Dossier Negro #66
In "Un descenso en el Maelström," writer and artist Alfonso Figueras crafts a chillingly surreal journey through a museum of monstrous curiosities, where even the most legendary horrors seem to live ordinary lives. The story unfolds in a setting both eerie and absurd, as a guide leads visitors past a display of legendary figures—among them Drácula, calmly reading a newspaper and puffing on a pipe. The cover by Jad captures the tale’s unsettling charm with a striking, atmospheric image.
In *Un viejo edificio*, a janitor haunted by his past fears the demolition of his crumbling apartment building will expose the truth: the skeletal remains of his wife, hidden years ago in the walls. As the wrecking ball approaches, the story slowly reveals that the building’s walls have long held secrets—skeletons buried not just by one man, but by time itself.
In "El extraño hombre nuevo," a man tormented by the belief he’s a werewolf spirals into madness, fleeing through the city until he throws himself in front of a subway train. The story unfolds with chilling ambiguity, as investigators discover his shattered remains—still bearing traces of flesh and bone—despite being revealed to have been an experimental robot. The truth behind the contradiction remains deeply unsettling, leaving the line between man and machine dangerously blurred.
In *Una mujer malvada*, a blind woman uncovers a terrifying legacy: her parents were Satanic cultists who summoned Satan into the world, and her mother bore her as the devil’s daughter. Haunted by the truth and repulsed by her husband—the Satanic Count who sacrifices others at their estate—she flees, using her powers to destroy the manor. But her escape is short-lived, as the Count and her aunt track her down, forcing her into a fate tied to the very evil she sought to flee.
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↩ Reprints Nightmare #7 (1972), Psycho #8 (1972), Nightmare #10 (1972), Psycho #10 (1973), Psycho #11 (1973), Nightmare #16 (1973), Psycho #18 (1974), Psycho #20 (1974)
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