Monthly Archive: May 2015

Dennis O’Neil: Happy Endings

For a while, my favorite way of paying the bills was by writing Batman stories for DC Comics. But that was over. I’d accepted a job with Marvel, DC’s arch rival, and so the story I was working on would be my final visit to the Batcave. Well, no  problem.  I was a pro and a pro, I probably thought,  keeps emotions away from the workdesk.

As the splendid Alfred Bester said, “Among professionals the job is boss.”  But still…farewell to Batman? Forever? So I wrote a final panel with a final caption that could have ended the Batman saga, which had been going on for decades.  I knew that it wouldn’t, of course.  Editor Julius Schwartz would  employ another writer and Batman would continue with nary a beat missed. But I would know that my Batman, the only one that counted, would have ended his career with that closing caption.

I wonder how Arthur Conan Doyle felt when he sent Sherlock Holmes over Reichenbach Falls to what he apparently believed would be the great detective’s final exit.

Holmes didn’t stay dead and after some seven years at Marvel, neither did my own private Batman. I returned to DC and, power-mad ogre that I am, assumed editorship of the Batman franchise, which at the time consisted of two comic books. No hardcover novels, no megamovies, just two flimsy comic books. (Plus a number of non-bat related titles, but never mind them.)

And why, you might well inquire, if you are still with me, am I blathering on about such ancient (ancientish) history now?

Cast your mind back to last week’s televised Arrow, which you must have watched, the season’s last episode  and what could have been the finale for the whole series. Arrow, whose birth name is Oliver Queen, has just vanquished his supreme enemy and restored peace and tranquility to his city. He has assembled his cadre of  assistants (disciples?) and proclaimed them his successors. His task is done and they are more than capable of dealing with future tasks. We next see him cruising along an open highway in an open-top convertible, the lovely Felicity Smoak by his side, vanishing into what will surely be the happiest of happy endings.

Except that the series has been renewed and will rise again come fall. So what will Oliver (and let’s not forget the lissome Felicity) be up to in the chilly months while their cohorts kick ass and take villainous names? To just have them leave the series forever would be gutsy, but maybe not commercially prudent. Or maybe they can be more or less absent for a bit – we could look in on them occasionally – and eventually find a reason to return to the fray.  Or maybe they’ll never reach their happy-ever-after destination because of an unforeseen crisis that demands their attention.  (Are they carrying cell phones?)

Or maybe – here’s hoping! – those clever scribes in tv land will devise something breathtakingly original  that will leave me sprawled on  the couch, awed.

I’ve got a whole summer to hope that’s what happens.

 

The DC Comics vs. David Letterman Top Ten List

Everyone is talking about whatever contact they may have had with David Letterman this week, and I’m no different.

I’ve mentioned before that I believe some of the reasons I ended up working at DC Comics almost 27 years ago was because I could pitch softball better than what most people there and that the guy I was interviewing with was the head of the company softball team, and that I went to the game that was scheduled to be against the crew from Late Night With David Letterman.

What I’ve never mentioned before now is that somebody in the DC production department had devised their own strategy to psych out the other team, and had written the entire thing out on big pieces of cardboard, like cue cards.

When the game was forfeited, the giant cards were left behind on the field— and I, being a true comic collector of one of a kind stuff, grabbed them. And kept them. Through five or more moves, I kept them.

And now, on the occasion of the end of David Letterman’s run in late night television, I bring you this never before seen list…

TOP 10 REASONS DC WILL BEAT “LATE NIGHT”! (more…)

Game Of Thrones: The Musical!

Game Of Thrones: The Musical!

Because Coldplay and Peter Dinklage think there’s money to be had here…

…actually, it’s to help benefit Red Nose Day to help fight child poverty, which is a good thing for the ex-Minister of Coin to be doing. Enjoy.

Molly Jackson: Blocking the Block

So, this week has been plagued. Yes, I have been plagued with writer’s block. I know you’ve heard of it. I just can’t settle on a column topic or a message or anything else. Right now, I’m probably breaking the unwritten rule of telling the reader this, but I’m naturally a maverick.

All week, this has been weighing on me. I have plenty of options, which have lived and died as columns in my mind.

I could talk about the latest ticket debacle for NYCC. Last week, we all watched (or in my case, participated) in the maddening scramble for tickets. Then the Internet bemoaned the difficulties of getting a ticket and swore off ever trying for tickets again. Which we all know is a lie. Let’s be honest. Because next year, we will all try again.

