What’s the time, Mr. Wolf? Really? Hallowe’en again already?
The evil eighth edition of the Hallowscream! Hallowe’en Special has arrived! 48 pages packed with peculiar and paranormal perils!
Here Are The Download Links (right click and ‘save as’) :
Lo-res Version (file size = 20.2mb) : MEDIAFIRE DROPBOX
Hi-res Version (file size = 60.3mb) : MEDIAFIRE DROPBOX
You can also read the issue online at : ISSUU
These are the full contents behind the leering loathsome lupine cover by Malcolm Kirk…
Page 3 : Beauty Script by Kim Roberts, Art by Nathan Walkington, Letters by
Page 9 : God Takes Care of His Own Script by Tim West, Art by Glenn McPartlin
Page 11 : Jump Fright Story & Art by Gordon Innes
Page 13 : Terrorvision Guide by Malcolm Kirk
Page 14 : Real Life Ghost Caught On Camera Story & Art by BP Johnson
Page 18 : Uncle Jack’s Puzzle Page by Malcolm Kirk
Page 19 : Endless Love Script by Chris Redfern, Art by Davy Francis
Page 20 : Killer Weed Story & Art by Gordon Innes
Page 23 : Rudolph Saves Christmas Script by Tim West, Art by Carol Kewley
Page 25 : Self Harm Story by Jason D. Brawn, Art by Glenn McPartlin
Page 27 : Grim Gallery Pin-up Minotaur by Nicolas Krizan
Page 28 : Tombworld Story by Paul Penna, Art by Dave Peloe
Page 35 : Warbots Story & Art by Gordon Innes
Page 36 : The Forest Story by Troy Vevasis, Art & Letters by Joseba Morales
Page 39 : The Scrying Mirror Story & Art by Philip Sneyd
Page 41 : Neighbours From Mars Story & Art by Gordon Innes
Page 43 : Claws of The Werewolf Story & Art by Malcolm Kirk
Page 47 : The Fallen Written by Paul Bradford, Art by Allen Byrns
Page 48 : Back Cover Skull by Malcolm Kirk
Previous issues of Hallowscream are available to download from
backfromthedepths.co.uk/hallowscream or you can buy real-life monochrome paperback versions from Lulu.com. HAPPY HALLOWE’EN!
by Ghastly McNasty
An absolute must for Scream! fans:
Scream! comic appeared on the newsagents shelves for just 15 issues in 1984 but managed to leave a fearsome reputation behind.
Featuring the work of, to name a few, John Wagner, Alan Grant, Simon Furman, Alan Moore, José Ortiz, Eric Bradbury Brendan McCarthy, Scream’s sudden disappearance from the newsagents led to rumours of it being removed because of parents complaints, or being the victim of a strike.
‘Its Ghastly’ delves into the murky world of Scream with contributions from all of its editors, Barrie Tomlinson, Ian Rimmer and Simon Furman to uncover the truth of its demise.
Scream’s six Holiday Specials come under scrutiny and uncovers the origins of such stories as ‘Black Beth’ and Dave Gibbons ‘The Nightcomer’ and also included is a cover recreation to issue 16, and the actual covers to 17,18, and 19.
The highlight is a complete 16 page Nightcomer’s tale that was due to start probably in issue 18 of Scream! but lay unpublished until now. Join Rick and Beth for one last supernatural adventure by Simon Furman and José Gonzales and much more in ‘Its Ghastly’, the ultimate Scream companion.
64 pages (10 in colour)
You can purchase this glorious tome from Hibernia Press.
by Ghastly McNasty
From the pages of Scream! comic Hibernia is proud to present The Complete Dracula Files, collecting all the weekly episodes as well as all the episodes from the hard to find Holiday Specials. Also included is two page’s of unseen Eric Bradbury Dracula art from Scream issue 18, and a cover gallery.
Follow KGB officer Colonel Stakis desperate hunt for Count Dracula, who is spreading terror in 1980’s Britain after defecting from Communist Romania.
Written By Gerry Finley Day (Rogue Trooper) and Simon Furman(Transformers), and art by Eric Bradbury (Doomlord) and Geoff Senior (Transformers).
