CRAWLERS

by

Sam Enthoven

A preview extract, with exclusive art by Malcolm Harrison

words (c) Sam Enthoven / visuals (c) Malcolm Harrison 2010. All rights reserved.

Click here for previous parts: 1 , 2 , 3

Part 4

Free. More than three centuries had passed while I had been held captive in this pit. In the early days Steadman’s predecessors had kept me here with spiked chains and armed guards. Behind those guards had stood more guards, their weapons trained on the first in case I did what I do.

Now, in Mr Steadman’s time, I heard an echoing hiss and a whine of machinery. As the lid of my pit drew back I allowed myself a moment of triumph. From that first, blazing night when they caught me I had known this day would come. The reason was simple: they had not killed me. Even in 1666 the Corporation of London had recognized my . . . gifts.

-Final sneak peek coming Fri 12th March at 12 noon GMT-

CRAWLERS

by

Sam Enthoven

A preview extract, with exclusive art by Malcolm Harrison

words (c) Sam Enthoven / visuals (c) Malcolm Harrison 2010. All rights reserved.

Click here for previous parts: 1 , 2

Part 3

Mr Miller shrieked – a short, high note, his voice driven to that pitch by absolute terror.

The shriek stopped.

Then I spoke through his mouth.

‘I . . . like this one, Steadman.’ The words were husky and thick at first as I worked the unfamiliar vocal cords. ‘He’s young. Healthy. Much better than the sickly things you usually bring me.’

‘A treat for you, my Queen,’ said Steadman. ‘And he’s just the first of many. As of now, you no longer have to make do with those dregs I can steal from the streets without anyone noticing. As of this moment, you can take anyone you want.’ He paused, then said: ‘You are free.’

-Click here for Part 4-

CRAWLERS

by

Sam Enthoven

A preview extract, with exclusive art by Malcolm Harrison

words (c) Sam Enthoven / visuals (c) Malcolm Harrison 2010. All rights reserved.

Click here for Part 1

Part 2

Miller fell silent.

‘I . . . hate you,’ Steadman began.

‘I’ve never had the chance to say this to one of you before, but I’ve hated people like you my whole life. Ever since school, where my existence was made a misery by a smug, self-satisfied waster just like you, I have quietly dedicated my life to finding ways to revenge myself on your kind. Something unpleasant is about to happen to you. But you can comfort yourself with two things. First, it will be over far more quickly than you deserve, and second, you’re in a very privileged position. You, Mr Miller, are about to serve the Queen.’

I took my cue.

‘Gah!’ cried Miller into the darkness when I first touched him. ‘What’s that?’

‘What’s what?’ Steadman asked, amused.

‘There’s something . . . crawling. Like a spider. It’s going up my legs. Now it’s on my back! I can’t . . . Oh! Oh, God! GET IT OFF ME!’

-Click here for Part 3-

I’ve just finished, this very morning, my small A5 sketchbook. Looking back, I started it in November 2009. That’s just over 4 months. Hmm, not very impressive. I thought I filled them more quickly than that. But then again I do have several sketchbooks on the go at any one time. There’s my everyday, carry-it-whenever-I-can A5, my sit-down-in-front-of-the-TV A4 and my sensible no-point-in-messing-around-here A3, which I use at my drawing board.

There’s no real order to them, other than the A3 sketchbooks which I allocate for each book I’m illustrating. And then there are the square sketchbooks (small, meduim and large), that I can’t resist buying and play around with for a couple of weeks before they dissapear under a pile of – well, usually books. I have way too many of those in my studio. Come to think of it, a lot of them are probably neglected and half finished sketchbooks.

But I digress. Back to my recently finished A5. Well, I’m always a little reluctant to say goodbye to the sketchbook I have on the go. It’s the closest I get to a diary, and it carries my most recent thoughts around with me. When I start a new one I sometimes like to carry a few of the more interesting drawings over, copying them again on the first few pages. It helps to give me a footing, somewhere to start.

Here’s a page I quite like. I’d been thinking about a story with a wolf and a sheep. I say a story, not even that, I just liked the idea of this unlikely couple. So I started to draw them. Scribbles really. But sometimes I feel I have something. So I decided to paint them.

I’m still not sure where they will go, if anywhere, but I’ve grown quite fond of them. I think I’ll start drawing them first in my new A5. Perhaps by the time I’ve finished this one – sometime in June, I guess – I may have found a place for them. A story, a poster, or just a few more pages in a half finished sketchbook..only time will tell.

CRAWLERS

by

Sam Enthoven

A preview extract, with exclusive art by Malcolm Harrison

words (c) Sam Enthoven / visuals (c) Malcolm Harrison 2010. All rights reserved.

Part 1

LONDON. The financial district, aka the City. Deep underground. 6:16pm

In the dark pit that had been my prison for almost three hundred and fifty years, Steadman’s latest victim was regaining consciousness.

‘Mr Miller?’ said Steadman’s voice from the pit’s wall-mounted speakers. ‘Mr Miller? Can you hear me?’

There was a groan. ‘Wh . . . what?’ The voice was that of a young man, not much more than a teenager. ‘Where am I? What . . . what happened?’

‘I imagine,’ said Steadman, ‘that the last thing you remember is lunch at my club. You spent most of the meal boasting about some trivial few million you made on the money markets this morning. For my part, I allowed you to imagine that the Corporation might be interested in you for a purpose other than your present one – and drugged your wine.’ He sighed. ‘Shocking way to treat a fine Margaux, I know. But then, so was wasting it on you.’

