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In the Bins: Indie Horror Comic Back Issues You Can’t Miss!

Published

4 years ago

February 16, 2022

While the current comic horror explosion is impressive, it’s not the first time horror comics have had their moment in the sun (or rather moonlight). I’ve found some interesting indie horror comic titles in the back issue bins recently. Let’s see if they’re worth digging for.

Remains (IDW, $19.99 for the collected edition) by Steve Niles (of 30 Days of Night fame) and Kieron Dwyer opens with a nuclear catastrophe that wipes out most of the planet. Tom and Tori, two casino workers in Reno, have a tryst in a casino vault at the same time as said catastrophe, meaning they’re unaffected by the event, and when they emerge minutes later, everyone is gone. Then, to quote the story, things get worse.

All those corpses from the nuclear attack? They rise from the dead as flesh-eating zombies. While nothing comes of Tom and Tori’s romantic relationship, they stick together to fight the zombie outbreak. What follows is a freewheeling zombie romp that follows many of the traditional rules but adds enough of its own seasoning (and some clever original ideas) to make it feel fresh. The zombies here are not brainless, at least not all of them – some of them are evolving into intelligent beings and effective adversaries. The series ran five issues and can be found both as a trade paperback and single issues – I found mine in the bargain bins.

Redneck (Image, $16.99 for Volume 1) is similar to Remains in that it takes on a well-trod genre – vampires this time – but veers enough from the formula to create an interesting story. The comic centers around the Bowmans, a family of rural Texas vampires doing their best to live a quiet life, meaning “not feeding on or killing people”. Multiple generations of the family live under the same roof, from Perry, the family head to Granpa, a sinister nosferatu-esque vampire being kept in the attic.

In the first issue, three of the boys go into town to party only to court trouble and run into Father Landry, the crooked town preacher who hates the family. When they wake up the next day with a family member dead and the previous night’s activities lost to drunken stupor, the game is on. As they unravel the mystery of what happened that night it becomes clear that something big is about to go down between the Bowmans and Preacher Landry. The interpersonal relationships and family dynamics in this series are compelling and layered, and the story takes many twists and turns as events unfold over the course of the narrative.

Finally, Clive Barker’s Next Testament (Boom, $29.99 for the Omnibus) by Clive Barker, Mark Alan Miller and Haemi Jang follows Julian Demond, an archaeologist whose lifetime of research comes to a head when he discovers a massive, rare artifact in the middle of the desert that opens to reveal multi-colored god figure: Wick, the Lord of Colors.

Announcing to Julian he is the creator of earth, Wick proclaims his readiness to rediscover the planet and judge its progress. Julian is smitten and leads Wick from place to place, where we witness Wick’s omnipotence and savagery. Not to invoke the title, but Wick is a wrathful and nasty old testament-style god, one who leaves a trail of bodies in his wake. Tristan (Julian’s son) and Elspeth (his fiancé), aware of Julian’s obsession, set out to stop him only to witness what seems to be limitless power. Things escalate to cataclysmic, continent-scale theatrics and the series unfolds into a thought-provoking and violent 12-issue story as they race to stop judgement day.

In summary, all three of these books are worth your time and money, especially if you get lucky with some cheaper copies in the bins.

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[Exclusive Clip] ‘From the Beyond: High Strangeness in the Bennington Triangle’

Published

39 minutes ago

April 26, 2026

Ryan T. Cusick

Audiences are invited to explore one of Vermont’s most mysterious regions in From the Beyond: High Strangeness in the Bennington Triangle, arriving later this month on streaming platforms and DVD.

The documentary will debut on April 28, 2026, on platforms including Apple TV, Prime Video, and Google Play. DVD editions will be available exclusively through the Small Town Monsters online shop.

Directed by Seth Breedlove, the film continues the company’s exploration of folklore, cryptids, and unexplained phenomena. Breedlove’s previous work includes The Mothman of Point Pleasant, On the Trail of Bigfoot, American Werewolves, and more than two dozen feature-length productions. In total, Small Town Monsters has released more than thirty films, along with investigative programs, web series, books, podcasts, and exclusive membership content.

From the Beyond: High Strangeness in the Bennington Triangle was made possible through the support of backers from the company’s 2025 Kickstarter campaign.

Set in rural Vermont, the documentary examines the legend of the Bennington Triangle, an area associated with reports of UFOs, ghosts, phantom lights, mysterious creatures, and a series of unexplained disappearances. At the center of the mystery is Glastenbury Mountain, where decades of unanswered questions continue to inspire speculation.

