Customer Reviews

The Black Forest

5 star:		(5)
4 star:		(2)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

BLACK FOREST is clearly a labor of love on the part of all of its
creators, and if there's any justice in the world, it will be
recognized and embraced by monster fans everywhere with an
equally fervent love. The sources of inspiration are obvious and
undisguised--classic black and white horror movies, from Murnau's
NOSFERATU up through Universal's HOUSE OF monster rallies. With such
materials as these, BLACK FOREST achieves a rare alchemy of synthesis
and transcendence. It's been described as the Universal movie that
was never made, and I would go further to say it is the Universal
movie we wished for and never got. The increasingly bitter
disappointments that culminated in ABBOTT AND COSTELLO MEET
FRANKENSTEIN are more than made up for in BLACK FOREST, which seems
to channel the collective dream of fans for a monster mash that
really, truly rocks.

This is one of those rare cases where a cover doesn't promise more
than the book delivers. The cover by Michael Avon Oeming and Tom
Smith is accurately evocative, well-composed, and hopefully alluring
enough to make people pick up the book, but the real treats lie
within.

How many comics make you sit up and take notice of the credits? The
inside cover accomplishes that with an outstanding movie poster
design. Kudos to the people who came up with that idea and designed
the page. It looks fantastic. The image of the Frankenstein monster
reflected in-the lens of a gas mask that has been crushed into the
mud succeeds on so many levels that I'll just say you have to see it
for yourself.

Vokes's art, so I've heard, has in the past been criticized
as "cartoony," which he answers by saying he prefers to call
it "stylized." Well, the jury is in, and the decision goes
to Vokes. The stylization has emerged as one of his greatest
strengths, a recognizable signature touch that suffuses
everything he draws, and that gives the worlds he creates a
consistency and reality all their own. A sustained visual tour de
force like PARLIAMENT OF JUSTICE could hardly be considered a fluke
or a one-off, but in case there were any doubts, Vokes does it again
in BLACK FOREST, and even better this time. Jack Shannon and Archie
Caldwell are drawn in such a way as to invite immediate
identification. The amazing things they encounter--the monsters, the
castles--are effectively presented for maximum power, and resonate as
icons the moment we lay eyes on them. I must admit that when I first
saw the designs for the women characters, I thought they looked a
bit . . . well, cartoony. Oh me of little faith! Vokes brings them to
life in the book, and does a great job of marking the changes that
they undergo.

As for the writing by Livingston and Tinnell, I would say they've
damn near hit the Platonic ideal of the kind of story they were
aiming to tell. Normally, a project like this can capture and convey
all the fantasies it promises only by forcing them into the creakiest
of plots. Here we have a story that zings and gives us everything we
want along the way.

I have only one complaint. At one point, a romping, stomping battle
between the Frankenstein monster and a pack of werewolves is joined
by Graf Orlock and his legions of nosferatu. To my mind, the wheels
should have come completely off, the story should have stopped dead,
and absolute chaos and carnage should have ensued for a few panels if
not pages. Here was an opportunity for the monster mashing set piece
to end all monster mashing set pieces. I would gladly have paid
an extra $2.95 or whatever to see that kind of ultimate delivery on
the promise of monster vs. monster action. An extended cat-fight
between the ladies would have been most welcome, too. In fact, more
generally, despite Vokes's expansion of the page length beyond what
was originally planned, this project still felt very close to the
bone in its presentation of all that it had going on. It could easily
have accommodated another five or eight pages with no noticeable
slackening of pace, and more like ten or twelve would have given all
the wonderful elements just about the right amount of room to
breathe. I hope the creators will take it more as a compliment than a
criticism that I wished to stay longer in the Black Forest they
brought so vividly to life.

Closing out the book is a pinup gallery. All of the contributions
shine, but Tommy Castillo's is the stunner of the bunch. My God, it's
just that good!

