Team Superfriends|Fighting the good fight

Since Diamond Comic Distributors is taking a holiday-dictated time out the last week of December, there will be no new mainstream books in comic shops December 30.

With this in mind, a group of trailblazing comics creators founded Indy Comic Book Week, an event in which indy creators can get their books into comic shops across the nation. (We’re also participating here at TFAW.com, and creators have ONE WEEK LEFT to submit–click here to learn how to send us your comics!)

We were able to conduct an email interview with three of the founders: Matthew Warlick, Vinh-Luan Luu, and Jake Ekiss. Read on to learn what inspired them and get their perspective on where indy comics fit into the industry as a whole:

TFAW.com: Hi guys, thanks for sitting down and answering a few questions!

Matthew Warlick: Anytime, thanks for having us.

Vinh-Luan Luu: Not a problem; I have been really looking forward to it.

Jake Ekiss: Anytime!

TFAW.com: Why don’t you start by introducing yourselves? Tell us a little bit about who you are, your history with comics, etc.

MW: I’m Matthew Warlick. I’m an “independent” comic creator as well as freelance illustrator and art director. I’ve been in love with comics since I was about 10, when a friend let me borrow his New Mutants #93.

VVL: I’m Vinh-Luan Luu; I just go by Luan though. Confusing, I know. I’m a freelance graphic designer/illustrator by day and a comic book creator by night. Because of my experience and efficiencies, I’m mostly on the production end of things at Space-Gun Studios. I’ve been into comics since about the second grade; collecting my first issues with Jim Lee’s X-Men run.

JE: I’m Jake Ekiss, and I’ve been working on indy comics and webcomics for about 7 or 8 years now. My first big project was working with Vinh-Luan Luu on the webcomic Space-Gun. It was a gag-a-day strip that updated twice a week and ran for three years, roughly. Since then he and I founded Space-Gun Studios and joined other artists Paul Milligan, Evan Bryce, and Matthew Warlick. Our first big studio project was to put together the Synesthetic anthology. Since that I’ve done a number of indy and for-hire comic projects. My book for ICBW is the first full-length comic book that I’ve done solo as an indy creator.

TFAW.com: What inspired you to found Indy Comic Book Week?

MW: We were directly inspired by Kyle Latino’s “Deadline 09″ challenge, which made its way to us through some blog posts and online discussions. We thought it was a great idea and started brainstorming ways to hop on board. I came up with the snarky idea of calling it “No Comic Book Week,” and Luan came up with the much better “Indy Comic Book Week.” From there I set up the website and we started posting about it on Twitter, and it took off and became the beast it is today.

VVL: Paul Milligan came to us with a flyer/posting he got from his friend Edward Priddy, who in turn got it from Kyle Latino like Matt said. Oddly enough, I was in California at the time when I got this so what happened next all happened via emails, blogs, and tweets. Within two weeks, we go from the original email, to “No Comic Book Week,” which becomes “Indy Comic Book Week,” and my original blog post about it. The website and the twitter hashtag [#indycomicbookweek] soon followed; before we knew it we had emails from across the nation and even a few overseas. What started as a local Dallas-Fort Worth event turned into something massive; it has been really interesting to see the development happen through the twitters and blogs.

JE: Originally there was an article by Kyle Latino circulated that described both the Diamond Skip week and referred to it as “Deadline 09,” a time when Indy creators would have their works put on the shelves in place of the usual mainstream books. We had the idea at the studio to take the whole thing a bit further, and Matt went ahead and purchased the webspace for indycomicbookweek.com. We decided to turn the website and accompanying blog into a sort of hub for the event. People can go there to preview their work, find recourses for promotion, and find what retailers are supporting the event.

TFAW.com: Can you tell us a little bit about what Indy Comic Book Week involves?

MW: Originally it was going to be just a local Dallas event showcasing books by local talent. More than anything it was a good motivating force in the sense of having a hard deadline to produce some quality work. Once the website went up and a few local retailers hopped on board and started promoting, it really took off. It’s quickly become a nationwide platform for creators to promote their books and independent comics in general.

VVL: Indy Comic Book Week is about taking advantage of an opportunity. UPS is closing for an extra day, due to where the holidays land this year. So instead of dealing with the shipping fiasco of getting new books to shops on Wednesday after Christmas, Diamond decided to forgo the shipping and just have a “No Ship Week.” So we are taking advantage of that shipping loophole to fill in those gaps on the new release shelves that would usually hold Spider-Man or Superman.

TFAW.com: How long has Indy Comic Book Week been around?

MW: At this point it’s been around less than six months, since about late August. It’s really exceeded all of our expectations in terms of exposure and support.

JE: This will be our first year, though there is already talk of making it an annual event.

TFAW.com: What has the response been like so far this year?

MW: Overwhelming. The support from creators, retailers, and fans has been amazing.

VVL: Yeah, pretty overwhelming. What started out small where we could just call up creators or walk into a local comic shop has become a huge ordeal of coordinating information across the nation. Jake had to call up shops himself and figure out who’s in charge and if they’d like to participate. Nothing really difficult to do, but there’s a lot of shops and creators that wanted to jump on board.

JE: Thus far the response has been very positive. There’s been some hiccups just trying to get a solid system in place what with the brutally quick turnaround, but otherwise people have been universally supportive. Retailers to fans, we’ve gotten overwhelmingly positive feedback.

TFAW.com: How can creators participate?

MW: The “official submissions” are closed, unfortunately. With the event less than month away, we’ve had to stop adding creators to the site to focus on promoting our own books and the event in general. Creators can still talk to shops about carrying their books, and there’s a list of participating retailers on the site for just that reason. Creators can also promote their books through the Twitter hashtag “#indycomicbookweek.”

VVL: Yeah, with what Matt said, we are in what we dubbed “Phase Four” of ICBW. It is in these final weeks where we should be promoting the event to fans. At this point, creators should have their books done and are corresponding with retailers about carrying their books. Now we need to let the fans know about the event. Its about letting them know what’s going on, where to find these books, and why it’s a rocking event with things like in-store signings, specials deals on the day, live art events, and so forth. We the creators know why this is such a great event; we need to share that enthusiasm with the fans.

JE: The best way is to check the website out and get signed up on the blog. At this point it’s virtually impossible for people to put out new books, but folks who have books that were already coming out in December could always hop on board. Likewise, we’ve capped the official website for listing new people on the site proper, but the blog is still open for anyone who wants to sign up and show previews of books that will be on store shelves the week of the 30th.

TFAW.com: How can the average person get involved this year?

