The first thing I can remember is rain.
It sluiced across the windshield of the car, blurring the Scottish road ahead, so it was as if I looked upon the highway through carnival glass.
We were on our way to Loch Ness. I was six and obsessed with The Monster. My mother was driving us from our little rental outside London to Edinburgh, so we could have a look at the silver waters in the ancient glen. But the road flooded out and we never got there and The Monster was safe from us.
The first thing I can remember is rain.
It sluiced across the windshield of the car, blurring the Scottish road ahead, so it was as if I looked upon the highway through carnival glass.
We were on our way to Loch Ness. I was six and obsessed with The Monster. My mother was driving us from our little rental outside London to Edinburgh, so we could have a look at the silver waters in the ancient glen. But the road flooded out and we never got there and The Monster was safe from us.
Christopher Golden and Mike Mignola’s first collaboration, Baltimore, or, The Steadfast Tin Soldier and the Vampire), was a brassy, bloody steampunk engine, a machine built to deliver timeless fables at high velocity, the whole thing armor-plated in Mike Mignola’s gothic visuals. In Joe Golem and the Drowning City, out on March 27 from St. Martin’s Press, Christopher Golden and Mike Mignola suit up for action once again in a narrative that mixes history, horror, and wonder in a glowing mad-scientist cocktail. Want to know more? So did I; the lads were good enough to let me hit them with a few questions:
