Some
may find Culbard’s version of The Case of
Charles Dexter Ward a challenge to read.
(I had to read it twice to appreciate some of the details, but the
effort was worthwhile.) This is because
the original story is complex and multi-leveled. It moves back and forth between the late
1600s to the early 20th century, laying down an historical back
story that ominously intrudes on the present.
There is necromancy, vampirism, conspiracy, and stolen identities—something
for everyone—as well as the hint of a world shattering conjuring of forces
“outside the spheres”.
The
monstrosities that appear in the book are presented with a light touch—the
horror is relatively subtle—and the focus is on relationships and
characterization. Much is left to the
imagination, and transitions between scenes are skillfully handled by the artist. This is basically the tragic story of a young
man’s naïve dabbling in forbidden matters, and the dire consequences that
follow. “I did it for the sake of
knowledge—now, for the sake of all life and Nature, you must help me thrust it
back into the dark.”
At the Mountains of Madness is an earlier publication, (2010)
and so was a little more difficult to find.
I ordered my copy through our local Vault of Midnight store. (Fellow Michiganders and others should check
out http://www.vaultofmidnight.com/store/
.) This one is also very well done, and
quite a bit more gruesome in some of the frames than the first book. Both the original tale and the graphic novel tell
an old fashioned adventure story, but with elements of science fiction thrown
in.
Readers
will be reminded of The Thing From
Another World, (1951), and especially its 1982 remake, The Thing. Those movies were
based on the novella Who Goes There,
by John W. Campbell, which was published in 1938. This was two years after H.P. Lovecraft
published At the Mountains of Madness. There are some similarities between the two
stories, but the source of the horror and its implications is very different in
each case.
An expedition
to Antarctica finds much more than anticipated—a terrifying discovery about the
history of the earth and its inhabitants. The survivors hope to keep this a
secret from a blissfully ignorant humanity, and work to prevent any further
exploration of the mysterious southern continent. They may or may not be successful.
Both
of Culbard’s adaptations use the device of ending the story almost exactly
where it begins, enhancing the overall power of the tale. The
Case of Charles Dexter Ward and At
the Mountains of Madness are published by SelfMadeHero, (www.selfmadehero.com).
Several
years ago, the folks at Boom! Studios had Chuck BB illustrate Lovecraft’s prose
poem, Nyarlathotep, (2008). This is not a graphic novel. Instead, Lovecraft’s apocalyptic nightmare is
depicted in 11 drawings that capture the anxiety and terror of his vision. In language reminiscent of Old Testament prophetic
writings, the author describes the arrival of Nyarlathotep, who “came out of
Egypt”. He is a kind of anti-Christ who
has come to uncreate the world we know so that the “gigantic, tenebrous
ultimate gods” can follow. The artwork
complements the text nicely and is not a distraction.
Boom!
Studios also carries several anthologies of stories inspired by the Cthulhu
Mythos, as well as a graphic novel series.
I have not had a chance to try out any of these yet, but they look very interesting, (www.boom-studios.com).
Finally,
I am looking forward to a live theatrical production of The Intergalactic Nemesis tomorrow afternoon. You may have already heard of this stage play based on a radio drama
of the same name. I am just starting book
one of the graphic novel series that has been released as a companion to the
show. It looks like a lot of retro fun.
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