It’s something to get your teeth into!
You can purchase this fangtastic collection via Comicsy
by Ghastly McNasty
Do you like comics? Do you like slasher movies? If so, this may be just what you’ve been waiting for!
Slashermania is an original graphic novel, an epic tribute to the best (and worst) slasher movies of the eighties. Written by Russell Hillman, with art by Ron Joseph, Jake Isenberg and Harry Saxon, and letters by Sergio Calvet.
1983. Troubled teens from New York and Los Angeles are taken to a summer camp facility to be trained as counsellors and mix safely with other people their own age. Little do they know they are being watched by an audience hungry for sex & violence. They are the designated victims for a bizarre contest of murder and mayhem – WELCOME TO SLASHERMANIA!
Masked maniacs from across the USA, Canada, Italy & the UK compete in various categories: Best Male Solo Death! Best Female Solo Death! Coitus Interruptus! Sin Punishment! Most Creative Kill! Biggest Multiple Death! The coveted Slasher of the Year award!
“And the Slashie goes to…”
Get involved! Head to Kickstarter and help this comic become a reality.
Writer, Russell Hillman, also has a story appear in this year’s Hallowscream. Arriving tomorrow, from beyond the grave.
Britain’s long running comic, 2000 AD, will be celebrating Hallowe’en in style this year with a brand new winter special, which goes on sale on the 29th of October. Here’s the promotional blurb…
With an exclusive new cover by critically-acclaimed horror artist Ben Templesmith, the 2000AD 2014 Winter Special delves into the darkest recesses of its creators’ imaginations for a horror-themed 48-page issue containing complete stories featuring Judge Dredd, Rogue Trooper, Psi-Judge Anderson, Defoe and the debut of new character The Alienist!
From 17th Century zombie hunters to nightmare horrors on alien worlds, some of the top creators in comics – plus new talent – serve their Thrill-power chilled with a zarjaz line-up, including:
JUDGE DREDD: SOREBONE by T.C. Eglington & Riccardo Burchielli
When members of a juve gang are picked off one by one, has one of its members being possessed by an ancient evil?
DEFOE: FRANKENSTEINER by Pat Mills & Leigh Gallagher
We flashback to 1666 and the start of the zombie epidemic, when Titus Defoe first agreed to take the position of Zombie Hunter General.
ROGUE TROOPER: THE FEAST by Guy Adams & Lee Carter
Genetic Infantryman Rogue Trooper battles through a nightmarish hallucination brought on by exposure to a nerve gas.
ANDERSON, PSI-DIVISION: HORROR COMES TO VELMA DINKLEY by Alan Grant & Darren Douglas
A rash of murders at Velma Dinkley block leads Anderson to suspect someone is influencing the killers.
TERROR TALES: PHANTOM PAINS by Eddie Robson & Jeff Anderson
Not even burning your house down can stop a haunting…
THE ALIENIST by Gordon Rennie, Emma Beeby & Eoin Coveney
England, the early 1900s. Sebastian Witherall and Madelyn Vespertine are investigators into the occult, but who holds the real power…?
The 2000 AD 2014 Winter Special can be pre-ordered now from 2000adonline.com or is available from all good stockists on October 29th!
++ END OF PROMOTIONAL BLURB! ++
Rumour has it that’s not the only bit of scary 2000 AD related stuff heading our way this month. Something strangely animated this way comes. Watch this sssspace…
by Ghastly McNasty
Feast your eyes on this teaser soon to be launched by Freaktown Comics. Writer and Freaktown impresario Russell Hillman is no stranger to weird fiction. Russell has an disturbed fondness for slasher movies and has studied the genre, fine-tuning and perfecting it, in comic book format. This one-shot comic looks to fit just the bill.
The Bowery, Lower Manhattan, 1980. The New York burlesque scene has faded away, replaced by strip joints, peep shows and porno palaces. One small club of indomitable performers – the Luxury Lounge – still holds out against the tide.
The art of burlesque is dying. For one person, it isn’t dying fast enough. As the bodies pile up, so do the suspects – could the killer be desperate club owner Mr Barnett? Cantankerous juggler The Amazing Ralph? Stale stand-up comic Martin Stevens?