It’s still a show people want to attend, and as of last year, the biggest show in the US. It may be insanity to get tickets and to go, however it can be an amazing experience. NYCC really needs to get a better ticket system going though. It’s just mean at this point.

Or I could highlight the awesome open submission request from Oni Press. You might know Oni Press as the publisher of Scott Pilgrim, or one of my favorite stories, Resurrection. They now have an open call for new writers and artists. The best part of this is how they want minorities writing stories about minorities. They are requesting diversity in their stories, right off the bat. They also put a stop to rape as a plot device. Especially after last week’s Game of Thrones flop of an episode, this is going to be a very hot topic to avoid for a very long time.

I’m actually excited about this because it screams new stories to me. I want to see the creativity of new writers and artists at a publisher like Oni. I don’t what they make happen in this new drive for talent but it will be amazing.

The worst part is that I still can’t settle on a topic for a column. At least this bought me another week of working on it. Hopefully, the new creativity from Oni washes over me.

Mike Gold: Mad Max – Back In The Desert Again!

Today’s Zen question: Can a movie be called a sequel even if it has a cast that hadn’t been in the earlier three movies but it stars the same lead character and the worldview remains consistent with those movies and all four movies have the same director, but the last one was released 30 years ago?

Today’s Zen answer: Who the hell cares? Mad Max: Fury Road is an absolutely terrific movie.

I saw this epic with my ComicMix comrade Martha Thomases and our mutual pal, Michigan’s own Penelope Ruchman. It was the beginning of an amazingly astonishing pop entertainment day; I’d give you those details but you know how I absolutely hate to name-drop. I won’t speak for Martha or Penny except to say that Martha enjoyed the movie at least as much as I did and I believe Penny liked it even more. Yes, it really is the Gone With The Wind of action movies, except instead of torching Atlanta they trashed several megatons of George Metzger-esque decrepit vehicles traveling across the desert to… well, to nowhere. Action ensues.

And that’s about it for the plot. Usually, that is not a good sign. Here, somehow, it works. If somebody pitched this to me as a graphic novel I’d have rejected it – but on the screen, in George Miller’s more-than-capable hands, it soars. I did not notice one person in the crowded Manhattan theater leaving for food or a bathroom break. That’s better than “two thumbs up,” particularly when damn near the entire movie was set in the desert. You’d think people would need some water or soda or a Slurpee or something.

Tom Hardy is fine as Max. The role isn’t overwhelmingly dependent upon acting chops, but when needed Tom delivers. The true star of this movie, in every conceivable way, is Charlize Theron. She plays the other title character, Imperator Furiosa. She is the heart and the soul of the movie but, to the regret of a few morons, she and her women companions also carry the brunt of the action. They carry it right to your lap.

There’s a bit of a controversy contrived by these aforementioned morons about how Mad Max: Fury Road emasculates men. There is a phrase for this attitude: neurotic bullshit. If this movie made their balls shrivel up and fall to the ground, trust me: society is better off.

There’s a long-standing meme in Hollywood about how women can’t carry an action movie. Executives point to truly shitty movies such as Catwoman, Elektra, and Supergirl. It doesn’t occur to the cigar-chompers that if you rewrote these movies for a male lead, they would be just as shitty and only marginally more income-active. I have three things to say to these people:

  • Lucy
  • Mad Max: Fury Road
  • Greenlight the fucking Black Widow movie already.

Mad Max: Fury Road was co-written by comics great Brendan McCarthy, of 2000 AD fame. Particularly of Judge Dredd fame. The parallels between the Mad Max series and Dredd are, well, overwhelming. Jus’ sayin’. I thought Mick McMahon should have received royalties for The Road Warrior, but it is a great movie. Just like Road Fury.

This movie was so relentless and so compelling that even George Eastman’s parents should be proud.

Go see it. But first, stop by the ridiculously overpriced candy counter and buy vast quantities of consumable liquid. This time, it’s actually worth the money.

 

Mindy Newell: The Amazing Adventure Of Mohall And Newell

So today (Sunday, which is yesterday), Editor Mike sent me a link to a column on The Jewish Daily Forward’s website which asks the question “Do Marvel Movies Have An Anti-Semitic Problem?” – which also happens to be the dumbest article I’ve ever read on their site.

