashley Wood tackle David J. Schow's "Bagged;" Scott Tipton and Tony Hoffman adapt Richard Matheson's "Crickets;" F. Paul Wilson and Tony Salmons adapt Wilson's own "Slasher," and Dan Taylor and Alex Sanchez take on Robert Bloch's "Warm Farewell." Adding to this channeling of the artistic spirit of ‘70s horror tales is an extensive interview with F. Paul Wilson, in the second of Joshua Jabcuga's "Outlawed Legacies." Wood and artist Jeremy Geddes once again provide covers for IDW’s horror magazine revival.

PHOTO OF THE WEEK:

The latest from Pearl Jam:

Praise for the writing of Josh Jabcuga, who pens Squib Central with ink made from his own blood, published every Tuesday, exclusively at Scott Tipton’s www.Comics101.com:

"You’re a bad influence on them, I’ll tell you right now." -Max Cavalera, lead singer of Soulfly, former lead singer of Brazilian death metal icons Sepultura.

I read your article and you my dear are a true ASSHOLE!!! Wonder how you landed your job, desperation???"-Angie (last name unknown; article mentioned...unknown).

“Josh Jabcuga can take the 26 measly letters of our crude alphabet and capture the bi-polar soul of all that is classically yet disturbingly American. Then, when his typewriter is left to cool, he can turn right around…completely ready to trounce any drunk punk that’s got me backed into a corner.” –The Colonel J.D. Wilkes of The Legendary Shack*Shakers.

Email the Author