Weekly Reader: Devils You Know: A Collection by Miles Watson; Short Creepy and Graphic Anthology About A Variety of Devil's

 

Weekly Reader:  Devils You Know: A Collection by Miles Watson; Short Creepy and Graphic Anthology About A Variety of Devil's

By Julie Sara Porter

Bookworm Reviews

Spoilers: There is a familiar saying that it is better to deal with the devil you know than the devil you don't. In other words, it is better to engage in conflict with someone because you know their motives and weaknesses rather than someone you don't because they are an unknown entity. 

Unfortunately, Miles Watson's anthology, Devils You Know, reveals that known entities can still produce many shocks and unpleasant surprises to say the least.

As he demonstrated with The Numbers Game, Watson shows that he can craft a masterful short work of suspense and tension, often with unpleasant characters. The Devils You Know takes that talent to frightening several graphic and chilling short stories with some creepy characters who don't mind inflicting supernatural or human terror and violence on the people around them.

The best stories are: 

"Nosferatu"

"The Nazi Vampires" sounds like the plot of a cheesy B horror film. That's not necessarily true. In this case, the story was clearly inspired by classic not at all cheesy A horror films. Since the Nazi Party and the German Expressionism Film Genre were formed during the Weimar Republic, they are often intertwined like some strange twisted destiny that mixes violent prejudicial hatred disguised as politics and art that embraces the dark and shadows. 

This story combines those two elements as Hannibal Raus, an artist and SS officer is afflicted with strange fever dreams while recuperating in a hospital. Upon being told he had plenty of blood, his thoughts turn towards the silent films of his past, particularly Nosferatu, the Dracula silent film directed by F.W. Murnau and starring Max Schreck. The final scene of Raus seeing what he believes is Nosferatu among the Nazi soldiers is eerie. Art and politics combine as it becomes hard to tell the real monsters from the fictional ones.

"The Adversarial Process"

This story is one long extended monologue in which a character rails against God. The Narrator becomes more unhinged as he calls the Deity out for the Biblical inconsistencies and if he could bring Lazarus to life couldn't He do the same to his deceased wife? The Narrator's words become more fierce and angrier as he rails against the silent walls reflecting in his mind an uncaring universe that allows people to die for no reason. 

The Narrator's misotheism is present as he is compelled to commit violence to get God's attention and perhaps find significance in a random disconnected world.

"Pleas and Thank Yous"

The theme of showing true villainy being willing to do what the other person won't is present in this anthology, but it is especially in this story. 

The Narrator witnesses his fellow gang members torturing a victim. After confessing that he always favored the underdog in cartoons (like Tom in Tom and Jerry or Wile E. Coyote), he insists on letting the victim go despite objections from the others.

What seems to be a simple sympathetic move becomes more complex as The Narrator reveals his own lust for violence and proves that he is no different from, and in many ways, worse than his fellow captors.

"A Fever in the Blood"

It's obvious that there are many nowadays who are sitting on the edge filled with stress and anxiety from everyday living. It doesn't take much for someone to finally fall over the side and give into the rage that had been building up.

That is what happens in this haunting and unfortunately all too realistic story. A man starts a chain reaction of violence when he destroys a woman's cell phone. This moment causes others to lash out towards those around them: friends, family, and complete strangers erupting into a riot. The hatred and violence behaves like a virus that catches everyone around them until they turn into a vengeful mob. 

Watson's depersonalization and detachment towards the characters reveal that this is not a justifiable situation, just one that spirals out of control once stress and frustration is unleashed and people give into the anger that they buried.

"The Action"

Similar to "Nosferatu" this story also deals with Nazis, but instead of supernatural horror it veers towards reality. While on duty, an infantry soldier looks after his cousin, Fritz who is at first described as a gentle intellectual.

Among the suspenseful passages describing shootings and military strategies, the real dark heart in the story is how much Fritz changes, according to his cousin. In the final chilling sentences, The Narrator sees the detached murderer that Fritz has become. Maybe here, he realizes that among the many horrors that the Nazi Party inflicted, turning people into monsters was one of them.

"Identity Crisis"

In this day and age of finding one's identity and disposable fame, there are some who want to be known no matter what the cost. This story is a strong example of that.

Billy Verecker reflects on his life while standing outside a YMCA prepared to commit violence. He looks at his life, thinking of his various interests and relationships, trying to find his identity and significance in his life. He never feels like a whole person wondering if these outside trappings reveal the real person underneath.

This existential crisis and bitter and jealous rage drive him to do anything to make his name known. He always felt that he was standing outside and was never really seen or noticed. Well this time will be different, he vows.

This story is drenched in irony as violence is committed, but Billy fails to get the recognition that he desired. Instead his existence ends up becoming the punchline in a cosmic joke.

"The Devil You Know"

How bad is the world when the Devil himself considers packing it in and giving up? That's the question in this story that is a two person conversation between Luke and The Narrator, one of whom is implied to be The Devil.

Far from an evil soul devouring villain, The Devil is written as weary, cynical, and fed up. He is somehow understanding as he considers humanity to be far worse than he could ever be (and judging by the characters in the other stories, he's not wrong). He leaves saying that "humanity doesn't need (him) anymore" that their greed, selfishness, hatred, and violence have surpassed his need to tempt those to do them. It is a truly biting tale to end this graphic book on but fits the tone and theme of the anthology. We don't need to look for the Devil to steal our souls when we willingly give them away.