Granted, The Forward – which was born way back in 1867 as a Yiddish language daily newspaper published by dissidents from the Socialist Labor Party – is a left-leaning paper whose heart and soul is the Jewish-American experience, with strong ties to Israel, and its articles are purposely written with that audience as its primary target. And granted, The Forward has not been the only news media outlet that has noted and remarked upon the recent rebirth of overt and increasingly violent anti-Semitism around the globe, especially in Europe. And yes, The Forward should be praised in its unadulterated and unabridged journalism that consistently calls out the perpetrators.

But sometimes the paper looks for boogey-men where no such creatures exist. And in this article, author Susan Mohall is not only trying to lasso the moon but gets critical facts wrong – such as stating that Stan Lee was born in Romania.

Excuse me, Ms. Mohall, but Mr. Lee (born Stanley Martin Lieber) was born on December 28, 1922 in New York City, specifically an apartment house at the corner of West 98th Street and West End Avenue. Our pal Danny Fingeroth, former Marvel Comics editor and writer and author of Disguised as Clark Kent: Jews, Comics, and the Creation of the Superhero and – by the way – co-author of The Stan Lee Universe, confirmed this to Editor Mike.

Susan Mohall apparently takes umbrage at the fact that the Jewish characters of the Marvel movies don’t go around with yellow Stars of David on their clothing identifying them as Jews:

In the comics, Kitty’s Jewish heritage is extremely important to her. In the movies, her Jewish identity isn’t even mentioned. In “X-Men: Days of Future Past,” which introduces us to Pietro and Wanda – a.k.a. Quicksilver and Scarlet Witch – the omission is even more blatant. The film portrays Wanda as a baby (despite the fact that the two are twins in the comics) and her name is never even mentioned. Quicksilver’s Jewish identity is at least alluded to.

 “After rescuing Magneto, Quicksilver implies that Magneto might be his father, but if you don’t already know that, then this moment goes by so quickly that it hardly matters as a relevant part of Quicksilver’s character. Quicksilver’s name was also Westernized from Pietro to Peter in an attempt to erase not only Pietro’s Jewish identity but his Romani identity as well.”

Oh, God, I’m so frustrated and annoyed that I wish that I could write this in all caps!!!! Instead I will use numerous exclamation points to assert my impatience with this idiot!!!!! Susan, my dear woman, the X-Men are mutants!!!! For over 50 years mutants have been Marvel’s superhero stand-ins for every single person who has ever been ostracized from society!!!! Ostracized and abused and tortured and killed for their religion, the color of their skin, their political beliefs, their birthplace!!!!

Ms. Mohall also accuses The Powers That Be behind the Marvel cinematic universe of focusing on Magneto as a Jewish villain:

The only character in the X-Men franchise whose Jewish identity is ever specifically mentioned and explored is Magneto. In the first X-Men movie we see Magneto being taken away to a concentration camp, and in X-Men: First Class we see Magneto hunting down and killing Nazis. Magneto also uses his own experiences with prejudice as a Jewish man to justify his violent motives. But while Magneto is a well-written and complex character, he is still a villain who murders people and uses his background to justify it. Having another Jewish character to challenge Magneto would have been excellent storytelling. Instead what we get is the erasing of all other characters’ Jewish identities and the only character who is identified as Jewish is our murderous villain.

Okay here come some more exclamation marks!!!!! My dear Susan, you are beyond words in your ridiculousness!!!! Didn’t you at the least read Exodus?!!!! I’m sorry to have to enlighten you, my dear, but Jews are quite capable of murdering and other quite immoral acts!!!! Please tell me that you have heard of the Irgun!!!! The “paramilitary” organization that splintered away from the Haganah during the Palestinian Mandate (1931 – 1948) and conducted terrorist activities like blowing up the King David Hotel in Jerusalem on July 22, 1946 because it was a base for the British occupation!!!!

You do know that Menachim Begin, signer of the Egyptian-Israeli peace treaty with Anwar Sadat, was a member of the Irgun!!!!! Susan, sweetheart, I guess you never heard of Operation: Wrath of God, in which the Israeli government authorized the Mossad to terminate the perpetrators of the Munich Olympics massacre of Israeli athletes!!!! Steven Spielberg made a movie based on it!!! It’s called Munich!!! I suggest you watch it!!!!

