Paul Tremblay’s exploration of the apocalypse takes a unique step towards unfamiliar territory in his latest novel, Cabin At The End of the World (2018). As his previous novels, Tremblay maintains a tone that is undesignated to a single idea or theme. Trust, deceit, paranoia, fanaticism, and the end-times are just a few of the key elements that drive the novel into terrifying territory. Although Cabin At The End of the World has been categorized as a horror novel, it is definitely not “horror” in the traditional sense. The terror in Tremblay’s novel stems from the horrors brought upon by real people, in a scenario that is very much probable (depending on your stance of the novel’s conclusion).
The novel opens with Wen, an adopted seven year old from China, sitting quietly on the front yard of a summer cabin located in Northern New Hampshire. Sitting quietly in a remote destination, away from society and cell phone signals, the vacation cabin houses Wen along her two dads, Eric and Andrew. As Wen sits collecting grasshoppers in a glass jar, a stranger comes approaching her from the lonely road. The stranger, named Leonard, engages in conversation meanwhile helping her collect grasshoppers. Suddenly, when three more strangers approach the vacation home, Leonard warns Wen that her, as well as her two dads, have an important task with saving humanity from the end of the world. The task? Wen and her two dads, Eric and Andrew, must decide who is to be sacrificed (voluntarily) in order to prevent the apocalypse.
As the four strangers force their way into the summer cabin, it is at this moment when things take a turn into strange territory. Throughout Cabin At The End of the World, Tremblay never truly explores the depths of the end-times. Rather, Tremblay focuses on the impact the end-times has on our characters. Choosing to wrestle belief with doubt, Tremblay focuses much of his energy on presenting clues to believe the end-times is probable, alongside countering it with doubtful evidence. For example, Leonard states that at a certain hour, a sign of the end times will become known (in the form of a tsunami/flood), killings thousands of people. As our characters witness (on television) the merciless waters claiming the lands and its inhabitants, Andrew (a skeptic) incites doubt when proving the television broadcast is a pre-recording; that perhaps Leonard and his companions were already aware of the events to come prior to arriving at the cabin.
As the novel continues to unfold, readers are left with piecing the clues together and drafting their own assessment; is the apocalypse really happening? Will their sacrifice truly make an impact on the world and its’ fate? My own assessment lead me to my own conclusion to Cabin At The End of the World. The strangers were willing to sacrifice themselves, as they demonstrated in the novel, due to their strong convictions about the apocalypse. Could it in fact be true? Or are the strangers truly fanatics that have simply fallen victim to their extreme zealotry? On the other end of the spectrum, Andrew’s sense of doubt and skepticism attempts to place reason where suspicion lie. At one point, Andrew accuses one of the strangers as an intemperate homophobe who at one point had crossed paths with him years ago.
One interesting detail I noticed regarding the novel was Tremblay’s usage of the number seven. Perhaps I am over analyzing details not relevant and/or this was not Tremblay’s intention, but there are several usages of the number seven; which happens to have relevance to the Book of Revelation in the New Testament from the Bible. Several usages include Wen’s age of seven, seven grasshoppers collected, seven central characters (Wen, Andrew, Eric, Leonard, Adriane, Redmond, and Sabrina), and seven planes crashing (one of the many signs/disasters of the end-times). Extending to several literary genres, from prophesies to the apocalypse, the Book of Revelation expresses the number seven in several forms. Yet one in particular are the seven seals/scrolls in the Book of Revelation which contain information on the end-times; the opening of each seal contains an apocalyptic event such as the Four Horsemen (as mentioned in Cabin At The End of the World). As I’ve previously mentioned, perhaps I am over-analyzing details which were not Tremblay’s intention.