A performer can die onstage a thousand times. Offstage, once is enough.
Deadly Burlesque is a one shot horror story inspired by the earliest of the first wave of eighties slasher movies. Written by Russell Hillman, art by Daniel Bell and letters by Sergio Calvet. 24 pages, full colour, £4.00. Deadly Burlesque will be released in November at the Thought Bubble Comic Convention in Leeds, England, with online release to follow.
You can follow @FreaktownComics on Twitter or find them on Facebook.
Russell also has a story appearing in this year’s Hallowscream due to materialize from the gates of Hell on October 31st 2014.
Is the single issue comic book format dead? (This isn’t necessarily a rhetorical question; feel free to fill the comments section) Arguably not, the Big Two seem to do well every month, particularly when it comes to the variant covers, and Vaughn and Staples’ SAGA (one of the only books I buy monthly) had multiple sell-out print runs of the first issue. But is it an outdated format? Eric Stephenson, Image founder and publisher, suggested it *was* in a recent interview here).
The monthly book VS the trade-waiters. The weekly episode VS the box set. Clearly these come down to personal choice and circumstances (if you don’t have Sky or live somewhere with a comic shop in the immediate vicinity), but arguably the latter of both formats is becoming the popular draw – you can sit and binge on what you want to read/watch, while still retaining that sense of geek-like glee at the relevant episodic cliff-hanger. The pitfalls you face, though, are attempting to avoid people/the internet, who are determined to tell you how Bryan Cranston dies at the end, even though you haven’t even started yet. Fuckers.
The recent Walking Dead trade got me thinking about the above. Kirkman and co seem to have cracked the format. While still releasing a monthly book that’s still pulling in the numbers via print and digital sales, they release the no-frills trades. These collect the story in sizeable chunks, appealing not only to the die-hard comics fans, but also the mainstream ‘seen the show, reading the book’ fans, who can buy the latest trades in Waterstones. Add the warts-and-all oversized compendiums…man, if Kirkman and Adlard aren’t doing a Scrooge McDuck and diving into piles of money at the end of each day, I’ll be disappointed.
Anyway, point is, it works. But interestingly, is Kirkman structuring the story based on the trade format? The reason I ask, is that in the first issue of volume 19, nothing really happens. I think if I was reading the single issue format, I’d be a little, only a little, bit disappointed. But as a whole, the volume works; it’s slow to start and crescendos to a huge finale that is clearly setting up something massive.
The story plods along – Rick takes Michonne to see Ezekiel, Michonne doesn’t trust Ezekiel, Jesus gets into a spot of bother. And then Negan shows up. And things get really interesting, really quickly. I don’t know what it is about this character, but I just love to hate him. I know I’ve said this before, but Kirkman and Adlard have created such a perfect embodiment of pure, unadulterated evil, that you can’t help but want something horrendous to happen to him after every page turn. Needless to say, it doesn’t (it’s *March* to War, the clue’s in the title) and yet again, he gets away with taking the group’s stuff and eviscerating one of their number. (I’d be really interested to ask Kirkman how much he enjoys writing Negan as a character; I can’t imagine it’s anything less than sheer glee every time he starts typing).The ending, as mentioned, allows for some partial revenge on behalf of Rick’s pals, but this is building up for a major change – those that read the single issues will probably already be there.
Kirkman, again, crafts the perfect soap opera – great characters, emotional responses and a story that continues to grip, all represented perfectly by Adlard’s always excellent artwork. It’s always difficult to expand on this when reviewing these books, because they are just so consistently good.
I’m very interested to see where Kirkman and co take the story after this volume. Something needs to and is quite clearly going to happen – Kirkman has always had the stones to push the envelope as far as who survives and who doesn’t, but I’d almost love to see a situation where, like he’s doing with his other long running series Invincible, he takes things off into a completely new direction and does something nobody was expecting. Whatever he does in this war he’s planning, somebody’s going to croak and I kind of hope it’s not Negan. Otherwise I’ll have to go back to hating on Carl…
You can purchase The Walking Dead Volume 19 TP: March to War via Amazon
Something slightly different here at Terror HQ – acclaimed creative force Colin Lorimer, artist on Harvest and creator of UXB, kindly took time out of his busy schedule to talk to Sidesy about UXB, his process and the benefits of working in the comics medium.