Many thanks to Livingston, Tinnell, and Vokes for BLACK FOREST.
Gentlemen, you've made an instant classic. If it receives half the
recognition it is due, it will take its place in the tradition--of
course, that tradition also calls for sequels! ;-)

THE BLACK FOREST is that rarest of modern comics, a good old-fashioned action romp devoid of excess violence, sex, and foul language (though there are plenty of racy elements here that the Comics Code would not approve, including the presence of vampires, werewolves, and other supernatural creatures). If you are looking for 50 severed heads, a liberal sprinkling of gargantuan bare breasts, and enough variations of the F word to make the cast of DEADWOOD blush, this ain't the book for you. If you believe comics aren't any good unless the heroes are tortured or insane loners who offer no inspiration for others, you should stick to some of the lesser Batman and X-Men ink-wasters.

THE BLACK FOREST is the kind of comic that, with a few minor changes, would have thrilled fanboys in the Golden Age. Neil Volkes' stylized art is a matter of taste, yet it nicely captures the gee-whiz fun of old-school funnybooks. The liberal use of shadows and darkness properly convey the late Gothic mood, and the ladies Ilsa and Isabella are properly fetching. The script by Livingston and Tinnell is lively, spooky, and fun without descending into the camp and over the top action set pieces that nearly derailed VAN HELSING, a film to which this graphic novel must, inevitably, be compared. With nice homages to NOSFERATU, FRANKENSTEIN MEETS THE WOLF MAN, THE BLACK CAT, and a thousand other old horror flicks, THE BLACK FOREST is the perfect gift for that eccentric uncle of yours who sports a "Zacherle for President" button and boasts about his complete set of CASTLE OF FRANKENSTEIN magazines.

I have been anxiously awaiting the release of "The Black Forest" for several months now, ever since I first saw preview images from the project. Having waited so long, with growing excitement, I feared the graphic novel couldn't possibly live up to my expectations.

I was entirely wrong; this project met all of my expectations and, in some ways, exceeded them.

The artwork is a bit more "stylized" than I normally care for, but it is first rate work regardless. The black and white art did a fabulous job of appropriating the feel of the old Universal horror films of the 30s and 40s.

The trinity of Univeral horror monsters -- Frankenstein's creation, werewolf, and vampire (although Dracula, here, is replaced by an even older cinematic vamp, Graf Orlock) -- are treated with dignity. The entire project is mercifully free of camp and irony. The creatures here are spooky and creepy in that wonderful way that no modern films seem able to match.

The plot is fun and engrossing, and quite brisk. In fact, my only complaint about "The Black Forest" is that it felt a bit rushed. There were scenes and concepts that could have benefited greatly by being expanded upon. The project could have supported quite a few more pages without being stretched too thin.

"The Black Forest" is simply one of the best graphic novels I have read.

In every way VAN HELSING failed to become the perfect homage to the Classic Universal Monsters, THE BLACK FOREST succeeded.

The setting is Europe during World War I. The unlikely pair of American flying ace Jack Shannon and British stage magician Archie Caldwell are sent to infiltrate a castle situated in the mysterious region of the Black Forest. They get far more than they bargained for when they uncover a plot to reanimate an army of the dead, leading to dangerous encounters with a pack of savage werewolves, a group of bloodthirsty Nosferatu, and a fully-charged Frankenstein Monster.

Robert Tinnell and Todd Livingston make an unforgettable first impression on the world of comic books and graphic novels. The action is fast-paced and non-stop, the mood is dark and eerie, and all the characters are always full of surprises; one never knows for sure WHICH side a particular character is playing on, until it's too late.

Reading THE BLACK FOREST without the art of comic veteran Neil Vokes is unthinkable. His renditions of the werewolves, the Nosferatu, and the Frankenstein Monster are at once hard-core and rooted in Classic Monster mythology. The Monster is of a particularly intriguing design, appearing to be inspired from characteristics described by Mary Shelley and portrayed by Boris Karloff. The uniqueness of his physique is a total match for that of his characterization, as the reader will discover.

