UK alt-rock group Radiohead will enter the studio to rehearse and record a followup to 2011′s The King Of Limbs, according to guitarist Jonny Greenwood. In an interview on the Mary Anne Hobbes’ BBC 6Music who yesterday, Greenwood stated, “We’re going to start up in September, playing, rehearsing, and recording and see how it’s sounding.”
The members of Radiohead have been involved in various side projects for the past few years. Greenwood has been busy composing films such as The Master and We Need To Talk About Kevin. Thom Yorke has been involved in his side band Atoms For Peace. Philip Selway is working on a solo album, and Colin Greenwood has been focusing on charity work.
Forty years ago, photographer Arthur Tress asked children to describe their nightmares in great detail. He then took those descriptions and created staged photographs that are incredibly beautiful and downright terrifying, even after all this time. These photos are meant to bring the voyeur back to the days when they were a child, when simpler, more primal fears caused terror. There’s a gallery below and you can see more via HuffPo.
The upcoming Marvel film Guardians Of The Galaxy, which is directed by James Gunn (Slither, Super), is probably one of the most anticipated blockbusters this year. Pretty much all of my friends can’t stop talking about the movie and how excited they are to see it. Admittedly, since I haven’t ready the comics I don’t exactly share in their enthusiasm but it still looks like a good time!
To amp up the anticipation of the movie just that little bit more, the official soundtrack track listing has been announced and it’s full of oldies but goldies! You’ll be hearing artists such as Raspberries, Jackson 5, The Runaways, and more. Below is a YouTube playlist of the album, courtesy of Screencrush.
Are you going to be there on opening night, August 1st?
Guardians Of The Galaxy track listing:
1. Blue Swede – “Hooked on a Feeling”
2. Raspberries – “Go All the Way”
3. Norman Greenbaum – “Spirit in the Sky”
4. David Bowie – “Moonage Daydream”
5. Elvin Bishop – “Fooled Around and Fell in Love”
6. 10cc – “I’m Not in Love”
7. Jackson 5 – “I Want You Back”
8. Redbone – “Come and Get Your Love”
9. The Runaways – “Cherry Bomb”
10. Rupert Holmes – “Escape (the Pina Colada Song)”
11. The Five Stairsteps – “O-O-H Child”
12. Marvin Gaye/Tammi Terrell – “Ain’t No Mountain High Enough”
One of the biggest disappointments this decade is one Taylor Kitsch, pictured above, who failed to break through in a series of big Hollywood blockbusters.
Even though films like Battleship and John Carter failed to make the cut, he was absolutely fantastic on “Friday Night Lights” (seriously guys, watch it on Netflix). I’ve been a huge fan of his ever since, and am losing my mind right now in hearing that he’s in talks to be join Colin Farrell in the second season of HBO’s “True Detective.” TheWrap first reported the news.
Garrett Hedlund (Tron), pictured below, who appears to keep missing out on major roles, has also been rumored to be in contention for “True Detective” but Kitsch is strongly believed to have an edge on the coveted role.
The anthology format of “True Detective” — each season will reboot with new settings and characters — has allowed the network to reach out to big names who might not otherwise want to commit to multiple seasons of a series.
Season 1 of “True Detective,” which took place in Louisiana with a narrative that fluctuated between the mid-’90s and the present, earned Emmy nominations yesterday for Best Drama and Lead Actor in a Drama for stars Matthew McConaughey and Woody Harrelson, neither of whom will return for Season 2.
Universal Pictures shared with us a series of images from their Scarlett Johansson-starrer, Lucy, in theaters July 25.
From La Femme Nikita, The Professional and The Fifth Element (such an underrated film) writer/director Luc Besson, “Lucy is an action-thriller that tracks a woman accidentally caught in a dark deal who turns the tables on her captors and transforms into a merciless warrior evolved beyond human logic.”
The latest TV Spots are pretty great, especially because you end up dying to know what happens when she uses 100% of her brain.
Rose Leslie, who plays the wild warrior Ygritte in “Game of Thrones,” is joining Vin Diesel in The Last Witch Hunter, Summit’s supernatural action project, reports THR.
The Crazies‘s Breck Eisner is still directing Witch Hunter, “which sees a semi-immortal witch hunter (Diesel) wandering the streets of modern New York City forced to partner with his natural enemy, a female witch. The two must stop a villainous witch queen from obtaining a relic and unleashing plague upon humanity.”
Leslie will play a witch and love interest opposite Diesel.
Burk Sharpless and Matt Sazama (Gods of Egypt) recently did a polish on the script, which found life as a pitch by Cory Goodman. D.W. Harper and Dallas Buyers Club writer Melisa Wallack also worked on the script.
An August start date in Pittsburgh is finally being eyed.
Sad news is hitting the internet as it’s being reported that Tommy Ramone, the last living original member of legendary punk rock band The Ramones, has passed at his home in Ridgewood, Queens. He was 62 and was in hospice care after receiving treatment for bile duct cancer. The news was confirmed by New York Rocker Magazine publisher Andy Schwartz, formerly of Epic Records.
