Welcome to the horror comic of the week, if you only have cash to pick up one comic this week make it “Intersect” #5.
Intersect is Ray Fawkes’ strange surreal look at what it means to be “intersected.” It’s a twisted take on body horror brought to life beautifully with water colors. The narrative has been organically uncanny, it’s as if you’re lost in a fever dream and the only way out is to keep digging deeper. The beauty of the entire thing is the interlocking sexuality that comes with being immersed in the pages. There is something about being intersected that is impossible to resist, and a little hard to fathom. “Intersect” continually proves itself a worthy entry in the canon of Cronenbergian Body-horror, not by being a cheap imitation but by doing something dynamically different and insane.
Eric Switzer has continually raved about the book.
Issue #5 is the penultimate issue of the first arc, “The drumbeat of revelation sounds in cracking streets and splintering bone. All survivors move into their final position and the scorching, monstrous truth of all things is poised to be witnessed, but not before a vicious battle unfolds…”
Just as Chloë Sevigny joins “American Horror Story: Hotel”, filming has begun on her next film, Antibirth, which also stars Natasha Lyonne (“Orange Is the New Black”), Meg Tilly (The Big Chill), Mark Webber (Scott Pilgrim VS. The World), and Maxwell McCabe-Lokos (The Incredible Hulk).
Written and directed by Danny Perez, “In a desolate community full of drug-addled Marines and rumors of kidnapping, a wild-eyed stoner named Lou wakes up after a wild night of partying with symptoms of a strange illness and recurring visions as she struggles to get a grip on reality while stories of conspiracy spread.”
Filming takes place in Sudbury, Ontario.
Just the other week franchise star Jessica Lange exited the “American Horror Story” universe, leaving the reigns to the infamous Lady Gaga.
Now, with the fifth season in full swing at FX, co-creater Ryan Murphy has added Chloë Sevigny to the cast of “American Horror Story: Hotel”, returning this fall. Sevigny is a returning series regular, and recently starred in Netflix’s incredible new series, “Bloodline”.
Lady Gaga, Wes Bentley, Matt Bomer and Cheyenne Jackson have previously been cast.
We’ve been truth to figure out what “American Horror Story: Hotel” will be about. We came up with three theories, tagged here. Which do you think it is, if any?
In terms of Lange’s previous exit: “Yes, I’m done,” she told the PaleyFest audience. “We’ve had a great run here. I have absolutely loved doing these four characters that I’ve had the opportunity to play. In all the madness, I’ve loved the writers, my actors, Ryan and the whole, I mean, insanity of it, shooting here, shooting in New Orleans, the stories, everything.”
While this isn’t the first time we’ve been honored in such a way, both Tom and myself are elated to share Daniel Ponton’s new tattoo that gives homage to Bloody Disgusting!
We put our heart and soul into this website, and to know that we have fellow horror fans who would ink themselves with our logo for life is beyond humbling.
Ponton shared with us the following photo of the Bloody tat on his chest, courtesy of artist Mark Wright of Capital Tattoo in Silver Spring, Maryland.
We can’t express our gratitude enough, and can only hope that we make him proud to still have that tattoo when he turns 90…
Uncork’d Entertainment will release the applauded spookfest Evangeline, starring “The 100′s” Richard Harmon, on VOD May 8, 2015, and on DVD June 9, 2015.
“Evangeline Pullman (Kat de Lieva) has just escaped her sheltered upbringing to reinvent herself in college. As she begins to break out of her shell, she attracts the attention of a violent fraternity leader (Richard Harmon) and his two cohorts. Beaten and dumped in the woods to die, Evangeline finds herself trapped in a supernatural nightmare, and she must choose between vengeance and redemption.“
From director Karen Lam, Evangeline stars Kat de Lieva as the titular character with Richard Harmon (TV’s “The 100″) and David Lewis (Halloween Resurrection, Man of Steel).
“The Walking Dead’s” Jon Bernthal, Richard Armitage and Tom Holland have joined the cast of the Irish action-thriller Pilgrimage, which will be directed by Brendan Muldowney this spring in Ireland and Belgium, Bloody Disgusting learned.
