#this woman haunts the narrative better than carmen

[applepies-and-starlight]

As promised, more Lady Ardor and Chatvalier rambles

[doyelikehaggis]

it is late at night and i am sad about ryan. again

i just. how does everyone hate him as much as they do. like they tolerate him most of the time but the second it comes down to the wire they all hate him and it’s not even justified? like yeah, he’s not exactly the best person and he can be manipulative but so can everyone else? especially floss, who is a ton less justified in acting like that and definitely old enough to know better by later seasons, yet she gets away with everything and he doesn’t. it just pisses me off so much

and he helps everyone out too? not always in return for anything, and even if it was in return for stuff, that’s exactly how everyone else operates?? but like, he helps out the people who are nice to him (and chloe). and everyone still acts as if he’s this terrible person who screws everyone over, ruins everything, manipulates everyone and never does anything kind. and he gets blamed for everything when 9 times out of 10, it’s floss or taz

and don’t get me started on how much the way chloe acts towards him annoys me. “unfortunate to have a brother who’s ryan”, in her own words. and he’s still good to her as much as he can be

in summary ryan is unfairly painted as a much worse person than he is, chloe is actually kinda a bitch (but don’t get me wrong, i love her anyway), floss is terrible, and the whole ‘the real ryan’ thing from his leaving episode is a cheap excuse to not have to address how unfairly the narrative treated him for the last 5 seasons

It’s always sad about Ryan hours over here, you are in good company. 

I will never be able to understand why Ryan is treated as if he’s, well, in Sasha’s words: “seriously disturbed.” They literally act like he’s done horrible, unforgivable things and cannot be trusted for anything. I think the worst thing he actually did that I can remember is getting Mike suspended. It was obviously wrong, but no one even really tried to figure out why he did it? No one ever really checks in on him, or stops for a second when he does something wrong to ask him, gently, why he did it and hear him out without getting mad at him straight away. He’s a kid who’s been through a lot, and that doesn’t necessarily justify doing bad things, but the bad things he’s done are about as bad as the rest of them! Honestly, getting Mike suspended wasn’t even that bad! Because, funnily enough, had Carmen not gotten so pissed off at Mike and told the police her file was missing, Mike wouldn’t have been suspended at all. The blame is on Mike in that situaiton for taking the file home with him. Not Carmen and not Ryan. 

And yeah, he’s a manipulative little shit, like when he altered those voice recordings of Tee to turn the others on her. Which... is almost similar to something Elektra has done before. And Floss, in fact, who more recently blackmailed one of the younger ones into helping her betray his friend. 

If there was a single thing that Ryan had done that none of the other characters had done before, I’d maybe understand. Something truly fucked up that is just a little bit more worrying than anything anyone else has done. But I have nothing. 

Stealing the computer and letting Tyler go down for it? Carmen let Bailey get arrested for the window she smashed. Elektra got the younger ones to steal money for her. Dexter stole that parcel and Sasha was going to let Jody go down for it. 

Going through everyone’s files? Elektra, again. And I think Johnny did as well at one point? I don’t quite remember that one too well, but he is absolutely not the first or last to betray the privacy of the other residents, yet he’s treated like he is. 

He is constantly mean and manipulative because everyone keeps telling him he’s evil and disturbed and that he’s a horrible person who only ever lies. And he’s been told that since an age where he wasn’t even old enough to understand why he was being called all of these things. He grew up accepting it about himself and thinking it must be true, because everyone says it, and no one ever listens to him. 

He tried his best to be a good brother to Chloe, and she still acted like he really did let her fall out that window. I don’t understand her turning on him so easily. 

A specific episode that hurts? The halloween one, when Sasha and Tee decide it would be really funny to make him believe that a woman died in his room and is now haunting it. He was absolutely terrified, shaking and on the verge of crying, and they still went along with it (Tee was reluctant, that’s something, I guess, but she didn’t stop Sasha). 

Ryan is definitely unfairly painted as much worse than the others, Chloe could definitely have been nicer, I actually really don’t like Floss, and and I agree that the way they “wrapped up” his story was not at all satisfying. 

