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Executive Editor Candace Raney

Senio r Development Editor: Alisa Pala7.7.0

Desogncr: Bob Fillie, Graphiti Design. Inc.
Production DircLtor Alyn Evans

Cover design by Kapo Ng@'AMen Project

Front cover an by Anzu
Back cover art by RP.gma
firSt published m 2007 by
Watson-Cuptil l Publir.atwns,
an impnnt of the Crown Publishing Group,
a division of Random House, Jnc~ .. Ne'" York

www .wat.songuptil l com

Copyright o 2007 Star F~re LLC

Library of Congress Cataloging-in-Publication Dam
Hart. Christopher.
Ma nga mania occ:ult and horror; how to draw
th e elegant and seductive characters ofthe dark I

Christopher Han.
p. em.
i ncludes index.
ISBNI 3 978.082.10-14224 (pbk.)
ISBN-10: 0-8230-1 422-J (pbk.)
I Comic books. strips, etc.-Japan-Ththnlque 2. Cartoonlng-Thchnique.
3. Occulth.m in an. 4 . Horror in art. I. Title
NC1764.5 J3H36935 2007




'JYpesct in Veljovic, Thlon. Grande Guignol, Dead Man's Folly. Arnold

Boccklin, Dave Gibbons, Divmc Righi
Primed in China

2 3 4 56 7 8 9 I 15 14 1312 II 10 09 08

Akemi Kobayashi
Kazuhiro Soeta
Vanessa Duran
Cristina Francisco
Stephen Segovia


Demon Girl 83
Throt Card Reader 84
The Experiment 86
Dragon Lady: Drawing a Possessed Character 88

Genre Comparison
vs. Occult Men





Victorian Inspirations 91
1taditional Men's Garmenrs and Accessories 92
Traditional Women's Garments and Accessories
Occult Gothic Costume 96
Layering 98
The Long Train zoo
Using Embellishment 101
Popular Occult Costume Styles 102
Combining Horror with Fantasy 104
Weapons JOB


,f rhe Vampires


Vampire 44
.~r Vampire 46 Youth 48
-::-~le Vampire so
:J2i; and a Prayer 52
One Wing Style Is Not Enough 54
~-e Poses for Women with Wings ss
-=- as Expressive Thols 57
--s of Vampires 58
en-Style Vampire and
3east Trainer 64

From Woman to Cat Creature Ill

From Vampire to Bat 112
From Human to Winged Wolf 114
From Man to Winged Panther:
The Coil-and-Spring Technique U6
From Woman to Unicorn Panther:
The "Good" Transformation 118
From Man to Dragon: The Visual Metaphor
From Woman to Dragon:
Transformation by Magic 122


....:.:: : Assassin 68
~-A nimal Hybrid
- Car Girl 72
maror Samurai



- ss 81
- :ed Beast: Wolf-Demon


Establishing Mood with Shadows 125

Using Shadows: You Don't Need a Reason
Shadows on the Ground 128
Special Effects Shading 129
Mirrors and Reflections 130
Dreams and Nightmares 132
Symbols of the Occult 1.14
Eerie Backgrounds 136
Sequence 138
The Colors of Manga Occult and Horror

X t44






:: xcult and horror graphic

8ne visit to the Graphic Novels
~= the bookstore will bring you
-T"erse of elegan t occult and
s:ories packed with amazin g
_ :Iom the b est illustrators co offer.
~...cuh-an d-horror style of
_s unlike any other. In American
_ :he horror genre features ugly
~alsive characters, but the manga
- 1S a highly attractive style,
"'.iJ never looked so good. In
occult and horror ar e often
ed into one form in which the
u..a.racters, such as glam orous
- ... d. iemale vampires, are cast in
~e srory as h orror characters,
,:..;;; ~easts and demons. It's a darkly
_ ~,-orld, a breathless rolle rr:de.
.i..-50 in a category e ntirely its
~-=istically speaking, the look is
;..:- different from anything else.
ponions of th e characters are
~e models, yet at the same time,
..::-_res exude a powerful presence.
s are somewhat androgynous,
.:n a mbiguity th at is also
sei in the very nature of the

characters, who hover between two

worlds-one of light and one of
The cast of characters, the costumes,
the supernatural powers, and the
haunting environments are unique
to this genre. All of these el ements
conspire to makes this on e of the most
compelling, complex, and alJuring
styles in alJ ofmanga-an d one of
my personal favorites.
This book strives to show you,
in-depth and step-by-step, how to draw
the faces of all of the popular occult
and h orror character types, as well as
their detailed expressions. Lest you
think vampires are all th ere i.s to this
genre, included are tarot card readers,
dragon worshippers, wizards, dark
angels, demon children, and the other
mysterious denizens of the night.
Beyond faces, you'll learn about
bodles and action poses. Then there
are the details: vampire wings of all
varieties and sizes, vampire-to-bat
tran sformation s, h uman-to-beast
transformations, the secrets of costume
design, how to use light and shadow to
create intense m oments, and h ow to
use th e colors of evil. This is the
cutting edge ofmanga.


I~ fll~

of omllt




~ool ~hara~tm. ~ clan~oo~

ancl ~clt.Ktlve quality of t~

It a ~li~htly more
mature ~tyle. It I~ t~ ultimate
~ombu~tlble ~omblnMion of evil
ancl roman~e. T~ ma~netk
~nre make~


require ~AI


ancl ~AI
to brl~ oot
t~rr Wkkeclnffi, ~ t~ art

t~hnlque~ l~luclecl ~re


~lAIIy cle~l~necl to mate

t~~ allurln~ ~reature~


t~ clarkne~~.

~tw ......

G~nfral Genr~


h'l one thln.g ro dt:scnbc:

the ddlcrenc.e. between occult honor

01nd the other genres of mango~ lr:':l another w aaually them
(.ompJrod side by side, For thr GOnparisons nn the next fe""
p:tacs. the occ~lt~a.ndhorror 5lyle is juxtaposed with the $hOl\JC'
(pl'OilOuna!d show~joe) style, &lnc.c ~houio (farttou$ for it8 young
c.hAI'ii(.!NS w-ith big eyc::s) is the mOtSt popul<~r manga sc.yle in thf


you cal\ see, there re sil;nlllcam st~listk dltfere.ncu

~buuju M~u u~. Urrult M~o

Can )'OU """" thtpo~er ot the CK4 uh
cba.raaer i6$ h~.& pw:I'Ctn.g

eye look rtllht t~rou&h

w your wu1" Tht
man;a (l r: . ~>htni)C))
m.n- boy rellywould be- no Jn.Jh.h tur
thf': occult ~Y. who
Just oou' phylul nd

mrnt.;l1 power (J\g,iln,

for che purpoM" of

co.npatson, t'm uslng

$houjo mongo , w 1 nay
rtttr to chr. shoujo style
as typical~ rnt'lngJ )

..,,""''O ~

















~huuju Wum~o u~. u~~ult Wum~o




"'th the men. man" sm.tU

.&djU$1ments in the features

of 1h~ occult character's lace
add lJP ro a huge ddlerenc~
ln final drawing. In -.ddtlion
to heT slightly more de.,tou.!

Jook, full athletic shoulders

create a .sr.xy and strong



nw.w o'CTNP

thdn more lnn.ocent

character'$.) Noticr. too. that

female occult r,.ostumes


look heavy. Thah

because lhey make use ot
Knthk details. tn~l\lding ties,



fC n1ale.s should look stronge1

Q (I.O)t


knOt."- butwns and so on.

Oh. and get a look .n tfut
tanoo on her shoulder.

QCC.UlT IRI~ llaRttnts



Lr.. o1iUmaboc
Wby rho - m ahot.IJ>d ...~



'llnlc """"of w. wraau. ...., had """ ( "llkll.
... lll<lrwne l!nplla jrlar "'-a
!he ho,.J<I alone), Th .,..J om
~hot tf'\'t~lt.t b1t blthe nt:t.t
ilnd ,h,ulJrn ntl thl&au('!:
1h,. IJt ult ~.nrc hcf.IU"'r tht"
myM~rtou- lllllOd uf 1ht
rh.~t11llrr,: l.tlnttKMird huo
th(l) l'C~IUIIIf\ lhC" lOili( net k, .1nd
th wLdt' houhht'!ll l<rtncwlng
ll1,.., r lrnwnLA dt~er-at tw hnm
tht- tntlll:t \.1, thl kh)(.f t){ lwc
t> tho M\ lnnd KJconMtl'
b1 the dl.lrlflt't


_A _ __


'l"tta ..,...,.~,
. . . . . . . . tnJir.sMQt.-.,IOjftll'

-------.... __

...........CJI/tlllaJtiAl,.., ....


't\t"''l t!.trt wtth rrult'

lho .:..sJc fnm& lew

trt1hW!ycompl<rti1C lbr ru
~a.traun&J wu tht: IIQt


Piers. 1\' . h""""""..C

Th.u rhe pt.llUt rt o, ~r.wm.: .a

''"af., c h,.r.Ktl!f In J \'4fl t~ ot


th.u prosulo:..a o~muntlt.he

tlsurt: Ry dnhlK .,.,, ve~u K~tu the

11h1l11~ tu do th, thin I( whh \viHth
mJtt\' Jnhu" ~UI\'4' tliHkult\

nJojklng VOUI,u H'l Jook the

iillnC" 1wmall dlrrcllol~ Thl.s- rs

e.wnd.dl I~ hnnr..t , h.tvrrn '\'tiU
~nuumf" dln"""!lltJ drt11'-'

t.h~or1Mte-r ~ un ,n a"lie-hr
cormplc,l" ,..,tac-b<ca....,
)'OU ,.,... UDUblc


dllT= rei<- Unwms

I U - - b dor WIJ' 10 buol

lluou;h 1M "ldln; p


......,.Ia ......








.... JO . . . . . . . .



llltt PtWt.~J..wWf""l'# &kildu.,_li'IW.,.
pcnfll ~"'llllld.-

dla'.an:r ..........

,..., .....,.,.tllft,.ma7W


'"" ... ~"Y~ ...,~ .. ~~

ljlnt: 3hctchmg
""""' lfGMI>' o1 t;Nt. 'ic.fre pu11W19 dooffl




.,.~ lntN pn'J()HS. ~.

'*""' '*'

l'tt1rd Ctt t'CU' ,_,a

ModotiO". fry not ll:l

dt't IJ'WII


1o0M per<~ 6tJ'CkH are me oest. As in


_ , ....., "ge<t;,g ~ "'M" This ;.,, "'"

,......._.,.,..,ry,.QOIrighl. n


tN rwrt ....,.,.. .,ou ~nt ond,..

w1101 _ , . , c..(t do thai


fqU1Uif'l9 fN

W"OPhi1f fO PIOI'd ttlo1

1'10fi'WI9 t:pooioneout: co., ~


The gau. of ol txo.-.uliful

seductress should be unafnud,

I ost unnenlng. f'll\ lfyou
l0$C your will if you


looked wo lonv lmo thooe

eyes. lt's a be.Jutr ynu un t
aruSt-a A\'aCf' heaury-

~use lt rna.!lok' a tudt:ous

,iolenee and hungtr. ~d lost

a mal could so eas Y .

j~~:way, st.arln,tt Into her fa(;e.






- .. t-~

... "'"'"'-"'"

n..-.w........ -..

Anuthrr rea.s.nn n's important to show ti ~u ggesuon o! the body in the rumarom1ds is tJun1c
give" a glimp~c or the pusture, 1~hich Support~ tbe r.:ltiA) exptc.ssion. In Amcric.An COm I~. bad
gu~> gener.alh Mve uaven (JO!turcs: the) re evil. so they',... cowards o:n hean t\oc so in occuJc-andhotrOr ge.-ntt 11\ ch..tracte~ may be mtM\'ettcd. troubled ~ut&. but tbe)r'rt

heroct. in a $lf3 t\R~ da1k way. They just happen to be cun;ed. n1ey stUI h3ve n chnrismati~
sclftl'i...iUrdUCf' 1hat thl! audlenu ilihnirc. c;o, the) ho!d th~1r head l11dl out. with a
conhdtnt look an thcirc\e and .an eyebrow that croshesdo"'n m dcte:rmmc:d JnanncJ


....'oha ih~ "f'<'''t' .,..,... brJt'


c'-art:u ltf"'t~.Jwrc(
lii!tll ~~~front Q( 11U' -6t<lt'Mdt.