Cabin At The End of the World comes together to form a story that’s built upon two facets; one of a home invasion curated by extremists who claim a divine intervention brought them against their will, and the other of a family whose choices may impact the fate of the world and humanity’s survival. Tremblay won’t spell it out for you. Cabin will challenge the reader to accept the apocalypse, or fight the zealotry of these fanatic individuals. The narrative is solid, yet the pace of the novel can tend to drag from time to time. But there’s enough to keep you engaged and wonder what exactly will come of the events. The ending may not appeal to most readers, as Tremblay seems to commit to the ambiguity up until the final sentence. But perhaps the reader can gather enough clues to make their own judgement; just as I did. If there’s any social commentary to examine, it’s perhaps the horrors of extremism; which is very real in our time. Cabin At The End of the World is a worthy one time read, yet little value for a re-visit. Endings don’t have to be entirely satisfying, but coming full circle rather than keeping readers in a maze could have added some re-read value. Pick up Cabin At The End of the World at your local bookstore. It’s still a damn good read.
Gareth Evans (The Raid) latest film, Apostle, reminds us of the weight that consequence of sin and heresy can bear. It’s a film that engulfs viewers in its unnerving atmosphere and keeps engaging, even as its’ pace seems sedated. This is in complete contrast to Evans previous films, most notably The Raid, as he subjects viewers to the haunting, and oftentimes gruesome, storytelling in exchange for the fast-paced, martial arts action feature. Apostle tells the story of Thomas Richardson (played by Dan Stevens) who travels to a secluded island in search of his sister, Jennifer, who has been kidnapped by an enigmatic cult that seek ransom in exchange for her release. The cult’s leader and co-founder, Malcolm Howe (played by Michael Sheen), suspects an infiltrator within their midst and carries out a series of trials in search of the imposter. Yet as the film progresses, we find that the island houses more than just the mysterious cult within its boundaries, something much more terrifying lurks amongst the people of the island.
As Thomas comes to witness rituals of bloodletting, as well as mysterious apparitions of an elderly woman, the secrets buried underneath the island begin to unfold, leading to a series of gruesome moments. Evans storytelling does not confine viewers to the violence of the film, but rather, it helps explore the story further. This is done effectively due to the film’s interpersonal relationships among characters as well as the intensity of the story. The brutality of the film is simply the icing on the cake. The film’s true horror lies within the characters and the effect that fundamentalist religion, or the cult, has had on these characters.
Within recent years in horror, we have seen a growing number of period films as a preferred method of storytelling; several examples include The Witch (2015), The Woman in Black (2012), and The Awakening(2011), just to name a few. Apostle takes advantage of the time period, set in 1905, in order to deliver a story that’s isolating as well as emphasising a period that was unforgiving. The world within Apostle feels authentic, offering its’ fair share of religious fervor and violence, fueled by the stellar performances of each cast member. As Apostle unravels, the audience will bear witness to motives that drive each character, giving the storyline much more substance and depth. In particular, Dan’s Steven’s performance is one to take special notice as a man who’s at odds with himself and the rest of the world. His character, Thomas Richardson, not only battles his inner demons of drug addiction, but his conviction that purity solely exist in his sister, Jennifer, drives him to push beyond his limits in rescuing her. Thomas shares this insight with Andrea Howe, cult leader Malcolm Howes daughter (played by Lucy Boynton), stating, “The promise of the Divine is but an illusion. Nothing in this world is pure… except for Jennifer, my sister.”
Apostle is anything but transparent. Although the story spends the first act at a slow pace, Evans uses every detail in Apostle to reveal more of the plot and it’s characters. Thankfully to this strategy, Apostle is a well-thought, constructed film that analyzes the horrors of not only religious fanaticism, but the journey of rediscovering one’s own faith and belief in something profound, beyond our own limitations of existence. Apostle will not only cater to horror fans, but those seeking a thriller or perhaps those more drawn to the supernatural will find something to enjoy in this film. It’s an engaging experience that blends several themes of horror, from the atmospheric terrors of an isolated island to the violent nature of man, Apostle is a film to appreciate and enjoy. So check it out. It’s on Netflix.
