Secrets of Sinister House #5

As I alluded to in my reviews of The Sinister House of Secret Love, this DC title began its initial run under that mischievous title. The comic ran four issues before giving way to a sort of reboot for issue five, the new title of Secrets of Sinister House. It ran another 14 issues through July 1974. Although the first four issues were prominent displays of 1970s gothic lore, the series expanded into more traditional horror concepts similar to the EC brand and other mid-20th century fright mags. 

Despite the title switch to Secrets of Sinister House, the production team still had one more gothic story to tell, that being the fifth issue's "Death at Castle Dunbar!" This was written by Lynn Marron, who also wrote stories for Vampirella, Creepy, and Eerie. The artwork was created by Mike Sekowsky (Green Lantern, House of Mystery) and Dick Giordano (Batman, The Flash). 

A woman named Mike Hardy (yes, her first name is Mike!) arrives at the gloomy Castle Dunbar in Scotland under the guise of being an author chronicling the Dunbar family throughout military history. She's actually the sister of a recently deceased woman named Valerie, the former bride of the Castle's Laird, Alec Dunbar. Valerie fell from a seaside cliff to her death and Mike thinks she may have been murdered.

The story follows Mike's exploration into the family history, which introduces several suspects. Like any tight gothic romance tale, the house itself becomes a character. Common tropes like abandoned wings and floors, intruders stalking the hallways at midnight, and the obligatory proposal that someone may be locked up in an upstairs bedroom all become key components to the story and atmosphere. 

I enjoyed the first four issues of The Sinister House of Secret Love and was surprised to find this fantastic gothic story tucked away in the pages of Secrets of Sinister House. This sort of storytelling departs with the next issue's “When is Tomorrow Yesterday”, written by Sheldon Mayer, although Alfredo Alcala's artwork is simply amazing.

Sinister House of Secret Love #4

I've been on a run every weekend reviewing the DC Comics' title The Sinister House of Secret Love. After reading, and enjoying, the first three issues, I'm saddened to tackle the fourth and last installment of the title, the May 1972 issue. Of course, the title would continue for a couple more years, but it transformed with issue five to Secrets of Sinister House with an enjoyable, yet campy traditional horror flavoring. The gothic tropes are mostly removed from the series going forward.

“Kiss of the Serpent” is the lead story for this fourth issue and the artwork is by Tony De Zuniga, the artist that also contributed to the title's second issue. The plot was created by Tony's wife Mary, and the story written by Mike Fleisher, a creator that worked on Spider-Woman, Ghost Rider, and properties for Fleetwood Publications.

In the story's beginning, Michelle Harlinson is experiencing a rough patch in her life. Her parents are both killed in a car accident, and weeks after the funeral she accepts a job opportunity in India presented to her by uncle. Weeks into the new job, her position is eliminated. Thankfully, she receives an invitation to meet a wealthy man named Rabin Singh. He offers her the job of governess for his two children. She accepts the position, and the lodging offered to stay in Rabin's enormous house. But, as these things go, the Kool-Aid is never stirred quite right. 

There's a central mystery on Rabin's brother being fatally bitten by a viper, and another of Rabin's brothers hints that Rabin himself is the murderer. Michelle falls in love with Rabin, but does voice concerns that he may have sinister motives. There's also a weird element where Rabin's mother believes that her dead son is living in a viper that she keeps in a basket. Like any good gothic fling, Michelle is nearly killed in “accidents” and eventually suspects Rabin's brother may be trying to kill her.

As a finale to The Sinister House of Secret Love run, I felt this issue is the weakest of the four. Atmosphere is key to these stories and the bright sun, intense heat, and desert setting just made the story feel misplaced. I'm a sucker for stormy nights and shore-front castles nestled in cliffs. This also seemed very modern with some frames of airplanes, corporate settings, and cars. I liked the idea of the story taking place in India, compared to Maine, France, or England, but with that comes a different look and feel for a gothic. The only other gothic tale that I know of with an India location is the paperback 1975 novel The Song of India, written by Mozelle Richardson. The other obvious issue is that the story just lacked any real depth. There's emotional highs and lows experienced through the protagonist, but it just didn't have much of an impact. 

Overall, all four of these issues are worth pursuing if you love gothic suspense. Recommended.

The Sinister House of Secret Love #3

I've recently been devouring the DC Comics' 1970s title The Sinister House of Secret Love. The debut issue was published in Sep/Oct 1971. This is a comic that eventually became Secrets of Sinister House by issue five. The first issue was penned by veteran spookhound Mary Skrenes, and the second issue by illustrator Joe Orlando and journeyman writer Len Wein. This third issue was written by Frank Robbins, a comic artist and writer that was experiencing a late career flourish that included work on Captain America, Ghost Rider, Invaders, and DC's licensed version of The Shadow. Artwork for the issue is Alex Toth (House of Secrets, Green Lantern) with pencils by Frank Giacola (Avengers, Amazing Spider-Man).

The lead story, “Bride of the Falcon”, is unique in its presentation of a deaf woman, Kathy, as the protagonist. This is a bit more dynamic when paired with an imprisoned woman in the story that experiences paralysis. Her inability to move her lips impairs Kathy's ability to understand her cryptic messages. Additionally, there are other interesting twists and turns that catapult the story into a different look and feel compared to the title's predecessors. 