....... <1 ... ""'-

.,. .. ~ ...T!'Itu~

tiJ 111.4/j,;tU. t1lll/ ,,!~ ~ totriM


..._,.,..,.. O.tliraw





fitcf.l""~. th13

'"' . . .




llott1hpi/wc M;'ltfaM"M'J""Ik'IIO

......... ~.,..wdot.Wfpc li'Mr





RtfiIC IIN:fat.ia}~o'4'trUnlf,

l.ilu\ '"' Rut ]u:>t lor Your Grandmoth..:r

Herr ~

a rult' "V'J vOn put "" vovr reper1o-N> T l">f" ~"~Qh~r I~C'
g1~ 11-a f1"'0f""(' C'" I fkto choroctc,. \'- "'~e" g :;N("~ r(',; ..... :;~bo~('
t~ cto:;.~ ll"'c-" de"'oll' a c~Jro.:ler w1th Sl.,t511!'r ..,ll'l'llt.;m"
TheN' or1 f \ .. ('j)ln.m.. ~uch us mog+...ol g1rb (W~:J 'gt, 'or
good .:;\1'1 <.J ff'""' \>Ct f, 'o~fum"~ 8\J b'l and l(.)rgc, o'lhcn



,;.hot,lder your cl'lora.:ter '"' bod 'o lt'lf> boru

Jbi'~Cfthfl~ JtlliMt!IJf'hi:JI4
J)t)51;d.:porda1m th41guukr.tle"

You probably sec charJcters ponraycd

lo the 31.. vlt\~ more ofte11 thai\ 1n nnv
u ther angll". W'hy is tlk!t? Because 1r'5
the w.a} thin" havr to be 11\ink abvut
iL For thar.~t.,C"n LO bt" in a fron' '"lr"
they tu"'f' ra b.: f..c1ng\ torward
If the (au move" to the left or to tt'W
right, even slh:htly, it bcconv~ i.l Jr.f
view. (fchilfi'c.terS al'e in pmnlt' a nd
tht face lllOVf"t' toward the n~O'der,
e\'en ,.h~1nly, It beoomes a J -1 view
The~Jort' unlc~s ftOtu and ~Kit \'IC\s
one ex.Kt clvy tnsuntl)! becomt" J
views. And 1 o4 "ie"'s don't ha\'f" u>
be perfed then: .ue m;;my anaJr,.
full i11 rhr 3 rdmJe. That's why yu\1
see 3/4
all the time.

tlfo~~.;onrnr "'~~'' of rh,. f1ffllm~'JII'll~~ 'flttl,.of
fhctJca:iiLM ..... I"'f~


Jll-< *40 ildatl&e"IO._,,_

cJiq s11 ,...,. tlw .,.c.aiJtt>



,n~ tttcrl1ue
rAil Ju, -. d:..
to J~~""r~r'lll~ (M..I: '~' ""'V) l'Ju:
artfP Q( 1Jt.t. liPJio"' l11' I ( &!AI')ltfl

,J.,,.,.~I ..,a.taOC:

thc3 4l'IQI




"''''/11lllellolt~n l'fnl rnt.Surt 1hdlu

AIIJIOI frfill4tftc/f'A.>nlf'C';41'.:,!

s.k (l(lhr l~fiii~J'CIJ9t!.pl't"1~

kol'luk11t.(lh.ll r"'"rlpia Dfpe:rsrtl~
.. h d llldfl!. Jhltll~ ,,,.,.. ,'ft"n'M ,_

dt.odv.\ r11nu 11NIJ rlteJt11.1.'1.~

t'&f'J,I WrtJrt '" l~\1. 6.'1r.:lt'



___ .,.,...._..,
llu>J . ., _.....




thr temptation bl add h;,tu-

and mhcr stun tOO soon frn~b

the b.uic m.nsuucoon first
iU Y\JU M:e it hert lD the ti""
COIHUUCOOJ\ step Trus; me.
\vU'IJ be .1nL1n:d hOt\' much
e~r-nd more effoc-rtve-it &S



t.o ItO IJ\ order. And your drawlltJo:.

wtlllook a lm bcu~r fur 1t

71K J/tf t.'fQU ~ liJf tludf,.

oftt!li bGc~4nd l1h ""~


,,, 1htt J~Ht!co- qc; aowl frt





:n , . . _ , . _ . ,


r<daate "-'the ,.,., ....a~


w --OJ!V!UifDn'ttl{.,...,..


IN:~ b mdlr..'tr4 1lc1r hv lhc

fTtttiJur~tllmr,tl*'ligltltr ...Qffi!0.-1}

lifMI+ (.If! lOp 0/ t.\to herd mid (;Ill'-'

IIPIJV JJOn$uftilt /flMI (IJit bloi!M

1m' a.J~l'

1711~ 11~/J rQUI (1. v


''uu un ~.Jm 10 dfiJw fhtt lw"ac .shape uf We e'e

c 'ld of cv.rulc c.h.ana-ien. &.st )'OU'n~ no.. te.J\ in.;

In illl\ anUIMrudiut'l buut.. HOWe\'C.r U\OlU ooc

lln boo*. withou:t rhe tn.sidft St-oop

vc. an "'lth the ~hape.. TWo won:fs noc.
~II "'"'" rl!lh occull-m.l eyes ore lliK r.11J
like ao m~nv ocJu:t popub.r sc:yles of mtar'P
.J t;hru

~un,R to

help \'UU Whf'n you wam ro d.r.Jn man)t.ll

Otc I') r...a hrr<> arc dlltrr('nt ev~n trom 'l''Pit.:al
miln'!'a bt t-H-'-~ th, e\es or occ:.ult cha:racrers .Jre
r~tnplrlr1l unllke ch~ nm-of-thc-m!U manga eye~








'1" I'


th,.vre 51ee._, narrow_ and ver)

huri.zontJI - .tlmt)St lmondshaped. Ktep

torf:mOIC in mind It'& your stanin~ l"'lirtt!

)'t'll Jet un n10)t J>liJ.l.nrx. fOOI\r r.haractl!f1i. And

1h1n theft; Drt' dlfrtrcnt ~tylcs of t}'~'S ror difl~n-nt




1 "'t{F

"'1lN 11M

-- ~~~ --


nf!X.t 1hing lo nonce is that the arb I

rt'.d. lt'"s not J )()lid bl,lck dot witb c.oupJc

in u lt".s a.ueaked the same ""av a n:~l


" Thisgive5lttan c-ncha.ming. me.sMcrV:1n$:

The streak pattem in the iri~ should

hee1 ou\ trom the pupil at the center.
1ov,ngon, prodigiou,_ eyelashes are es!.rntl.dthcy've g<n tO br~ c11';1Vtn 4.$ 1f the chamc:.ter has

an or~t.:nal () ma~c.arn Upper .and )o\\f'l

eyet.Ah,.~ .ilrt' both cutl~ul.urd-most hecJ.vtJ\
.u tht outer td~e.s. In l.hJ) &t:"nre \he (
cvcJA,.,ca .:are alm.o5t.J.S l'lle4w as the uppr:r-C>f\1(
fi.rwUy. thr eyebt"0\4-'1 should h.l\"e. a hLgh
.t1ch but an de sharply clnwn .J they rran:.l
wwa1d the bridge of tbe nose. nus

:#fi7 ~

._,.,,..,...,.,. .,ff.'..A Ill


a t.ourh t~f w,c.kedness

!"''CC''w" ....



.... ..,

~ ~ ~
............. f"""f\M


Ordioary Hair v~. Vramatir Hair

Onr o( tht- 1hut,p dut makes

oc:cu1t c.Juro~<.:tcr5 ocx:ult

ch..~tfD b they h.tve
my"teriout fortc:4 workin8; on
them 1~1 ordonary people do not
SCf' or e.xpenence. "'hat are chese

forces? GhOfdy onseen beongs

trom the Bficrlllc. spirits, demon
JJO&'Ielioions, ~nd Othf:r weird

A r.urwin rippling but the

window i~ tloiK.'d A s~nc:t:. when

('.Jndlr Is suddenly blown out.

These things OCA.;ur in the realm

ot the supernatural. A stra11ge

and unholy wind is on~ of the
more common Signs of the

prev-nu of the iupematuraJ.

\dcimg long, drJmat.c han that
bJo,\ 1 curious1v m the breeze.
e\tn kJ I here is no breeze-a.nd
e~>en "'hen the ch.ataet~r lS
oll<loora-add> 10 the> feeling cmot
we an'" the pruence of .1 belng
~by the cLuk forces of
n.l,UTr. Thkt wI(XIk at these


fhrnl JlQ #lf'tlll'2ltl (/~


IJA" d

lllltd lll'olllt .,.,.,,,J\ htlt



.,.., . . . . . . ,_, 11.0.."""1 .. w dtll(

...., ................... ~.v..

twet"'M:fl. lwt.:onrrau. ~ '

trna~ (If

1'- QIP'"I~ 10 rht Mt.~er


.rfrnvrr"' malty -t ofrntf7?1R ~tonr,s

tW hnt~ ""'"4lllOC IMI'illt(l; mm Wlf/1
I'Jt~lt oc,1Jf thtt andn:~'!flW 1$
t'l't'l mo~ ~~)(~mu.d tlle ltt rhs dmh.,
'~ Ti'u lwds 10 o mort {m~w;:~d fo.,l
mml&Q ~~~ar..d(LS
lrtrqrlljd MJPt ofarrvnc k~t."5


L l1mr N funJO'(lnou,,.'( e.fQ"1'V

'11.-JomfN , )
hr 411 if Itt 1rfiUJ-,,..,,., ~~PrJ tpi"'C
tllldtt.-..,.Offu1tlt# .....u&od

,..,....h ,,...,


~ 1St1Utlw.tilaur.rMI.knlp,

"-ikt ....,._.. a,..nd. I'WI Mt-W

... ... -,., ..,p.

I hf!te .tre rnany types oJ cl\.a:r.K:.ters in the oocuit .Jnd hQt'I'Or etnre. o~nd
nut .\It ot thtn) .are. evil. For exc.mple. there are rhe vampun hunren
w~ job 11 lien lill v.lmplrcs and other beings ot nw-n rtk~rt:
.ue the tnncx.ent vkunts.. the "'Ornen wbo are ~oced b} rhe c:le~oJnt
nd chan,m..u~ f"VII O.nt~$. "'rht) are also pan of rht\ l;,r:nre.
and .111 ot thC"m ~Y't' \heir own cla.ssic: e.xprtS..S:Lons A~ a m.1nga ~fti.M
drlltWtn~ m U\1~ populoar Jlyle. you'U want to make use g t thf".IC Ogufl".) 0
lhon your wat of, 3nd your s rory, doe!tn't rt"m.ufl onrnoce.

, ........VJIJ fi/ ........ Milllk.

tJI.M ft,. clmtrm -...~
l"AAfyum~atf ~WPIJI:"''


~ m~t ~""' f'f.' ht.l~lt IW"If'tJIIII/

fortilf!ltl Dvrtt1 n...,d"" IOJJLIII

QfiJ Ul"fllf 1M IJ'11Nr.1


;unp~re fighters are usually young because we equare

outh wuh the qualilies of tnnocence and eamesrness,
hich vampire fighrers have in spades. So, they a~e one of
:t few character types 111 rhrs genre 10 have a shoujo look

VAMrJR(' rHil.fT('R

n:;?\~T ~V~Tr~Y
~ ruruou~

This sort ofbwnpy hair treatmem, in which you group the harr
together and don't show individual strands, is an mterestmg look.
But it's used infrequemly to add visual interest

Tltr !Oiif ~T~m

lOOI(T I~ T'iOU(illT





h.n~ . . , ....

.. ......

Str4' thiS. (hlim.:tl'r r<Jt.f CVI'(IItlst ~pe- ltt~ pt"WJI aM .t~.t:r

looktw l't: ,,(, oJ(mtdt"' Pih i(.-tth 11t.'tl'.! .,, rhc.m, o:plf)J.Siy ,~
frw/vlltju,t ,.,~,u.; rh.uWbdOriJfllllth1$.5!Q'liRndgo1~

IJIIM"'F' li{I"<T



..,rn nr Tur

~~lqANrr "rT~IA
F~llttt ..,..,...,.ndiSN~Iu
-~SI(IIfliCP tofbtJ~M-hcP



ts.;MIIh'-d ...t (GytWffhri\k~ ,.n,...


