If you’ve ever played Lemmings (and I did. They walk slowly in one direction without fail, and will plummet off cliffs or go headlong into firing squads and booby traps unless you take action. the bitten become zombies in your horde, and the undead are simple minded. So armed thugs and occasional cops pose the most immediate threat to your zombies. In this version of a zombie apocalypse, the disease surfaces in the form of a side effect to a potent street drug. Instead, the zombies are like your babies and you must guide them and nurture them through levels full of tasty victims and nasty criminals. They aren’t quite heroes either, as they don’t act especially brave or intelligent. This isn’t a twitchy shooter, and zombies aren’t the bad guys or backdrop for overwrought post-apocalyptic exposition. Players have to control the actions of the undead, who shamble mindlessly through 2D platformer puzzles in search of human flesh and, ultimately, an exit to another level. But a glance doesn’t give a very deep look, and it doesn’t even take a long look to know that Zombie Night Terror offers something a little different for genre nerds and gamers alike. So, at a glance, Zombie Night Terror might appear to be the latest in a string of games to cash-in on the zombies = cool fad. From apocalyptic survival settings to mindless meatbag bullet sponges to plant-based cartoon warfare it’s not hard to find a popular AAA title that summons the digital undead for your amusement. In 2013, the Archie editorial crew took the definition of on-brand and fed it to a ravenous horde of flesh-eating shamblers.Zombies are well-represented in video games. Archie Chief Creative Director and current Riverdale showrunner Roberto Aguirre-Sacasa matured Archie, Veronica, Jughead, Betty and the other varsity-jacket icons with a teen rating and a buffet of human organs in this excellent series. Though releases are few and far between, Afterlife hits a note of drama-heavy dread that’s not afraid to veer and twist among an electric ensemble, each character hiding a cemetery of skeletons in their closet. But this churning requiem for youth wouldn’t read so beautifully if not for artist Francesco Francavilla, channeling the dark side of Riverdale in reams of inky shadow. Watching lovable goofball Jughead transform from a burger-devouring lunkhead to a people-devouring lunkhead may be hard to stomach for longtime readers, but it does make for a delicious horror comic.Įach panel could be its own Giallo film poster from the ‘70s, the mood coloring echoing director Dario Argento’s hyper-stylized gel lighting. Like fellow precision artists Geof Darrow and the late, great Bernie Wrightson, James Stokoe doesn’t stop drawing until nearly every millimeter of canvas is shaded, hatched and stylized. ![]() ![]() As seen in Orc Stain and his Godzilla runs, a microscope is required to appreciate Stokoe’s images in their hyper-articulate, chiseled depth. In Aliens: Dead Orbit, the cartoonist uses his talent to shape a cosmic graveyard of space junk, dwarfing in scope and mind-numbingly vast. Zoom in tightly enough, and one lone space engineer sits stranded in the wasteland. Though this miniseries utilizes one of the most iconic horror franchises in film history, it builds on its foundation by imposing a sheer sense of scale and futility. Yes, protagonist Wascylewski matches wits with the Xenomorphs and facehuggers, but Stokoe’s art begs what’s the point in a celestial vacuum of hope, light years from any aid. Aliens: Dead Orbit is a Venn diagram of awe, depression and the ghost of salvation, all splayed on 6.63” x 10.24” paper that feels as big as the universe at its most indifferent. ![]() Sean EdgarĪs scribe Donny Cates clarified in his interview with Paste, he doesn’t “find the Antichrist compelling whatsoever,” but is completely devoted to exploring “the girl who gives birth to it, and the impact it has on her life.” True to his word, Babyteeth took a progressive twist on the template laid by Rosemary’s Baby, The Omen and House of the Devil. Sex has consistently equated to doom in the horror template, striking a strong argument that the genre is, whether intentional or not, Christian propaganda.
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