“Set in 13th century Ireland, Pilgrimage follows a small group of monks as they undertake a treacherous pilgrimage to escort their monastery’s holiest relic to Rome. But, as the true material, political and religious significance of the relic is revealed, the group’s journey becomes increasingly fraught with danger. Ultimately, the faith that binds the men together threatens to be the very same thing that will tear them apart.”
The film was written by Jamie Hannigan and will be produced by Conor Barry and John Keville of Dublin-based production outfit Savage Productions and Benoit Roland of Wrong Men North. XYZ will executive produce.
The film is scheduled to commence production in April 2015 and shoot for over seven weeks on the West Coast of Ireland and the Ardennes Region of Belgium.
A few weeks ago we learned that Independence Day 2 (also known by the awful title ID Forever) takes place 20 years after the 1996 film and sees alien reinforcements coming to earth following a distress call sent by the first failed wave of invaders that Will Smith punched in the face.
Director Roland Emmerich announced on his Twitter page that Vivica A. Fox is reprising her role as Jasmine Dubrow, the stripper who winds up marrying Will Smith’s Capt. Steven Hiller. She joins a cast that already includes Bill Pullman, Jessie Usher, Jeff Goldblum, Charlotte Gainsbourg, and Liam Hemsworth.
Smith has opted out for the sequel and it’s already been confirmed that the story will center on his stepson Dylan, played by Jessie Usher. Now that Fox has signed on, does this mean Smith’s character is dead in the new film? Will Jasmine Dubrow be a widow or a divorcee? As long as Pullman and Goldblum are reprising their roles, does anyone really give a shit if Smith’s character is dead or not?
Let the speculation begin.
Shooting on Independence Day 2 begins this May in Montreal.
20th Century Fox is planning on a June 24, 2016 release.
This impressive collection of art from concept artist Bradley Wright perfectly represents why why I fell in love with last year’s survival horror game Alien: Isolation. Had developer Creative Assembly not been as successful as they were in recreating the look and feel of the original film, the game wouldn’t have been nearly as effective as it was.
Without talented artists like Wright, Isolation might’ve ended up being as generic as Colonial Marines. It’s a good thing that wasn’t the case, so in the spirit of celebration, let’s take a few minutes to soak up some of the game’s gorgeous concept art.
For way more art like this, I recommend you head on over to It’s Art Mag.
Hands-on with Bloodborne, the reason Hideo Kojima’s name was removed from Metal Gear Solid, a possible Alan Wake remaster, and why REvelations 2 isn’t what Don wanted.
A decidedly not cryptic tweet from Raven Software has strongly hinted at a follow-up to the somewhat underrated sci-fi action game Singularity. The message “We’re going back” is all we currently have to go by, but the timing of this announcement leads me to believe we’ll be hearing from it again very soon. The original game released five years ago this June, so I wouldn’t be surprised if we saw or heard from it again in the coming months.
— Raven Software (@RavenSoftware) March 23, 2015
Today isn’t like another Tuesday. This is the day that Bloodborne makes its bloody debut. It will likely leave a slew of broken gamers in its wake, but those who remain standing will be forever changed. I’ve spent quite a bit of time with it already, and even the countless hours spent in the Souls series weren’t enough to prepare me for its horrors.
The survival horror genre can be an unforgiving one. Its games often require a level of strategy not seen in many other games. Patience, cunning, resourcefulness and the ability to remember the location of that locked door with the engraving on it you passed by an hour ago while being chased by a horde of ghouls, or something worse, because you found a key hiding under a wobbly floorboard you think might fit it.
These are skills most survival horror veterans possess. Some of us have grown lazy over the years as game design has eschewed its unforgiving nature in favor of something with a wider appeal. That’s one of the reasons why games like Dark Souls and Bloodborne are so refreshing, because they refuse to hold the player’s hand.
This leads me to my question: do you enjoy a real challenge in the games you play, or would you rather play something that doesn’t require quite as much from you?