Sidesy: UXB is a beautiful looking book with an interesting take on post-apocalyptic fiction. Where did the idea come from and how did it evolve? How long did it take from conception to release?
Colin Lorimer: I started developing UXB quite some time ago in my spare time, after the day job working in animation. I self-published a one-off comic simply for my own enjoyment and then took it online as a web-comic for a short time. Once Dark Horse picked it up, I reworked most of the earlier pages and started into the GN in earnest!
The idea was quite a simple one. I thought, ‘wouldn’t it be cool if I could create something that allowed me to ramble on about my love of film and somehow pay homage to a lot of my favourite flicks?’ Of course, as the story began to take on a life of its own, this fell more into the background. What if there is some sort of global disaster and our technology fails us and we enter a new dark age? Perhaps three spoilt rich kid brothers have the only functioning power source in the entire world, allowing them to continue to access their beloved media. Maybe give them suits that make them, in effect, walking PlayStations; take it a step further and make them experimental protective life-suits, with military style capabilities, that also gives them additional powers, making them almost superhuman. It’s the end of days, the world has turned upside down, a post-apocalyptic nightmare, where these three brothers could be helping to rebuild the world around them, but prefer instead to fall back on their old distractions… looking for their next fix of a movie or video game. It continued to grow and develop from that…
I also knew from the early on, that I did not want the atypical superhero cyber-suit. That’s been done to death. I wanted something that was purposely, aesthetically unpleasing to the eye, something clunky and ridiculous. More ‘Black Adder 2’ than ‘Halo’. The massive codpiece seemed like the obvious choice and just helped to visually sell the obvious sardonic, black humour of the piece.
S: The three brothers of the story are our Nano-technologically advanced guides through this post-apocalyptic vision you have. What’s the background to their creation?
CL: Originally, it was simply called ‘Das Bombast’, after the main narrator of the piece. I think I was listening to ‘Bombast’ from The Fall’s ‘This Nation’s Saving Grace’, and I just thought it would make a great name for a main character. That is usually where it all begins with me; a name and then I build on that. I knew I wanted him to be the central character to some extent. The smart, level-headed one. Muc Olla was a name from another strip I had written; originally the name was Muck Olla, the name of a Celtic sun God in Druid times. I won’t elaborate too much on that…but maybe that’s a nice little titbit for the readers. Muc was the typically sensitive, shy and awkward brother (also adopted) and the one that I felt the readers would most relate to. Rifter, of course, is the volatile, unstable brother, the bully who always needs to be restrained by the other two. Although, he’s not really a bad kid…just a little lost.
S: What made you choose London as the location for the story?
CL: UXB, if anything, is my love letter to all the authors, directors and visionaries that have turned me on over the years and it just so happens that most of those influences are predominately British. So there was nowhere else that it could have been set.
S: What would you say differentiates UXB from other tales about the end of the world?
CL: You certainly have all the usual post-apocalyptic tropes surrounding the boys and their story, but the approach is different. To the boys, the end of the world is nothing more than a backdrop; it’s all still a playground to them. Most apocalyptic tales are about survival…these guys are living it large and indulging in the same habits as before. To them, nothing has changed, bar the fact that finding uncorrupted media to play on their suits has become a little more difficult. Also the pre-apocalyptic build-up of the boy’s life in the bunker makes it a little different to the usual fare.
S: UXB has a very cinematic theme to it, not just in the references you make in the story, but in the book’s tone and presentation. What films were your biggest influences for the story?
CL: If you’ve a good eye, you’ll spot a lot of homages to many movies throughout the book, some being quite obvious while others are not. The movie ‘Village of the Damned’ played a role, as did ‘A Clockwork Orange’. But that was just a jumping off point, as it’s probably closer in tone to the work of Mike Leigh i.e. the kitchen sink drama, or Lindsay Anderson’s ‘O Lucky Man’. I mean, it was never meant to be a superhero book, it was more of a character piece and I guess, if anything, a commentary of how transfixed we are with our tech toys and the banality of popular culture. Though, in saying that, the boys have pretty good taste in movies.