Okay, take a breath, Mindy. Count to 10.

The author also accuses Marvel Studios of “white-washing” HYDRA from its Nazi roots.

“Why is HYDRA’s identity as a Neo-Nazi organization completely sanitized in the movies?…HYDRA originates during World War II as part of the Nazis military. However, Red Skull, the leader of the organization, wants to run things and turns HYDRA into his own terrorist group. But he is never not a Nazi, and HYDRA never abandons Nazi beliefs. From the movies, you would glean that HYDRA just wants totalitarian power. The Nazi part is glossed over. It’s as if the producers are worried about the potential fallout of comparing HYDRA to the Third Reich, which is just so strange, especially since Nazis are the perfect villain. Everyone hates them”

Oh, Susan. I guess you never saw Captain America: The Winter Soldier and you never have watched Marvel’s Agents of S.H.I.E.L.D. HYDRA evolved, my dear. It’s gotten smarter, its adapted, it’s gotten smoother – just as our own rat-fuckers learned from Watergate – but it is certainly is still fascist, and it’s certainly not “shy[ing] away from its Nazi roots.”

And, Ms. Susan Mohall, I would certainly be surprised if you have read The Amazing Adventures of Kavalier and Clay, the 2001 Pulitzer Prize winning novel by Michael Chabon, which tells the (fictionalized) story of the birth of Marvel and the U.S. comics industry, which was 99.9% midwived into life by the sons (and some daughters) of Jewish immigrants.

Including Mr. Stanley Martin Lieber.

And by the way, you forgot to mention Jack Kirby.

Born Jacob Kurtzberg.

 

Ed Catto: iCreator, Chris Roberson

It’s amazing to see the many ways comics, and by extension geek culture, have so thoroughly infiltrated the entertainment and marketing landscape. Comics-based movies and TV shows continue to be fruitful and multiply, while brands try to keep up and in an effort to engage fans in authentic conversations.

Amidst the continuing and exciting expansion of comics-based entertainment, I thought it might be interesting to try to understand this growth from a creator’s point of view. Anyone who has ever let a friend drive their new car, or sent a child off to school knows what it’s like to let go of something you cherish. And more than that, you fully recognize the cringe-worthy reality that the thing you cherish might come back changed. There’s always that worry that your car might be returned with a dent, or your child might come home from school with a vocabulary sprinkled with a few new #$@% words.

izombie-recap_612x380Sadly, comics do have a long history of creators not being rewarded fairly or sharing in the ultimate success of their creations. So I was especially curious how the newer breed of creator feels about letting others take charge of their creations. How do creators approach it and plan for it in 2015?

I reached out to Chris Roberson, a brilliant comics writer who’s created adventures for a wide range of characters (everyone from Superman to The Shadow), has created his own characters and leads the charge for creator-owned comics, along with Allison Baker, at Monkeybrain Comics. At DC Entertainment’s Vertigo imprint, Chris and artist Michael Allred created the iZombie series, which is now enjoying a new life, resurrected as a hit series on the CW network.
iZombie Female LeadEd Catto: Can you tell me a little bit about what you were trying to create with your iZombie comic series and provide some background?

Chris Roberson: I’ve always liked the zombie genre, but had begun to feel like it was unnecessarily locked into a post-apocalyptic setting. I wanted to try setting a zombie story in the modern day, with society still up and running, but with strange things happening in the shadows. And to take it one step further, to have the zombie be the point-of-view character. Everything else kind of followed from there!

EC: Were you happy with how the comic series turned out? And what would you have done differently if you could go back do it over again?

izombie_red-860x280CR: Oh, definitely! I’m really proud of the work that Mike and Laura Allred and I did with the series. My only regret was that we never got a chance to get a giant kaiju monster on stage. That would have completed the set!

EC: What was it like when you found out that your iZombie concept was going to be a series? How long did it take to reach network television and can you tell us some of your reactions and thoughts along the way?

CR: I think the first we heard about the series being in development was late summer or early fall of 2013, and by early 2014 we’d been sent a copy of the pilot script to read. We visited the set last spring, met the producers and some of the cast, and in general were really impressed with everyone involved. Over this past winter we were sent rough cuts of the first four episodes, and were just blown away by how fantastic they were!

iZombie- Allred illoEC: What’s your involvement in the TV series now? What’s your reaction to what they’ve done and what they’re doing?