_,..,.,., ......


nr.. CWN aut be n hmt M a r!J'.mn


"' 1(1 I

.J mnu"'

Ncnc tile"

6t'u1Pf.111tiAI f'4'rt mad

IJ4r"1'41ii. bMdy eyes
IIJ'I ftW1 u~u f ..oatr 11ltnt your swu


A~buw uf Haod~
H4ndS h.l\'t" c~I'Ktcr, Jike faces. t.:~u..J.Uy. It"$ subdt thm~e


St1 ;n

the occult~nd-boiTOr v~-in "'hich a Cull moon can mane< 1><.1utiful

wom.;an tmo .w reraJ be.l.s:. Here. h.mds can fUm intO"--. ur c~n 1:aocwcs
rt~ .. manlturuu worst nightmare. U:t'$look at iom~ cla~K ) P"6

ltwPe tile tt. ""' rtw 1)1.,._111~ ,.,"''

Nid .-;m.. at./ A lm.-.l 10 ltUli(..:Jit fii"
(IJII:I!'r'IJ" ~~~~~~ rlmt~ Cf4 fW 1t





tl]n ilet" I!Ud$ Dlt' "'']WWflt ~til.t 1/IQf" .,.
fJP'rlrtOtolkXd Ct"O'lXS Oil d~ huold;/4 utul
J}(!JI?U Ba~ r.m 111e te'l'ttnrew rht

rJunttc.ttt"a '"J"t'""WMlltJO)- -11!1'"'"'-:nlt

fl/ (m momrty ,Jttmzum


,.,,.,.,.. ....


....... ,....._ ... """'.,...





\.,19J_pt'f-( Yluufd 'un<c '-'11 ftJI\IC'I"~cdbyulfll-dt/tn(A'fhfl!rll,~~o 'r'w

Wft lll.M _.~

Ott ~11a fl( pttlfl'lt~.lml "'"''""

1n rh.e boGNDfd1r' hmuf it'\df '" lj,jlJifllm
~M fhfJI!'n.mlM 111t0011.,:1,a"d~



fhc hod, un JMl t'.h.aiJenging wdraw, but it

unr II' .actu.Uy ~ clur and sunple .Siruc.tur-t ar
ioa lound.luon f"'i"tall tho:>e boo!<> thotttll vou
ro wn. nu' w~th a.ketchy O\'als for the rib c.a~
o1nd h1~ '"1l.."lts th.1t all.tlout ~Y"ay? Wh..Jt

'l.ln.ini pomt )"OU ean .adjuSt the fOrm to Cl'l".t~t'

all ~n:~ ''' d1flcnmt char.taen.

pros n:Jlly dr.. w the body from that mn:lng

point 'l'oiotH th.n 1knuw of That method may
m.1kr life t'.L!y for the .Juthor, btu it doe:r;n't help
vou" lot, doc~ it? hute.I.Cl, take a look at thr.
ttu'" temp1onl' for draw-ing the rnanga body here

With men, the lOt$0 ~structured lik.r thi.s; ~idf"

top, ttJrrowtr wou5t. ~rrower hips. You can. bur
donc hJ"c to. di\tde the tOrSO mto three Sf'nions
rlb c~ge. mtdseeakm, and hips; or you can divlde
thr tooo neatly into only noo p;:uu: upptt t.ontu

Simple:, str~ughtforw,ud. and effective. F'rum this

Key liTuk Hudy




Th,., bu'll but not



ond lowt'r tOt'SO,

~p ...

squared nff ... txu.Adl'!r-.


that Wde,t> toMJrd

Lcng, slender leqs

,.,I! !ol'o<Jidt"rs

r.t~ -~-

- ' rr

On lc:n\llf' ch.t~ra.. W rorso requte:s a

ckhned m'd~o~tuon, bc:'wu~ of the:
~hJpe and 1t.. oonuruned liM' thLS ,,ide wp
sm..11l mHi5t'CC1on, w1dto hips. Nmf' in 'be
drawin~ ho\l thC'se three sectioni of the upper
body wt:dl:~ U))jf'lhtr. a51l01pping U1t0 p)ate

"itlrOl"'4ATI!IlAl (j(JY 9"1(' llflll

' "w

key drtouls m no~ abouc

~ thi~ appur lD the !ide ,;e" The ned
nlt5 slr&hd) forward if i1 dido t, the wnu
would Jrem tOO ~utt Also. on the back ofdte
body th duthes h.>ng sloghtly "'Y from
11v-re are

the undcrlrtng fonn. ror cumple. the back

or the j.1fkl" ito ofT the pants (not rt:,dn.g on
thrm), pu~hcd outward bJ the buuocks..

Ur;'l('fll!JOfl 'l t
Alln m~ PffviOm example. here too the: flt>nt
of tht CorM l5 dr.awn on a convex CUT\'1fl'i: line. In
.o~Jduaon nore the hourtlass curve ot lhe ba'""k

In the J 4 VJCW, the in~.ud bet\d of tl'w!

thou you &ee in the suJc vw:w c~t the sm.lll
of tile as till ''L<ible 'The noruralle~
pt')-'lll.onw~ 1n a J 4 pose. is ro have Or'lt: l~
)Of:krd $U41ght dt the kncl" ~nd 'he ochl"r

one rclaAcd and bent a little at the knee. ul ~1mpl) turn\~~ st< pose: so

th,u u .Jppc"_..;ars m .. :1 4 ,,ew: .::rea~ pla) fut
atmudt to along Wlth lhe 3 4 po~.,


nott Lht";e: fhe bem ann .-r.d bent

1c1J '"' on oppo~u(" Md~ of t.he body

.t1'l': d11wn ~1th" ioe'ncc! nt ,~ry incl )-r.tmin~

.tnd ann~~ nfs.idllt;">-alJ conspanntt hl crr.atc a
compelhn,if., haontin~ und biuen;we1~t ntood 'Th
t-eSIIIt b .m atmosphrtc of mystory lhJtsurmunds

fWI r~,o~ I rn n(t( helltt1iJN

fiUl"t.. he U hflm me to

CIOOd pose:. clfe

;1 \fw!1U4r.ll\n

a,u\<.lrtr~timott:, 01 untlt.ropprl!c:l.ue~ the skill

required to dra'f .a dcccnl po~WJ Uut the po.M' must
"-uu 1he ch.arattn And char.u:v:I'J belong w &pc~U1G

tht: pla.\f'n.ln this. n~ut;.Cd gttu~'ll contpan- ~n\IP onJiMI)' pc~ Wtth thO>ttfP''.;a1 uf melodr<Jm.Juc occu.IL41\'Ir ctwracters o1


'!Whic..h o~U b.a\-e cen;rin dt.,tJnttivre pDiUUct...

A sh(luJO or m"rc t."\!Le (}'l:"f. of c;ha.rarter M
t'!rmn1 .V, perky ~tUI'e Not !tO the troHbltd wu;Uul
tnmolltti; occult ilgure. Milngn M;tlou c.hif.r.l Ito:~
IX'~ tnump'h.tntly, but occult .tr'ld lnm'tr e.hllfilCtt'tl.

r'l !\!

dssc;oHt \...,tut mlke~ thrm oc:k-nd b~" you.

th;n ll\llls the tc:adel' an o.nd doesn't let go


1f'>lllif)' htr ....... , ......, ...-wt

flilt' ...........

,.,.<'J..,.. . .

..,..., l '"" .., . . .


"''/'"'"''""'' ;1ranJ dolt'"

itllllrl,l 'tabO/ W"""~'~'I/




11,. ,._ ~ n.Dirwd

..... ,,.,Jow;e

~~.~""'"'" Jli.m

..........,,.......,...... """'
j.j..!lJJ 11tt.uell'tfh...:..ld-t'"'""



llll1'.J m ...-,~~ "" ~


nf"llli.l'llo(li'J_,\I.,J Ill



oan tUrn ,In urdlmu y tH>Ml into o "upcrmoody "'"


/hliC ,U.dU'UlL~Iu: p!'\'llr- but lhr JN.NI.U

.lh.~ uo ""'"' u(rmlCT ~t

AO r~trlltCifl

fo&N tt1f-'l!ltl~ 1Ul'JQ'".t b1 ad.rfi111.m, fu1

fii i iiJI-lfJOII~tfl!ft'Di.I.M.fHM.b'II"'W.Jtlr


""'fit fhtl"t''dtOiolet''..:ai...,

..... ._.,..,,dgn..-Mc'*-tlf

........._.... ,..,ts ... ..,.....



~,J ~h

rmn,,., g'IJ ..


1ft \ltt~utde,-, O'- ~wrfl' bl111 '"'"

UH.op/AI U11h the bi-.J1t JJI'Jtl$, 1/t.t


It! o(!Ot1 1'1 rhc t~.W <furuf,.,,_.., mr;l

JfJrt lcpt.l\lf"'llol tn flllt<h"DfiDP\ tht"
IJ'l\1! ha:v"IC\ ~""" Jioe bolifa,
,.... 4"1 lt'll'flk'\4'ans:rmul

............ _,......,.,.
......... ... .... . . .
_. ..................

The head rs pretty perpendicular i:_

and even though she's reclmmg, tilL
body falls along sta1d nght angles
sri!fstra1ght lmes. The hair is tamt
and the skirr, whrle short, rs plam

By conrrast, Ihis reclmmg pose rapturous II

mak-es rhe character look- like sire's pussessed

- and per/zaps she zs Her eyes are closed Is
a spuit speakmg to 11et> Having tire legs up
oTeates a more provocative pose that havmg
the legs down. The small of the back arches
up in an allunng curve, and the foot rs
an:hetl, roo Tile ruffles around rhe edges
of the garment are chart:tensllc of
seducllue clturacr~:ro,
and the sepe1111ne

stralllls of ha1r are

keJJ to rltis dark genre.



v:. emil, the figure ts posmoned m a flat


' g!e- tumed too far forward for tins to

a nuanced pose. Though rtantral.stic,
leg posrrion rs awkward, and the
ppy, typical teen clothing does not
:.~te the dark mui mystenous look
.:a!ed for the occttlt and horror genre.


.ase has a feelmg ofall the character's

allmg' or bemg pulled to the ground
'1 below h<m us he kneels humbly,
z on powers that lie beyond Tire
gle ts effecnlll! for con""ymg subtle
IS The downward glance might
:lull he is hatmted by his past, and
r!y adds mood Workmg Wtlh this,
< rite "rots fold rn cuitls ro thts
""Ted momcm. JIS for wardrobe,
..iing a figure in a dark cape - - -
irate sign of the dark arts. Here,
'/1't spreads our, dommaring the space
-J lum As an added touch, there's a
.U:Ill! short cape w11h smclnng detm1s
~:t symbols and warnings.

Ur~ao Uampir~
Psycho, street trash, sociopath, troubled youth.
Yeah, he's all of that. Then there's one more
diagnosis that doesn't appear in the Diagnostic and
Sratistical Manual of Medical Disorders: Nosferatu.
Sometimes, vampires double as outcasts, rebels,
and punks. They live a lonely life, on the fringes
of society. They're bands of misfits, cursed by
:heir insatiable hunger. Don't push them too far,

or you might just end up getting bitten.

Give this type of character an outsider's
look: an earring, a gold chain, an opened shirtanyth ing that would make it impossible fo r him
to get a corporate job-but nothi ng so in-your-face
that it would tum him into an ugly, repulsive
character (such as spikes in his chest or a large
facial tattoo, for example).

'Tb crtatt tht bird's-eye

angle, keep m mind
these key pomts: Have
the head overlap the
body (don't leave space
between the chm and
tht far shoulder) Show
the area from the
collarbone to the back
of the neck Have the
near arm overlap <he
rib cage. And fi>tally,
posuwn the feet at
differem levels, with
the farther one
app&rnng htgher up
than the near one.

The vampire queen is surrounded by her lavish and

generous wi ngs as if embraced by a luxurious cape. She
must be enthrallingly beautiful and iiTesistibly seductive.
Vampire women can be angry, aloof, cute, or cunn ing,
but they are always attractive-and often downright
gorgeous. Be fore you begin working on the ornate
hairstyle and batlike wings, first draw an attractive
human female figure in the pose you want. Then turn
her into a vampire. Don't start her off as a vampire or
you'll lose the importance of the figure drawing.

The high boots, like high gloues, are a good chmce

for evtl characcers Pro!IQCQtrve clothing IS often
wom by 1xuJ g~rl types. She does t/Jis to raNle
the men she~ nymg ro seduce, roger them off thetr
game Slte71 use every trick she has ro steal a soul
J\ man must be very careful around her type
Rernembe; she has surutved hundreds of years
through her wiles and amnmg. Although her
face seems mnocent, her heart rs as cold as ice

If you feel comfortable

dorng so, you can stmplt{J~
the form by draWing
the upper body as rwo
sections: rorso and htps
But fyou have trouble
unrh rhat, chen go back
to rhe orig~nal method
covered 111 the first cl!apt
dwdrng the body mto
three secno11s: chest,
midser:tion. and hps.