[mastcomm]

Zilia Sánchez’s Island of Erotic Forms

We live in a frenzied time. Political turmoil, digital distraction, and each social or economic crisis after the next are constantly on the verge of overwhelming our minds and senses. In the midst of all this, art can be a form of refuge — a way to not exactly escape the world but to slow it down. And right now, I can think of no better creative haven than time spent with the biomorphic, beguiling, and unabashedly sensual work of Zilia Sánchez, whose first museum retrospective in New York is on view at El Museo del Barrio.

The Cuban-born Ms. Sánchez, who will turn 94 this summer, has spent some 50 years making abstract, shaped, sculptural paintings, and is still at work. While modern art has a firmly established tradition of objects that simultaneously hang on the wall and jut into space (think of Robert Rauschenberg’s collagelike “Combines”) and of monochrome, geometric canvases (see Carmen Herrera and Ellsworth Kelly) Ms. Sánchez does something different.

She isn’t self-conscious about operating between mediums, and her work doesn’t ask clever formal questions. Instead, its curves and mounds, swells and protrusions allude to recognizable sources, most notably the landscape, the moon, and the female body. Her painting constructions, many of which are called “topologías eróticas,” or erotic topologies, are non-narrative but filled with hidden meanings, expressing something deeply personal and fundamentally physical. They’re controlled, with a cool palette of mostly black, white and gray, yet so animated they often seem as if they’re trying to come alive — or, as the artist once put it, “paintings with air that breathe.”

The exhibition “Zilia Sánchez: Soy Isla (I Am an Island),” which was organized by Vesela Sretenović, a curator at the Phillips Collection in Washington, D.C., where it first appeared, gathers approximately 40 works to lead the viewer through her career. Ms. Sánchez’s mature style is instantly recognizable once you know it, but before she found it, she experimented with different aesthetics and mediums while traveling and living in different places. In the accompanying catalog, the writer Mercedes Cortázar links Ms. Sánchez’s permanent settling in Puerto Rico in 1971 with a “new, free trajectory” in her work.

Ms. Sánchez was born to a Spanish father and a Cuban mother in Havana in 1926. She was exposed to art at an early age: her father painted in his spare time, and her neighbor, Víctor Manuel, belonged to a rising generation of Cuban artists. Mr. Manuel, who was self-taught, mentored and inspired Ms. Sánchez, who says in an interview in the catalog, “Art can be expressed through a technique or a spirit. Technique can be taught, but an inner spirit cannot.”

Still, she did learn technique, enrolling in 1943 in the prestigious Escuela Nacional de Bellas Artes “San Alejandro.” After graduation she began exhibiting her work in group shows and then had her first solo exhibition in 1953. In 1959 one of her paintings was included in the internationally renowned São Paulo Biennial in Brazil.

Ms. Sánchez was making abstractions with blocky passages of color and interconnected geometric lines and shapes. An untitled work from 1958 looks like a rendering of a complex system floating in oceanic turquoise space. As in so many other places, this kind of gestural painting had become the new Cuban avant-garde; Los Once (The Eleven), the country’s first abstract artists’ group, debuted the same year as Ms. Sánchez’s inaugural solo show, and her work was often exhibited with theirs. The 1950s were also her most expressly political years, as she participated in protest exhibitions against the dictator Fulgencio Batista.

The situation changed when Fidel Castro seized power on New Year’s Day 1959. Ms. Sánchez hasn’t said that she left because of the revolution, but already by the end of that first year, Communist Party officials were expressing doubts about the expediency of abstract art to further their cause. The homophobia of the party, and of Cuban society in general, also made it difficult for her as a queer womanmaking work that would go on to address lesbian desire. Ms. Sánchez moved to New York City in 1960. She would remain a citizen of Cuba but never live there again.

New York in the ’60s was a modern art mecca, yet it was an unwelcoming place for Ms. Sánchez, who didn’t speak the language and didn’t identify with the cold, impersonal style of Minimalism, despite its visual connections to her work. She found an expatriate social circle and took printmaking classes, while also holding down a series of day jobs. Most important, though, she was developing her relief paintings, or “structures,” as she then called them, the idea for which came to her when her father died several years before. The sheet from his bed had been hung out to dry, and she had seen it flapping in the wind and hitting a pipe or tube, creating a haunting, indelible image.

Indeed, one of the earliest works in the retrospective, a small untitled piece whose dates stretch from 1956 to 1999, looks like fabric pulled taut over thin rods. On the white surface, Ms. Sánchez has drawn — or tattooed, as she calls these markings — black lines that seem to trace an unidentified journey.