It is with sadness and regret that I report the passing of Tom Erdelyi a/k/a Tommy Ramone who died at 12:15 p.m. today (7.11.2014) at his home in Ridgewood, Queens. He was 65 and had been in hospice care following treatment for cancer of the bile duct.
We send our condolences to the family, friends, and fans of Tom Erdelyi.
The people behind that awesome murderous clown prank from a few weeks ago are back, this time with a telekinetic priest that has a fondness for head explosions, a lá Scanners. The prank gets really elaborate, involving moving furniture, people floating in midair, tons of blood, and more.
Now why don’t things like this happen in my neck of the woods?
After sharing the first images from Richard Bates Jr.’s Suburban Gothic, his follow-up to the Sundance success, Excision, we now have the film’s red band trailer filled will all things bizarre. It will World Premiere at the 18th annual Fantasia International Film Festival from July 17 until August 5, 2014.
“Raymond has a prestigious MBA, but he can’t find work. He can channel the paranormal, but chatting with a cute girl mystifies him. Kicked out of his big city apartment, Raymond returns home to his overbearing mother, ex-jock father, and beer-bellied classmates. But when a vengeful ghost terrorizes the small town, the city-boy recruits Becca, a badass local bartender, to solve the mystery of the spirit threatening everyone’s lives.”
Suburban Gothic is described as an eccentric comedy/horror that stars Matthew Gray Gubler, Kat Dennings, Ray Wise, Sally Kirkland, Jeffrey Combs and John Waters, and riffs on everything from classic supernatural horror and outsider teen comedies to the “Hardy Boys” and “Scooby-Doo”!
Get the first Fantasia announcement here:
The Final Terror is another ’80s slasher given the HD treatment by the folks at Scream Factory. Despite a sparse amount of remaining prints, they went to great lengths to give it a well done presentation. Bravo for their efforts and their continuing work to restore rare and well-known horror films alike, but within their steady stream of releases, there’s bound to be some stinkers. Case in point, The Final Terror – a 1981 backwoods slasher directed by Andrew Davis, the man who would go on to helm The Fugitive and Above the Law.
During the feature commentary with Davis included on Scream Factory’s Blu-ray, he states that he doesn’t like horror films and never made another one after this (although I’d argue that Holes could be considered horror for making a star of Shia LaBeouf). His disinterest towards the genre shows in the film, but at least Davis’ knows his way around a camera because the film looks really great. Given Davis’ later action classics, it’s no surprise The Final Terror looks more like an action film than horror, but there’s a strong grittiness to the atmosphere that works well in the backwoods setting. The cast includes some actors that would go on to become well-known, such as Daryl Hannah, Joe Pantoliano, and Adrian Zmed (Bachelor Party), so it’s cool to see these future stars cutting their chops.
The film’s story is nothing original. Like a lot of slashers of the decade, the film starts with a couple slaughtered in the woods. This part was apparently tacked on after Davis finished filming to give the story an initial thrust before it settles into 50 minutes of down time. Then it jumps to a group of young campers who head into some thick woods for a weekend trip. You see where this is going. Eventually they’re hunted and some are killed by a wild-woman wearing pelts and no shoes.
The body count is very low for a slasher of this era. My hunch is Davis wanted to avoid having to shoot any more gore than he had to. After those initial two kills in the prologue, it takes another 50 minutes for one more person to die, followed by another in the closing minutes. One person even has their throat slashed, only to be saved by the group. Don’t take my thoughts on the low body count to be a complaint, I’m not bloodthirsty or anything, I just believe it was a sign of Davis’ skittishness towards the genre.
None of the characters are developed and none of them have that much depth to them either. They also seem to absolutely hate each other, which isn’t fun to watch, but does create this steady tension that’s thicker than in scenes that are supposed to be intentionally tense. The only character given any sort of real personality is Zorich, a militant redneck survivalist type. He’s played by John Friedrich, who played Joey Capra in one of my favorite movies of all time, The Wanderers. In that film he’s a wacky, awkward guy who strikes out with the ladies, so it’s really fun to watch him play the drug-absuing scumbag Zorich.
Overall there’s nothing really memorable about The Final Terror - nothing sticks with you after watching it. The look of the killer is fairly striking and there’s a cool booby trap like one you’d see on Endor utilized in the climax. If you’ve never seen it, I highly recommend renting this one first. After you watch it, pop back on here and try to explain to me what the “final terror” is because I have no idea.
The Blu-ray sports a 1080p transfer culled from six remaining prints owned by collectors. There’s a disclaimer in the beginning in which Scream Factory states that the original negatives are lost, so they did what they could with those six prints. For a cut and chop job, it looks fairly decent. The daytime scenes have nice details and there’s not enough print damage to be distracting. If anything, the scratches and other noise add to the film’s grittiness.