MW: By promoting the event and the site, by visiting the blog, and most importantly by going into shops on December 30th and checking out all the great independent books that they might not see otherwise. And if you find something you like, let your money do the talking, and be sure to let the retailers know you appreciate the chance to read indy books.

VVL: The size and reach of Indy Comic Book Week was really created via social networks like Facebook, Blogger, livejournal, and twitter. And we need to use those same methods to spread the news. We have a Facebook event up and the twitter hashtag #indycomicbookweek is really active. And of course come in on December 30th to your local shop and pick up a few great comics.

JE: The best thing people can do is spread the word about the event. We’re on Facebook, twitter, pretty much everywhere online, but word of mouth is still the best way to spread news. The more people that hear about the event and come out to support the indy books at their local shops, the better.

TFAW.com: Where do you think independent comics fit in today’s comics landscape?

MW: I think they play a large role, larger than most people might realize. There is some really creative, intelligent, and beautiful work being created that’s really pushing the medium forward. The stories are rich and powerful, and there is often no status quo to maintain, so you get some really interesting things you wouldn’t necessarily see in a book from the big four.

VVL: The great thing about indy books is the creative freedom. It’s a place where any creator can go and try out new things and tell different stories.

JE: Comics, particularly American comics, are experiencing something of a Renaissance right now. With the Net becoming more and more a viable platform for indy books and the print-on-demand companies becoming slowly more affordable, indy books are gaining more and more prominence.

I think a lot of the more creative ideas are coming out of the indy market, and I think that will continue. It’s also a great place in the industry for new guys to cut their teeth and really get some experience on how comics are put together. Nothing teaches you better than the experience of doing it yourself, and for the first time the average Joe really can put together a book completely on their own and see what it’s like.

TFAW.com: Do you think they’re more visible then they were, say, 10 years ago?

MW: Definitely. The success of Indy Comic Book Week speaks to that, as does the number of small press books, independent creators, and webcomics out there.

VVL: Oh, much more. I think with the rise of print-on-demand, the online market as both a means of sales and distributing content, and the various conventions across the nation, an indy creator can really make a viable home in that wide landscape. There is no need to wait for someone to get back to you; you can do it yourself, rock the market, and let them come to you.

JE: Definitely. The Web has been a big part of that. Combine the Web’s ability to give unlimited access with POD production, and it’s never been easier to produce an indy book. That means there’s a lot more indy work out there, and gradually it’s finding its way more and more onto store shelves.

TFAW.com: Do you think the rise of webcomics have helped get more eyes on independent comics, or are they something else entirely?

MW: I think webcomics are the best of both worlds. Those creators that succeed not only have an understanding of comics but also of the online world in general. They have a direct line to their audience and take a huge stake in their creations, and also prove that niche content can be very successful, if done right.

VVL: Of course they’ve helped. That’s because webcomics are independent comics, just in a different format. They have to create a story on a regular basis, find their fanbase, and figure out how to sustain themselves financially. At the core that is no different than any of the indy books out there on shelves. I think people see webcomics as different because the more successful ones right now are more strip-style comics; but there are webcomics out there that do a long-format story telling very well and those will start gathering more momentum soon.

JE: I think the two are like cousins in the same family. Webcomics tend to be a different format (although not always), but their rise has certainly paved the way for indy comic books. I think the two are entwined if not entirely representative of each other. Long-term indy comic books will have different challenges to face, but there’s no doubt the webcomic scene has affected them positively.

TFAW.com: Are any of you comic creators yourselves?

MW: I suppose I’m an “independent” comic creator, meaning I don’t have a Marvel or DC exclusive. Yet. I’ve done art and colors for some small press books, but mostly work on my own stuff while doing freelance design and art direction to pay the bills.

VVL: Yeah, I would consider myself a creator; though I am in more of a support role for the studio.

JE: In fact we all are, and several of us will have books out for ICBW. Mine is Solomon Azua, a sci-fi epic with cool spaceships, deadly aliens, and wicked tech.

TFAW.com: What do you like most about independent comics?

MW: I like the variety. If you can think of it, there is probably a creator out there doing it. Or trying to, at least.

VVL: The creative freedom they give creators who may want to tell a different story than what would be the norm.

JE: I think the best thing is the freedom and the responsibility. Doing a book on your own carries with it a tremendous sense of accomplishment, and knowing that you are in charge of it from start to finish means you have a lot of control over the quality and the little details that can make or break a book.

TFAW.com: What are your plans for future Indy Comic Book Weeks?

MW: I think we’ll see how this one goes first then revisit it. We’ve talked to some local retailers who are interested in helping grow the event for next year, so that’s a possibility. I think it all depends on how well everything goes come December 30th.

VVL: There has been talks about having this become an annual event. We have to see how this year’s event goes before addressing next year; there have been a few bumps here and there, so we have to figure out if those can be paved over or if we’d have to find another route.

JE: Right now we’re still focused on this year, but with so much enthusiasm I think it’s safe to say this idea will carry on somehow. What with the POD companies starting up their own distribution as well, it may become a much larger event the next time we do it.

TFAW.com: Apart from your own work (of course) what other independent creators would you recommend the novice indy reader check out?

MW: I’m definitely looking forward to the stuff from my studio mates Jake Ekiss and Paul Milligan. Green Monk looks awesome, and I’ll definitely be picking up a copy. Omnitarium looks great, as well.

VVL: I’ve gotten to see most of the studios’ books so far, and I think people will love them. One Night Stand looks to be pretty awesome.

JE: I’m really looking forward to the book Omnitarium myself. And of course I’ll recommend anything from the local Dallas crew. David Hopkins has a book called One Night Stand that’s geared towards the more mature reader that I’m really excited about.

TFAW.com: Thanks again!

MW: Thank you!

VVL: No problem! It was fun!

JE: Anytime!

Have you submitted your independent comic to TFAW.com yet? There’s just one week left! Are you planning to participate in Indy Comic Book Week and try some new comics? Post your comments below!

There’s has been such a huge groundswell of interest in Jericho Season 3: Civil War, the upcoming comics series from Devil’s Due Publishing, that when TFAW.com got a chance to interview part of the creative team, we jumped at the chance! As you may already know, Jericho Season 3: Civil War is the official continuation of the much-loved Jericho CBS television show starring Skeet Ulrich, Lennie James, and Ashley Scott.

From the very beginning, Jericho has had dedicated, active fans–so much so that they convinced CBS to bring the canceled show back for a second season! Now Jericho’s beloved Rangers are back for a third season in comic book form. Read on to learn more!

TFAW.com: We are here with show writer/producer Dan Shotz and series editor Cody DeMatteis–thanks for taking the time to answer some questions, guys!