Leading up to its release, I had heard concerned mumblings from Dark Souls fans who were worried Bloodborne wouldn’t offer as much of a challenge that developer From Software’s other franchise had become famous for. It took me all of five minutes to confirm that those worries were unfounded, when the very first enemy, a werewolf, ravaged me next to an autopsy table. Twice.
Death is as present and necessary in Bloodborne as it is in the Souls series. It’s as much of a feature as the multiplayer is, and you’ll need to understand it, to learn your way around it, before you can master this game.
“Master” might not be the right word, since for most of us, such a feat isn’t possible. You’re getting familiar with it more than anything else. Think of death as just another adversary to conquer and you might not be as frustrated when it best you again, and again, and again.
The back of each copy of Bloodborne should have a label on it that reads something like Warning: this game will break you, because where the player’s goal is to learn enough from their mistakes to survive long enough to make progress, the game has the singular goal of breaking your will to accomplish that.
You can tell that developer From Software must glean a childlike joy from each new release. They introduced their unique brand of sadism in 2009 with Demon’s Souls, only to spend the next six years perfecting the formula with the Dark Souls series. Bloodborne is an evolution of that, another step forward for the company and one of gaming’s most challenging franchises.
I didn’t realize it until I sat down with this game, but there’s an element of nostalgia to these games that may be one of the driving forces for why I keep returning to them. Bloodborne is this generation’s Nightmare Creatures, and if you aren’t familiar with that fantastic and woefully short-lived horror series, I’d still recommend it today. The first game released nearly two decades ago, and it’s aged surprisingly well.
The first handful of hours you’ll spend with Bloodborne will be the most important. It’s during this time that you’ll find out if you have what it takes to stick with it. Its introductory hours are decidedly spooky, complete with werewolves, tortured souls, scary sounds and the first of many tough lessons you can look forward to learning in the hours to come.
Dread is thick in Yharnam, a ghostly city that could’ve been carved out of any of H.P. Lovecraft’s eerie tales. I half-expected Cthulhu itself to rise from the water like an angry Kraken. It didn’t, but I’d argue there are at least a few gargantuan beasts scattered about the world that would give that Elder God a run for its money.
Combat works much like it did in the Souls games. Your character has a light attack, a strong attack — both can be charged for more devastating blows — a ranged attack, and an assortment of evasive moves. You can lock onto a specific foe for something to focus on, but I only recommend you do that during one-on-one fights. The enemy AI is refreshingly unpredictable, so ignoring or underestimating something can, and almost certainly will, prove fatal.
You probably won’t even notice the more restricted arsenal compared to From Software’s previous games, because the developer went to great lengths to keep such a thing from mattering. The weapons are more satisfying, and they’ve been built to reward those who employ a good offense, as opposed to the more defensive play favored in Souls.
I love that your arsenal is immediately made more personal because you choose it. So much of this game is familiar that I found myself latching on to this one big change. I expected to be able to improve and customize my character’s stats, abilities, gear and, to a certain extent, the weapons, but I did not expect for the relationship to get even deeper. It does, thanks to the introduction of runes and blood gems, which give you even greater control over your character. It’s an extremely welcome addition.
The combat runs at a noticeable quicker pace that, I’ll admit, took some getting used to. I don’t often go in guns blazing, so it took a few defeats for me to be able to confidently vanquish even the most basic enemies. More strategic players will likely enjoy the health gain mechanic that’s been introduced to offset the quickened combat.
Basically, you can regain some of your lost health with well-timed blows. Mastering this will be required if you want to survive encounters with more capable enemies, like any of the game’s numerous bosses. 40-ish hours in and I’m still working on it.
Exploration is as important as ever, as there are countless rewards waiting for those who are willing to go out of their way to find hidden treasures. You’ll want to explore this world anyway, because it’s one of the most unforgettable game worlds I’ve ever had the pleasure of visiting.
The massive, inter-connected world that was first introduced in Dark Souls is back, and with it marks the return of the always fun mini game where you cautiously explore unfamiliar locales to see if your character is capable of surviving in them. I can’t tell you how many times I learned, usually through the expenditure of alarming quantities of blood, that I’m not quite ready to visit certain areas. It can be scary, but that’s part of the fun.