In a flashback, Kathy answers a classified ad requesting a companion for Count Lorenzo Di Falco at his castle on Isola Tranquillo (Quiet Island). Different era, different security issues in the early 1970s. Kathy arrives at a port searching for boat passage to the island. Yet, ferrymen refuse to take her, issuing dire warnings about her safety if she goes there. This was a throwback to gothic literature, and horror movies, with the tavern owners and bar maids forbidding travelers to journey to the big 'ole dark castle. Eventually, Kathy gains a passage from a young man named Roberto, who comes full circle to appear in the story's finale. 

On the island, Kathy meets the Count and discovers he has a fondness for falcons. He also has hideous scars on the side of his face from falcon claws. His isolation in the robust castle, paired with his facial unpleasantness, led to the advertisement searching for companionship. Kathy falls in love with the Count, but quickly realizes he's a real jerk. He's vicious with the castle's staff, and at times can be a little rough with Kathy. Central to the plot is an older woman that the Count calls his “mother”. Kathy can't confirm the relationship due to the woman's paralysis and inability to speak. The Count explains to Kathy that once she dies they can get married and live happily ever after in the castle. But, there's more to this traditional murderous love affair than you might think.

Again, I am having a blast reading this mini-series, and find the writing and art a real delight. Toth and Giacola create some abstract layers to the presentation that fuels the mysterious elements within the story. The mystery had me until the end, but I knew something was developing between a younger servant there and the Count's “mother”. This is on par with the title's excellent opening issues. Highly recommended.

Sinister House of Secret Love #2

As I alluded to in my review of the debut in this DC Comics' title, The Sinister House of Secret Love, the concept was to create an ongoing gothic suspense publication that would capture the same market flavor as the genre's booming paperback business at the time. The first issue was published in September/October 1971, with this second installment hitting shelves in December/January of 1972. 

"To Wed the Devil", the lead story, is plotted by veteran comic illustrator Joe Orlando, and written by Len Wein (Batman, Superman). The artwork was created by Tony Dezuniga, a prolific artist that helped create the characters Jonah Hex and Black Orchid. This offers a little different flavor, compared to the prior issue's artist Don Heck and writer Mary Skrenes. 

In the opening chapter, a young woman named Sarah walks through a large mansion and descends a staircase to confront her father's dearest servant, an elderly woman named Agatha. In the confrontation, Sarah discovers that Agatha has been practicing witchcraft. Agatha defends her practice by stating the ritual is for Sarah to find true love. It is clear that Sarah despises Agatha and wants her removed from the mansion. Agatha seems sincere in her efforts, yet Sarah is possessing a seasoned hatred.

In the next chapters, readers are introduced to Sarah's charming boyfriend Justin, a man she hopes to marry. Yet, Sarah's father has another idea. He explains that the family fortune is in ruins, and that the only way to keep the mansion and business is a bank loan. Yet, the only financial institution that may provide funding to this failing family business is a man named Baron Dumont. The price? Sarah's hand in marriage. Sarah hesitantly agrees to go and live with Dumont and take his hand in marriage to save her father's legacy. To salt Sarah's emotional wounds, she's forced to bring Agatha along as her servant.

On the coach road to Dumont's estate, the caravan is robbed and Agatha is shot and killed. A masked rescuer appears and kills the robbers and takes Sarah safely to Dumont's mansion. Yet, things are really quite bizarre there. Dumont turns out to be the rescuer she encountered in the robbery. He degrades Sarah, kills her cat, and then offers her a life of servitude to his desires. When Sarah attempts to escape she is surprised to find Agatha alive. But, there's a plot twist here too delicious to spoil with my review.

As you can imagine, I was quite pleased with this issue. I loved the chemistry between Sarah and Agatha, an emotional relationship that builds throughout the issue – in life and death. Additionally, Sarah is a rather complex character, one that seems to be unjustified in her early motives to dismiss Agatha. The atmosphere in this genre is the main event, and Dezuniga's artwork using deep blues and bright yellow contrasts nicely with the setting's grand rooms and hallways. The twist caught me off guard, providing a Devilish climax. I also enjoyed the written Epilogue.

If you love a good gothic romp...this one is a riot. 

The Sinister House of Secret Love #01

DC Comics flirted with the gothic romance/suspense genre with a couple of titles in 1971. The Dark Mansion of Forbidden Love, originally published in September/October 1971, ran four issues before abandoning the gothic romance feel for more of a horror anthology flavor under the new title Forbidden Tales of Dark Mansion. DC's other venture into the genre was The Sinister House of Secret Love, which also launched September/October 1971. Again, it ran four issues before abandoning the gothic romance tropes with its new title Secrets of Sinister House. I wanted to give The Sinister House of Secret Love (what a name!) a try, so I read the first issue.

This debut is titled “The Curse of the Macintyres”. It was written by Mary Skrenes, a veteran scripter that also contributed to The Dark Mansion of Forbidden Love, House of Mystery, House of Secrets, Young Love, and Detective Comics. The artwork is by the famed Don Heck, a talent that touched hundreds of comic titles during his illustrious career. 