Comic writer Cullen Bunn has successfully marked his place within the horror genre by creating stories plagued with fear, tension, and most importantly, have a way of engaging the reader. Bunn is currently helming the critically acclaimed series titled Bone Parish, by Boom! Studios, which takes readers on a surreal trip through the eyes of the dead. A new street drug, known as Ash, is engineered using the ashes of the dead to deliver a trip that drives its consumers wanting more. The Winter family, who are the sole proprietors of Ash, have found themselves in a predicament in the midst of a crime world they aren’t fully equipped to handle.
Written by Cullen Bunn with art by Jonas Scharf and coloring by Alex Guimaráes, Bone Parish delves deep into the real life horrors of crime, drug addiction, and nightmarish visions of the dead. Thanks to the art direction and colors of both Scharf and Guimaráes, Bone Parish delivers a wonderful and dark aesthetic by blending the surreal hallucinogens of Ash with the more tangible threat of drug crimes in the real world. The overall colortone of the comic expresses darker blue/green “cold” tones versus the brighter, more saturated, pink colors within the hallucinations generated by Ash. This contrast is helpful in two ways; first, it’s aesthetically appealing as it also guides the reader between the two worlds. Second, the saturated colors within the hallucinations are what make Ash so demanding as it offers an escape from the dark tones of the real world. In some cases, Ash even helps people connect with their loved ones lost in life.
These are the factors that make Bone Parish such a compelling and engaging read. The, at times, terrifying images conjured by the drug set against the crime ridden city of New Orleans offers high tension as the stakes for drug domination continues to rise. Bunn offers insight into the Winter family’s turbulent past which provides context and orients the reader about the present. It’s also Bunn’s writing that enables Scharf and Guimaráes to create a world that will completely engulf the reader into the surreal mixture of fantasy and the real world. Which world would you choose?
Bone Parish is currently on its third issue with number four ready to hit the shelves on October 31st, 2018, at your local comic book shop. Pick up the acclaimed series that ComicBook.com declares, “This is definitely a series you won’t want to miss out on”, and Multiversity Comics calls, “…equal parts intriguing, creepy, and intense”. You can also get more information regarding comic subscriptions as well as digital versions through the Boom! Studios official website below. Thanks for reading!
Daniel Kraus’s Rotters is an unconventional morbid tale of life, told through the obsession of death. It’s an ambitious take on a coming-of-age narrative that’s both rough on the edges and yet full of heart. Kraus takes his readers on a journey of the macabre in search of the beauty in life, which ironically is found beneath the gravestones, six feet within the Earth. It’s the artistry of grave robbing that teaches the book’s protagonist, Joey Crouch, that the things most people value, end up staying behind for the living to claim. Rotters reminds us of our mortality and how we are continually rotting away until our bodies are finally laid to rest. Rotters is a complex story of strained family relationships, friends, love, heartbreak, and most importantly, it questions our place in this world. Daniel Kraus printed Rotters in 2012 and is comprised of roughly 460 pages; the book was published by Ember, a division of Random House Inc.
According to Daniel Kraus’s official website, the synopsis for Rotters is as follows, “Grave robbing. What kind of monster would do such a thing? It’s true that Leonardo da Vinci did it, Shakespeare wrote about it, and the resurrection men of nineteenth-century Scotland practically made it an art. But none of this matters to Joey Crouch, a sixteen-year-old straight-A student living in Chicago with his single mom. For the most part, Joey’s life is about playing the trumpet and avoiding the daily humiliations of high school. Everything changes when Joey’s mother dies in a tragic accident and he is sent to rural Iowa to live with the father he has never known, a strange, solitary man with unimaginable secrets. At first, Joey’s father wants nothing to do with him, but once father and son come to terms with each other, Joey’s life takes a turn both macabre and exhilarating.”
