Goth Chick Crypt Notes: Nightmare World
I don’t know about you, but I never got a really clear look at horror comics as a kid, which may be why they still intrigue me to this day.
Back then, the acquisition of such contraband was generally via my older male cousins who were smart enough, even at that tender young age, to secret them inside the cover of The Archies. The comic would then be stashed between my mattress and box springs to be removed only after I had heard my parents go to bed. At this magic time, the comic would be quietly pulled out (don’t crinkle the pages too much, parents can hear that from the other side of the house) and read under a mound of stifling covers by the glow of a dimming flashlight.
The upshot of reading banned material was that I would scare myself silly and fall asleep clutching the flickering flashlight until the batteries went dead. It always seemed that the shadows cast under the covers and against the pages muted the comic book colors and make the icky stuff inside come to life.
Thus the reason horror comics were verboten.
Which, I suspect, is how I gained a lifelong addiction to horror comics and likely also the cause of ever-increasingly strong contact lenses as an adult.
Grant Morrison’s Doom Patrol needs no context to be enjoyed; it is its own strange, powerful creature. But describing the context of the thing helps to throw into relief the accomplishment of the work. And for those who may not know the comic, explaining what it came out of may help to explain what it is itself.
