In space, they say no one can hear you scream. However, the second title in Oni-Press’ new venture with EC, Cruel Universe, is hoping that the incidents in these stories will make your scream heard even through the vast vacuum of space. Whereas Epitaphs from the Abyss follows titles like Tales from the Crypt into the realms of horror, Cruel Universe takes its lead from Weird Science and Weird Fantasy. It is an anthology of four science fiction stories, each with the famous twist at the end that was the hallmark of EC’s excellence.
Credit: Oni Press / EC
Out of the new titles, Cruel Universe is the weaker of the two, but it has more potential to grow into something exciting and find a new voice in today’s comic book market. There are many horror anthologies within comics, but science fiction tends to stay in the realms of prose, despite the infinite possibilities that comics can afford such magnificent ideas. 2000AD is a testament to the worlds and stories that can be shared through science fiction short stories, but where Cruel Universe differs is by having self-contained stories within each issue, a format made popular by the original EC comics of the 1950s.
For more information about EC in general, check out my review of Epitaphs from the Abyss. However, it is worth noting that the original science fiction comics published by EC included the same moral lessons as their other titles, a concept that was challenged when they adapted a Ray Bradbury story without getting permission. This led to a string of official adaptations of Bradury’s work, which turned out to be a boon to the publisher.
There are no adaptations in issue #1 of Cruel Universe, but there is a familiarity about the stories. Matt Kindt’s opener is a gladiatorial tale set on an alien world, where a merchant is forced into brutal combat for the pleasures of others. It’s not a particular new concept, but Kano’s artwork keeps the reader interested throughout, and the charming twist gives readers an indication what to expect—or rather, not to expect anything, from the following stories. Corinna Bechko’s Solo Shift is another example of the journey being much better than the destination. The ending is fairly obvious from several pages into the comic, but the beauty of Bechko’s writing, and the clinical artwork by Caitlin Yarsky, means that you actually don’t really think about where the story is going until the final page. The colours by Michael Atiyeh across these ten pages are muted and grey, with an oppressive blood red lighting effect that sets the ominous tone. This is contrasted by the yellow caption boxes that really give this story that EC feel of old. The layouts might be more suited to a modern comic, but the aesthetics in the panels are a definite call back to the 1950s.
Credit: Oni Press / EC
The weak link in the mix is Chris Condon’s Drink Up. It has a fascinating start, but meanders and ends suddenly with no fanfare or real build up. It’s obvious where it’s going, and seems to give up as soon as all of the information has been laid out. Jonathan Case’s artwork is the saving grace, giving the story a bit of dynamism. But not enough. Luckily, the final story washes away the bitter memory pretty quickly. There are a number of twists and turns in Ben H. Winters’ Priceless, and the influence of television shows such as Black Mirror are obvious. It is a bittersweet story and the emotional conflict of the central character is captured perfectly by Artyom Topilin’s artwork. Topilin has a beautiful style that brings out the characters’ emotions with soft shapes and subtle lines that present deception, concern, panic, and happiness. Priceless is a complex story which mixes vibes of the Strange Days movie from 1995 with an episode of the brilliant Inside No. 9, or Jordan Peele’s recent Twilight Zone series. At each junction of the narrative, you think you have a grip on it, but it wiggles its way into a different direction, keeping you on tenterhooks.
There are highs and lows throughout Cruel Universe, as with any anthology, but the dedication to the craft from all of the creators is represented on the page. Each story is different but commits to the concept of comic as a whole, recreating that 1950s EC feel. As mentioned in the review of Epitaphs from the Abyss, the layouts are very modern. However, more so than the horror anthology, there is an aesthetic in Cruel Universe that recreates the feel of the 70 year old publisher. These stories are science fiction but have the beauty of also being retro in design. It’s like the future as seen by creators in the 1950s, tinted with modern ideals and influences. They are both old and new, light and dark, modern and nostalgic. Despite the 2024 production, Cruel Universe is closer in reading experience to the original Weird Science comics than Epitaphs is to The Haunt of Fear.
Credit: Oni Press / EC
The imagination and talent involved in Cruel Universe makes the anthology an exciting and intriguing read. Even where elements of the comics fall flat, there is enough to keep any reader interested. The twist at the end might be obvious, but the journey to the twist makes up for it. Or the script might be a touch cliched, but the artwork will see you through. Cruel Universe is fun, shocking, and contains moments of poignancy that made the original EC titles so dangerous and popular. There is great potential in this comic to tell some exciting and important stories, and I can imagine that the creators in the industry will all want to get involved. The possibilities are endless.
And check out Darryll’s review of CRUEL UNIVERSE’s sister series, EPITAPHS FROM THE ABYSS, right here!