The inkwashed black-and-white technique fits the tone of the book perfectly. Like the Classic Universal Monster films, THE BLACK FOREST just wouldn't have the same impact in color.

There's really nothing bad to say about this graphic novel. One or two scenes may seem a bit too dark, but this is a minor gripe. THE BLACK FOREST has quickly secured its place among those other excellent homages to Classic Horror films, RETURN OF THE WOLF MAN and THE MONSTER SQUAD. Tinnell, Livingston, and Vokes have set quite a standard to surpass, though they may soon do so with their next project, THE WICKED WEST. Sound unbelievable? Perhaps, but I wouldn't put it past them.

Then save your 10 bucks and immediately buy this awsome graphic novel. This is the great homage to old monster movies that the aforementioned turkey so miserably failed to be. In a medium filled with endless parades of angst-driven nutcases and thonged Barbie dolls wading through body, [...] and profanity counts (arrested development disguised as mature content) it's refreshing to read a comic book that's just plain fun. Appropriate for monster and heroic adventure fans of any age, Livingston and Tinnell's story is briskly paced and exciting. Vokes' B/W art is pure eye candy. Often times attempts at period pieces fall flat either from well intentionened but akward attempts to evoke the flavor of the times or worse yet, when ridiculous anachronistic elements (as in "Van Hesling")are inserted to grab today's audiences. This is not one of those times. Look at it this way. If in the rare chance that there is something seriously wrong with your brain and you don't dig this book, you can always sell it to your local comic shop and make some of your dough back. You'll at least have the pleasure of knowing that you've supported some very worthy independent creators. A splendid time is guaranteed for all!

I recently rekindled my love for comics and graphic novels and was absolutely delighted when I read "Black Forest." It's a clever adventure story, and the graphic style is a bold change from the usual artwork found in more mainstream books, though perfectly fitting with the subject. My only disappointment is that its superficial similarity to the (far inferior) film "Van Helsing" means a movie adaptation may be a long way off, but the book's cinematic feel makes it a natural.

Long-time horror lovers will appreciate the old-style, light-hearted classic monster fest by Livingston, Tinnell and Vokes. The stylish black and white artwork is reminiscent of Harvey Kurtzman's comical figures combined with a dash of Gene Colon's fluid and dynamic panels. This is another edition that cries out for a magazine-sized format. If I were to list any quibbles, it would be with the length: the work needs just a few more pages, especially the monster battle royale toward the end between the Frankenstein monster, the werewolves, and the vampire Graf Orlock.

The story takes place in 1916, during the Great War, and the German army, through an especially evil scientist, is trying to find a way to revive dead soldiers (yes, zombies!) to fight another day. Holed up in the Black Forest, in Graf Orlock's castle no less, whom they have imprisoned in his own dungeon, the especially evil mad scientist feverishly toils away using Dr. Frankenstein's crib notes of life and death for his experiments; and yes, the monster, too, to supply a steady stream of cadavers. Enter our valiant, but foolhardy American hero, Jack (not sure why every valiant but foolhardy American hero is always named Jack, or a monosyllabic name), and Archibald Caldwell, magician and occultist, who, like real-life magician Jasper Maskelyne during World War Two, uses his special skills to assist British Intelligence in the war effort.

Along the way, there are Alan Moorish-like bits that enrich the story, including Caldwell's ability to regurgitate lock picks that he has swallowed, a skill that Houdini was purported to have used, and Caldwell's dead wife is pickled upright under glass, in a panel very similar to the scene in the film The Black Cat, where Vitas Werdegast's wife is preserved by his arch nemesis, Hjalmar Poelzig, the evil cult leader. Boy, these evil guys do get around. The adventure is written in a pulp-style, and is fast and furious. I highly recommend it to those classic monster and zombie loving horror-heads among us.