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Artist David Paul Harris

Sketches for this issue. 


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Model for sketch










unused


Caroline Munroe







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Vol.1 October '24

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In This Issue Feature Story The Witch of Dracula Fiction Shadows of the Universe The Inhabitants of the Forgotten Twilight A Resolution at the Mitchell Estate  After the Apocalypse  Asylum Above the Deep  The Warehouse  The Reaper's Cloak The Black Altar Articles Peter Cushing: The Quintessential Van Helsing of Hammer Studios Review: Max Series ‘Salem’s Lot – A Reimagining That Haunts and Thrills A New Dawn for Nosferatu: Robert Eggers Revives a Horror Classic Poetry In Death's Shadow   Products NEW! Horror of Dracula Action Figures Gallery Artist David Paul Harris Contact Letters to the editor &  Submissions If you would like to see our magazine in print please let us know it's something you would support.  An Introduction from Professor Van Helsing "Ah, the macabre and the arcane, subjects few truly grasp, and fewer still dare to confront. But if you find yourself in the darkened shadow of the vampire, it is not enough to merely fear the darkness. One must unders
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Review: Max Series ‘Salem’s Lot A Reimagining That Haunts and Thrills

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  by Fiona Vale As the first week of October settles in and we prepare ourselves for the haunting season, Max's new series adaptation of Stephen King's seminal horror novel “Salem's Lot” arrives, promising a fresh take on the 1970s classic. Premiering on October 3, 2024, this version of Salem's Lot offers a contemporary spin on King's tale of vampiric terror and small-town dread, yet it retains the core elements that made the original miniseries a defining piece of television horror. The 1979 adaptation, directed by Tobe Hooper and produced by Warner Bros., remains a landmark in horror television. Its blend of gothic atmosphere, brooding tension, and the inescapable feeling of dread marked it as an unforgettable piece of the genre. With its slow-burn narrative and minimalist effects, the original Salem's Lot relied heavily on psychological horror and the strength of its performances. David Soul’s portrayal of the conflicted writer Ben Mears and James Mason's
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The Witch of Dracula

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by David Paul Harris  In the labyrinthine streets of Victorian London, where the fog clung to every corner and the gas lamps cast spectral shadows, Professor Abraham Van Helsing walked with a grim determination. The city was cloaked in an almost palpable sense of dread, and Van Helsing’s heart was burdened with a singular obsession: Dracula. The Count had eluded him time and time again, resurrected by dark powers Van Helsing had yet to fully understand. It was a particularly foggy evening when Van Helsing received an anonymous letter that would set his path toward a new lead. The letter was written in a fine, flowing script and hinted at an enigmatic woman, Cassandra Ravenscroft, who might hold the key to Dracula’s persistent resurrection. Intrigued and alarmed, Van Helsing had set out to investigate. The Ravenscroft estate lay on the outskirts of London, an imposing Gothic mansion surrounded by twisted, leafless trees and cloaked in a perpetual gloom. It was a relic from another time,
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