'ijint: fang:)
Use fangs judiciously. Oon't
overuse them. If they appear on
the character all the time, the
character will look unattractive.
Keep in mind that vampires want
people to forget that they're
after blood so that their
potential victims will let down
their guard. Lose the fangs for
the most part, only bringing
them out at just the right
moment; that way, they retain
the element of surprise.

Rumaoti~ Uampir~
Pretty, not too gothic, and teenaged,
the romantic vampire is like the girl
next door. She's sweet, a little bit shy,
and nice to talk to - and if given the
right opportunity, she will kill you.
Okay, so there are a few differences.
The clue that's she's not actually the
girl next door is her hair: Anyone
who can trip over her own hairdo
is of the dark realm .

Glamuur Uampir~
The legend of the dashing vampire owes
its roots to the story of Count Dracula. The
noble count was born of aristocracy in a
castle in Eastern Europe in the mountains
of"Iransylvania. He was charming, elite,
debonair, moneyed, and had a wicked
secret: He was one of the living dead.
Fast-forward to today: Some stories keep
the aristocratic dress and the castle setting
from and center. Some choose to leave
them aside. But even the ones that toss
t11 em in favor of modernity often keep an
archetypa l remnant: the aristocratic cape
and ascot and oversized shirt cuffs. The
glamour vampire retains some of the
dress fro m a time long ago, when uamptre
meant nobility, a nd the word castle meant
dungeon for those who tempted fate.


Iiint: Vintage
A vest is a goad choice
because iYs o vintage look.
l ikewise, the high collar makes
this character somewhat
anachronistic. It makes you
wonder, Just who is this guy?
If his dress style is 150 years
old, just how old is he? And
how does he stay so young
looking? There's only one way,
folks. He needs a constant
renewal of vitality to replenish
his youth. And by now you
must be able to guess
how he gets it ... and it
ain't with vitamins.



Uampir~ Vuutb
Hey, we all gotta start somewhere.
Why wait until you're out of high
school to study the ways of
darkness? Some manga girls
get an early jump on it. They're
vampirettes. At this stage, vampire
tweens are quite similar to manga
magical girls-it'S JUSt that they're
in the occult genre, while the others
are in the fantasy genre. They both
like candy bars, boys, and music.
When they get older, they'll realize
just how stupid teenage boys are.
That goes for the human girls, too.


The young vampire's coscwne can

be spooky and black, bur ir doesn't
have co be Howeve>; rlere needs co

be some kmd ofmmplre monf, and

here, che pee bar does the rnck. 71ns
poor l1ttle uampne bar rsn t hatong
as much fun as liS ouner

ChiblS are extremely cu te and round

little characters, and no one is terribly

frighte ned by them. Sometimes, chibis
are featured as vampires in humorous
occult-and-horror stories. Often, these
stories feature an all-chibi cast.



C!hibi face:)
A wink of the eye is a winning
look for cute chibi characters,
and don' t be stingy on the
eyelashes. Chibis have large
eyes and huge heads relative to
their body si:~:e. They also have
tiny mouths ... unless they have
a sudden meltdown-then, they
can have huge mouths and
extreme expressions! And,
chibis usually have
no noses at all.


RWiog aod a Prag~r

Believe me, you'll need to pray if
you see these characters coming
at you. The wings of occult-andhorror characters never look
static. They are expressive
appendages. They can fold up,
envelop a character, or spread
out to span an entire page.
Wings come in many varieties.
The most popular is the skin/
skeleton type based loosely on
bat wings but bon-owing, to some
degree, from prehistoric birds like
the pterodactyl, which was a
flying predator. Some wings have
a claw accent, like a "thumb," at
one joint, while others have
layered feathers. This style is
used more on "dark angel"
ch aracter types than on vampires.
Wings also provide added
degrees of grace, power, a nd
stature to an occult figure. They
increase the overall height of the
character and serve to create a
much longer shadow, which can
be cast upon those standing
nearby with intimidating results.
Unlike with other parts of the
body, for which you begin by
drawing the overall outline, with
wings you should always start
with the simplified skeleton. That's
because the skeleton is often a
visible pan of the wing. Th e
angles will be lost if you get too
vague in the wing anatomy here.
Don't get too cartoony. The good
news is that once you understand
the basic anatomy of the wingand it's not that difficult-it will
aU fall into place.

A powerful way to introduu a dark, winged

amagonist ts with the wings completely closed
around the figure. Then, panel-by-panel (in a comic
book fonnat), allow them tO unfurl slowly, revealing
the l11deousness mside This adds mystery and
suspense. It also bathes tl1e character m shadow.

FQl~t~ ~

LAn~ F\:AT!reR~


T -,

This I.S a ~man but extremely imponant hint that will add a
professiOnal wuch to all ofyour winged characters: 7l<m the
rips of the wmgs inwanl. This is a cool accent that impans
a sly, cunning look. But it doa even mon: thm1 tlwt. It
sttdtknly transfom!S the wmgs from purely decorative or
unhtarian deu<ces mto acnve appendages that "lOve m
respo,.se to a character's emonons and attiwdes And
that's the key ro a great, wickedly alluring cllaractcr

:"'.! posuion of the wings md1cates in whtch direcnon

fa ntasy figure is flying. In addition, when you
u off the 'brg stretch' in the bat-style wmgs,
':mg is more rmpressive A set of these huge, bony
"appers spreadmg our Wide m each drecnon is sure to
ke euen the bravest soul swallow hard. Take a look:

Wb~o Ou~ Wing ~tglf I~

Nut fouugb

These are examples of some of the many wing varieties you can
come up with. Wings are like individuals: Each pair is different.
You should approach them with the same creativity you bring
to any other part of your character's design.
Sometimes, the wings will mirror the character's type. Sometimes,
they'll go "against type; meaning that they'll be drawn in a sryle
that seems to be the opposite of the character's style. These
a re often the most mteresting wings. Imagine a shoujo-style
character with gothic wings. It's certainly not run-of-the-mill.

Here's the little secret that the manga pros don't

am you to know: One of the main reasons wings added to female occult characters is because
:_'ley add sex appeal. Think about it: How often
_ you really see these intoxicatingly beautiful
-unpires actually fly? How about never? So, what
-e the wings for? To create a wicked ambiance?
eah. 1b carve out the occult identity? Sure. 1b
- .ake the characters breathtaking to behold? Ding!
i\ow, as a comic book artist, l want you to tattoo
...:JS on your brain: Pretty drawings are not enough.





Cit AN\~

Without engaging, seductive poses, even pretty

women will become boring after a few panels .
On the following pages are examples of poses
with flair-poses that communicate with the
reader, creating almost an intimate moment.
You 'll see what I mean.


Lying Down
Every t ime a character lies on her
tummy and uses her arms to prop
herself up, her shoulders rise up
above her collarbone. Not only is
it anatomically correct, but it' s also
on attractive look for a
female character.


W1111i CO~~) HtllllKt


The wings can be almost as

expressive as the figure itself. Th e
subtle positioning of the wings can
underscore the attitude of the pose.
Even in poses in which the character
is doing nothing overtly seductive,
the wings make the figu re e motive.


uf Uampir~s

Almost as popular as the Lords of Evil,

and sometimes even outshining them,
are the true-blue, intrepid souls who risk
everything to save us all from the rule
of darkness. I'm speaking, of course,
of the characters who hu nt vampires,
werewolves, demons, and other nefarious
beasts and creatures. These fighters vary in
age from young-teen (shoujo) to older-teen
(bishoujo/ female and bishounen/ male)
characters. It's an accepted convention
in ma nga that shoujo- a nd bishoujo-style
hunter characters can coexist with the
gracefully drawn vampire types in the
occult-and-horror genre.

The most popular vampire fighter of them
all is the shoujo boy warrior. His body is
young, not angular with hard muscles.
His head is on the large side-a sign of
youth. The torso is not yet long and
lean; that occurs with maturation.
He wears lots of stuff,' since he's
fighting a demon that wants to kill him!
Yet, you want him to look dynamic, even
with all those forearm, elbow, shoulder,
knee, and shin guards. If he becomes too
bulky, he'll look like a little porker, and
you don't want that. So, use the outline
of his body as the outline ofthe clothing.
Occasionally, folds and loose material
pop up. But if you want to make the
character look sleek- even with a lot of
gear on-generally, skintight clothing
is the way to go.

~- -




Jmpact 1ines

In the third step, energy and

impact lines are added. This is
not a substitute for dynamic
posing, but let me tell you, it really
helps to fire up a scene! Toke a
look at the different types of lines.
And note that the ponytail also
serves to create a line of action
os it whips around to convey
extreme movement.

fiction Po:)~:)
If this character actually froze
in this pose, he would fall on
his face, because he's leaning
forward. But that's what you
want in an action pose.
Remember: Get your
characters to leon into their
actions. Perfectly balanced
poses ore too static
for action scenes.




Whereas occult figures strike a slinky pose, the

good-fighter type of character assumes a much
more straightforward, heroic stance. The feet are
spread apart and symmetrically positioned, which
translates into an inner strength and stability.
Elbows in with guns poi nted at opposite directions

is a classic look for a n experienced gunfighter. If

you've drawn this character well, she will hold up
and command the reader's attention when you p~
her into a full-page scene. Even though she's still
young, her determination and fighting spirit will
fill the reader with confiden ce.

Lm P0)1TI()I1eDAfART


--e how the figure in the

-=;"''Und frames the fighter:
':! ~ponent' s shoulder guard
-,;: ne head wind around to
U that encircles the girl,
~""9 the eye to the middle of
- =-::;ge, right where we want
=roming is an effective
!:Dmpositional tool.

- =

' l

You won't find any flowe rs or scrunchies

in her ha1r. She's an older teen out to
avenge the human race-and she packs
a mean side kick! It takes a lot of power
to fight beasts of darkness. So, she leaps
with a flying side kick, instead of
executing the klck from a standing
position. 1b make her appear more
mature, de-emphasize the overall size
of her head, giving it more realistic
proportions than the previous sh oujo
characters. Also, elongate her torso,
giving her a sleeker midsection.

ffvoid ~tillness

~ When drawing teens in action, be

sure to avoid stiff poses. One

good way is to make sure you
arch the back. A character can't
look stiff if the back is arched.
Ws such o simple trick, but ifs
~ very effective. (Don't share this
secret with your friends. Hold
out as long as you can.
Make them beg!)



One of the most skilled characters in this genre is

the trainer of beasts. He can stare down a demon
and make it do his bidding. Few know his secrets.
With the bishounen-style hunter, we move up in
age. This is a more elegantly attired male character.
He's tall, lean, and lanky. Note the difference
between his getup and the outfits of the shoujo-style
characters we've just seen. The more aristocratic
and eighteenth century the clothing, the more
clothes the character should wear. This holds true
for both male and female characters. ln the days
of yore, people wore not only different styles
of clothes, but lots more ofit.
'Bumpy' hair IS an
authentic manga sryle
that few American
arnsts try to emulate
Give ira shot!

Eyeglasses are a popular. coo

look on Japanese comic boo;
characters, wherws on
American characters they're

considered nerdy unless

they're sunglasses.

ar, cool

' book


l}int: flcating
Can you tell which leg the
weight is on here? No? Good!
Because that's how you know he' s
floating. The weight of the body
isn't being propped up by either leg.
Both knees ore relaxed and bent.
Even characters who don' t fly
can be drawn to look like they' re
floating. It's a dramatic device that
emphasizes a pose or a moment ~
in time, like the introduction of
a character who arrives
to save the day.

Any haunted child with big eyes makes

for a very spooky character. Making
someone who seems so innocent look so
creepy gives the audience the chills. Dress
her up in something old-fashioned, with
curls, lace, and lots of floun ces. Then, add

a touch of the macabre. Sometimes, it's dark

circles under the eyes. Other times. it's a
disquietingly gray tOne to the skin. What
makes this girl so alarming is her stuffed
toy rabbit-complete with hangman's noose
wrapped around its neck. Her comfort" toy.