Dan Shotz: Our pleasure . . . we are so thrilled that Jericho Season 3: Civil War is finally here. We love seeing the Jericho story continue in comic book form, and we have a feeling the fans will be very pleased with what we’ve put out. The whole Jericho team from the show is involved in the creation of this comic book series and we are having a blast working with Devil’s Due Publishing to give the fans something truly special.

TFAW.com: Jericho was much loved by fans–so much so that they were able to bring it back to CBS for a second season after cancellation. What made you decide to bring it back as a comic?

DS: This has always been about the fans. They are so passionate and have inspired us to keep the story going. They made history when they brought the show back for a second season and we, the writers and producers of the series, wanted to continue the story for them in different ways. This story is very close to our hearts and we feel like we have so much more to tell.

TFAW.com: Where does Jericho Season 3 pick up, storywise? Of course, this series has “Civil War” right in the title. Can you tell us about that?

DS: We left Season 2 with a Civil War looming between the East and the West. And now we have the opportunity to show it. The first group of books will deal with the Civil War on the verge of breaking out and the repercussions of living in a potential war zone. Jake and Hawkins will be directly involved with the outcome of the war itself, while the Jericho citizens will be fighting a resistance from within the new Allied States.

TFAW.com: Dan, what was it like adapting Jericho from television to comics? Were there any particular challenges?

DS: As the writers of the first issue, Robert Levine and I found it very freeing. The comic book form allows us to go big without restrictions. When you are working on a TV series, we are limited by budget and time concerns. When you want a tank to arrive on set, it costs serious money. With a great artist, we can fill a base with a dozen tanks free of charge.

TFAW.com: Cody, were you a fan of Jericho before you started editing the comics? What things do you keep in mind to make sure the comics have the same “feel” of the series?

Cody DeMatties: I had been a fan of the series, right up until the cancellation. Given that the cliffhanger we were left with I was more than excited to be involved with this project. There are plenty of factors to making sure that the comic retains the same overall feel of the original show, but Dan has been a massive help in guiding the voice of the comic. He’s the one that ensures when fans pick up a copy of Jericho #1, they’re going to be more than satisfied.

TFAW.com: How well do you think this comic has recreated the characters and world of the TV series? For fans, will this be like getting a “real” Season 3?

CDe: As Dan noted earlier, with the comics, fans are going to be getting a bigger story. The scope of the Jericho world isn’t tied to budget anymore . . . the sky is the limit for where this can go. I feel that people are going to find the same dynamic, character-driven stories they’ve come to expect from Jericho, but with the freedom of the comics medium allowing for the exploration of aspects not possible on screen.

TFAW.com: How would you describe this comic to readers who’ve never seen the show?

DS: Jericho is a story about a world turned upside down by a coordinated terrorist attack that wiped out 23 American cities. As America is slowly trying to rebuild itself, the country we once knew is now split into different factions and they are each vying for control. But at the heart of the story, Jericho is about the citizens of a small town, who are making a difference on a grand scale. They are fighting back for what is true and right and will risk their lives to save their home.

TFAW.com: How did you choose the artist, Alejandro Giralbo? In the preview pages I’ve seen, it looks like he’s captured the likenesses of the actors really well.

CDe: I connected with Alejandro through Nutopia Agency. We got samples from a variety of artists, but he really nailed the feel we were going for with an added sense of realism. He’s a very talented guy . . . I feel we’ll be seeing more from him in the future.

TFAW.com: Are there going to be any relationship developments in Jericho Season 3, or is this mostly an action tale?

DS: When the writers of the series got together to break the story, we made sure that the book would feel like the show. While the show had high-quality action set pieces, it also had rich characters with strong emotional beats. We didn’t want to lose that multi-layered texture of the Jericho story. I think we found a good mix of exciting adventure with the deeply personal.

TFAW.com: Are there any surprises in store for fans that you can reveal?

DS: We have so many juicy pieces of candy in there for the fans. Don’t want to reveal too much. But I will say that all of the Jericho characters, the fan-favorites, make their way into the book.

TFAW.com: Jericho has such a committed, passionate fanbase–why do you think they relate to the show so strongly?

DS: While the show started with an enormous premise, a post-apocalyptic devastation, it’s connected with audiences because of the individual characters who were forced to realize who they were under the most extreme circumstances. The “what if?” scenario can be very powerful and emotional when you try to see yourself in that position. That concept is where this whole ride began . . . to create a community of citizens that would face adversity on every level and continue to survive. This idea continues to inspire us.

TFAW.com: After this six-issue miniseries has ended, are more story arcs planned?

CDe: We are in the process of discussing what is up next for DDP & Jericho . . . a few exciting ideas being passed around. We should have details soon. We want to keep telling stories in the Jericho universe as long as the fans will allow!

TFAW.com: Thanks again for you time–I’m looking forward to reading the comic!

Dan and Cody: Thank you very much.

Jericho Season 3: Civil War premieres today–make sure to pick up issue #1 now and pre-order issues #2-4 right now!

What do you think of the latest comic book adaptations of television series? Which others would you like to see? Post now or forever hold your peace!

While fairytales are eternal, passed down for thousands of years, the popular notion is that these classic fables are just for kids. Well, not anymore. Artist and writer Nick Percival has created a dark, steampunk wonderland: Legends: The Enchanted, an upcoming graphic novel from Radical Publishing. However, you can get a sneak peek of this epic with issue #0, out January 27, with a cover price of just $1 ($0.80 if you pre-order from TFAW.com now). Read on to learn more about Percival’s vision and to get a glimpse of his haunting, twisted world!

TFAW.com: Hi Nick, thanks for talking with us.

Nick Percival: No problem–thanks for the opportunity.

TFAW.com: What can you tell us about Legends: The Enchanted’s premise?

NP: The book is set in a violent and decayed creature-infested world where strange technology, nature, and dark magic are in constant conflict. The story runs with the premise that many of the classic characters from folklore and fairytales have always existed. Known as the Enchanted, these people are now well into adulthood.

Feared and loathed by many, they spend their fractured existence as outlaws, vigilantes, bounty hunters and such, living their lives independently in an increasingly hostile world. The majority of these Enchanted have a mystic protective “charm” that allows them to sustain vast amounts of deadly physical damage yet still fully recover–they are virtually impossible to kill.

When the mutilated body of Pinocchio, (a huge supernatural “warrior man” made from bionics and wood) is discovered, they realize something or someone has found a way to break their charm and is now after them.

I really wanted the book to be a hard-as-nails, urban action-fantasy tale starting with a murder mystery and escalating into an ongoing battle for the very survival of the whole Enchanted.