S: I’m always interested in those lucky buggers who are able to write and draw their own books. What’s your development process going into something like UXB? For example, do you work from a full script, if you already have an idea for what the book is going to look like?
CL: I do, for the most part, write full scripts, but because of my background in storyboarding, once I take it to visuals, the direction can sometimes take a different path. It’s quite an organic process. In TV, it is very rarely that I follow the script, as in more times than not, the written word just doesn’t translate and I’ll have to find a different way of staging it, especially when it comes to action scenes. The same applies to my own work…I’ll take my own script page and try alternate versions to find the best way of getting that information across. The same with the dialogue …I’ll play around with that until it’s ready to go to print. But, yes…it was a great experience and Chris Warner, my editor, gave me complete free rein on it. Working with other writers is interesting because I don’t think they are used to that approach…so I have to tread softly and find a healthy balance.
S: UXB seems like a real labour of love and the ending is, arguably and without giving too much away, left very open to more. Do you have any plans to revisit this universe at some point?
CL: I’d certainly like to. I have another two books worth of material…
S: You said in the extras of Harvest that you always pictured Ryan Gosling as the Benjamin Danes character. Who would you pick to play the three brothers in a UXB movie?
CL: That’s a tough one. The actor, Craig Roberts, who I first spotted in an episode of the British TV series ‘Being Human’ and later in a brilliant movie called Submarine, would make a perfect Das. Luke Treadaway, who I recently watched in a movie called ‘The Rise’ and also in ‘Attack the Block’, would be a great Muc. He may be a little old for the role, as I believe he’s hitting thirty – but he has a very young look to him.
Jamie Bell, who’s best known for his role of Billy Elliot, or Jack O’Connell (The Liability), would have the right attitude for Rif. There would have to be the younger versions of the boys too, but I just don’t watch enough kids movies to elaborate on that one …
S: You’ve worked in various other mediums of story-telling including animation, gaming and film. What attracts you to telling stories in the comics medium and is it your preferred medium to work in?
CL: All those mediums you mentioned are all equally great ways to tell a story. I guess the biggest plus to comics, and especially with creator-owned comics, is that your vision is less likely to be diluted, as your team are pretty much left to their own devices. Working in smaller groups, or as with UXB, on my own, just gives you a lot more freedom to create. With other mediums, it can be a design by committee type thing, whereby a really cool property can end up being slowly whittled away to a ghost of its former self. I’ve always loved comics and the marriage of words and art has always been a huge draw. It’s a beautiful medium if done right. I’ve still a ways to go…
S: What’s next? ‘Curse’ looks very interesting…
CL: After flying solo on UXB for so long, I decided I wanted to, if at all possible, work on a team project and collaborate, bump heads, so to speak…so when Michael Moreci (Hoax Hunters) approached me about possibly combining our efforts on a creator-owned werewolf book, I just couldn’t say no. We also have Riley Rossmo (Drumhellar) on that one and Tim Daniel (Enormous) – so it’s quite the mix.
I’m also working on another very cool project for the boys at Dark Horse and that should be announced very soon and developing another creator owned series.
S: Finally, in your opinion, is MacReady at the end of ‘The Thing’ still MacReady?
CL: He’s still MacReady. If you look really closely at Childs’ eyes, they blink seven times, which is Morse code for “beware me”. Then, as we pan away from the two survivors, we see a tentacle type shadow that appears to emanate from Childs’ chest and slowly snake towards MacReady…
Actually I just made that up…
S: Thanks for taking the time to talk to The Theatre of Terror!
CL: Anytime. Cheers!
UXB is published by Dark Horse and is available from your local comic shop or Amazon and is also available digitally on the Dark Horse website or via their app.
More of Colin’s work can be found on his blog: http://lubbert-das.blogspot.co.uk.
