I haven't read comics since my daughter was born, and even then I only read them for a coupke of years after a long hiatus. Let's face it, they're just too damned expensive, and in most cases I'd rather read the so-called "graphic novel" collections. I also grew disenchanted with the content. My favorite period of comics sttorytelling was the mid-late eighties, when Frank Miller's THE DARK KNIGHT RETURNS, ELEKTRA: ASSASSIN and DAREDEVIL run, and Alan Moore's SWAMP THING, WATCHMEN and MIRACLE MAN, and Dave Sim's CEREBUS redefined the medium. Except for a few bright spots, like PREACHER, it's all been downhill from there.

Even the greats have hit the skids: other than the first two or three collections, Miller's SIN CITY degenerated into sloppy, fanboy fetishism and his BATMAN AND ROBIN title, and second DARK KNIGHT mini-series, were jsut embarrassing; Moore tried to make comics "fun" again, but I never really enjoyed his self published books, and then he went a little off the kilter (probably because of the way DC has treated him), took up magic, and abandoned comics altogether; and Dave Sim ruined CEREBUS by using at as a forum for his misogynistic views. It's downright depressing, I tell you. I have more fun reading the ESSENTIALS TOMB OF DRACULA than I do any of the current Marvel or DC runs, and as a filmmaker I've grown weary of the latest indie comics serving as "pilots" for motion pictures. ComiCon? I want to stay as far away from there as possible. And am I the only guy on earth who never wants to see another multi-million dollar superhero movie? The last title I read that I genuinely enjoyed was Joseph O'Brien's REVOLUTION ON THE PLANET OF THE APES mini-series.

But as an indie filmmaker and novelist published by small and medium presses I still have an affinity for indie comics - those titles published by creators who care more about their work than whether or not Hollywood starts a bidding war over their latest color (or, more likely, black and white collection). So in my last article for Fear Zone (sniff), I'd like to recommend two titles that you may never have heard about: THE RED EYE, from Zombie Ink Comics, and DIRT, from Postmordem Studios.

THE RED EYE - and Zombie Ink Comics - is the brainchild of Kyle J. Kaczmarczyk, who writes, draws, inks, and letters his comics. A one man storm trooper! THE RED EYE is actually a pulp superhero/SF book, not horror, but with a name like Zombie Ink, you know Kaczmarczyk has horror on his brain (and he's currently adapting THE CALL OF CTHULHU!). THE RED EYE tells the story of a hero who's put on ice and thawed out in the future; think CAPTAIN AMERICA, BUCK ROGERS and DEMOLITION MAN, with a sardonic sense of humor. Kaczmarczyk's stylized illustrations remind me of both Jack Kirby and Mike Mingola. The first mini-series has been collected as a trade paperback; check out Kaczmarczyk's comics, apparel and gallery at his zombieworx site.

Postmortem's DIRT is a horror anthology title in the vein of E.C. horror titles, created by prolific horror novelist Scott Nicholson (THE CHURCH), featuring artwork by Kewber and Petter (do most indie comic guys use just their last names these days?). Like TALES FROM THE CRYPT, THE VAULT OF HORROR, and countless imitators, DIRT's macabre tales are narrated by a recurring character, the Digger (who bears a resemblance to Nicholson). As is the case with most anthologies, the stories vary in tone and reader appreciation will depend on their taste in horror short stories. Nicholson is too good a writer to merely replicate the EC brand, and his stories are thoughtful, original, and more literary than people unfamiliar with his work might expect. The b & w artwork is clean and evocative, and, more interestingly, different for each tale. Unlike THE RED EYE, DIRT can be found in comic stores, or ordered from the publisher, which offers other horror titles as well.

Nicholson, BTW, was just interviewed by FANGORIA.

Both THE RED EYE and DIRT are printed by Ka-blam.