Beginning in New York and especially since moving to Puerto Rico (with a stop in Madrid in between), Ms. Sánchez has constructed a universe of paintings whose forms echo a woman’s body, with attenuated, conical breasts, vulvar mounds and cylindrical lips seeming to emerge from the canvases; their visual associations are emphasized by zones of paint. Pairs appear frequently, conjoined to create a whole, as in a towering but elegant 1987 work, “Juana de Arco” (“Joan of Arc”). Units often repeat serially: in one of the most exhilarating pieces, “Troyanas” (“Trojan Women,”) from 1984, breasts line up like ready soldiers.

Ms. Sánchez names many of her works after historical and mythological women, and her use of the phrase “Topología Erótica” (coined by a friend, the Cuban poet Severo Sarduy) signals her approach to the female body. She isn’t depicting or abstracting it in order to objectify and dominate it, nor is she baring it as a form of feminist reclamation. The goal, rather, is to intimately study and map it.

This idea is reinforced by the ink drawings that sometimes cover her canvases — networks of lines and shapes that hark back to her early abstractions. Ms. Sánchez makes these tattoos intuitively, marking the skins of her artworks with maps to her subconscious. On her moon-shaped “Lunar” works, the drawings also recall constellations. “Lunar con Tatuaje” (“Moon With Tattoo, circa 1968/96), one of her most elaborate pieces, features two semicircular canvases with raised half-moons in the middle. Frenzied groups of lines arc between various points, accompanied by arrows and an occasional eye or hand. The picture isn’t legible, but it calls forth a kind of cosmic knowledge.

Such is the duality and lesson of Ms. Sánchez’s art: It’s grounded in the material world but points toward something metaphysical. I thought of this as I watched the video that plays near the entrance to the retrospective. In “Encuentrismo — Ofrenda o Retorno” (“The Encounter — Offering or Return”), from 2000, the artist stands on a beach and pushes one of her paintings into the ocean. For 20 mesmerizing minutes, waves crash over the canvas construction as it bobbles, floats and returns. In the gallery the piece that had been in the water sits on a low plinth before the screen. On the surface it looks like a sad, lopsided, water-logged painting, but Ms. Sánchez knows, and we do too, that it’s really so much more.

Zilia Sánchez: Soy Isla (I Am an Island)

Through March 22 at El Museo del Barrio, 1230 Fifth Avenue, Manhattan; 212-831-7272, elmuseo.org.

from WordPress https://mastcomm.com/zilia-sanchezs-island-of-erotic-forms/

[comicsxaminer]

DC AND BEST-SELLING AUTHOR JOE HILL PRESENT HILL HOUSE COMICS,

A NEW POP-UP LINE DEDICATED TO BONE-CHILLING HORROR

  Hill Selects Mike Carey, Carmen Maria Machado and Laura Marks to Pen New Series

  Burbank, CA (June 26, 2019)—This October, DC will team up with best-selling author Joe Hill (NOS4A2, Locke & Key) to present Hill House Comics, a new pop-up line of horror comic books. DC’s long-standing tradition of publishing thought-provoking and riveting horror from HOUSE OF MYSTERY to classic SANDMAN will continue with this new line featuring five original limited series meant to chill the bones and summon nightmares with smart, subversive narratives and haunting, heart-stopping visuals. And it all begins this fall, in time for a very haunting Halloween.

“Anyone who’s paying attention knows we’re in the middle of a new golden age of horror: films like Get Out, Hereditary, It Follows and plain old It have raised the bar higher and higher,” says Hill. “Meanwhile, ongoing shows like AMC’s The Terror and Netflix’s Stranger Things have shattered preconceived notions about what’s possible in episodic terror TV. There’s great stuff happening in comics, of course—in a field of unbounded creativity and wacko visionaries, there’s always great stuff happening—but greedy me wants more.

“At Hill House Comics we aim to shock the senses and soak the page in red, with new, hooky horror from seasoned old hands and young masters of the field, all set free to share their most disturbing nightmares…for your pleasure! The books are backed by DC’s second-to-none comic book craftsmanship, and we’re working with the very best editors on parole from Arkham Asylum to craft unputdownable tales of menace and madness. I can’t wait to share some fresh scares with comic book readers everywhere. It’s going to be fun.”

