EC Catacomb of Torment #13 — Liam Johnson and Sebastian Cabrol Roast Up a New Summer of Screams
Summer is here, and so is the Mistress of Malice. EC Catacomb of Torment #13 brings a fresh batch of twisted tales from Liam Johnson, Andrew Wheeler, and Allen Wu, illustrated by Sebastian Cabrol and David Lapham. It’s a fever dream of horror and dark humor that feels essential for fans of classic EC vibes with a modern twist.
There is a specific kind of joy in flipping through an EC anthology that knows exactly what it is: a deliciously morbid game of chance where every page turn promises a new shock, a new twist, and a new reason to check the lock on your basement door. EC Catacomb of Torment has mastered this rhythm, and with issue #13, the series isn’t just maintaining its groove—it’s amplifying it. If you’ve been missing the golden age of horror comics but want something that feels distinctly current, this is the place to land.
The premise remains as invitingly grim as ever. The Mistress of Malice, EC’s beloved icon of horror, is back at her grill, serving up stories that are still wriggling on the spit. This isn’t just a collection of scary tales; it’s a curated feast of human folly, punishment, and the kind of dark irony that only emerges when you strip away societal niceties. The setup is simple: you enter the catacombs, you encounter the tormentor, and you realize that the real horror was always the choices we make along the way.
What makes this drop particularly mouth-watering is the creative lineup. Oni Press has assembled a trio of writers—Liam Johnson, Andrew Wheeler, and Allen Wu—each bringing a distinct flavor of dread. Johnson’s work in 2000 AD suggests a punchy, visceral edge, while Wheeler and Wu bring their own literary weight to the table. Paired with the art of Sebastian Cabrol and David Lapham, the visual tone shifts from grotesque to gritty in the best possible way. Cabrol’s work on The Seasons Have Teeth hints at a stylized, almost surreal horror, while Lapham’s Stray Bullets pedigree grounds the narrative in a raw, emotional realism that makes the supernatural elements hit harder.
I’ve always found that the best horror comics don’t just want to scare you; they want to make you feel uncomfortable in a way that lingers. This issue feels like a celebration of that tradition. The cover by Oliver Dominguez promises a feast, and the interior art delivers on that promise with a palette that feels both classic and freshly alarming. It’s the kind of book you pick up thinking you’ll read one story, only to find yourself working your way through the whole stack before you realize you’ve been holding your breath.
Here’s an insider thought: if you enjoy the way EC used to use horror as a vehicle for social commentary, keep an eye on Andrew Wheeler’s contribution. His background in noir and crime fiction often bleeds into his horror work, giving these tales a layer of psychological depth that goes beyond the jump scare. Pair this with Sebastian Cabrol’s art, and you get a story that might just haunt your reading list for a while. The shelf is busy with new drops, but this one feels like a must-serve.