TFAW.com: What inspired you to create this graphic novel?

NP: Well, I’ve always been a massive fan of traditional folklore, and I originally came up with the story late 2002, all the time since then creating prototype character paintings and fleshing out the world and storyline as I worked on other projects. I loved how these characters’ origins and classic tales are dripping with dark subtext, violence, horror, dubious moral themes and bizarre conclusions.

Visually, it’s a genre that I’ve wanted to explore and felt I could bring a fresh spin on these well-known characters, giving them a gritty edge and emphasizing the conflicts they have between each other. They don’t all get on, and the idea of an action tale, set in this weird world along with the themes of warped technology and magic, are what inspired me to finally get stuck in and fully commit to the project.

As Radical became involved later down the line, we were looking at various formats for the story and decided an original graphic novel would be best, but with a preview issue #0 first, so people can get a good idea of what it’s all about and see the style of the book, the characters, and their world.

TFAW.com: What differentiates Legends from other series that center on similar subject matter, like Fables?

NP: It’s a good question, and one I’m sure will constantly come up. To be honest with you, I’ve never actually read Fables. Obviously, I’m aware of the series, and from what I have seen in various comic book mags and websites, on a purely visual level at least, Legends is massively different. I’m fully painting the whole story with very detailed artwork–my background is in painted comic books and cover artwork (2000 AD, Judge Dredd, Slaine, Marvel’s Dead of Night, etc.), and I also worked as a computer animation director for video games and TV, so I wanted to create a unique high-end slick look to Legends with the artwork, very cinematic in lighting but also taking advantage of what is unique to the comic book medium with certain storytelling devices, and so on.

TFAW.com: Why did you choose a steampunk look for this book?

NP: There are certain steampunk elements to the look but mainly an urban post-apocalyptic feel with nature now starting to reclaim some of the environments. So we get ruined cities, weird science labs, strange vehicles and places, with a mix of heavy-duty industrial and gothic influences. One of my favorite locations is the Bionic Woodlands where Red Hood lives with her daughter. It’s a weird mix of twisted bio-mechanical trees and bizarre organic vines and living foliage–a very harsh-looking place.

TFAW.com: What are some of your favorite characters in this book?

NP: Wow. Probably too many to mention. The cast ranges from my version of Rapunzel, who can control her long unbreakable hair to strangle her enemies and in some cases rip their damn heads off. Hansel and Gretel are Paranormal Exterminators, Jack the Giantkiller is a kind of hero for hire–only works at dispatching Ogres, etc. for the right price. He swallows Magic Beans that each give him different powers for a limited amount of time. He’s a bit of a rogue and rides a souped-up motorcycle that uses Giant’s blood for fuel, so he’s quite cool. Humpty Dumpty is a crime gang lord who runs a seedy nightclub. We have the wolf creature hunter, Red Hood, whose relationship with her young daughter is a major, major part of the story.

TFAW.com: Which aspects of Legends do you think will surprise readers the most?

NP: I don’t think it looks like any other comic book on the market, so I’m quite pleased about that and I think readers will be pleasantly surprised at the take on these classic fairytale characters we’re all familiar with. I felt there was a lot of room to take the characters and really go to the extremes of what they could be, using their well-known back stories as great source material and weave some of that into the big plot of Legends but twisting those tales, ripping them apart and then stitching them back together again with a rusty needle and an added dose of visual steroids.

TFAW.com: What are some of the major storylines you’ll pursue?

NP: We have the threat to the Enchanted, and the fact that they realize they can now be killed, which is obviously a very big deal for them and the result in that they have to work together for the first time as team, resolving any past conflicts and disputes they have. We’ll also see the larger picture and structure of their world and how it changes as a result of what is happening around them. Add to that a healthy mix of punk-rock Giants, twisted science, dark magic, big guns, cool motorcycles, super-powered magic beans, trolls, love, violence, tragedy, chainsaws, wild nature, booze, horror, telepathy, werewolves, strange nightclubs, beanstalks, cyber-witches, dumb monsters, explosions and bio-mechanical fairies. Hopefully, it’s like no fairytale you’ve ever seen.

TFAW.com: What will readers see in the #0 issue?

NP: It basically amounts to what would be the first chapter. We see the murder of Pinocchio and will be introduced to about two thirds of the cast. It also gives you a good look at the world they inhabit and the dangers they face. I’m hoping folks will at least give it a shot (hey, it’s only a buck!) and feel excited and intrigued enough to then pick up the graphic novel to get the full story.

TFAW.com: Is this a stand-alone graphic novel, or do you anticipate telling more Legends stories in the future?

NP: The graphic novel is a complete story, but it sets the scene for many future tales, which I’ve started to map out. Relationships change, and not every character makes it to the end of the book, while some evil elements still remain, so there are areas that would be ready for a sequel and more further down the line.

TFAW.com: Where does Legends fit into your body of work?

NP: I started the book while I was still working on various comic book covers, collectible card artwork, and film concept and production art, but now that I’m in the later stages of the project, I’m working on it full time to get it finished. It’s definitely the best body of work I’ve done and the first thing I’ve solely created, written, and illustrated, which is great.

TFAW.com: What other projects are you excited about right now?

NP: After Legends, I’m developing a project with a very established Hollywood screenwriter and will see where that leads, as well as dabbling in another original project I’ve got cooking, and–hopefully, if all does well–more Legends material. I’ll probably continue with cover work and film stuff alongside that, but if I did return to non-creator-owned comics, I have a cool idea for a very dark, horror-themed Hulk story, so who knows . . . ?

TFAW.com: Thanks again!

NP: Cheers!

What do you think about incorporating steampunk, fairytales, and comics? Are you curious enough to check out Legends: The Enchanted #0? Post your comments and opinions below!

One of the most exciting new offerings this month is Logan’s Run: Last Day, a 24-issue limited series from the folks at Bluewater Studios.

Having discovered the Logan’s Run novel by William F. Nolan and George Clayton Johnson back in high school, I was pretty psyched to hear about this adaptation. It looks like this adaptation will stay true to the novel, rather than the 1976 movie starring Michael York.

I had the chance to interview William F. Nolan about the new adaptation, his plans for other series with Bluewater, and the state of a new Logan’s Run movie:

TFAW.com: It is nice to (virtually) meet you, Mr. Nolan.

William F. Nolan: Thanks, glad to (virtually) be here!

TFAW.com: We were really excited to hear about Logan’s Run: Last Day, the new comic book adaptation of your novel. How did the comic come about?