The first of these new monthly comics will debut on October 30 with BASKETFUL OF HEADS, written by Joe Hill with art by Leomacs, followed by four other series in subsequent months, including:

THE DOLLHOUSE FAMILY from Mike Carey (LUCIFER, HELLBLAZER, The Girl with All the Gifts) and Peter Gross (LUCIFER, THE BOOKS OF MAGIC, THE UNWRITTEN)

THE LOW, LOW WOODS by Carmen Maria Machado (Her Body and Other Parties) and Dani (2000 AD, Coffin Bound,Deep Roots)

DAPHNE BYRNE by Laura Marks (TV writer and producer, playwright of Bethany) and Kelley Jones (SWAMP THING, DEADMAN, THE SANDMAN)

PLUNGE by Hill and artist TBD

In addition, a backup story titled “Sea Dogs,” written by Hill and featuring lycanthropes terrorizing a crew of sailors at sea, will run in the back of every issue from the line.

“Bringing horror to the forefront of our publishing plan has been a huge initiative for DC and a passion project of mine, but it was always about finding the right time and voice to mastermind it—and there is no one better than Joe Hill,” says DC executive editor Mark Doyle. “Joe is a modern master; his ability to blend visceral, high-concept horror with heartfelt characters is what has grabbed the attention (and throats!) of millions of readers. His vision and taste are unparalleled; you can see it in the incredible talent he’s assembled here, and the stories they’re crafting are bringing the next generation of horror to DC.”

“Joe Hill’s vision for this new line is incredibly exciting,” says DC Editor-in-Chief Bob Harras. “Bringing in new and well-known creative voices with different backgrounds to tell their thrilling and terrifying tales, mixed with the energy around the horror genre at large—it all makes it a great time to be a fan of DC.”

“We’re so happy to welcome Joe Hill to DC, and to partner with him on this new specialty line of creator-owned horror books,” says DC Publisher Dan DiDio. “Horror has been such an integral part of DC’s history and it’s a tradition we want to see revitalized. As a lifetime fan of horror, I know fans are going to be so excited when these books hit shelves. I can’t wait.”

Hill House Comics will get its first spotlight at this year’s San Diego Comic-Con, with a panel hosted by Hill and Doyle, with other special guests. The panel will be held Friday, July 19, at 4:15 p.m. in room 6DE.

Hill House Comics will be released under DC Black Label, as they are intended for mature audiences. For more information on Hill House Comics, follow dccomics.com.

  About the series:

BASKETFUL OF HEADS

Written by: Joe Hill

Art by: Leomacs

Covers by: Reiko Murakami

The rain lashes the grassy dunes of Brody Island, and seagulls scream above the bay. A slender figure in a raincoat carries a large wicker basket, which looks like it might be full of melons…covered by a bloodstained scrap of the American flag.

This is the story of June Branch, a young woman trapped with four cunning criminals who have snatched her boyfriend for deranged reasons of their own. Now she must fight for her life with the help of an impossible 8th-century Viking axe that can pass through a man’s neck in a single swipe—and leave the severed head still conscious and capable of supernatural speech.

Each disembodied head has a malevolent story of its own to tell, and it isn’t long before June finds herself in a desperate struggle to hack through their lies and manipulations…racing to save the man she loves before time runs out.

THE LOW, LOW WOODS

Written by: Carmen Maria Machado

Art by: Dani

Cover by: J.A.W. Cooper

A mysterious plague is afflicting the small mining town of Shudder to Think, Pennsylvania. It strikes seemingly at random, eating away at the memories of those suffering from it. From tales of rabbits with human eyes, to deer women who come to the windows of hungry girls at night, this town is one of those places where strange things are always happening. But no one ever seems to question why…

THE LOW, LOW WOODS is a gruesome coming-of-age body-horror mystery series about two teenage women trying to uncover the truth about the mysterious memory-devouring illness affecting them and the people of the small mining town they call home—and the more they discover, the more disturbing the truth becomes.

THE DOLLHOUSE FAMILY

Written by: Mike Carey

Art by: Peter Gross

Covers by: Jessica Dalva

On Alice’s sixth birthday, her dying great-aunt sends her the birthday gift she didn’t know she always wanted: a big, beautiful 19th-century dollhouse, complete with a family of antique dolls. In hardly any time at all, the dollhouse isn’t just Alice’s favorite toy…it’s her whole world.