When you have an infestation

of monsters, he's you r man. His
motto is "Why screw around
with knives and stakes when
you can blow a watermelonsize hole through a zombie's
head?" And some of his guns
pack time-delayed explosives
u1stead ofbullets. They lodge
into the skull- tick, tick, tick
and then KA-BOOM!! Splat-ali
over the lawn. It's not pretty,
bu t it gets Lhejob done. Call
him if you need him. He's in
the yellow pages. Of course,
keep in mind that while he
might sound like a good guyand maybe was once - he has
grown to enjoy killing so much
that he has become as warped
and violent as those he hunts.

l}inl': Posture
The more expert the
gunfighter, the more relaxed
the character' s pose when
firing off a weapon. This guy
here is so good he actually
leans back when squeezing the
trigger. Look at that arched
back and his free arm. All his
muscles ore loose. He must
hove a heck of a lot of
notches on his

Another popular motif throughout the horror

genre-and one that dates back to the 1800s-is
the idea that men of science who experimented
with combining the human and animal kingdoms
were playing God - and would suffer fo r their
arrogance. This experimentation was crossing
the line into the very nature of good and evil.
l n these stories about splitting the h uman soul
into good and evil, evil flourished. It released
something uncontrollable. Th is theme evolved
to where we are in narratives today: The act of
"splitting" has someti mes been abandoned as
a story device, but the hybrid human-animal
form re mains. And it's evil .
Although you see it done sometimes, it's best
not to mix animal types-for the sake of clarity.
It's best to choose one animal type and combine
it with a human. A bird of prey, a lizard, or a
predator of any sort is a good choice.

u~~uft ~at G1rl

Cat girls are already a little
weird, although they remain
very popular characte rs.
And though they originally
belonged to the shoujo style
of m anga, it doesn't take much
to turn them into full-fledged
occult figures. A few occult
symbols and a cloak and hood
are all that are needed. Being
of the animal kingdom, this
creature would be found deep
in some enchanted forest,
p erh aps serving as a guide to
help los t sou ls find their way
out. And, by successfully doing
so, she migh t break the spell
that has kept h er in bondage
and thereby resum e her natural,
beautiful human form.

Nore the chrbr-style

proporrrons, wrth an
t:.Ytra-large, round head
and a pente body

Note the shadow caused

by the hood It adds
to the moody look.

The lmportzmce

of accessories
Matching gloves and boots
put this character squarely
in the occult genre. Were
she to have bare paws and
feet, with claws showing, she
would look more like an
"anthro" (on animal
character with a human

There's always one suck-up in a group, and

this guy's it. W11en he finds out that someone
in his gang is a vampire, he quickly reasons
that he might end up as a blue plate special.
So, he immediately kisses up to the vampire,
turning into his personal butler in order to
get the monster to spare his hide. What an
unctuous peTSonality. 'Ib reflect this, his
posture and pose must be craven. Heck, he's
already on his knees! His chest should be
cmved inward and his limbs spindly. Not
exactly a beaming example of manhood. He
looks up from under his eyelashes, sort of
sideways, at his master-hoping, with a halfsmile, for mercy and favor. He may even get
some-for the moment. But just when he
feels safe and secure, he'll be struck down.
There's no loyalty when you sign an oath
with the devil.


1 know I soid previously that ~

in mongo eyeglasses are
considered a cool accessory,
but they can still be used as
they traditionally are in
American comics: to make a
character look physically
weak, especially when
placed tow on the nose.

xtfrmiuatur ~amurai
Samurai are generally thought of as noble:
the Eastern version of the Knights of the
Round Table. However, some samurai
did fight on their own, and these rogue
samurai were called ronin. They were not
nice guys-not nice at all. They didn't
help old ladies cross the street. And when
they sliced off people's heads, they didn't
warn them first. Guess which type we're
going to draw today? That's right, the bad
kind. The kind who kills and likes it.

This samura1 is stllrdily bwlt, not lean and

long like other more elegant, sophisticated
occult characters. He's shorrer and fairly
low tO I he ground in order to retain superb
balance when execuimg spinning and
rwrsn11g mollt!$. Notice that the construction
of thrs figure rs sl1ghtly stockier tha11 the
ocher male figures we've been working With



- -

-, ~ n


' ,..

Note thar hands and fingers are

umtecessary on extra-rowtd characters

We humans have puppies

for companionship. Guys
and gals from the Dark World
have little, squeezable, freaky
companions. Yes, they're
a bit...weird looking. But
you didn't expect a dragonwoman to ca rry a Chihuahua
in her purse, did you?
These puffy little critters
aren 't so evil, really. And
they're easy to draw. They
add humorous relief to an
otherwise melodramatic
genre. They can fl y, float,
and spring into and out
of this dimension in a

Somellmes, you can go all-our silly, just for

laughs. even in a spooky genre.

Th1s little companion is drawn m a style

more m keepmg w1th that of her occult
owners-and less as a comedic sidekiCk

Into every good story comes a stranger. Who is he?

What does he want? How much does he know? Is he
good or bad? Is he working fo r the underworld or for
himself? We are left to guess, but one thing's fo r sure:
His entrance upsets the equation. His purpose is to
throw the story into high gear, to add the element of
surprise. He's the random card, the joker. Now the
deck is shuffied. Let the game begin.
This guy is dressed a Iittle out of sync with the

genre, which makes his appearance all the more

notable. Into the darkness comes this stylishly
dressed man. As with everything else about him
and his restrained personality, he is concealed by
his clothes. He is a tall, quiet type but not easily
intimidated. He will stare down danger without
taking a step back. Take a swing at him and you'll
be looking up at him from the ground with a
bloody lip before you know what hit you.


!id by

I personally find wizard characters very

alluring and mysterious. You can't tell
whether they're going to cast a good
spell on you or curse you with some
tenible affliction-perhaps even change
you into an animaL The hooded robe
is a classic costume for a sorcerer or
sorceress. The veiled look underscores
the enigmatic aura of the character.
The long staff is also a classic. Stay
away from wands, w hich are for fairy
godmothers. The slit in the long dress
shows us that we're in th e occult genre,
where dark and myste1ious characters
are still attractively drawn.


One of the more interesting

characters in manga is the
demon beast. Once a human but
now under the spell of a wicked
magician, this person-turnedbeast roams the land, forever
doomed to inhabit the world
in animal form. His terrible
condition makes him angry,
furious, vicious. He has lost
everything: his true love, his
fam ily, h is humanity. But every
so often , a flicker of light enters
his dark heart when he sees
someone in trouble, and he
comes to the rescue.
You might ask yourself, Tfhe's
such an interesting character,
why don't we see more of him?
This is something 1 learned as a
screenwriter in Hollywood, and
it applies to all good storytelling,
including both manga and
American-style comics: When
you have something special
that's very effective, resist the
impulse to use it all the time.
1b illustrate: Do you
rememb er the classic Christmas
movie It's a Wonderful Life
starring Jimmy Stewart? What
character springs to m ind first?
For me- and for most people, T
suspect-it's Clarence the angel.
But Clarence only appears at the
tail end of the rather long film.
Yet he was so memorable, we
tend to think that the film was
all about his relationship with
George, Jimmy Stewart's
character. It wasn't. However,
if the screenwriter had written
Clarence into the picture in the
ftrst act and called the movie
Here's Clarence!, I can guarantee
you we would not be watch ing
rer uns of the film every
Ch ristmas Eve on television
some fi fty years later.

Here's a lictl&-known face

wolves that can help
you draw chem so char they
look different chan dogs.
Wolves have longer legs than
dogs. This gives them char
gangly, creepy look that
!L'Orks so weU in the horror
genre. Note chat the long,
rhm rml1s a fantasy add<Mn
t!Or seen on true wolves

&1rs placed a little mom

.,.-:..'(!rd on che head than gwe him an alert
tooi.:. L ong, sha1p claws on
.;:. pa:cs a re, as with any
: ;c.:c.S mutation, a good way
c:J-_ .,ce d1e creature The
~~::::.: ;s co move the
=-'1.7 a!.my from its true
;- c>:d :mo the fantasy
~; ;i1e occult.


.-, .:.ol:-rr :s 11ot utiliranan

c:..; .;;c;m:s ro have a

in the
- he fo rehead

~-rr "J:~: ;ewe!

- ~ :ype of character
ar. -ren choose to
::.nicare wrth
'L person through
- -:-aug1Hs-no one
m hear hrm

3he looks like any other woman, except that she's

;rom the Land of Darkness. It's important to keep
;:ne following in mind: It works better to make a
=on girl pretty and sweet looking, rather than
-!l~Y and repulsive. If she's ugly and repulsive, the
~der can simply dismiss her. But if she's attractive

and sweet, the reader will have ambivalent feelings

about her and will stay engaged in the story.
Sti ll , there are those pesky little reminders of
who she really is, such as the devil ears and the
taiL You won't find items like these on the girlnext-door character.


rT lli1T HIIAJQHT IF Al1l 5Tlff

Always dre<w both legs completely

when they're crossed m order to
get tM correct posrtioningotherwt.Se, you're asktng for
trvuble Here's why The dress as
already covermg some of the legs.
One ofthe legs crosses over the
other, obscuring parts of both legs
from uiew. But by drawing both
complete legs, you'fl haue no
doubt where everything goes.

Add some rudimeruary

fearwu , for placemeru
plii')JOSts. Then, smooth our
the owline of the body, and
liglltly erase some of rhe
guidelmes. But you don't
have to elmnnate a11 of
them Remember, ot's a
sketch. It's supposed to
swy " bit messy.

Attractive occult costumes

fbr wome11 boast four basic
characterisncs: They're
modestly skimpy bw not
mappropriately so, frilly
arul/ or lacy, evil (with occult
symbohJ, jewelry, and so
on), and naughry.


Tarut ~ard R~ad~r

Your future is revealed in the cards.
She deals th em, one by one. A card is
turned over. It reveals prosperity and
health. The next card, wisdom and
love. Your card is next. What shall it
be? Life or death? Your world is in her
hands. Dare you ask? Dare you look?
This character is more than a mere
fortune-teller. She's a seer. A "looker
into the fu ture. Her dress, her
companions, her surroundings, and
even the props around her should
all shroud her in mystery and magic.
Her key is a very special deck of cards
that only she can read. Were you to
take the deck fro m her hands and
look at it, all you would see would
be blank cards, for your eyes are not
ready to grasp a11 that your future
holds. It would be too much for you.



Be creative with the things
furnishing both the scene and the
character. They should all odd
atmosphere: a raven, a standing
candelabra, a crystal boll, a block
cot, a drapery-covered chair;
scarves, toyers, bracelets,
sandals, and curly flowing
hair. It's a classic gypsy
look: wild, attractive,
bohemian, uncanny. ~


Creating evil in a tank is no

small feat. It rakes a huge
amount of liquid, a group of
scientists, and many tubes
and monitors. This is a
popular conceit in manga,
as well as in American
comics and horror movies.
Here, the female creature,
in a state of suspe nded
animation, floats in a tank
while the scientists take
copious notes, regula ting
her life-support systems.

'lb show thar she's m water,

haw the hair float toward the
surface. Be sure ro draw it in a
wavy manner. Note rhat rhe
figure m the tank IS postnoned
hrgher wuhin the pu;tune than
the setennsrs. ThiS sets her
apan, making her drffenentan owcasr among the group

Bunch her up, as rf she were

going to do a cannonball mto
a swrmming pool The chin !$
tucked down to rhe knus


An oval-slu:rped or round tank doesn'r

look reinforced or scientific. lr looks like
an aquarium The octagonal shape is
more antiseptic and allows you to
draw uertrcal metal rl!lnforcements
wrth nvets Drawlotsoftubesgoing
from the subject of the experiment to
the momtors outsrde of the tank



- , -\


She gets her powers and commands from the dragon. Once, she was a princess. about to
marry on the far side of a golden lake when she was captu red in the talons or the flying beast
and brought to its cave. Now, under the dragon's spell, she steals away each night and returns
to her castle to retrieve precious gems that make the dragon's powers grow stronger still.

characters, draw .<tiff
posrure, srratght up
and down, w11h the
chm lu:ld up Ttlr the
head bctck shghtly, and
show the hands on a
serv1le position. as if
holdmg a 1ray The
eye.s are open and
looktng forward-btu
are unfocused


The power of the

amulet causa 1t to
float above her hands.

Use vumal cues to tell Ott uder

about the charcu:ter (fhl'i l'i how
an amsr ce11s a srory.) Here, as rhts
character bt!comes less pnncesslike
and more dragonltke, draw her
to look more l1ke a dragon, w che
reader can see what's happemng to
her. Since dragons have wongs, gwe
her wmgs. Destgn armor elements
rl!at echo the scales of the dragon's
skin Pw Jwms, like dragon looms,
011 her shoulder guards This
develops a consostent theme.