Loot is still very present, it just takes a while to fully reveal itself. When combined with all of the above, you get a combat system that puts a significantly greater emphasis on character builds than Souls ever did. Having a few different options is something you’ll want to consider trying out, especially if you find yourself being bested by the same baddie numerous times.
The innovative multiplayer this studio first gifted us with six years ago has made its way to Yharnam, too. Stuck on a particularly tough fight? Call on some allies to offer aid. Feeling mischievous? Embrace your devilish side by invading another player’s world to make their life more difficult. The former will come in handy when you’re ready to try a Chalice Dungeon — an assortment of dungeons with specific objectives and added difficulty modifiers that greatly add to this game’s replay factor.
As I’m sure you’ve gathered by now, Bloodborne is very much a Dark Souls game. Many of the ideas are here, they’re just presented in a Gothic horror package that’s darker, bloodier, scarier and so much better. From Software has learned a lot from their Souls series, and that knowledge has clearly led the direction they took with this.
The Final Word: Bloodborne is one of the most challenging games I’ve ever played. It’s also one of the most beautiful, unforgettable and rewarding gaming experiences since, well, Dark Souls II.
There’s an unsophistication about the DreadOut universe that’s at once both endearing and disappointing.
Like its predecessor, DreadOut: Act 2 is an unapologetic love letter to a now bygone era of survival horror, a time of clunky controls and claustrophobic camera angles. It’s likely it’s no coincidence that playing the latest chapter in the DreadOut series evokes memories of those stellar games of yesterday; Fatal Frame/Project Zero, Deadly Premonition, Silent Hill… they’re all echoed here, some more successfully than others.
The story picks up on the heels of the opening Act, and once again we fall into the dainty feet of the silent (and unnervingly unemotional) protagonist Linda, an Indonesian schoolgirl who falls unwittingly into a school-field-trip-gone-wrong trope.
Though the first Act 1 was a strangely solitary affair, in Act 2 we’re united – albeit briefly – with our erstwhile colleagues, which helps pack a little flesh on the otherwise bare bones of a storyline. For though predecessor Act 1 was less than successful in delivering a tangible narrative, Act 2’s tale is little more detailed, unfurling a storyline that’s cliched but intriguing nonetheless.
Again, the scant clues you collect during your exploration shed a little light on the mystery, and though the game deploys a number of horror game cliches and cheap jump scares, the design of your enemies – from their appearance to their backstory – is delightfully detailed, complemented further by competent sound design that packs more punch than the visuals alone could hope to deliver.
But whilst the detailed ghost graphics offer insight into developer Digital Happiness’ design competency, the subtle palette of blues, greys and blacks and Scooby-Doo-esque backdrops are instantly forgettable, which is a shame, given how much scope there was to expand on exposition through environment.
That said, the handful of interactive, puzzle-y touches – using reflective surfaces and props to catch incognito ghosts, or a twist to the perceived safety of your purgatory status for instance – were expertly crafted, again intimating that this indie studio may be capable of more than its currently delivering.
Whilst the combat mechanic remains chiefly unchanged from the previous chapter – again, like Miku’s Camera Obscura from Fatal Frame, you must use your cell phone or clunky SLR to capture and banish the spirits – I did enjoy the variation. Each enemy-type boasts its own unique weakness, which means much like Zelda dungeons of old, you’ll need to suss out each one’s achilles heel, revising your combat strategy on the fly and carefully surveying your environment for tools and clues.
Oh, and don’t forget your ghostpedia: despite it’s horrifying generic name, its a valuable resource, and may provide tips and hints on how to defeat your folklore foes.
The trouble is, like the opening instalment, DreadOut Act 2 is just a tad too shallow an experience.
Satisfying stories can save glitchy graphics, and beautiful backdrops can sometimes detract from a shallow story, but in this case, we’re cursed with neither scenario. It’s not awful, but it’s not all that good, either. Though steeped in Indonesian folklore, there’s little here that sets it apart from older – and, in many cases, better – games that came before, and the rich lore is barely explored, let alone fully exposed.