Soon young Alice learns she can enter the house, to visit a new group of friends, straight out of a heartwarming children’s novel: the Dollhouse family. As the years pass, Alice finds herself visiting their world more frequently, slowly losing track of where reality ends and make-believe begins. What starts as play concludes in an eruption of madness and violence.

Childhood ends—but that little house casts a long shadow over Alice’s adult life. When the world becomes too much for her to bear, Alice finds herself returning to the dollhouse and the little folk within. The house can offer her a shelter from all her sorrows…but only if she gives it what it wants, and god help her if she tries to walk away again…

DAPHNE BYRNE

Written by: Laura Marks

Art by: Kelley Jones

Covers by: Piotr Jabłoński

  In the gaslit splendor of late 19th-century New York, rage builds inside 14-year-old Daphne. The sudden death of her father has left her alone with her irresponsible, grief-stricken mother—who becomes easy prey for a group of occultists promising to contact her dead husband.

While fighting to disentangle her mother from these charlatans, Daphne begins to sense a strange, insidious presence in her own body…an entity with unspeakable appetites. And as she learns to wield this brutal, terrifying power, she wages a revenge-fueled crusade against the secret underworld that destroyed her life.

  PLUNGE

Written by: Joe Hill

Art by: TBD

Covers by: Jeremy Wilson

In 1983 the Derleth disappeared, wiped out in a storm on the edge of the Arctic circle—the world’s most advanced research vessel in the hunt for oil, lost in the aftermath of a tsunami.

Almost 40 years later, the Derleth begins to transmit its distress signal once again, calling in to Alaska’s remote Attu Station from the most forlorn place on earth, a desolate ring island in the icy faraway. A US salvage team made up of experts, scientists, and mercenaries helicopter in just ahead of a storm—and the Russian competition—to find the abandoned wreck hung up on the island shores of the atoll. As a wintry blizzard clamps down, anomalies begin to surface: first the samples of an oil with unlikely properties, and then the sonar readings of a sunken prehistoric civilization just offshore. Still, nothing could prepare the salvage team for the reappearance of the Derleth’s crew from the island cave, no older than they were four decades ago, every one of them struck blind by an inexplicable infection…and yet capable of seeing in new ways, possessed of extraordinary powers and stripped of all but their last vestiges of humanity…

SEA DOGS (backup story)

Written by: Joe Hill

Art by: TBD

The Revolution is screwed.

In 1779 the pathetic American navy is a pile of smoldering wrecks choking the Penobscot River. Imperial Britain has amassed the mightiest fleet the world has ever known, led by the HMS Havoc, a 90-gun second rate that has sunk a forest of French, Spanish and American frigates, sketching a trail of devastation that stretches all the way from St. Kitts to Machias, Maine. The faltering Continental Congress can’t hope to match England’s sea power, and they’re just desperate enough to make a deal with the devil…or even three.

Spymaster Benjamin Tallmadge proposes allowing three lycanthropes to be pressed into British service aboard the Havoc. Three patriotic werewolves might be all it takes to butcher the ship from the inside out and paint the decks red. It’s true, their powers are infernal, their minds are mad and their loyalty can in no way be trusted. And yet what else can a desperate nation do…but let slip the dogs of war?

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DC AND BEST-SELLING AUTHOR JOE HILL PRESENT HILL HOUSE COMICS, A NEW POP-UP LINE DEDICATED TO BONE-CHILLING HORROR DC AND BEST-SELLING AUTHOR JOE HILL PRESENT HILL HOUSE COMICS, A NEW POP-UP LINE DEDICATED TO BONE-CHILLING HORROR…

[siphen0]

This October, DC will team up with best-selling author Joe Hill (NOS4A2, Locke & Key) to present Hill House Comics, a new pop-up line of horror comic books. DC’s long-standing tradition of publishing thought-provoking and riveting horror from HOUSE OF MYSTERY to classic SANDMAN will continue with this new line featuring five original limited series meant to chill the bones and summon nightmares with smart, subversive narratives and haunting, heart-stopping visuals. And it all begins this fall, in time for a very haunting Halloween.