In the opening pages, Rachel's father is dying. On his deathbed, he tells Rachel he has a formula that will make her rich, but he stresses that she hide his journal, go live with her cousin Blair, and to beware of the Macintyres Curse. Included in the first chapter is the initial meeting between Rachel and Blair at her father's funeral service, Blair's explanation that his wife died, and that he has a young son named Jamie. He asks that Rachel be the boy's tutor and she accepts.

Days later, as Rachel is traveling to Blare's dilapidated mansion, she receives ominous warnings from the train conductor and the coachman. Inside the mansion, Rachel meets Blare's dwarf cousin, Jamie, and the family maid. She's warned to never go to the third floor, which is a bold invitation in any gothic romance paperback. Eventually, Rachel learns that Blare may have a split personality and his sister may be a giant lunatic living upstairs.

The book's narrative features several attacks on Rachel, her romantic involvement with Blare, and the inevitable origins of the family's curse stemming from genetic deformity. I enjoyed the homage to The Strange Case of Dr. Jekyll and Mr. Hyde, and the gothic romance overtones that saturate nearly every page – new job, stranger in a strange land, atmosphere, supernatural rumors, the giant mansion, and of course, the vulnerable beauty striving to escape her newfound prison.

The Butcher #07 - Death Race

The Butcher was a Pinnacle series of men's action-adventure novels that ran 35 installments from 1970 through 1982. While it's a bit confusing on who wrote the novels, the series is mostly authored by either James Dockery or Michael Avallone under the house name of Stuart Jason. While I despised The Butcher debut, Kill Quick or Die, I loved the 23rd entry, Appointment in Iran. I've always enjoyed action novels set in Alaska, so I was curious about the “cold weather” premise of the series' seventh novel, Death Race, published in 1973.

The novel's first 14-pages outlines the origin of The Butcher – real name Bucher (one word). He was a Syndicate killer who left the mob and then became a high-priced target for his former employers. Bucher joined a secret branch of U.S. Intelligence called White Hat and now serves his country by globetrotting to foreign locales and eliminating criminals. For Death Race, Dockery places the quick-draw crime-fighting hero in southwestern Alaska to complete a rather bizarre assignment.

White Hat has learned of a grave threat at a remote military installation called Dewline. The outpost is maintained as a joint venture between Canada and America to provide an advanced warning in the event of an enemy's attack by land, sea or air from the northern part of the world. The shadowy organization informs Bucher that Dewline's key personnel have been murdered and replaced by sinister doubles. Bucher is to learn why and how this invasion began and to provide pertinent details to White Hat regarding how to alleviate the situation.

Bucher makes the journey by snowmobile to the remote outpost. There, he infiltrates the facility as a research scientist and begins to dig into the details about the facility's origin, it's key components and the ultimate betrayal of American and Canadian intelligence. Dockery's utilization of Bucher's Syndicate killing power is vividly displayed as he targets the sinister doubles and fights the resistance man to man. Eventually, Bucher is able to eliminate....wait! Hold up. Let me stop right here.

The above paragraph was wishful thinking on my part. Here's what really happened...

Upon arrival in an Alaskan village called Kasynguk, Bucher visits a woman named Sonya Rostov hoping to learn about her brother's murder at Dewline and his subsequent replacement with an “evil twin”. However, Bucher falls in love with Sonya and leaves her house twice over the scope of 184-pages. Dockery spends pages and pages having Bucher confess his wants and needs to the needy, sexually-starved Sonya. Bucher and Sonya do the nasty at her place and at a relaxing bath house. Eventually, Bucher decides to marry Sonya and the two engage in an Alaskan ritual that most of the world calls a wedding ceremony. Bucher plans to leave White Hat and live off of his savings, learn to fish and bump uglies with Sonya for the rest of his life. Oh, and he leaves her house once to go to Dewline and kill an old foe named Dr. Wan Fu who fakes his own death in the syndicate because he had an extra brain growing on the side of his head that made him wicked and motivated him to attempt to destroy the lower 48 states by taking over Dewline while raising ravenous dogs to devour humanity. Yeah, Bucher goes and shoots that guy.

Death Race is a waste of paper. I wouldn't trust it to be a beer coaster for fear that it's awe-inspiring stupidity could somehow poison my beer and make me as stupid as the book's storyline. My personal bucket list entry #2 of “Visit Alaska” has been ruined by this preposterous, insanely written piece of literary garbage. It's clouded my frosty, wonderful visions of this snowy beautiful region of Earth and replaced it with the memory of this literary Hell. Reading Death Race was a race to the final page begging for the awfulness to end. Counting pages, counting paragraphs, counting the number of words to reach the end of a page. I took one for the team and read what could be one of the worst books of the series. Kill Quick or Die, as shitty as it was, could have been written by John Steinbeck compared to the steaming pile of trash known as Death Race. Stay away readers...for God's sake stay away. Hall of Shame...open the doors wide for this fat load of crap.

Buy a copy of this beer coast...book HERE and don't tell anyone you own it.