Nolan: My good friend and author/filmmaker Jason V. Brock (Charles Beaumont: The Short Life of Twilight Zone’s Magic Man) and his wife Sunni saw an article about Bluewater in the local Vancouver, WA paper. Jason does some agenting on my behalf and contacted Darren G. Davis, the president of Bluewater.

We scheduled a meeting at their offices in Vancouver, and they were very excited about the Logan property. Jason (who is also an artist and the Art Director/Managing Editor of Dark Discoveries magazine) and I assisted in working on the designs and costumes for some of the characters, which they are using in the final comic. Also, Jason had come up with a great storyline for a new Logan book we are outlining that uses the original book and expands on the backstory, updating it significantly.

That’s where Paul J. Salamoff comes in: he was chosen to adapt the novels into comic format, but none of us really wanted a “straight” adaptation of the books–it’s been done by MGM, Marvel, Malibu Graphics, and so on. It was time for a fresh take on Logan. Paul was perfect for the job. Not to mention that the four of us–Darren, Paul, Jason, and myself–all work well together and have gotten to be friends.

TFAW.com: Logan’s Run isn’t a stranger to comics. Other publishers have done mini-series adaptations over the years. Is there something special in today’s world that prompted you to move forward with an adaptation?

Nolan: I was not happy with Marvel or Malibu’s versions. I very much disliked the art in the Malibu edition, though they were faithful to the books. As far as the Marvel version, it was just too “superhero”: Logan is a real character, not a superheroic one, and I was never that pleased with it. In addition, they were really adapting the MGM movie, which is flawed, not the book that I wrote with George Clayton Johnson.

Given the current trend of Hollywood getting interested in comic book works, I feel that this is the perfect time to get a really great version of Logan out there . . . and this is the one.

TFAW.com: To what degree are you involved with the Bluewater Productions adaptation of Logan’s Run?

Nolan: I have final creative say-so over the artwork and storyline, as well as writing for some of the other titles we have planned.

TFAW.com: Will Paul Salamoff be staying pretty close to the original story or have you given him some freedom to move about in the world you’ve created?

Nolan: Paul is working off the outline that we provided, but has added a couple of elements. He is actually being faithful to the first two books (Logan’s Run and Logan’s World) at the start of the series. All of us are excited about the directions that we could go after these first six or so issues.

TFAW.com: What has Daniel Gete brought to the table in terms of art for Last Day?

Nolan: His work is very good. Jason and I both like his rendering and layouts a lot. His vision is in concert with ours: strong and direct–perfect for Logan.

TFAW.com: For someone who might only be familiar with the 1976 film version of Logan’s Run, what differences can they expect to see in the comic?

Nolan: We wanted as many things as possible to be different from the film, for legal and artistic reasons. We went back to the source material as much as possible, and built on that. You’ll see very soon!

TFAW.com: Awhile back, I heard that the series was scheduled for 24 issues. Is that still the case?

Nolan: Yes, 24 issues is correct. We have a lot planned for the series.

TFAW.com: Are you planning on working with Bluewater Productions on any other series?

Nolan: Yes. I signed on to do have an adaptation done of Sam Space, my future-noir character, for a run of four to six issues, and Dark Universe, a run of six issues utilizing my horror stories as source material. I am slated to adapt at least two of these, and Jason Brock has been tapped to adapt three of my stories.

TFAW.com: There have been whispers of a remake of the Logan’s Run movie. Are there any plans to move forward on a film project?

Nolan: It’s more than a whisper–it’s been in “pre-production” for 13 years! Joel Silver is involved, as well as Bryan Singer, among others. They still plan on making it, but when . . . that is the question. We’re hoping that the direction that we plan on taking the comics will light a little fire under Hollywood, as well as give them a bit of direction for a possible way of doing justice to the spirit of the books. It is a great candidate for a remake, as the technology has improved dramatically since 1976 and they could really do a lot with it.

TFAW.com: One last question: At TFAW.com, we’re always looking for ways to go above and beyond for our customers . . .

Nolan: I think I know what you mean . . . would you like some signed copies of the comics? I’m sure Darren would be happy to supply some for you guys, and I love to sign for fans! How about 15 or so copies for you guys?

TFAW.com: Absolutely. I think our readers would like that very much. Thank you for taking the time to chat with us about Logan’s Run: Last Day, and thanks for signing some books for us!

Nolan: No problem: any time!

—————-

You heard what the man said, we’re getting 15 signed books, and we’re offering them up to 15 random people who pre-order any Logan’s Run: Last Day issue by 1/24/10. Winners will be announced in the TFAW.com Newsletter on 1/28/10!

In the meantime, check out the four-page first look and whet your appetite. ;0)

Interested a comic that’s a cross between The Hobbit and a Clint Eastwood movie? Then you’ll want to check out The Untamed: A Sinner’s Prayer, the debut comic from Stranger Comics. We had the chance to interview the writer and founder of Stranger Comics, Sebastian Jones, and his enthusiasm about the book–part of an entire universe the gamer has spent years creating–is infectious. Read on:

TFAW.com: Hi Sebastian, thanks for talking with us!

Sebastian Jones: Hi, it is nice to be spoken to!

TFAW.com: Tell us the story of The Untamed: A Sinner’s Prayer.

SJ: Our tale takes place in the hellhole Town of Oasis. It’s a one-horse haven for killers and thieves hidden in the Desert of the Dying Tree, all within the vast and volatile world of Asunda.

Asunda is a brutal fantasy universe of epic proportions I have spent twenty-some years creating. Even though Asunda is inhabited with Elves, Dwarfs, and Sorcerers, I wanted to have my “Hobbit” be a simple, yet dark and gritty tale of atonement for past sins by any means necessary.

Here’s the pitch: The initial story line revolves around a lone Stranger, taking that “Clint Eastwood” drifter’s walk across the sweeping desert towards the Town of Oasis. Ten years ago he ran the town with malice and harshness. As his wife and child were on the verge of turning him [toward good], they were murdered, and so was he.

This Stranger is then offered a deal to get out of hell. He is granted seven days to reap seven souls and gain a chance at revenge. Conflict arises as a young girl reminds him of his murdered daughter. She acts as his conscience and becomes his only hope for salvation.

TFAW.com: What inspired this comic?

SJ: I mentioned Clint Eastwood, but I could easily have said Toshiro Mifune. I have always been inspired by these classic films, where our anti-heroes are uncompromising but often flawed men. So I really try and bring that mood and atmosphere to the storytelling, which art director Darrell May and artist Peter Bergting convey so well.

Peter’s stunning and vivid paintings draw you into each panel like a Sam Peckinpah or Sergio Leone frame. You can smell the blood and liquor that lingers in the air, and feel the sand sting your eyes. Peter Bergting is a master and I am honored to work with him. Plus he’s a damn good cook!