Linda’s nonno-syllabic nature means we rarely know how she feels, and as such you play with a peculiar detachment which alienates you from your protagonist. Unflinching in her observation of the horrors around her – and seemingly unaffected by the fates of her friends – Linda’s stoicism is unfitting at best and uncomfortable at worse. For how can you be expected to care about her when she fails to care about anyone else herself?
The WTF moments – say, the mysterious 30 foot high woman floating in air, and some of the latest encounters with the our friend the Woman in Red – are the few things that save the game from what would otherwise be a very lacklustre offering indeed.
If DreadOut: Act 2 had captured some of the intrinsic intrigue of the heyday of survival horror, had told a retro story in a new, challenging way or even stuffed its world with plentiful narrative clues that rewarded off-the-beaten-path exploration, I’d be more forgiving. As it stands, the game offers good value for money (if you’ve bought Act 1, Act 2 is available at no extra charge) and is short enough that you’ll probably complete before feeling bored.
Yup. I’m using the game’s shortened playtime as a positive here.
If you’re a fan of Fatal Frame et al, I’d be surprised if you didn’t enjoy a few hours of exploration with Linda. But just don’t come in expecting any contemporary twist here. It plays, looks and feels just like a fifteen-year-old PS2 horror title, but with little in the way of the puzzles or combat that so defined the genre. It lacks complexity and depth in both story and approach, leaving me straddling a no-man’s land of neither love or loathing.
Final Word: Play it or don’t play it – I don’t think your life will be drastically affected one way or the other, I’m afraid.
Developer Daybreak has announced some impressive sales figures for H1Z1, the zombie survival game where players gradually realize they’re not playing DayZ, which has sold over a million copies on Steam since it arrived on Early Access in January.
The news of this milestone came from a tweet by Daybreak president John Smedley, who, just a few hours earlier, had posted an arguably more exciting announcement that over 5,000 dickheads cheaters had just been banned from the game. That’s great news for everyone.
I haven’t played H1Z1 yet and Tyler didn’t seem to impressed with it. If you’re still in the thick of it, I’d like to know.
One of the big questions that has loomed over the storied career of legendary metal band Metallica was, “Why does …And Justice For All have no bass to it?” It’s a question that has been brought up many times over the years and has puzzled countless fans, especially after the fantastic Master Of Puppets.
But that question can now be laid to rest as Steve Thompson, who mixed the album, has opened up and explained everything that happened to lead to the absence of bass on that album.
In an interview with Ultimate-Guitar, Thompson explains exactly what happened:
We had to get the drum sound up the way he had it. I wasn’t a fan of it. So now [Lars Ulrich] goes, “See the bass guitar?” and I said, “Yeah, great part, man. He killed it.” He said, “I want you to bring down the bass where you can barely, audibly hear it in the mix.” I said, “You’re kidding. Right?”
He said, “No. Bring it down.” I bring it down to that level and he says, “Now drop it down another 5 db.” I turned around and looked at [James] Hetfield and said, “He’s serious?” It just blew me away.
I wanted to take “Master of Puppets” and blow that away. That was my sonic direction for “… And Justice For All.” It was all there but I think they were looking for more garagey-type sound without bass. And the bass was great; it was perfect.
It was a shame because I’m the one getting the sh-t for the lack of bass.
But do you want to know the kicker? You want to hear the real zinger in all of this? Check out the chutzpah of Ulrich several years later at the Hall Of Fame:
I remember when Metallica got elected to the Hall of Fame, they flew us out and I’m sitting with Lars. He goes, “Hey, what happened to the bass in “… Justice?” He actually asked me that. I wanted to cold cock him right there.
Well, there you have it. The most vocal and noticeable member, Mr. Lars Ulrich, is again the reason behind yet another issue in the band’s career. Good job, sir.
Last year Sony Pictures won a heated bidding battle over In the Deep, a spec script written by Tony Jaswinski (Vanishing on 7th Street). The script was called a cross between 127 Hours, Jaws, and Gravity. The story centers on a young woman who’s grief-surfing over the loss of her mother when she gets stranded 20 yards off shore with a massive great white shark circling beneath.