Given Daniel Kraus’s history with the horror genre, with such titles including The Monster Variation (2009) and following Rotters with Scowler (2014) and The Shape of Water (2108), it comes to no surprise that Kraus would include horror elements to provide Rotters the dark undertones needed to effectively tell a chilling story. Joey Crouch is a character that many of us readers can relate to, with the exception of his particular circumstances of grave robbing. He’s a teenager struggling to fit in at a new school, constantly trying to figure out his identity and place in this world, smart, and of course, falls prey to the relentless heartache of unrequited love. Joey’s character in Rotters takes several shifts throughout the novel, which I found not only refreshing, but very engaging; I’d understand and support his decisions, then I’d be upset with his choices and where they’d lead him. The relationship between Joey and his father, Ken Harnett, takes a snail’s pace of development within the first half of the novel. In fact, the first half of Rotters focuses primarily on Joey’s relationship with Ken as well as his social status as the inconspicuous “freak” teenager in high school. It’s not until the second half of Rotters that we begin to notice a change of pace and direction of our central characters, as well as a developing conflict.
Kraus’s writing is exceptionally impressive as his ability to describe characters and their environments brings about the dark atmospheric tone that makes Rotters such a unique story. Kraus’s “voice” takes control of every scenario as his narrative, as clear as glass, allows readers to peer inside the story with an imagination armed with distinguishable style. Rotters is a novel that challenges readers to reflect on our own mortality as well as the decisions that either place value in the things that matter versus the things that don’t. Daniel Kraus has managed to write a novel that reflects the literary voices of the past, as Rotters borrows elements from the macabre such as the likes of Edgar Allan Poe, the obsession with the dead as with Mary Shelley’s Dr. Frankenstein and the haunting atmosphere told in eerie detail just as M.R. James ghost stories. You may see Rotters listed as “Young Adult Fiction”, but don’t let that stop you from giving Kraus’s novel a chance. It’s a dark flirtation with death and how the coming-of-age of protagonist Joey Crouch provides insight on the living, through the dead. If you can muster the courage to read through the first half of the novel’s slow development, you’ll be in for a stellar second half. Thanks for reading. Enjoy the novel’s trailer below.
Cullen Bunn is a three-time Bram Stoker nominated comic writer and novelist notable for his contributions to the horror genre in comics. In recent years, Bunn has written some of the more popular titles within the genre including Harrow County and Bone Parish. On August 22nd, 2018, Image Comics published Bunn’s most recent work titled Cold Spots, in collaboration with artist Mark Torres (Zombies vs. Robots: Undercity, TMNT). According to the Image Comics official website, Cold Spots synopsys states,
“Psychological terror, the undead, and a supernaturally bitter cold come together in this spine-tingling new series from CULLEN BUNN and MARK TORRES. 10 years ago, Dan Kerr turned his back on his wife and unborn daughter. Now, both mother and child have gone missing, and Dan must face cosmic terrors to find them again. He soon finds that ghosts stir when his estranged daughter is near. And as the dead grow restless, the cold deepens…”
Bunn’s writing slowly builds on the narrative, giving a steady drip of storyline that maintains its grip on the reader. The dialogue feels natural while Bunn will emphasize certain words, in BOLD form, to provide some insight within his writing. Cold Spots does an exceptional job of providing plot and character driven elements through two mediums, the writing and the art. As Bunn focuses his narrative strictly on plot, Mark Torres’s art provides insight into characters through subtle details that at times are profound. The horror elements throughout Cold Spots are one to appreciate, which remind me of Shattered Memories with a dark detective noir twist; and issue #1 truly delivers on these elements. The initial entry is a fantastic serving of horror, thrills, and mystery and I’m excited to see how the story will unfold in the following installments.
In order to enrich the experience of reading Cold Spots, each issue will include an accompanying free mp3 soundtrack that is available through a QR code and/or a Dropbox link provided within the comic. Pick up your copy today of Bunn’s latest horror piece and enjoy the experience with the free soundtrack. Cold Spots is a limited comic series that will run for five issues. You can pick up issue #2 on September 26th, 2018 at your local comic shop, or order directly through Image Comics (link provided below).