However, the true inspiration for the tale is my son, and wanting to be a better father. Always. I think most men can relate. Because I am a gamer, and a dreamer, it was easy for me to set the story within Asunda. Our tales will focus on the raw condition of man and woman, as opposed to the classic fantasy tales of questing for magic rings. (Although we do have magic rings!)

And finally, I always thought how cool would it be to see two dudes with swords in cloaks square off like gunfighters. Now that rocks!

TFAW.com: Who are the Kraven?

SJ: The Kraven are a rogue’s guild of vicious mercenaries that pass for law in the Town of Oasis. They’re comprised of wicked men, tainted Galemren (Wild Elves), and a mute Grachukk (Orc) named Kersheg. Again, if we were watching a Leone flick, the villains would be a mix of whitey gringos, banditos, and perhaps a turncoat Native Indian.

They are the Sopranos of the town, and when the Stranger was alive, he was the Tony Soprano. When you dive into the story, this savage bunch is led by Phylax and Lariel. The former is Stranger’s jealous older brother, whereas Lariel is his jealous mistress. Trouble.

TFAW.com: Where does Niobe fit into the story?

SJ: The ultimate question! She is the soul of our story. Her purity offers the Stranger a second chance at being a good man. Her innocence cleaves through the darkness, and the thorns that shroud the Stranger’s heart.

There is a lot to discover about Niobe that I don’t want to spoil, but she radiates a destiny that represents everything good in the world.

TFAW.com: Is your protagonist good, bad, or both? Why is he so set on revenge?

SJ: He and his family were murdered. I’m sure that would tick off most folk

To me, the Stranger is the raw epitome of man with all his flaws and redeeming qualities on maximum volume for all to see and judge. We will love him or hate him for his deeds, and sometime both. He is so driven and focused to avenge his family’s death, he is willing to do bad things. It is the journey he takes that will open his vision to salvation. We hope he makes the right choice.

I am sick of the prototypical good guy, and even the supposed gray-area anti-heroes of today, with their waxed eyebrows and perfect weaves. I was raised on Woody Strode and Robert Mitchum. William Holden and Ernest Borgnine in The Wild Bunch.

Imagine dudes like that with swords instead of six shooters. And being born and raised in England, if I hear one more affected England accent in a fantasy flick I am going to chop my own foot off and beat someone with it!

TFAW.com: If he escapes Hell, what then?

SJ: The sequel. Essessa, our beautiful and murderous Vorkas Vampire, might just come calling. Can’t say too much more about Essessa, except she is our smoking hot Darth Vader.

TFAW.com: What has been the most surprising part of founding a comic book publisher?

SJ: It is expensive! Perhaps, just a tad more than I realized. And, as we are a green company, the recycled paper we print on costs a lot more. Unbelievable!

The workload is brutal. I work seven days (for seven souls) a week, mornings through night. My family sacrifices more than anyone so they deserve the credit for our company, which is attempting to bloom in a very harsh climate.

However, it is ultimately rewarding to share our books with the people on the street. Sounds cliché, but that feeling rocks! And the feedback has been tremendous.

TFAW.com: What kind of books will Stranger Comics specialize in?

SJ: We have three brands under our banner. The aforementioned Asunda, (our fantasy universe); Arcane Imagination (children’s stories/folklore/faerie tales); and Black Eye Dog Studios (tales for film/and other worlds).

TFAW.com: What comics do you read? What are your influences?

SJ: And I still go back to Kingdom Come and Watchmen . . . mmmnnn . . . Jack Kirby is my biggest influence. “This Man This Monster,” probably inspired me more than any other comic book. The depth of emotion and sacrifice to this piece spoke volumes to me.

Other books, writers, and artists include Stan Lee, Sal Buscema, Frank Miller, Jeph Loeb, Afua Richardson, and our own Peter Bergting, Steph Stamb, and Hyoung Taek Nam. Plus, keep a look out for Darrell May, Christopher Garner, Sheldon Mitchell, and Tomo. These cats keep me inspired.

TFAW.com: How many issues with The Untamed: A Sinner’s Prayer be?

SJ: Seven issues. Seven days. Seven souls.

We hope to have our stuff animated like issue #1 [check out the preview below, directed by Sebastian and produced by Ken Locsmandi (The Matrix/Fight Club) and Filmworksx (Apocalypto/Zohan)].

TFAW.com: Thanks again!

SJ: Thank you!

Make sure to check out our First Look of The Untamed: A Sinner’s Prayer #1. You can also enter to win one of three sets of issues #1 and #2, plus the variant of issue #1, each signed by Sebastian Jones and artist Peter Bergting right here.

So what do you think of the premise of The Untamed: A Sinner’s Prayer? Are you excited to see what comes next from Stranger Comics? Post your comments below!

A TFAW.com Exclusive!

If you’ve been keeping an eye on comic news lately, you’ve probably heard whispers (and shouts) about 45, an intriguing title from Com.X that hits shelves on December 23rd. And if you’re anything like me, you read the praise for this title, such as in the November 2009 issue of Wizard where 45 is listed at #17 on the list of “Top 50 Things You Need To Buy,” and you started to get more than a little excited.

First off, there’s the premise–a journalist expecting his first child, who may or may not be super-powered, interviews 45 super-powered individuals from every walk of life to get an idea of what he might expect. And then things begin to get complicated. But beyond this intriguing idea, there is something else that sets 45 apart. Each and every vignette is illustrated by a different artist, for a total of 45 artists, including seasoned industry veterans and hotshot up-and-comers, contributing to one book.

Are you starting to see why we’re so excited? Well then, here’s the coup de grace: we have an exclusive interview with Andi Ewington, writer of 45 (his debut title, if you can believe it), giving TFAW.com’s viewers the lowdown on what we can expect and a hint to the mysterious identity of the 45th artist.

Want to win a copy of the book signed by the writer and many of the artists? Of course you do! Just leave your guess as to the identity of the mystery artist in our comments, and you’re entered to win. We’ll choose one winner (at random) from the correct answers. Watch and enjoy.

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What do you think about this title? Any guesses regarding the mystery artist? Post them below!

Exclusive Interview With Indie Cartoonist Erika Moen!

TFAW.com recently had the pleasure of sitting down and chatting with Erika Moen, a local Portland cartoonist who recently self-published DAR: A Super Girly Top Secret Comic Diary Volume 1, a collection of her web comic, DAR. Packed full of the details of her life, from the mundane–working in data entry to support her art–to the controversial–a self-identified “queer” woman, she married a man last year–to the downright gross (farting!), DAR is hilarious, endearing, and always fascinating, as is Moen herself:

CHECK OUT A PREVIEW OF DAR: A SUPER GIRLY TOP SECRET COMIC DIARY

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Questions? Comments? Post them below!