Today Deadline reports that big budget filmmaker Louis Leterrier is in talks to direct. Leterrier’s resume may be short, but he’s got some hefty flicks on there like The Transporter, The Incredible Hulk, and the painfully stupid Now You See Me. His works aren’t really known for their emotionally powerful roles, which, according to Deadline, the central character of In the Deep will require.
Sick of exorcism movies yet? Well how about an ass-kicking teenage exorcist in the vein of Buffy the Vampire Slayer? I hope you were sitting down when you read that.
Deadline is reporting that the Rebecca Sonnenshine spec script Realm has been purchased by Relativity Media for a mid-six figure sum. If the teenage angle didn’t tickle your fancy, they’re bringing in Step Up 4 director Scott Speer, who will also executive produce.
The deal comes on the heels of Speer’s short, which he released online two weeks ago. The short stars Adelaide Kane (The Purge), who has the power to enter the soul of the possessed to rumble with their inner demon. Here she fights a demon with Baraka-like claws while wearing some Underworld style gear. Judging from this, Realm is gearing up to be light on horror with lots of hollow video game style. The concept is fairly interesting, but the execution in the short leaves a lot to be desired.
Hard rock band Breaking Benjamin have released “Failure”, the first single from their upcoming album Dark Before Dawn, which comes out on June 23rd (pre-order via iTunes). This is the first new song from the band since their 2009 album Dear Agony.
The mid-tempo track is very similar to the style that made them so popular in the first place. The saying, “If it ain’t broke, don’t fix it,” is very applicable here.
This new album sees an almost entirely new lineup for the band, with only vocalist/guitarist Benjamin Burley remaining. He’s joined by guitarist Keith Wallen (Adelita’s Way), guitarist Jasen Rauch (Red), drummer Shaun Foist (Picture Me Broken), and bassist Aaron Bruch.
Ain’t It Cool News reports that Joe and Anthony Russo have just locked a deal with Marvel to direct “Avengers: Infinity War” Parts 1 and 2. This has been expected for some time, but the deal has just been offically made. The duo have been doing great work for Marvel Studios, and are about to shoot “Captain America: Civil War” in two weeks.
The Russos have been lobbying to champion on the third Avengers film. Working out a deal was strictly a formality.
CAPTAIN AMERICA: CIVIL WAR is due out May 6, 2016. THE AVENGERS: INFINITY WAR – PART ONE hits on May 4, 2018, while PART TWO arrives on May 3, 2019. Both AVENGERS movies will be shot back-to-back.
Okay, let’s get through the nitty gritty first and then I’ll give myself a little bit of a rant, okay?
British alt-rock band Muse have released a lyric video for their new single “Dead Inside”. It’s the second track to come from their upcoming album Drones, which will be released on June 9th via Warner Bros. Records. The band first released “Psycho” on May 12th.
Says lead singer Matt Bellamy about the track:
This is where the story of the album begins, where the protagonist loses hope and becomes ‘Dead Inside’, therefore vulnerable to the dark forces introduced in ‘Psycho’ and which ensue over the next few songs on the album, before eventually defecting, revolting and overcoming these dark forces later in the story.
Those who pre-order the album via iTunes will get both “Psycho” and “Dead Inside” as immediate downloads.
Okay, now that we’ve gotten that out of the way, permit me this platform to lay my opinion: Seriously, what the hell happened to these guys? They used to be incredibly exciting. Just look at tracks like “Stockholm Syndrome” and “Hysteria”. These tracks played with expectations, showed a fantastic communication between the band members, and had this thrilling bombastic attitude. Now they’re releasing one boring, monotonous track after another. I’d be okay if they were at least being adventurous but they’re playing it so goddamn safe.
The big problem here is that this is something I noted when the band first released “Madness” a few years ago. I’m still of the mindset that that song is boring and overly simple. So what’s happening is that a pattern is emerging. The band has steadily been releasing mediocrity and that’s just so damn disappointing. These guys were bucking the trend and offering something different and now they’ve lost it. There’s no fire anymore.
You can watch the video for “Dead Inside” below, but I have to warn you it’s NSFW due to nudity.