Espectally on the occult style,

gray and black can bt! as

etrecmoe as color, because ofthe

rone of rhe subject marrer. Still,

color os dazzling, which l'i

t!'lty all covers of manga graphtc
novels are 111 color. (See poges
J.II-1-13 for more on rhe colors
of manga occult artd loorror)


Of all the ?tYie~ of (Omi(~, mAn<JA ()((Uitand-horror ha~ the mo~t intere~tin<J
pi(torial evol~tion, .whi(R be<Jin~ in late- nineteenth-(entury London. Famou~
~torie~ (~U(h flr. Jtky/1 d~ /1r.ti .
~de) A!ld hi~tori(al ~rial killer~ ~
( ~u(h a~ Ja(k the Kipper) were all
remembered with-a ~(Andalou~ twi~t of
<JIAmour, whether de~rved or unde~rved,
and--they influensed (reative mind~.
- A~ the ari~tou-a~ da~ble4 with the for(e~
of eVfl, the Pandora'~ box opened. There wa~ an
undeniable romanti( quality to ari~totrati(ally
attired, wi(ked \:hara(ter~, and thl <Jenre took
hold. It'~ not ~ hard to tra(e the-linea<Je of
t (d~~ume de~i<Jn AM ~ how theie ori<Jin~
mo~phed into today'~
O((Uitand-horror ~tyle. AloJ:
i~ ~till with
u~ tOday. An<l evil
of fa~hlon.
It j~t ~t~ a ~
a look.


Ah, the Victorian Age. Fair
laclies and dashing young
men . No one wore jogging
pants and Nikes. You wore so
many layers that a servant
had to dress you. Showing a
bit of the neckline was about
as daring as a girl could get.
The men were buttoned
from top to b ottom- even
some of the shoes had
buttons on them !


As you look at the examples in this chapter, note that it's often the more traditional
details and flourishes that give the outfits their style. Men's costumes often make use of
top hats, capes, canes, high collars, wide lapels, folded handkerchiefs, and a single rose.
Below are a few of the more popular garment details and accessories for men's outfits.



the pre-preppy upturned cnllar

Sl1ow the seams for

added faShion.

li\N ~TYl f

The shin collar folds

over the top ofthe
bow ne, formmg
small man~les

Traditiuuaf Wum~u's &arm~u

Corsets, overworked
hairstyles, layer upon layer
of clorhing, powder-perfect
makeup ... and you
thought your sister took a
long time to get ready for a
date! Like the men's outfits,
women's fashions b enefit
greatly from attention to
traditional details: flounces
galore, drapery-like folds in
garments, laces up the back
to tighten the waist, long
trains, ornamental dangling
earrings, long n ecklaces,
and bracelets. Here are
a few more.

,.mn r,


rxTBA ttJT'>(' rurr

{l)lT"l BUITt\'\

u~~uft &utb1~ ru~tum~

Dark, aristocratic characters from the Victorian
Age evolved directly into the popular gothic
characters that make up a large segment oftoday's
sophisticated, urbane occult-and-horror manga.
These characters maintain the elegance, poise, and
style of their mysterious forebea rs, but they are
decidedly modern. Their clothes are still ornate,
with traditional touches, but are also macabre. The
characters are brooding, and lean, which adds up
to a more dangerous look. Instead of simply being

mysterious, for example, our new vampire

is more introverted, trying to tamp down a
cauldron of turbulent emotions. He is a
troubled, violent person-a powder keg,
boiling quietly just below the surface.

The long jacket borrows from the trench coat

look of modern noir, nihilistic characters.

Note the design

work on the
Jacket lapels



In addition to the gow11, there's usually

a fur, a scarf, or a wrap of some kind.
Thday's aristocratic fema le horror character
sometimes carries a fan (a typical Japanese
accessory) in one hand. Note the shoulderlength gloves (typical of occult characters)
and the head decorations, either flowers,
jeweled pins, or braided headbands.




1ow-eut Gown~
...,hen drawing a gown, try to
""emember that it will be tight
::->d cling to a few sections of
...,.e body, but that the rest will
hong loose. That' s how
gowns are designed.

One of the prominent features of gothic-style
costumes is the layering. Here, we see a jacket
under a jacket. It's a coo11ook that lends itself
to interesting design possibilities-in this case,
that square cutout sh ape just above the waist.

The long tails of the flying

creatures help convey the

feeling ofmorion and elongace
the /me of tire direcnon m
which rhe creatures are moumg

The wide trench coat


great look Keep it tight

around the waist so that
Z! can billow at the
ankles, creating a nice

contrast in shape.

The jacket has epaulets. Details like this are a popular manga
occult look. The long rows of buttons (as well as the stitching
on the hem of the inner layer) are purely decorative elements,
used in the same way you might use stripes on a shirt. The
buttons have nothing to do wllh closing the jacket


luug fraiu

A dress with a train-the part of the dress that

drags behind the figure-results in a severely
formal look. It's great for characters living
in castles or attending balls.

JUSI one smooth curve all the

way around It has folds and

ripples m ic lilre any fabric.

Usiog mbellisbmeot
Using a combination of embellishments
helps you create a fuller character that has
more visual interest. For example, look at the
clothing details on this semi-gothic man: Nehru
collar, epaulets, braided cord, layered jackets,
decorative stitching, elaborate cuffs, and split
and embroidered pant cuffs. Regardless of
genre, use this as a guide for thinking about
costume design and attention to detail.

Popular u~~ult ~u~tum~ ~t~l~s

Some occult styles are purely one genre.
Others ble nd manga genres to offer a
fresh take on established themes, and
the costumes reflect this. Genres, such
as horror or shoujo or chibi, used to be
firmly ftxed in place. But artists found
these bounda ries too constrictive and
arbitrary, so they started breaking them.
And readers responded. As a result,
there's more freedom now than ever.
In you r own art, try b ri nging a new
angle to a genre. Readers are open to it.
They're always eager to see the next
new thing. Are your ideas too far out?
Maybe. Or maybe your ideas are just
wh at everyone's been waiting for.
Again, regardless of which genre or
combination of genres you explore,
the costume reflects it and helps
convey it to the reader. Thke a look.




Hurrur witb Pautasg

The most common genre to be

combined with manga occult and
horror is fantasy, especially with
characters that hunt and fight the
beasts of the underworld. The
horror genre makes use of many
mythological animals, demons,
beasts, and animal-human hybrids,
and somebody's got to hunt them
down if the humans are to have any
chance of survival. These hunters
are borrowed from the fantasy
genre, and their costumes are
given a medieval twist.

Elves are, by definition, from the

fantasy world. Their elfin ears are
clear fantasy elements. The cape is
seen in both the fantasy and occult
genres. The medieval costume and
boots straddle the fence between
occult and fantasy. Remember, not
too long before the 1700s and 1800s
in Europe was the medieval period.
Tn the late medieval period, armor
and jousting became used more for
pageantry than for actual combat,
as the days of knights were coming
to a close. The costumes, however,
continued to influence style.
In manga, this medieval style
branched off in two directions:
occult and fantasy. That is how
they are intertwined and have
remained closely related.
Like most elves, this character
appears young for his years. Small
in stature but eager and spry, the
elfin "boy appears to be about 12
to 14 years old, when, in fact, he's
north of about 140. Sounds great,
but elfin kids don't leave home
until they're 60.


llint: Laces
Laces and cross-stitching are oft-repeated motifs in fantasy
costumes for men as well as women. These small touches add a
fantasy flair to the wardrobe. Above, the cross-stitching appears on
~ the front of the boots; it looks particularly good in combination _JJ
with the decorative designs on the forearm guards.




, . ,.. .... -

.. - .

The difference between th(' (.Jncasy '"tlrrior

and the vompire


that the trtame of the

fi&hter will be thicker and m1>1e rugged. He'-s: J

myMeriou51eading-man typn. When he commiu
f( b.lttle he Is an explosne. vidous ftghter who
Jittvt~ no quarter. And th.ats what also makes

h1m excning Belund h,. pl.odd. lmost ..,.l[u)

tkrne.omor hu the ~not J. w.ur,or.



\'O)nou~ materials are used for the f.tntasy warrior

omflt: meta], leather, cloth and. sometimes, aruma I
~kil1.3. Btn remember, thls has entered the
OCA. ult world and the (.}(':c;uh geme. There fMC, he
muM be colored usJn' oceult6tyle colors, not
tn<My colors, whiCh ~ bn&hl His world is dark
and murky-a be.Uish pJ.u where evil otten wmt.
(~~ (Qgt5 141 - 1-43 fur rnon" on uccult color.) u whtn you find a blood-sucluna Vilnlptre

01 1 tlclh-c!41ting beast. you're not g0u'a IU be
.Jbtr- to talk it hno gwmg itself up. Mayb,.
you c...,n convince your' morn of anything

but not these guys. In maoga ou::uh.

you to hrlt1g sottlc.thing a little
more convincing than a good


8elow. you'IJ

find <cOme


opuons.. Oh, and one

mor. thin&: Don't fall for the
'I hold duldhood' !me.
\i.t)be the vamptre gn find
good thorapiSI in hcU.

Civc htm the :.uke.




IOIIV ...f.ll ~lac~7'h.l:a:ISNXIII~,
m 1du~Jt #1~ fOOd P"C"'" hlla tile~ to wu '"'



Orw cJ thfiA~t~ of 01:ait and

horror thAt'~~ un~ttlincrand
clowrrt9ht ~.vy-1~ that ytXI don't
1 know whom to tru~t. Thf Pfl"~
you:re tAikin<J to--whfthfr Irs 'JOlX
/ b6 friend, true love, rr mentor-<ould
l>f An illu~lon hl<lln<J A hldfou~ qeAture
thAt (~ out wMn thf moon Is
full to kill And kill A<JAin.

Prom Womao tu ~at rr~atur~

Whatever the \dnlng
thar:'lcrer and end ~~ult,
tl1e morphin,g of manga
octult rharaccers rould mkt
place m the blink of n eye;
lrt cnt' panel th~ charactet
ti' r.ould be normal.1nd in tbc
Ut'...l(t a demon. lhn chat
would be shon.clMn~fng the
nudience. Hctt''i the thi"g
t want 10 ~t oleN'S: At.. a.
rn.10g.-ltlftls.\ you &
your .audje11GC to tw:
uncomfort<~blr. Tlunk

11hnut h. Woulcl you

design a tuunu:dbow,e
ndc 50 hat no one gOt
8Co1Ted? WI~\ .Ould be
t,h~ poi.nt h1 chM? So, ta1v

your rime; ~m;tr.h 1he

Uitn:.form.atlon acro:;s
several ~<Is Slot.. u

~"'-, re.11ly see it-.

Wt. want the audience to

~Y to themM:lves, My god!

11 dun really the ch.antctt'T

tha< llike-thrrible
u~..arurc:?" Than a. _croocf
re.1aion The one we want

Auimals. ~uch as cat5,

clon't have to 00 drawn

rec1lt.....tnw11y werr not

l.llktn~ Ybby a hne

You can m.d:t": up your

own They can .!Mn off


and cuddly Ctr

viciou ~

like bolx:atl<. 'I'he wilder

and more dai'\SCTOUS d-.c,
~tt- the more etlcetive
they are tor lemaI~
tran~form~tlons. Jhts u
been usc occ:uh h.lflgirl

rh.lrjC(cr typt~ are drh~n

b) wild \ft'!!otin~~
The good1!'rl tYP" .ue
morfl1 and C':a\tllirr:d

Prum Uampir~ tu Bat

Some tra~formation dtt prom peed by ;m cvem,
such as" full moon Of hers are the result of thto

whim of the ereatutt:. iL~~e l f, ll.S i5 tJ1e c.'lse witll chc

vt'lmp1re. who turns mto a bat In order to fly away
Jfter gorging on humAn blood Some characters
wdl tum fnto cte;Jturu 1n ordt:.t tO ktll.