One of the most exciting new series of horror comics is Locke & Key, from Joe Hill, a relative newcomer to comics who also has a successful career as a novelist (Heart-Shaped Box) and short-story writer (The Living Dead). Locke & Key focuses on a family that, after a horrific tragedy, moves to an old family manse in New England and tries to start over. However, the kids, Tyler, Kinsey, and Bode, keep stumbling over magical keys–keys a malevolent being, Dodge, is determined to get. Dodge transforms himself into a seemingly normal American teenager named Zach and befriends the family, but he also appears to be the reincarnation of a high school friend of their father’s named Lucas Caravaggio.

Full of humor, pathos, and truly unique supernatural elements, Locke & Key has been nominated for an Eisner, and two story arcs, Welcome to Lovecraft and Head Games, are available as graphic novels. The first issue of the third arc, Crown of Shadows, will be released by IDW on November 25. Fortunately, we were lucky enough to be able to speak with the very enthusiastic Joe Hill and pick his brains about where Locke & Key is headed, and what he’s liking from the horror genre in general:

TFAW.com: Where did the genesis of Locke & Key come from? What inspired it?

Joe Hill: Basically, the long-form genesis of Locke & Key is, I had written three or four novels that I was never able to sell, including one that I had spent three years on, and it was a total heartbreaker. I sent it to every publisher in the US and Canada and England, big press and small press, and everyone turned it down. So I was a really unsuccessful writer, and the only thing I had had any luck with was my short stories, and there wasn’t any money in short stories, and it’s not like many people read them. But there are some passionate short story fans, and I had written some good ones and had won a couple prizes, and got in a year’s best collection.

A talent scout at Marvel Comics had spotted one of these stories and had got in touch with me and asked if I had any interest in writing about men in tights hitting each other, and I thought it sounded pretty great to me. So I wound up writing a one-shot, an 11-page Spider-Man story, that’s easily the most horrendous thing I’ve ever had published, it’s just a terrible piece of writing. Basically, I choked. I blew it. I really wanted to do well, and wound up not doing a very good job. And the funny thing is, it sold pretty well, because it was saved by the art. The late Seth Fisher did the illustrations, and he made what wasn’t funny very funny, and what wasn’t tense very suspenseful, and so he kind of saved my ass on it.

It was a strange experience, because I knew I hadn’t done a very good job, but I found the act of writing a comic script strangely addictive, and I had always had a comic book imagination. Most of my favorite writers were writers who had come out of comic books. Alan Moore, and Neil Gaiman. And a lot of my most important reading experiences had been in comic books, whether it was Watchmen, or Swamp Thing, or Dark Knight Returns, or Sandman. Like a lot of men of my age, I think for a whole generation of writers, the Vertigo imprint loomed large in our imaginations. So I didn’t do a very good job with the Spider-Man story, but the hook was in, and I wanted to redeem myself and do something better and keep writing in comics, so I came up with all these pitches, and I sent them around, and nothing ever happened with them. No one was much interested.

One of the concepts was for a kind of off-kilter haunted house story called Locke & Key, which involved this family settling into an old New England home, which was full of keys with unnatural powers attached to them. And that idea wouldn’t leave me alone for years afterward. I would keep thinking about it, sometimes having new ideas about characters, and keys, and events that could happen, and eventually I had some good luck, and my first book of stories came out, and I sold my first novel, and around that time, Chris Ryall at IDW got in touch with me about maybe adapting some of my short stories into comic books, and I came back to him and said, “Wait, I think I have something better.” And that was Locke & Key.

TFAW.com: One thing that really sets Locke & Key apart from other horror comics is it’s as much a family drama as it is a horror tale. What attracted you to that combination?

JH: One thing that often happens, when people do a horror movie, or a frightening TV show, or a horror comic, one mistake which often gets made is, there’s a big focus on the supernatural element and on the bad guy, but there’s no effort made to make the main characters likeable and unique and sympathetic. A lot of times they’re just types, and this is why so many of the slasher films are such a joke, why everyone laughs at them. Cause, you know, the teenagers in a Friday the 13th movie have all the emotional power of a paper target in a shooting gallery. No one really cares about them, they’re just there to be struck down by Jason.

For me, the first step to making a successful horror story is making sure the characters matter and are emotionally real and unique. You want the reader to invest in those characters and care about them, because then, when the guy shows up in the hockey mask, they’re really frightened for the main character, as opposed to just waiting to see how they get cut down.

So my intention was always to slow the pace down a little bit and focus on character as best as possible, and try to get the reader engaged in who these people are and see them as unique human beings, as opposed to types. But I think that’s true not just in horror–that’s true in every sort of storytelling. The first key element of telling a story that people care about is engaging them, making sure that they invest emotionally in the characters in the story. Because if you don’t have that, you don’t have anything.

TFAW.com: So Dodge is the ghost or the demon form of teenager Lucas Caravaggio. What was Lucas like? Was he always evil, and was he ever actually a teenager?

JH: In one sense, Dodge is the resurrection of Lucas Caravaggio. In another sense, he’s something quite a bit more, and quite a bit different. And we’re sort of revealing his true nature in the very first issue of Crown of Shadows.

You know, I was a big X-Files fan. Loved the X-Files, and I loved the first couple of seasons of Lost, but I think one problem with ongoing series, one way they sometimes go bad is they keep piling on the mystery. They keep piling on the questions. And after awhile there’s too much mystery. They raise more questions than they could ever possibly hope to answer. And so one thing I’m committed to with Locke & Key is making sure that when I raise a question, I have an answer, instead of continuously heaping on mystery after mystery. In each arc, some of the major questions get answered, so hopefully when we come to the end of this thing, the very final page of the very final issue, it will be about tying up the story for a final emotional resolution, as opposed to cleaning up messes. That would be terrible. No one wants to be in that kind of situation.

So in the very first issue of Crown of Shadows, one of the things that will be revealed is why Dodge is the way he is, and why he’s capable of such terrible things. Especially considering that once upon a time, Lucas Caravaggio was actually a heroic figure. Not a bad guy at all, but one of the best of the good guys, which is pretty strange to think about, considering how we met him and what he’s done since we’ve got to know him. In many ways, Dodge was as likable as Kinsey or Tyler.

TFAW.com: Speaking of Kinsey, in Head Games, she literally removed her fear and her ability to cry from her brain. Would that essentially lead her down the same road that Lucas went?