“Anyone who’s paying attention knows we’re in the middle of a new golden age of horror: films like Get Out, Hereditary, It Follows and plain old It have raised the bar higher and higher,” says Hill. “Meanwhile, ongoing shows like AMC’s The Terror and Netflix’s Stranger Things have shattered preconceived notions about what’s possible in episodic terror TV. There’s great stuff happening in comics, of course—in a field of unbounded creativity and wacko visionaries, there’s always great stuff happening—but greedy me wants more.

“At Hill House Comics we aim to shock the senses and soak the page in red, with new, hooky horror from seasoned old hands and young masters of the field, all set free to share their most disturbing nightmares…for your pleasure! The books are backed by DC’s second-to-none comic book craftsmanship, and we’re working with the very best editors on parole from Arkham Asylum to craft unputdownable tales of menace and madness. I can’t wait to share some fresh scares with comic book readers everywhere. It’s going to be fun.”

The first of these new monthly comics will debut on October 30 with BASKETFUL OF HEADS, written by Joe Hill with art by Leomacs, followed by four other series in subsequent months, including:

THE DOLLHOUSE FAMILY from Mike Carey (LUCIFER, HELLBLAZER, The Girl with All the Gifts) and Peter Gross (LUCIFER, THE BOOKS OF MAGIC, THE UNWRITTEN)

THE LOW, LOW WOODS by Carmen Maria Machado (Her Body and Other Parties) and Dani (2000 AD, Coffin Bound, Deep Roots)

DAPHNE BYRNE by Laura Marks (TV writer and producer, playwright of Bethany) and Kelley Jones (SWAMP THING, DEADMAN, THE SANDMAN)

PLUNGE by Hill and artist TBD

In addition, a backup story titled “Sea Dogs,” written by Hill and featuring lycanthropes terrorizing a crew of sailors at sea, will run in the back of every issue from the line.

“Bringing horror to the forefront of our publishing plan has been a huge initiative for DC and a passion project of mine, but it was always about finding the right time and voice to mastermind it—and there is no one better than Joe Hill,” says DC executive editor Mark Doyle. “Joe is a modern master; his ability to blend visceral, high-concept horror with heartfelt characters is what has grabbed the attention (and throats!) of millions of readers. His vision and taste are unparalleled; you can see it in the incredible talent he’s assembled here, and the stories they’re crafting are bringing the next generation of horror to DC.”

“Joe Hill’s vision for this new line is incredibly exciting,” says DC Editor-in-Chief Bob Harras. “Bringing in new and well-known creative voices with different backgrounds to tell their thrilling and terrifying tales, mixed with the energy around the horror genre at large—it all makes it a great time to be a fan of DC.”

“We’re so happy to welcome Joe Hill to DC, and to partner with him on this new specialty line of creator-owned horror books,” says DC Publisher Dan DiDio. “Horror has been such an integral part of DC’s history and it’s a tradition we want to see revitalized. As a lifetime fan of horror, I know fans are going to be so excited when these books hit shelves. I can’t wait.”

Hill House Comics will get its first spotlight at this year’s San Diego Comic-Con, with a panel hosted by Hill and Doyle, with other special guests. The panel will be held Friday, July 19, at 4:15 p.m. in room 6DE.

Hill House Comics will be released under DC Black Label, as they are intended for mature audiences. For more information on Hill House Comics, follow dccomics.com.

About the series:

BASKETFUL OF HEADS

Written by: Joe Hill

Art by: Leomacs

Covers by: Reiko Murakami

The rain lashes the grassy dunes of Brody Island, and seagulls scream above the bay. A slender figure in a raincoat carries a large wicker basket, which looks like it might be full of melons…covered by a bloodstained scrap of the American flag.

This is the story of June Branch, a young woman trapped with four cunning criminals who have snatched her boyfriend for deranged reasons of their own. Now she must fight for her life with the help of an impossible 8th-century Viking axe that can pass through a man’s neck in a single swipe—and leave the severed head still conscious and capable of supernatural speech.

Each disembodied head has a malevolent story of its own to tell, and it isn’t long before June finds herself in a desperate struggle to hack through their lies and manipulations…racing to save the man she loves before time runs out.