The Baron is r.twnn1ns., &rarious~ and handsom

Unfortunately for thr W()llltm \VliO fan rot hls
t-h<~ rm~. he is also .1 potsonollS lxtt whost" bite
causes his victim to J.pJral into the bonomleu

blaeknus oftbt' unde.lld teta: see him s hr

re&ll) is.. unvam"r"ied. an hl4 true form


ell tfw. W11!P -.;,'i 'rim~ TJw '"'

l(h'HCII!Ju1Dn'fflrWAr~~"',.. ..:
t~lbflf'litfuto{mf1, 'lbfJI(l'!IIH'Id


:~~owed 4t th{$


"'lCP9 mncd r" -Y



tn rlw Jr:IAI {omf. rly.( n:mll'*"' h11r tit fi!J f~ IN iilay atvl mr~ l 'l'bl
ht t.

di(JJIIA h6 U'MI'~ W'll' 4 ~"tbcll Q( thlf ~UJUII J.l.mnah&n 10 jj,~&eh

tti/1/#N '~"J fi'Onol ""'ur:l'l )..- r..nt ""'"" JWPI\ f!l(l',qlt fJ,mu.tJ! ~~~"


t/IIMU rlwi'J&Ic

1....,.td rhttca "

wP"9"'1C. .......,.

hcl '""'"'"r$Nllo.-.

li!IJIUI:f tft ~~o,,IM

\ht fooh OII'U/Ihirod,

J.:pn!f ltf-f'/J'rii!IUII'&
.,W~'IIJ"~ ltJ an


m,;ivomll c.oJJ At'

111 rile .Nn<d sm.y dlar~ dtt uvtP

f(IU~"' ~~ bi'Nmm u-here ~~~~ tp!lt'.a

Q,., Th" I& 41'1 (lfr.ttn"C" tedr111qwc IIWt

''or.tarl WI~Q t)Km:.goi"-cft.IOk

from Humao to Wiog~~ Wolf

nus h.tumed \oung ponce "'ill uansrnocnfY


a.;,.-.... ~ fit
Jw~ . . . . . .

~ 4Jp!lar- ad





rru111,. t "' r



.,., .. ,.,..U!I041*""'~'.c.t
11r1A rt!tU rt&irm InfO fhtrtkl"fW'I
Jr.JItJI' rtJ tmtGn: IJittfJ/ Mtl {ncrtdtv


Cat girls are a populor

manga c:haracter type.
They're friendly ch.:tracters.
So, ...., ploy a crick on reader$
tO rtel them in and thtn
urprisc them: We wn lhc
mmsformation by turning the
occult woman into a cute em
girl. Then we lower the boom.

VOW! She transforms funher

Into a hideous CI'UIUre. a ~I
a.hotker-she's not the cude we

thought .shew~ at all' In the

(~nd. she assumes hr:r true
Identity for a11 to ~ec : a
vicious, winged, wolf-beast.

Prum Mao tu Wiog~~ raotb~r:

TbP ruil-ao~-~priog r~rboiqup

Another CC'IOI way

or , <J

transform.mnn LS to bc&Jn by h.ling lhe

c.hatatlt-r bun~h up a.s the change startS
Then, onc.c thr chJrd(.\er transforms. htsuddcnl)' P<"P' Opt"n. prt-seming hlmscJf
iind hi~ .:.tanUng new Jook to the dudience.

Prom Womau tu Uuiroru Pautbvr:

Tb~ "Good" Trau~furmatiou
At tiOml" point m ~very good .stat)'.
the- .1uthor or ard'-I.S m.akes use ot
ttl.- clcmtnt CJUed the JWLSt We'n:
f;amUla.r wl1h the w..y I:.On\'tntkm.:~l
scory l inr:s uu. IJ ~t' reJd t1 bnti.l~r
swry, tYt'O U It'.$ illu~tl'dtcd with
wcll..flntwn 'hnrur.tcr!!l ond inu:re;;tin.g
se ni ng.~, tht: experience 1s likely
tu h,tvf' (hr. reurlcw umlenvhchncd.

1b make your rlUJfttt t~l'$ tuentot:libltl,

you "SOillt!thntS nrccJ to add nn

unr.>..l)f'Ctet.lfwl.lfC tn make the.m
leb prt<Urt.;Jble <ilJld to m.ak,. them
sr<~nd ~'lt lo thr I'Cder'a mind

0"' l I rt.e ~rm hmu ;;'"'



~~:~hi",!! l'rl'let.






\DU .... , . ., .....


How do YtJU do rh;u? 6y malung

tharn ugtifr, ttrosser, mo~c vltJieotJ
MolJ be. but hant till> I been aonc
before:' And ~~rn that a hit obvl()lU
Periup$ )UU Qn be mon: clever rn


~~"'-fmlwi'W!K~ """'

ttz..,.,,., ..H,J~-po..r,


go1ng abouc it Maybe youL.Jn o~dd a

c.har.atter Wl11J's a bit ll'ffc.rtlll fro1n
wlt41t you'd f'tt:pt~ 1-not!Ut'l more

ot lhesamr
ror- example, th"b girl

''om or..utr<h.;.ter but .Jhe'~ not 1'\'ll .\rtd the

JX~nther IntO whicl1 ~he UIU1Kforms-

alchuugh ormlnly powtr!ul and

intsmrdauns; be on tbe side or
Sf!OO.. (t ha5 a'lt. horn on
h.$, which wo generally
a!lsoctatc h'llh ros.Juve trails Us
J)O'IUt'e js dct\anl. not ViCIOUS 'J1\e
n-.adt:r- w.u t."X~tlng a tran~ionnanon
mlO d viciOu~. evl) ~XC&Jh chanaae-r
nm hme sh~~ ts. transf.ormlng Into a
CI"C..lUire th.n'S at ill on the "itlt~ of

;one! IAklfll ... na agaln>t Ll"' d.lrl<-.

R>r<u in htr own ,..., Sudden!~
youve got rhc ltlt'1tulgs o .1n
lntare!4-Ung litO! y. Mt.l tluat's g:ood
~Ofl'tcllino nut use liiUcll lwnoclasd
rhamtle" sp.tron;:ly b<l~a<:)OO
tlfldo the S:!O!n.ft: ItSelf




ill.h Ill

, . . . (rvn4A


Prum Man tu Oragun: Tb~ Uisual M~tapbur

Anisu often plAnt devJces tO lip off the .tudtence
about wt.ats comtng. It's not ao much to tecJ.Se the
l'C.Ider. m.tkul$ this a pd.rlor pme. as it is to put
w audirnr-" In lhr nab mood 1b do 1his. anis1s
use visual met.JphoD or symbols. for example.
what doc.J dragon h.ave to do with this dark
fellow;> Well, ,,k \'c>ursclf. Wba1's lhe mOO<

prom1nent teclturC d.SSOCiated with dragons?

fmbrcathlng And here i.s a man holding a
candrlahra teeming with flan~es. Sec the
connection? h rtll C()llle,:S logether once he
transfOrm~ wo begin to think of his candelabra

as pan of tho clrJgon motiftJwt remains when

he's In humnn fClrm. lie likes to be around fire.


Anolhcr cool ,asual meupbor would be

10 inv<"nt 1 who lums into a snake.

\\'hen &he a in hurmn (onn. .she ~-ears a

lo~ d~ tNt
around people in a
serpenunr way ~ she seduu.s them.


from Womau to Oragou:

irao~furmatiou bg Magir
Stnnge. rrug\Gal forces aomeumes provoke
tran$fOrmauon.s: .1 bue on the neck. a pc>rion
from a chalice, or the pollen &om
an =uc black rose They can be slipped
unknowingly w thr. vic..tlm so that the victim's

is t:~kcn from her before her \'Cry eyes-a

mos1 frightening cvcmt- as she watches her O\~n

unholy mutmlon from good to evil. Converse!J,.
the transmfgmdon or the soul can be volitional,

perhaps even part of o rhual between lovers

destined to rule togt~ther in darkness f'ore\ler.


- s,.,....,...,



_,,..,.,..,_._ .. ~we
.-.n ....a.Mr in llfwclm:kt"'P-r. ~~

if-...-ladf..... _ _
'*'D . . . . .vt. . ...-.d:~~





.., ...........


..... &odtl




Muud witb ~hadow~

1r yuurc IC)In.g co drd\V" chitTI'C\crs wh()
tlwell m lM Jand vi darknc~~.s, vouw got
tJJ .add, wen durttk-.~1 SbadO'o\J .trt> sln~te
becauS(" they CA~n t:enly ""-rap thcmse!Vt'J<~
around 11 th~1rac.cer, almost as If they ant
aemient being.~ themt~ches 1 'ht:y can
.ssumt tht- shape <~I .1.n object: or COl5t cl\.11
!hapr. onw anochr surface. Shado"--s can
stretr.h or dis.1pptar oompletrly. The).. arc
rnysunous. bjdjnR the things \\~ t-ear from
ptairl )l~t llley alfo t.n:ate a t('n.M:, th1rk
1uroosrhtrt. wh1(.h heigbum~ the

of ;my An1nr..
h's sou ofcounw1lnmiuv<\ bu. todmw

shadow~. \OU h.t\f

tO think about wheac

rou "'"'"'.ro pbu Uw-li,gi'll. Shadows .an

what result when ll~ht hit:i .m ~rea. If

there's no Light, there's rto $h\ldow So,
dlfealon ulthe lf,ghc
h.ltring '.'OOr char.acter or yvur S(;Clle. 11w'
light rna~ f'ume tmm one din-tllon or 10 chink o( tilt.

angle. two clirccllons, otnd sontet1 n 1~~ cvc.n

chree dttethons. Buc. 1t'S ooc e\'t"rywhefl'
all Ehe tune-not t\tn on hot su.m111er
day out5lde Ltght o~lwo~.ys comc.-~t~ ttom a
direc:tton. Acld, \Yherc h doe,-.n't h\l [s
whert" tJH ~hadows .. l>pcilr.
YOU'\'f' $:Qll0 Stan t&bout it U1


th\S logJ(.;)l way~ If )UO dont-tt yuu slud.f'l

.ue.l..'i r.1ndumfy, bnsed simply on whJt

looks good to you-y0la11 ~nd up wldl
shadowt lo places where Uglu htb and
hg.tu. m whnt~ sb.ldow~ slwold
be, .md the \mage \\'11l c:nd up ~.-hecker
boarde-d with po<.kcts ofll~ht :md shadow
h toob bt-:ttcr when \t loolu rl~tht llereJ
ho~ it hould wuric

ljint tiencrzdtze

rw, "t tr;uTt,t!/"lr\IT

'"'1 " u ,,


tndlllll.r H'Verhead hghttng '-'the mosc umunon type.-. h '~on

the hatr; shCMlldt~. .rnns hips, and sideJ of the clot.hf":s-hut
not on t~'erythutg What it doc.&n't fall on reflia.ins In !Shadow


Wfll~f I\IC MOr
When )'0<1 light a clwaccer f'tvm below yoo
Ctt. dcldedlydJJtereru mood lrspool<y,
no7 This Is one of the tim that liaJ>r
M.tun;;e doco~m't have to represent anythlns
occurring hltf,.,ality. Jn other words, you
don'l hove co show the character' swndJng
over ri flrt:plliCC or mal:c sure thal 4nothrr
ch4rter Is. holding a tamp below him m
JU.Sdfy 1hc low-hght effect. We li~ht him

,.,/Jd'U ~- Jt.,

from btlow for purely rrd&Onabec.' tt ht:tghtens the drama

111\nll II~UT


I 11 1

When you light a character fr01n

behind, o '"" ofligln (edge light} 111
on the omltne of the figure. It's a very

cool look. The eomrast of having .J

lou1t', dark r.gure outHnt:d ln bn,ght
li3ht nrak<' rhe charaeter both
m)St(OOU .1nd lmpoS);ible to ig110re


- v

.):1 T"\cndcring ~ho:~duw:;



t-v>re ure many ...,J-,S to rt-n.<k>r

U~ ... "or feelS oe-; 0 0
~-". .:~"~ c 11'1C 'T\ ,-c... ~e



r_:;-..~15 5 S"a~d b'f' lt".t'

-,rt .;.l ,., . ,., ':i,.,..ple Cro<O~-~"dc~ "'9 .:>'
't-..1. ._...,.., S.on-~ :)~,~~ l.~ p-:;;.o<.;. C''
Wld bLx'kness done -A.,_~"~? P't"~ e>r
1"1Ur1<.!~.. Arss .:J, ots::> use grov
rl".<l~r.;. tor sh."ld"'~g. r've r,.~n 5-omt'
u'~r: a corl"'b'n.:;,ion of b-\;JCk r'"llol for
'~c oul!<n~:> of the charuder-::; and c1
.,,,.uoll'l, LiJn5 !>'tH"~I pencrl !tnP for lhf'
o;hod+~I!J \Don't pressc too "ord ,J,.,
I~ pe-nco! ,f J'CV use,.,,., ..,~lhod ,

,., ::r.:lpr..;:

r,e,.,. .Jr"l" ~SJ


pr>..>qr<J""!> D\oUO\Qble 1~-::f ~l.;.,w ~'.:kJ 'J

,...:,,,... .-..;our ~ Y'\(1 ... ,... ::J'"' I~
moo. I b..:J<.<.; ~~tyl~.t; f-y ~"'-:K: '""'?