JH: I’m not gonna say anything about where Kinsey’s headed as a character, looking ahead. I will say that, one of the things that I think is important when you’re telling a fantasy story or a horror story, is that it’s more satisfying for readers if that element of fantasy somehow raises bigger questions about real life.

So in the case of Kinsey losing her fear and her ability to cry, it’s an exaggerated look at what happens anyway to a lot of teenagers. At some point in high school, kids will often become very reckless, and develop a willingness to engage in very dangerous behavior, and take risks that they should probably know better about. So now we have that with Kinsey in exaggerated form, and it’s just an interesting way to look at a very common passage for most teenagers–a very common life passage.

TFAW.com: Can you tell us more about the questions that will be answered in Crown of Shadows?

JH: Let’s see. Well, we’re going to see a lot more of what makes Dodge tick. And we’re going to find out a little bit more about Sam Lesser. And we’re going to learn a little bit more about the Omega Key, which opens the black door. I don’t want to give it away–I want to avoid saying too much and telegraphing what we’re going to do. What I will say is there’s a big reveal on the last page of the last issue, and we’ll get an answer to one of the big questions that has been hanging around the story.

TFAW.com: Can you tell us whether Sam is there as an agent of Dodge or if he has his own agenda?

JH: Well, I’ll say this. When we first met Sam, Sam was being sort of manipulated by Dodge, and Sam is sort of a pathetic, frightening character, although I like to think it’s possible to have some sympathy for him, even though he’s committed terrible acts. But when we meet him again, his relationship with Dodge is going to be radically changed.

TFAW.com: I’ve heard that Locke & Key is going to be six miniseries. Do you think it could continue past that, or is that the end?

JH: Well, once I tell the story of Tyler, Kinsey, and Bode, I’ll be done with that. That doesn’t necessarily mean there will never be any more Locke & Key stories, but I will have told the story I want to tell. It’s important to remember that when I started Locke & Key, I didn’t know what the hell I was doing. I was still very green with this, I had only written three 11-page comic book stories, and when I did it, I had two notions. One was that it could be a continuing thing that would run somewhere between 36 and 48 issues. And I had a lot of the story plotted out. But I also wasn’t sure it would succeed–it could have tanked, or been a big bomb–so I also had a plan for six issues, and then if this thing had completely tanked, I had an escape hatch where I could finish the story in another six issues. And it wouldn’t have been very good, but it wouldn’t have been shameful, either.

Fortunately the comic did well, it’s been well received, it’s continued to build its readership, so I get to do the daydream, and I get to explore these stories in a very full kind of way. It’s taken me a little bit of thinking to figure out how many issues it’s going to take to tell the story, but I don’t like it when things are stretched out. So it’s possible that the series could go as many as 48 issues, but I’m aiming for 36, and I think it’s possible. I think I can tell everything I need to tell in 36. We’re going to see, though.

TFAW.com: What was it like switching from writing prose to scripting comics?

JH: I find writing comic book scripts incredibly addictive. I think it’s because the comic book form really plays to my strengths as a writer, while sort of hiding my weaknesses. It allows me to play with big, weird concepts and to build stories around dialogue and action, and I don’t have to worry about the stuff that really makes me sweat, stuff I really fret over as a novelist and short story writer–the sound of my prose, and finding a balance between description and forward motion. Because comic books are all about forward motion. Every comic book has the gas pedal pushed to the floor. As a writer and as a reader, I love that.

Another thing that attracted me to comics is I felt it would be an extension to something I had already figured out. I had already figured out how to write a pretty good short story, so I felt that comic books would offer me a chance to expand on that, maybe with a larger audience. I feel like the first really successful script I wrote was the first issue to Welcome to Lovecraft.

TFAW.com: Do you think you will stick with horror in the future, or will you branch out to other genres?

JH: I don’t know, exactly, that’s a hard one to answer. One thing is, because I do do other kinds of writing, I’ve always got a novel, I’ve always got a couple short stories I want to work on, so I try to strike a balance. I don’t think I’ll ever be carrying four or five comics at once. I’ve never been a guy who’s really hung up on cape stories. It’s been years and years since I followed the continuing adventures of super anything. I read a lot of comics–I generally read about a comic a day. But the comics I tend to read are Ed Brubaker’s Criminal and Darwyn Cooke’s Parker, Wormwood. It’s very rarely the superhero stuff. So I don’t know. But I love to write stories that have a big engine in them. I like to write stories that are suspenseful. I like the keep the gas pedal down, so I don’t know. I don’t know if I’ll always write horror comics, but it’s important that there always be an element of suspense.

TFAW.com: This interview is for horror month, and there’s been a big upswing in horror lately, in movies, and TV, and things like that. What are you attracted to in horror stories in general?

JH: I like when there’s something fresh. I like going and seeing something new and unexpected. I think that what makes Zombieland such a blast of a film, is that the suspense and the action are tense and very well paced, but it also takes the audience in very startling and unexpected directions. I don’t need a rehash of something I’ve already had. So that’s one thing I look for.

And you know, it returns us to where we started our conversation: I also look for a character I can latch into. If I really care about that main character, I will read almost anything. So Zombieland was great. The remake of The Last House on the Left was pretty awesome. It’s brilliant, and very upsetting. It was cool because no one called it in. No one treated it like they were making trash. They all acted like they were in a straight drama, and it made it much more intense. So that was good.

In terms of what’s going on in comics, I like a lot of the crime stuff that’s going on right now. I really like what Ed Brubaker is doing. I think Criminal is great, and I liked Incognito a lot. He’s put together a great body of work.

TFAW.com: Well, thanks so much Joe!

JH: Bye!

If you haven’t checked out Locke & Key yet, be sure to browse Welcome to Lovecraft and Head Games, and make sure to pre-order Crown of Shadows now to get 20% off!

What’s your take on the horror genre? Any other questions we should have asked Joe Hill? Post them below!

Exclusive Interview With Andrew Migliore!

You’ve seen Part 1–now enjoy Part 2 of our interview with Andrew Migliore, founder of Portland, Oregon’s H.P. Lovecraft Film Festival. Here, he talks about some of his notable guests from the past, and what he hopes to accomplish with the festival in the future:

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Exclusive Interview With Andrew Migliore!

We’ve had some excellent footage from the 2009 H.P. Lovecraft Film Festival and Cthulucon, an annual celebration of classic horror, movies, comics, literature, and more in Portland, Oregon. Now we have the first of a two-part interview with fest founder Andrew Migliore of Lurker Films! He talks about the genesis of the festival 14 years ago and what he has planned for the future:

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