Click here to see our review of UXB
So far, in my time on this planet, I’ve managed to stay pretty clear of the whole ‘print vs. digital’ thing. I imagine waves of geeks, hurtling across a field, some carrying tablets, others carrying print, each lambasting each other for ‘selling out on the medium’ or ‘not embracing the evolution of’ yadda yadda yadda. I buy both. I read both. I enjoy both and I see merit in both. However, one of the reasons for continuing to buy print is quite simple. It smells so bloody good. Literally, it’s like geek crack. Now, I know I’m not the only one. My friend, Mark, he runs a comics shop, he said the same thing. Vertigo’s books always smell amazing. As does Mark Millar’s books. One of the best things about Kick Ass 2 was the rich waft of the print. Published by Dark Horse, UXB is a surprise entry in the ‘nice smelling books’ list, as my Dark Horse collection consists mainly of their small, hardback crime thrillers that don’t really smell of anything. And yet, here we have…okay, I’m going to shut up now.
UXB, or ‘unexploded device’, is a sci-fi horror from Harvest artist Colin Lorimer, who is also the book’s writer and, as with Harvest, which also smells amazing like a moth to a flame, you can’t help but open the book and be dazzled by the sheer bleak beauty of the artwork inside. More on this shortly.
UXB tells the story of the Atherton brothers – Wilfred (aka Das Bombast), Donnchada (aka Muc Olla) and George (aka Rifter) – who live in a deserted and dilapidated Buckingham Palace (a nice touch) in post-apocalyptic London. Each of the brothers has a mysterious ‘life-suit’ grafted to their bodies, that look like futuristic cod-pieces, granting them power beyond measure. Through a series of flashbacks, we discover the origins of the boys (the pampered off-spring of billionaire industrialist parents) and the suits (the ultimate in child protective measures in the event of a cataclysmic event), all the while marrying the past and the present, until we reach the twist. And then the horror side of this book really kicks into gear, wrapping up the various plotlines and finally serving us with probably the best head explosion committed to paper.
Lorimer’s story is a break from the standard post-apocalyptic fare in that, much like Warren Ellis’ Freakangels, it brings the action down to a small scale and isn’t that concerned with the wider world. You get snippets of humanity’s fate, but you only need to look at the ruined streets of a once great city to see that this is probably the case all over. Where Lorimer also breaks from the norm is the introduction of the ‘life-suits’ and the sci-fi element that dominates the first half of the book; surgically grafted onto the wearer, they use Nano-technology to enhance the boys into ‘meta-humans’, for want of a better phrase – enhancing their strength, giving them a nifty healing factor, allowing them to create weapons of their choosing using their minds and hard-light…they’re even equipped with DVD players. It’s sort of what you might get if you crossed that cool interactive screen from Minority Report and a Green Lantern ring.
Lorimer spins a good end-of-times yarn and fills it with pop culture and film references that dominate a large proportion of the dialogue. While sometimes a little too much, it gives the brothers a good excuse to bicker and banter, thereby developing them as characters, but it’s the subtler references that influence the story itself – look closely and you’ll see smatterings of great horror and sci-fi, all combined to create something original and superbly fantastical. While starting a little slow, Lorimer builds a steady pace and sprinkles enough mystery and intrigue to keep it interesting until the twist. I keep talking about the twist, hence I’ve added little description of what happens – needless to say, it’s really rather good and takes the story in a different direction, ramping the horror and action up, building on the sci-fi he’s delivered at the beginning and producing an ending that leaves you thinking ‘what the hell was that?’, but in that sort of gleeful head-sprouts-eyes-and-legs, ‘you gotta be fucking kidding’ sort of way.
As with Harvest, the artwork is stunning. It’s dark, gritty, cinematic, detailed, beautifully lit and beautifully executed. The sci-fi elements are effectively conceived; crisp lines and brightly lit rooms juxtapose the horror, which is deliberately messy, visceral and bleak. While not a criticism as more of a curiosity, I would love to see Lorimer do ‘epic’ – there’s a nice exchange between one of the brothers and their common enemy, where said enemy drops a double decker bus onto the brother. It looks fantastic, but it leaves you almost gasping for more. His is a style that would suit horror, or any genre, on a grand scale and it would be interesting to see, if he were take this further (and the ending seems open for continuation), what he would do if the playing field was more far reaching.
