Fascinating!

The prologue and the epilogue are extremely revealing.

They offer valuable insights into the story and set the stage for what is to come.

The prologue grabs the reader's attention right from the start, piquing their curiosity and making them eager to delve deeper into the narrative.

It provides important background information and context that helps the reader better understand the characters and their motives.

Similarly, the epilogue ties up loose ends and gives the reader a sense of closure.

It offers a final perspective on the events that have unfolded and leaves the reader with something to think about long after they have finished reading the book.

Together, the prologue and the epilogue enhance the overall reading experience and make the story even more engaging and memorable.

A decent comic indeed! The stories it presents are truly interesting. However, they are rather short, which makes it a bit difficult to fully get invested in them. Despite this drawback, it is still a worthwhile buy for any fans of King who are seeking something different. It offers a unique perspective and a new set of adventures within the King universe. Even though the brevity of the stories might leave you craving for more, it also means that you can quickly consume and enjoy them. So, if you're a die-hard King fan and want to explore something outside the norm, this comic could be a great addition to your collection.

As an avid reader and fan of Stephen King, this volume is something incredible for me and something I have wanted to have ever since I started collecting his books at the age of 14. However, the awareness of the absence of an Italian translation came only much later, and I had already resigned myself to not seeing it. But here comes Mondadori, listening to my prayers, bringing it to the market fresh for Halloween 2020. In fact, it has been available since last October in the Ink - Oscar Vault collection. It is a horror comic from 1982 that is a "must have" not only for lovers of the genre, of King or Romero, but for lovers of the history of comics in general. It is a homage to the publishing house EC Comics which used to accompany scary stories with macabre but at the same time ironic and funny illustrations in order to bring boys and the younger generation closer to this type of narration.

The confirmation comes right from the beginning with the narrative voice, and outside the chorus, of Uncle Creepy who introduces the five stories. He is a semi-skeletal being with a yellowish complexion of dubious origin but with a decidedly sharp and ironic vein that draws a smile, also here and there in the development of the stories with hilarious interludes.

There is a controversial and wealthy family that has inherited everything from an uncle who died years ago ("The Father's Day"), a not very intelligent farmer who believes he has found fortune in a meteorite ("The Lonesome Death of Jordy Verril"), two professors dealing with something evil hidden in their school ("The Crate"), the obsession of a man who has discovered his wife's infidelity ("Something to Tide You Over") and an extremely boring industrial magnate with his fear of insects ("They're Creeping Up on You").

We are talking about a comic, it's true, but if you have enough experience with Stephen King, expect something completely different. It is not a typical "horror" of his writing, surely the very long and verbose descriptions of the characters and places that often drive his fans crazy are missing, and on the contrary, the protagonists of each of the five stories remain ascetic and do not provide elements to which one can become attached but still manage to leave something to the reader: the memory of a joke, the completely unexpected behavior or the visual impact of the panel that depicts them with intense and expressive faces, and here the merits go not only to the writer but also to the illustrator, an exceptional Bernie Wrightson who takes out of the cylinder incredible illustrations. They are gloomy and spectral but tinged with very healthy irony, without falling into the pure and blatant splatter that is often seen in works of this type.

The secret ingredient that makes this work a masterpiece is the fact that if you took away from the context the dead and the beasts that populate its pages, the horror would continue to linger because, as Stephen King has taught us with his endless production, it does not exist in the zombie and the vampire of the moment but resides in the dark corners of the human soul where it nests and grows until it explodes in what we read in CREEPSHOW, of men and women afflicted by terrible depressions and paranoias that keep them awake at night and in which they wallow until they become estranged from their human body. It is only fiction here but at the same time it is a creepy metaphor of what unfortunately happens all too often in reality.

Once again Stephen King does not disappoint. Even with the comic, he plays on psychology to instill fear and subjection in his reader, fascinates with his ability to put himself in the character, that being one with his creation, that way of speaking and thinking and actually being like her. It is as if we were inside his brain and saw his reasonings, his ideas, the suffering deriving from a past that returns and that oppresses him with the heavy baggage he carries with him, made up of regrets and feelings of guilt for those actions perpetually on the verge between right and wrong.

CREEPSHOW is nothing more than this, the endless struggle with our hidden demons.