U~io~ ~baduw~:

Vull Duu't N~~d aR~a~uo

llrh~lh !he <h <dow hould loll in a
l'*IC41 wily, ynu dmn .tlways nc:,d a

rcaMin totltnrodudng them m!O .. scemr

It'~ ll!..utnn t}ua( sh3dOWI enhant:c
mood chcy tnJk" che <.1\ir~t~,. bo!d. t],,.
momr:nt cmph.1w And. chey 1I'WJ ~

anollwt tltlng. Tlwv make oht ligure

appe.n thrtt-<hmcn"'nat 1n11tflold ofbtins
len tm(Ky-and noo-....oh only black line>
on tvhue po~per 1lle ch..tT:lCicrs. tf'"nd w
cake c.m a f~hn.( ot mundneQ. wlu.htv
\\eight o*nd emot1una~ depch.
IICJ1,o,twC1 1 lht'l"t'


some track.olls. au.J

you have ltl ~At:~ lht pros. anJ tnns.

lllcl< nd white can be omrk, lnoeuse, nd
Jl""nwHhJI, Solnt! f'1HHliC\C1"8. $tCI\f~$1 and
~.Wen emire ~raphlt nuvcls arn bt:l u:r
SU1lt'd to thr.. cxplulve h~ntrase Si)'le
ot bl..,."'- o1nd whltr.-w1th no\"5 or

Cven thc:n, you t311 v&e pools (')f

black "' yuur hod<M&. thoroby "PPI)'lng

what you've learned 1\t:re su CJcpcrimo..:nl.

And 1Uow the sub)et:c matter tO dr t~lt
yoor rholu nf\J.SIIIggroysnr hla"-k.~

rur ih:J<k>"~

~ba~uw~ uu tb~ &ruuu~

Sh..dow> th.11 ..u on the ground

under db.trac~rs llx chr

f~ues in

place~ due thr) dorn appe.1r to

be tlo.mng'"" tht rot~e Ground

showtows 3110 how the t~udirnce

whrre chr: hcmwn In .ackhtfon
they .u~ o~nothrr tool in che
amst':, a~n.11. for t..:Uinplc. .t
ondcn~e0res the.


VIOlence of Pn ll{.tiun pose. A

small shadow mlds .1 poe1i~

fec:lhlg 10 'l lnnelv moment

WUtfl!tJI,.,. Wool k.u. I

PlAol llol P CPo..fu, " fiW h ~.
If fbt tf,Ptl WWU tl'tn
Q,_nAI..,f1r- lrronnrpll
AlfhrdatlmC"'fl,,f11/JJ/I.-J lilt
'''N<Iilfl' nt~.W 1rov ..,.~ON ~"n

~ fQ"J;


f(trlrn, et$11U'JJtt~,ltw:,

m.U,rfutlt . .nti~ i1n- .,.;ttfd


Shading wn .1lso be used to h"IShtcn

the luak of 5pe4;iaal effeccs. m;l1dnt the
momem mort brilJWnL Bu remembe1

to n~ke tm. special effca bu~~ ot

light re.JU) 'u.nd out-the rrst of
the c.h.unucr must be m :.h,tdow


~ ffl lwl!o!llilloPlfO




t1.!"~ ~rrlreffra'"l'"
lvr/ft .,..\tw,u...r"JIIW'...,'"

r,tlfi~ !ltl!l~
lfllll.ilolt.frvm filllh,.,..tttt~tt

~' ~

l11r {lllwhit-.el(il


11st: bla-V)/t~WJt~uowt


"''~~1/.1. &h.l'}J' '~"'..,...,. fl( f Mt ntt~





Mirrur~ aod Refle~tiuo~

hnld a strartge faM.-11\.lW'IIl

1111rTnr. Js it real or tur.t .J n:He<:boni' Can we fltt."l>

The)' Me a r.ommon ~ol~<oual heme m m1Ulga

01 t..uh svrics .about I>OSst:..s.lon and otl1et SfMMikv
$tUJl There's somnthtnR tott>irtl and haumin.w
,,hum the world that Uc5 em the othc.r .stde o( the

f.1u to fuoo witb a dupllt:.11t' of QUfSCiv('.Si' .SO

how du you niCA"trpomte mirrors and reUer-oon5?
'I'Jke a louk.

\1fnun) and




somr- othN p11UJ! '1\'hCrt'


will ronw

Dr~am~ au~ Nigbtmar~~

Thu world uf occult .11HI horror Is''" cxcidng and
Glht:lnalinggenrc: heuuse nothmg is quite wbtu
lt :-.erms. Beasts are mrn Womtn are vampires

ChJIUrcn are pos:se&ied. You,e got to s.-ay on

vour tucs It keeps the rudt'r on rd&e. and thai's
fl gn".ill plM.e r.o be-out of tht" c.omton zone iind
aJued to the nat panel th~ "'"~'<' w.n~oc.e. lbe
next Ufu,craoon.

rn occult ond horru11 rcxulat

scene~ $:Otnc tl mt'~

tul n into t1rea1n sequenCf.. or even olghtmarcs.

These" arc ''el)' ooo1, vl~unllv entenaining
flalu:l~ that are likt" entering 3 h.aontedhoase
amustment park ride l'or cumpJe. maybe }'OU
dun~Cttr tod11t0vcr that the eril n~
h.u pl.lud her in noghnn.ln: from wluch sh<'
c..m't ~ake up. That~ a v~u.dly din)ang eflect


rl!lL~'~ ~






....... tol .... "fo




W'd.!b; MtJ,


...-....... .~IOUC.Ik!


_ .....:r._,

_.,..,.. ....

GCJili'W IJII fiX ~,left


ruldjord~ f{tt;U
appe#T fn ob;llll;fA ' tlll-

tt-.m**-'J. rwiltt-111.

t1t llaoW:n..loJI~o~'imii'.Jdt(..(Jtna,


wt"lalolllrq""" A,.. 'fifU


A"'' IT~'"''"' Jt1t.

_ .....dol,.,.,_,...,.,

fOrpl'ss.h..,t. . N'



uf tbe u~~ult

Symbols of the occult arc a very imponam

have to use- aU of them simult.lneously. You
p11rr of this g<:nre. They dtooratc aod embellish can use._, combination of onlv a fe'" It aJI
scenes and images and ~ven the clothes. ()(:cult depc~nds on the tyJ)l~ of charaCter you're trying
symbols even imhnidate norH)(:Cult cha1'ac:rers. ro create and how much he or she is trying
A Jist of .symbols appears below, but you don't
to blend ln as an ordinary hum:tn.



I ~ant th\S book 10 ~w "ith

~ ou u> ukr you trom 1he

"-"""' ol draWl"' faces and

bochr~ to

des1gning your 0\'1"'11

ro. uhunately,
plat.intt (hariGiers in full
'l(':tn~s tha1 )'Ou compo:!ie if
you w.mtln tolkc. it that iar.
So to rnd. here :ue l;Ome
suggustlons of locations for

octult-.:'lntlhorror $tone:; I hat

rr:nu1~H ~xu cme)y popular
with t'f!.-dN!!. trom the U.S.A.
w Jdpdn and everywhere

fn betwtf!n, The~ l~uon~

.trc dc~lsnr.d more to 1nsplre

you than to aJve you a ngid

tempi uc to roro . Thest are

stmply frw sood choices

rn ke4"P '" mmd \\'hen you
w._nt to~~ the mood for


C~Cipc It I Jl tf II IM.v)


u't!Gik A '-m..ll 1~... t.ltfl



1Vf11,.ll tho!
ro "', m' AM

Wt. 1'1tcf\ r>w"'"'n

~~~rl~tl,tll!t((l/'rV IY'l'

t.lmt Tft,. rnrmy htt~o~ th, Ll:y

r1f1hrlmtd Jt,,JJf!IUtlmll

r <;T r v 1 r o;
' "'"""l'kctn.:.l ..,....,.



~llulldt-b11111i'..,,., . ~


"*'_ ... ........, __
................ "'lt-Lodlr-

- ............,..,of. .

8fctl.l ""-'" -~"'"l~v"rldurw


tl.iJJoQ! lff~lli~ VI 1111' l~'tlf&l ~;,.,-~

lt~tiUd!f"'t'IWo 'Wti'&J

lf/t(orhtr! cr01 tlnr


'"" t* M ..,,.r,_ ..,~ ifp.w. 11 !ICJI'IIIbltl ,,._.., Ia O.U.

tAW' Ukocl"
0/ lllltllh~ l'C*t
-.fen ftd ~-- rlq 10 lhc Paat .-...w Arttl ,.._, ,._

rru. ..


If\._..., .....

k ",......,...,..,.. )iaar.nor-lfrpulf ~ """. .


\t.'dlhifll.r ~dbr~to~'" 014t tM W"J't'' r:V..

fliAda'I!Ac~~., )!OIIdllc-11.,....~

-=-''" "*'"llllldl

AlltN'IUt. aualb . . ~


.......""''<JI" ...............,..,....





~~how, tJx.auly
ht. 00 rc' IICIW dot:~ hr c-haran
.md nw-.rnrrvJ": ht br ..tUIINI vtcum~. and dtdh"t"r
tJ~ On;tl Bt\c 01 OAI~flf"~ Ynu earn rommumout'
lhtos infnrm"'llntl h1 ""'" rc;hkr ,(" u\.1 dilll:"t pu1 thtAt:.-nr:' 1.n' l'flptet Murytrlhfll "kquente All of

lt,......, ...

,,,wtJ. u..,........

................ ,.


lfte:J!i.f , .......

....... llfDik



Jlllf"''" "-~~,

Bilmf'l: Ullll

\llllfl UII!IWUn.:ftt !/"lftll,j.

im ''14~~~,.,llttti.,I/Ua









......... """"'u


........ ,,...,.. "" ,__,

ch.- CJt~Cnrl:d bra h .. ntult be" luw:l O\lt. crr1uing 1

~tturucta\ '-'~"11f" thtu nvwt"~ hkc rkw l.wvrk. Jl\~
lnll~ IOj,t p...,;.a~ v. )lJ

t.dc you lhroud\ 'f'1VotA1

sr-rw p.antl b\ p.anr.l brc:.1lt1F\Idnwn

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The occuh..JrtdhortOr genre is more cNn a sq:lc or 01 {oR

mood. You cannot usc: the ~me palette dw: you h'Ow!d
happy houJ0-$1yle m.1np. It would completely ..OOta~
work you put in .11 che dliiWtn.A board Llark and ~tr~
adjcaives that should mfonn your world of color choices
that dark and mystmoos oare intcrc~ting and compelling co;or.
Just because they're no1 bright dotsn't mean they're not "Sen:-::
the eye. Ju.~l keep these four imporwnt points in mind

Don't go so dark that tl1e lineA ond eharactets are hard t1

Every dark image needs bri~ht .:t"-'as in it or h



Even a darker image should UM. a wide range of colors.

The wa.n skin oolor in tht occulc vcrson ~ho"""S us Lhat she's
a <:realtlfe of darltnes.' '!'he sky belund her ~ndicates that
h"s night. Time to wake up1 The <hoi.IJO colol'$ .are too warm
and soft. This vampore looks much 100 ht.lhhy. Loo4likc
sbe ""-orks out ~~ ch~ gym t"'t"' d3v .md dnnks a glass of
milk "ith UGh meaJ AJso. 1 can't tdl whac t1me it is from
looking out ,..., archway behond ho~ and th;n's a problem.
but irs solved ln che \"ers,ton wuh occuh colors

.. '
Yes. the fantasy colo!'$ 11re too bright; however. wllh his
cape and sword. he'1 a1rnoM ttr.addhng the fence between
fanta$y and oc::cuh ..,h~oth are aomrume:s blended So.
this is pushing the en,"elopc a b11, but not by that much.
In the occult '-e1"5iOn. darknt~ re1p """1th a wann.
golden-reddish hue. C.n'l I'JIUC" wuh that. l'eclthe he<~<?
Bring up the red (a popular occult color), add a good
amount of green (a popular f;ant.t&:)' color), and you've go1 a
ple;:ising mixture or two genres '" the combo .





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