UXB is fine example of a creator on form. Yes, there are a few nit-picks, like the occasional unnecessary reference and unnecessary sweary bits (not that this is a problem, it just doesn’t feel like it’s a needed dialogue response in the context of particular scenes), but it’s an original book, filled with original ideas and incredible, atmospheric artwork that commands your attention throughout. UXB is available now, digitally or in nice smelling print.
Stay tuned for a special Theatre of Terror interview with Colin Lorimer in the next few weeks.
Buy UXB Hardcover from Amazon
The fifth annual Hallowscream! Hallowe’en Special is here! Available to download as a totally free pdf file, this year’s comic features 96 pages of shocks and scares to chill your blood over the Samhain season! We’ve also uploaded an horrific hi-res version this year, to give the gore and ghosties an extra gloss.
Here Are The Download Links :
Lo-res Version (file size = 46.3mb) : MEDIAFIRE DROPBOX
Hi-res Version (file size = 125mb) : MEDIAFIRE DROPBOX
You can also read the issue online at : ISSUU
Full contents of the terrors lurking behind that gloriously icky cover by “The Gurch” are as follows…
Page 3 : Pumpkin Soup Art & Recipe by Simon Mackie
Page 4 : A Mother’s Devotion Story by Chris Charlton, Art by Rowel Roque, Letters by Brant W. Fowler
Page 9 : Bestiary of Beasties : Lurking Tut Article & Illustration by Malcolm Kirk
Page 10 : 6 Seconds To Die by Gordon Innes
Page 17 : And Now A Few Words From Our Sponsors Story by Stu Perrins, Art by Israel Huertas
Page 19 : Wicked Stepmother Story & Art by Philip Sneyd
Page 23 : The Claws of The Catman Story by Paul Bristow, Art by Andy Lee
Page 29 : A Grim Tale : No Bones About It Story by ‘Clark Holland’, Art by Malcolm Kirk.
Page 31 : Empty Story by Chris Charlton, Art by Gregory Woronchak, Letters by Brant W. Fowler
Page 39 : Curse of The Season Story & Art by Carol Kewley ( Merry Xmas Everybody lyrics © Copyright Slade 1973 )
Page 43 : Terrorvision Guide by Malcolm Kirk
Page 44 : Hellevator Story & Art by Paul Gordon Innes
Page 48 : Apocalypse The Board Game Concept & Colour by Tim West, Illustration by Mike Legan
Page 50 : Home Is Where The Heart Is Story by Tim West, Art by The PXD
Page 55 : Bestiary of Beasties : The Spring-Heeled Jackalope Article & Illustration by Malcolm Kirk
Page 56 : Full Moon Jacket Story & Art by Gordon Innes
Page 59 : All The Fun of The Fair Story by Jamie Lambert, Art by The PXD, Letters by Tim West
Page 63 : Bestiary of Beasties : The Pear Wolf Article & Illustration by Malcolm Kirk
Page 64 : Artificial Unintelligence Story by Chris Charlton, Art & Letters by Joe Badon
Page 72 : Bestiary of Beasties : The Crypt Id Article & Illustration by Malcolm Kirk
Page 73 : Hair Scare! Story & Art by Gordon Innes
Page 77 : Run Story by Chris Sides, Art by Simon Bennett Hayes, Letters by Chris Travell
Page 83 : Dead by Dawn ZX Spectrum Game Advertisement
Page 84 : Many Happy Returns Story & Art by Michael Crouch
Page 89 : The North Wind Doth Blow Story & Art by Russell Hillman
Page 90 : Help! Mummy! Story & Art by Simon Mackie
Page 91 : Bestiary of Beasties : The Glook-Gonk Article & Illustration by Malcolm Kirk
Page 92 : Happy Family Story by David Stoddart, Art by Graham Stoddart
Page 95 : Hierophantom’s Poeticorner : Ghost Train by Paul Bradford, Art by Eric Hurley
Page 96 : Back Cover Skull by Malcolm Kirk
Previous issues of Hallowscream are available to download from backfromthedepths.co.uk/hallowscream or you can buy real-life monochrome paperback versions from Lulu.com.