CR: I like to say that we are “informed but not involved.” They have kept us in the loop at each stage of the process, and are happy that we’re pleased with the way the series has turned out. But otherwise, I’m just a member of the audience! (Though one with a proprietary financial stake in the show…)

EC: Comics have a sad history of many creators not fully partaking of the economic success of their literary creations. Fans are well versed on everything from the tragic story of Siegel & Shuster to Gerry Conway’s recent posting about being excluded from creator credits of certain DC characters. Here’s the question – do you think today’s creators are better prepared to protect their own rights, or is it still the same old story?

CR: I think it depends on the creator. Sure, many of us know to walk away from a bad deal, but there are always going to be hungry young creators who are more than willing to sign away all their rights in return for far too little. But I think that there’s a difference, too, between work-for-hire and creator owned stuff. When I do a work-for-hire project, it’s usually because I want to work with those characters or concepts, and will happily surrender rights that I would never dream of giving up for an original property of my creation.

EC: As a follow-up question, can you tell us a little bit about how you’ve organized your publishing endeavor, Monkeybrain Books & Comics?

CR: It’s pretty simple, really. We only license the digital rights, and only for a period of five years. All the other rights are retained by the creators. Which is why you see print editions of Monkeybrain titles coming out from IDW, or Dark Horse, or Image, or what-have-you. The creative teams are free to make whatever deal suits them best.

EC: What’s coming up next for you?

CR: I am doing some amazingly cool work-for-hire stuff for Dark Horse that hasn’t been announced yet, but which is keeping me VERY busy. My bucket list is getting very short!

EC: Thanks for the insights and the time, Chris.

 

John Ostrander’s Writing Class: Our Characters, Our Selves

I’ve had a chance recently to catch some, not all, of Showtime’s series, Penny Dreadful, and I’ve enjoyed it quite a bit. It takes the same concept of Alan Moore’s League of Extraordinary Gentlemen (combine genre characters from the Victorian Age into a single story) and uses it with mostly horror and supernatural characters and elements, again in Victorian London.

The “real” penny dreadfuls were the pulp fiction of their day, precursors to the pulp magazines and also comics. The TV series was created by John Logan (who, among other things, wrote Skyfall and will be writing the next two James Bond films as well) and is the co-executive producer along with James Bond director Sam Mendes (he also directed The Road to Perdition).

There are also other Bond connections, including Timothy Dalton as the African explorer Sir Malcolm Murray, who is the father of Mina Murray, who just happens to be a character in the novel Dracula. Eva Green, who was the “Bond Girl” Vesper Lynd in Casino Royale, plays Vanessa Ives, a medium and possibly a witch. Among interest to we pop culture geeks would also be Doctor Who’s companion Billie Piper as a prostitute with a possibly very dark future.

The show also features Victor Frankenstein and his creature(s) as well as Dorian Gray and a werewolf. To say more would spoil the story for those who have not yet experienced it. The show is well acted, well directed, well written and with first class production values. First class altogether as well as being suspenseful, creepy, and shocking.

What I like most about the show is the complexity of the characters. No one is wholly admirable nor wholly despicable. One of my favorite characters is Frankenstein’s Creature, who sometimes goes by the name Caliban; he is tragic and sympathetic and dangerous all at the same time. You learn things about all the characters and you’re not sure you should root for them – but you do.

All of which really leads up to the true topic of this week’s column – creating complex characters. It is both easy and difficult. It falls back to one of my cardinal rules – we write what we know, especially about people and life as we have experienced them.

What defines a given character is what they want and what they are willing to do to get what they want. By want, I mean really want – not just sorta kinda want. What do they need, what do they desire, what do they lust for, what must they have? Something primal. The more intense the want (the motivation), the better it will drive the story. The reader must not only know what the character wants, they have to feel it. They must feel the desire behind it.

What prevents the character from getting what they want (at least initially) is what makes the story. That’s the conflict. How the character copes with that conflict reveals what their true character is. Same as in life. If the need were easy to satisfy, the story would be quickly over.

Sometimes the conflict is with a person (the antagonist), sometimes an object (a mountain), sometimes a situation (a hurricane, for example). Think of your own life. What is most likely to keep you from getting what you want? As often as not, the answer is you yourself. You have doubts or fears but what is most likely to get in your way is a competing need. You want A but you want B as well and they are mutually exclusive. However, your inner child wants both. That conflict has to be resolved for the story to reach its climax. What we choose, what the character chooses, tell us and tells the reader who the character truly is.