Going beyond folklore and campfire tales, the film asks a chilling question: Why is Glastenbury Mountain so inexplicable, and what happened to those who went missing?

Check out our exclusive clip below.

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This Week in Horror: DC Goes Full Body Horror, A24 Has Its Chainsaw Man, and The Bone Temple Is Finally Yours

Published

1 day ago

April 24, 2026

Luna Gray

Good week. The Clayface trailer dropped and made DC relevant to this website for the first time in a while, A24 put a director on the Texas Chainsaw Massacre reimagining, and we got some interviews worth reading. Here is all of it.

Clayface Has a Trailer, and It Is Exactly What You Want

The Clayface trailer landed Wednesday, and it is DC’s first real horror film. Not horror adjacent. Not dark. Horror. Tom Rhys Harries plays Matt Hagen, an actor whose face gets disfigured by a gangster. He turns to a scientist, played by Naomi Ackie, who transforms his body into clay. Then the body horror starts.

James Watkins directed, which is the right choice. He made Speak No Evil and before that The Woman in Black, and he understands how to make dread feel physical. The screenplay is by Mike Flanagan and Hossein Amini. That combination should tell you everything about the tone they are going for.

A24 Has a Director for Texas Chainsaw Massacre and His Last Film Cost Under a Million Dollars

Deadline confirmed that Curry Barker is writing and directing A24’s reimagining of the 1974 original. Barker made Obsession for under a million dollars. Focus Features paid north of fifteen million to distribute it. It sits at 96% on Rotten Tomatoes. A24 hired him before it even opens, which opens May 15.

Kim Henkel, who co-created the original with Tobe Hooper, is executive producing his own creation’s reimagining. That is either a blessing or a haunting. Probably both.

Astrolatry Is Going to Cannes and We Talked to the Actor Who Faced the Creature

Astrolatry is heading to the Frontières Buyers Showcase on May 16-17. The film has a sentient severed penis that grows into a ten-foot practical creature with spiky teeth. We interviewed star Ethan Daniel Corbett about what it was actually like to act against it. Short answer: genuinely terrifying. Long answer is on the site.

The Bone Temple Is Home

28 Years Later: The Bone Temple hit 4K UHD, Blu-ray, and DVD on Tuesday. If you held out from the digital release in February, now is the time. The 4K presentation is supposed to be great. Extras include audio commentary and a deleted scene. If your gonna watch The Bone Temple, why not watch it where the snacks are better.

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Astrolatry Built a Ten-Foot Practical Penis Scorpion

Published

2 days ago

April 24, 2026

Luna Gray

A sentient severed penis grows into a ten-foot creature with spiky teeth. Genre cinema is doing fine.

Astrolatry follows Elliot, played by Ethan Daniel Corbett, who is every ingredient for quiet catastrophe assembled in one man. Socially isolated. Physically isolated. Craving dopamine and finding it in the wrong places. The romance guru pipeline, followed to its logical conclusion. Elliot does not just spiral. He loses a piece of himself, literally, and that piece does not cooperate.

Corbett described it as “a horror satire, a trippy mind-fuck roller coaster” and “a modern retelling of Maniac,” both of which are accurate and neither of which adequately prepares you. Director David Gordon is making his feature debut after shooting 14 films as a cinematographer and he is swinging for the fences.

The Creature

The effects company behind the creature has festival circuit work Corbett had already seen before signing on. He knew what they could do but he was not ready. “When I saw it in person it was kind of mind-blowing,” he said. “Everything that you see in this movie is practical. Very, very little else. It was genuinely terrifying to have a ten-foot creature coming at you with a big mouth and spiky teeth.”

A CG creature asks an actor to imagine something. A ten-foot physical creature on a set asks nothing. It just arrives. The fear on Corbett’s face in those scenes is not a performance. It is the normal reaction to a scorpion dick with sharp teeth.

Elliot

Corbett went into the character through the body. “I mainly focus on the physicality of it. Who this character is and who he is wholly. I strive in those kinds of moments as an actor.”

Gordon was explicit about the concept, the “nice guy” archetype and the overtly toxic one are the same problem, both aimed at the same object. That reading lands because Corbett does not play it as a reading. Elliot is not a symbol. He is a person.

Where It Is Going

Astrolatry is heading to the Frontières Buyers Showcase at Cannes on May 16-17. “To be able to get into that kind of room on David’s first feature is incredible,” Corbett said. “To be in front of buyers and to showcase the film and potentially get distribution through that.” Frontières is the correct room. It is full of people who understand that the most extreme premise, executed with precision, is not a punchline. It is an argument.