Cryptology #4 July 2025 (magazine review).

The fourth issue of ‘Cryptology’ looks like it’s settling down. Even its editor, Peter Normanton, is doing what the cryptologist is telling him to do now. Horrifying as it’s turning the contributors into zombies, as witnessed by their byline photographs. They also have a letters page now, so it’s a perfect opportunity for those of you wanting to write in.

Writer Pat Calhoun looks at Bill Everett’s comic book output prior to the Comic Code Authority. Showing a cover where a skeleton’s skull is unmasked, you do have to wonder why she didn’t spot his bony hands. He was also responsible for the art on the ‘Venus’ comic, which was spiced with horror. There’s also a second examination of Everett’s work at the end of the issue.

Writer Michael Price has a look at Alex Toth’s adaptation of the film ‘Circus Of Horrors’ at a time when the CCA disapproved of using ‘horror’ in a title. It’s always confusing how some words were banned, even back then, when it would be hard for kids to avoid seeing them used in posters and the like.

The key section of this issue is writer Mark Voger’s look at the 3D monster movies. I think I’ve seen all the old ones. It’s a shame that he doesn’t point out which ones have had a video/DVD release in 3D format. I know the 1961 film ‘The Mask’ was, but he should have used this as a selling point to encourage people to see them in the format they were designed for. It is significant that Vincent Price got his massive exposure in them first and that of all the Hollywood creatures, the Gill-Man had two films in 3D.

Editor/writer Peter Normanton has a look at the 3D horror comics, which were literally a three-month wonder in the 1950s. Normanton points out that the kids back then took it in, and the sales reflected that, and then they went looking for other novelties. Of course, the comic book companies of that time jumped in on anything that sold. Had they spread them out, or at least for every generation of kids, 3D comics might have prospered and not had to wait until the next attempt in the 1980s.

Michael Kronenberg’s interview with Alex Ross about his Universal Monsters prints. All done in black and white and wash and under their licence before the studio raised the cost. I always find it odd when companies raise licence fees too high because then fewer companies, especially lower down the chain, can afford them and then make no money at all. You do see them here, though, and I’m surprised this edition of ‘Cryptology’ hasn’t sold out. I did have a look around, and now there are canvas and photo prints out there.

Writer Tom Vincent looks at the late Bernie Wrightson’s fanzine art output, which continued even when he turned professional. He does wonder why Wrightson was never interviewed about this work, although I do wonder if the interviewers knew about them. Even in the USA, it’s very easy not to see the fanzine market. Seeing his art here, if you’re a Wrightson fan, this will start your crusade to track this art down.

Writer Justin Marriott has a look at James Herbert’s novel output compared to that new chap, Stephen King, at the time. It’s interesting that he uses NEL’s cover for ‘Carrie’, as that was the copy I bought at the time. If you do come across it, bear in mind it’s a first edition release paperback in the UK.

Michael Kronenberg is back with a piece on one of Monogram’s nine Bela Lugosi films, ‘The Corpse Disappears’, and how his leading lady, Elizabeth Walters, took on his Hungarian accent.

Now here’s a subject that has dated: films that were called ‘video nasties’ in the UK. In recent years, some of them have appeared on TV, which shows how tastes have changed. In the 1980s UK, the release of films on video meant they were no longer restricted by what was shown by the four TV channels. This opened a path for a lot of American horror films that only appeared in limited cinema release over here. Although I haven’t found an exact date, there are often two cuts of most films for the USA compared to worldwide release, so we were seeing the unedited version over here. I do watch horror films, just not enough of them. I did see ‘The Texas Chain Saw Massacre’ on video, but, frankly, there were long spells of boredom, and I wondered what the fuss was about. Writer Barry Forshaw’s account of how the government was brought into an argument they rather wished they weren’t part of and were glad to move on from is interesting. When the chainsaw is out of the bag, it’s a bit hard to stop it.

Writer Will Murray’s second part of his look at Charlton horror comics is a demonstration of creators being given freedom to do what they liked because the company couldn’t care less as long as their printing presses could be kept running continually. It also allowed new talent to learn their craft before moving onto the more profitable companies.

Writer Tim Leese has a look at Hammer’s second vampire film from 1960, ‘The Brides Of Dracula’, which didn’t have Christopher Lee in it. I’m not sure if I ever saw it, but Leese points out that actor David Peel as Baron Meinster filled in the gap.

Sorry if this review is so detailed. Although I’m not an ardent horror fan, I’m a sucker for interesting and entertaining articles on the subject, and ‘Cryptology’ is filling in that niche. Take a bite.

GF Willmetts

December 2025

(pub: TwoMorrows Publishing. 82-page illustrated magazine. Price: $10.95 (US). ISSN: 2997-4-416X. Directly from them, you can get it for $10.95 (US).

Check out the websites www.TwoMorrows.com and https://twomorrows.com/index.php?main_page=product_info&&cPath=98_194&products_id=1809./strong>