THE LOW, LOW WOODS

Written by: Carmen Maria Machado

Art by: Dani

Cover by: J.A.W. Cooper

A mysterious plague is afflicting the small mining town of Shudder to Think, Pennsylvania. It strikes seemingly at random, eating away at the memories of those suffering from it. From tales of rabbits with human eyes, to deer women who come to the windows of hungry girls at night, this town is one of those places where strange things are always happening. But no one ever seems to question why…

THE LOW, LOW WOODS is a gruesome coming-of-age body-horror mystery series about two teenage women trying to uncover the truth about the mysterious memory-devouring illness affecting them and the people of the small mining town they call home—and the more they discover, the more disturbing the truth becomes.

THE DOLLHOUSE FAMILY

Written by: Mike Carey

Art by: Peter Gross

Covers by: Jessica Dalva

On Alice’s sixth birthday, her dying great-aunt sends her the birthday gift she didn’t know she always wanted: a big, beautiful 19th-century dollhouse, complete with a family of antique dolls. In hardly any time at all, the dollhouse isn’t just Alice’s favorite toy…it’s her whole world.

Soon young Alice learns she can enter the house, to visit a new group of friends, straight out of a heartwarming children’s novel: the Dollhouse family. As the years pass, Alice finds herself visiting their world more frequently, slowly losing track of where reality ends and make-believe begins. What starts as play concludes in an eruption of madness and violence.

Childhood ends—but that little house casts a long shadow over Alice’s adult life. When the world becomes too much for her to bear, Alice finds herself returning to the dollhouse and the little folk within. The house can offer her a shelter from all her sorrows…but only if she gives it what it wants, and god help her if she tries to walk away again…

DAPHNE BYRNE

Written by: Laura Marks

Art by: Kelley Jones

Covers by: Piotr Jabłoński

In the gaslit splendor of late 19th-century New York, rage builds inside 14-year-old Daphne. The sudden death of her father has left her alone with her irresponsible, grief-stricken mother—who becomes easy prey for a group of occultists promising to contact her dead husband.

While fighting to disentangle her mother from these charlatans, Daphne begins to sense a strange, insidious presence in her own body…an entity with unspeakable appetites. And as she learns to wield this brutal, terrifying power, she wages a revenge-fueled crusade against the secret underworld that destroyed her life.

PLUNGE

Written by: Joe Hill

Art by: TBD

Covers by: Jeremy Wilson

In 1983 the Derleth disappeared, wiped out in a storm on the edge of the Arctic circle—the world’s most advanced research vessel in the hunt for oil, lost in the aftermath of a tsunami.

Almost 40 years later, the Derleth begins to transmit its distress signal once again, calling in to Alaska’s remote Attu Station from the most forlorn place on earth, a desolate ring island in the icy faraway. A US salvage team made up of experts, scientists, and mercenaries helicopter in just ahead of a storm—and the Russian competition—to find the abandoned wreck hung up on the island shores of the atoll. As a wintry blizzard clamps down, anomalies begin to surface: first the samples of an oil with unlikely properties, and then the sonar readings of a sunken prehistoric civilization just offshore. Still, nothing could prepare the salvage team for the reappearance of the Derleth’s crew from the island cave, no older than they were four decades ago, every one of them struck blind by an inexplicable infection…and yet capable of seeing in new ways, possessed of extraordinary powers and stripped of all but their last vestiges of humanity…

SEA DOGS (backup story)

Written by: Joe Hill

Art by: TBD

The Revolution is screwed.

In 1779 the pathetic American navy is a pile of smoldering wrecks choking the Penobscot River. Imperial Britain has amassed the mightiest fleet the world has ever known, led by the HMS Havoc, a 90-gun second rate that has sunk a forest of French, Spanish and American frigates, sketching a trail of devastation that stretches all the way from St. Kitts to Machias, Maine. The faltering Continental Congress can’t hope to match England’s sea power, and they’re just desperate enough to make a deal with the devil…or even three.

Spymaster Benjamin Tallmadge proposes allowing three lycanthropes to be pressed into British service aboard the Havoc. Three patriotic werewolves might be all it takes to butcher the ship from the inside out and paint the decks red. It’s true, their powers are infernal, their minds are mad and their loyalty can in no way be trusted. And yet what else can a desperate nation do…but let slip the dogs of war?

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DC and Joe Hill Present Hill House Comics, a New Pop-Up Line Dedicated to Bone-Chilling Horror This October, DC will team up with best-selling author Joe Hill (NOS4A2, Locke & Key) to present Hill House Comics, a new pop-up line of horror comic books.