‘Mr Steadman,’ said his victim, trying for reason, ‘Lionel, I don’t—’

‘Kindly shut up and let me tell you what you’re doing there.’

-Click here for Part 2-

One of the questions I’m most frequently asked is whether I draw the illustrations for my Scream Street books – and the answer is always a resounding NO!  I have all the artistic ability of a teaspoon.  My publishers, Walker Books, however knew of a very talented artist by the name of Lily Bernard who works for Cartoon Saloon – and it’s Lily who brings my characters and stories to life in picture form.

To demonstrate the process Lily takes, here are three images of one of my newer Scream Street characters – Kian Negative.  You can see how each image progresses from a preliminary sketch to get a feel for the character (which my editor, designer and I get to see and comment on) through an intermediate stage and finally onto the finished picture.

I’m sure you’ll agree that Lily is not only very talented, but she has a real grasp on the feel of the Scream Street series.  I’m very proud to be working with her.

Tommy

If you haven’t met already, allow me to introduce one of the most famous and fascinating Japanese monsters, the Kappa.

Handsome, dapper, charming…

…are all words that /don’t/ usually get applied to Kappa.

However, as I’ve just discovered from this video, it turns out that Kappas can be excellent dancers. Click the link to see for yourself.

-Sam

I posted an article a while back, about how I like to produce a short sequence of drawings on a single page as a warming up exercise before I get down to the really messy business of ‘creativity.’ Well, with this recent cold snap moving in I’ve been needing more warm-ups than usual and I came up with this, um…story. It’s not really a story, of course, but it’s a staring point for me, suggesting new characters and a possible scenario within a story idea.

I love wordless books. There are plenty of them out there, be them picture books or comics for kids of ALL ages. I’ll see if I can dig a few out and post them here. Just goes to show you don’t need words to tell a story.

Um….best not tell the others in here I said that – you know how sensitive authors can be. (No? Oh, don’t get me started).

It’s been a busy couple of weeks for one of my absolute favourite monsters, THE KRAKEN.

Reprising the classic look from Ray Harryhausen’s original film, the Kraken appears for a whole gleeful climactic eighteen seconds in the current trailer(2) for the soon-to-be-released remake of Clash of the Titans.

To my enormous delight, the Kraken was also recently honoured as Badass of the Week by Ben Thompson, on his brilliant website of the same name: click here for a great piece that rounds up some classic Krakenology in fine style.

However: Mr Thompson’s excellent description of his subject as (I quote) “basically a giant-ass emotionless cephalopod who lives solely to eat boats, destroy all life in the ocean, and violently implode warships with his ultra-powerful crush-o-matic appendages of doom“, while wonderful, isn’t, I believe, quite the whole story. There’s a very different side to our titanic tentacular friend, as anyone familiar with the Kraken’s starring role in my own Tim, Defender of the Earth might already know.

Another mad year draws to a close. I am knackered, but with CRAWLERS poised to launch in April (and plenty more thrilling projects in the pipeline) I’m very, very happy.

Thanks, best wishes and Merry Christmas to anyone reading this. I hope you enjoy your food. ;D

SNEE HEE HEE!

Sam

You know, in some ways being kidnapped by monsters and held prisoner in a cave for nearly a year isn’t quite as bad as it might be.

For one thing (and maybe I’m reaching here, but…) thanks to the monsters’ internet connection, I haven’t been deprived of music.

Not at all long ago, a music collection was something that had to be confined to a physical location: a stack of cd’s, say (don’t get me started on records and tapes). Now, of course, that’s no longer the case. And I can’t tell you how grateful I am.

Music is an essential part of my daily life. It’s also an essential part of my writing process. I don’t listen to music while I’m actually writing (or not usually – for me it’s too distracting) but I use music all the time in other ways: when I’m getting myself ready to write, when I’m thinking myself into a different frame of mind for a particular scene, and when I’m trying to come up with ideas.

I’ve found that all sorts of music can help with this stuff. But I thought I might share with you a few specific things that have been making my story-brain twitch and bubble over the last month or two…

Broadcast And The Focus Group Investigate Witch Cults Of The Radio Age sounds like it was recorded forty years ago, but it wasn’t: it’s only been out since October. A series of short experimental pieces (none longer than a few minutes), this mini-album plunges you straight into the woozily sinister atmosphere of a 1970s horror film.

I liked where that took me so decided I’d stay, with the newly-reissued soundtrack to a genuine horror classic from the era, Blood on Satan’s Claw, composed by Mark Wilkinson. Disarmingly cute and massively ominous both at the same time, you can hear some samples of it here.

On the same label (Trunk Records) I found this incredible story about the rescue of another soundtrack from the era, in this case that of a nature documentary: Life on Earth, composed by Edward Williams. Imagine a whole album about living creatures and their biological processes. The Sex Life of the Fern, I can tell you, is a particular highlight. Comb Jellies is dead good, too.

Finally, here’s something really odd: twenty-two pieces of experimental techno created by various artists Twitter style – allowing themselves a maximum of 140 characters of code. Click here to hear sc140, and even download it free for you to own if you like.

Febrile psychedelia, rustic English horror, music for jellyfish and what sounds like the stomach rumbles of computers. There are all sorts of weird noises to be heard in these caves. But it’s great to be able to choose them for yourself.

If you’re interested in what else I’ve been listening to, you’re welcome to take a look at my LastFM profile.

-Sam

PS: The first illustration in this post is by Henry Holiday, from Lewis Carroll’s The Hunting of the Snark.