Character exists within opposites. Never try to explain them away. Make the reader feel both desires and identify with both. State them, dramatize them, play with them before you resolve them.

Keep in mind that there may be more than two conflicting wants; in life, we may have dozens. Not all of them have to be resolved; only the main ones. Also keep in mind that it is not only your protagonist that has these conflicting needs; all your characters should. It should be true in your stories because it is true in life; it’s never simple, it’s never easy, it’s never neat and that is what makes it fascinating. Conflict is not just external; it’s internal. Apply what you know to the characters you write.

That’s the job.

 

Marc Alan Fishman: The Mystery of Mr. Rhee

The whole time I’ve been on the creator side of Artist Alley here in the midwest, the name Dirk Manning has been omnipresent. The ebony-coifed, Cthulu-befriending, ne’er-do-well of independent horror comic writing fame has long been a stalwart presence on the periphery of my own indie tunnel-vision. Finally, I decided to be more than a passing conversation and Facebook poker and converted myself into a paying customer. And with his first volume of Tales of Mr. Rhee sitting proudly over the potty where I watch my toddlin’ son enjoy bathtime, I’ve consumed the initial batch of madness. I am elated to post that I didn’t carve a single mystic rune into my skull whilst enjoying it.

The book itself is a hoot. A collection of web-comics presented in the standard printed comic format, the series straddles the line of the occult somewhere between the blue collar and the black robe. “Mr. Rhee” himself is a tough-as-nails savior of the damned in the same vein as folks like Constantine or Hellboy. He’s got spells and a bad attitude to keep him safe from demented and deranged demons. In all, the first volume covers bits and pieces of the titular thaumaturgy, from his humble and tragic origin to his current dangers regarding the dastardly demons that lurk in Mr. Rhee’s barely-kept-closed-closet. Say that three times fast.

Upon completing the trade, I was left in a bit of a stupor. The forward, by fellow midwestern writer “Uncle” Raf Nieves – which I oddly chose to read last – dealt entirely with the damn, I wish I’d thought of that feeling a creator might get reading somebody else’s work. While I had none of those feelings, I get entirely what was being communicated. It’s actually what drew me into making comic books in the first place. Mr. Rhee and the universe he occupies shares so much space with so many other occult/horror universes that it left me pondering mostly how talents like Mr. Manning, Nieves, and the rest all end up traveling down the same dichotomous road.

As mentioned above, Tales of Mr. Rhee lives on the line between the blue collar workaday world and the epically macabre. The evil and horrific worlds created in horror comics (and TV shows, movies, what-have-you) rely heavily on balancing the mundane with the insane. A Friday the 13th movie without the overnight camp set-up is simply never worth your time. And even when a story shuffles harder towards the blue collar – like Hellboy or Goon – there’s always a strong undercurrent of truly wicked things that anchor the story down. The balance is the key to the quality.

And for those seeking to dispel my thesis with Ghostbusters… go watch the boogyman episodes of The Real Ghostbusters and get slimed. But I digress.

The best scares – like the best laughs, or even action beats – come when you least expect it, and hit at issues underneath the surface. The best terror one might ever feel (aside from the kind you get when you sign your first mortgage) contains a large portion of plausibility, with the right dash of the impossible. A spider catching you off guard might make you jump. A spider that whispers to you that you’ve always been a failure is terrifying.

Tales of Mr. Rhee begins as an unassuming monster hunter rag. So true that it ultimately excels when the supernatural takes form as annoying neighbors, transitory spirits hanging at the bar, and even within the crevices of land purposely sold to a unassuming family to spare those in-the-know from the potential danger. The tales themselves are presented all without backstory, and finish as quickly as they start. As chapters tick off, the creeping crescendo of the final reveal ultimately provides the biggest scare of them all: We thought these tales were merely random short idiosyncratic occurrences, devoid of greater machinations. All-the-while, amidst his own decaying network of former associates, Mr. Rhee, unyielding bad-ass we thought him to be, is caught with nary an alacazam to mutter in the face of the evil that lurked underneath him the entire volume. Plausible, with that pinch of the impossible you say?

Chilling indeed.