Like I mentioned, on the feature commentary with Davis he points out that he doesn’t like horror movies and has never made another one. He doesn’t seem all that enthused about revisiting this film either. He goes a very long time without talking. It’s simply a boring track.
The disc features new interviews with actors Adrian Zmed and Lewis Smith. They discuss how they got involved with the picture, working with Davis, and their acting background (Smith had none going into the film, he didn’t even have a SAG card). There’s also interviews with editor Allan Holzman and composer Susan Justin, both who share the opinion that it’s not a very good film but are still proud of their contributions.
Also included is a misleading trailer.
And yet another Friday has descended upon us! I don’t know about you but I’m pretty damn excited for this weekend. It’s been a long, long week and I could use the break. But I can’t put my feet up just yet as there’s still work to be done!
This week’s Twisted Music Video Of The Week is Djerv‘s “Headstone”! The Norwegian rock/metal group features Agnete Kjølsrud, who you may remember as the guest vocalist on Dimmu Borgir‘s “Gateways”. It’s heavy, it’s catchy, and it’s a damn good time! Check out the video down yonder.
“Ghosted” takes a slight detour this month as Joshua Williamson lays out Anderson’s backstory. Making the undead femme fatale the most complex and compelling supporting character of the series, and firmly cemented her as the secondary protagonist in a thrilling chapter that seamless brings us to the beginning of the third arc.
WRITTEN BY: Joshua Williamson
ART BY: Goran Sudzuka
PUBLISHER: Image Comics
RELEASE: July 9, 2014
It’s been a cold two months without “Ghosted.” I feel warmer already after reading Williamson’s detailed account of Anderson’s past. For a while I wasn’t sure about her deal, I knew she was important, but I didn’t really know why and certainly didn’t know what she wanted. This month Williamson shows us exactly who she is, and why she became the killing machine we met in issue one.
I still take some issue with some of her motivations being a little base level, but the story proved interesting enough to stay compelling. She’s a killing machine, and she’s good at it. She followed the money, and for more reasons than one she should be alive instead of Jackson. Yet, she’s too cocksure. A fault that Williamson hammers home here with her pride getting the best of her in the past, she’s good but she’s not the best.
Goran Sudzuka was sorely missed. His return to the series in this issue is worth the cover price alone. His dark style just pops off the page, and he revels in these unsavory characters. His action is clean and the supernatural elements in his work are simply stunning. The final pages of the issue are absolutely chilling as we see Anderson interacting with a broken and beaten Jackson. Sudzuka’s framing and the way he sets up the shots creates such an uncanny sense of dread, hell the dude could give Argento a run for his money.
Williamson has taken the time to ground his characters in a certain blend of fearlessness and desperation that is unique to his genre blend. The result is a irresistible crime caper that channels a unique type of terror. There is something devilishly charming about virgin blood candles, and something equally unsettling. I’m excited to see how deep the darkness of the series goes now that “Nailbiter” is in full swing.
Truly Williamson has proven himself to be a master of horror, and this issue serves as a reminder that he hasn’t forgotten his compelling characters along the way. It’s a breath of fresh air in horror that never seems to run out of steam. The only thing that saddens me this month is that we didn’t go deeper. I wanted to learn more and really get into the core of what drives Anderson. The answer we got here was that she’s driven by her drive, but I think there is still so much more to the character. In any event, her drive has now made her resolve to haunt Jackson for the rest of his miserable life.
We’ll see how that goes in thirty.
BD’s John Marrone has put together a 70+ hour playlist on Spotify that features soundtracks from many of the biggest movies in the horror genre. There’s music from John Carpenter, Tyler Bates, Goblin, and more. Basically, load up this list and you’ll have enough music to last you for several days!
You can stream the channel below.
There is something alluring about Joshua Hale Fialkov’s new series “The Life After” right from the get go, it might be the gorgeous art from Gabo, a two page spread featuring forty panels, or the breakneck pace of the narrative. Whatever it is, it’s irresistible and confidently introduces you to the strange new world of purgatory.
WRITTEN BY: Joshua Hale Fialkov
ART BY: Gabo
PUBLISHER: Oni Press
RELEASE: July 9, 2014
I have a certain respect for debut issues that can survive solely on the merit of the questions they ask. Servicing their story and their audience plagues most comic series debuts. They offer explanations for literally everything. “The Life After” #1 doesn’t have a single answer on the page. Instead we’re thrown headfirst into the world with our protagonist and taken on a visually immersive adventure that has inklings of something more.
There is an element of control to this chaos. Fialkov makes so much clear within the opening page, but he doesn’t over explain it. In fact these little acts of puppeteering actually make the complexity a little less daunting. Someone or something is behind this insanity, and eventually we’ll get to the bottom of it.
For now Gabo does most of the heavy lifting. The script gives plenty of room for heavy bits of voice over narration but the artwork takes the story to dizzying heights. There is such a clash of worlds going on here that Gabo’s style should be frenzied but it never misses the mark.
Instead he offers a seamless clash of every sort of visual inspiration you can think of, co-existing in a mad world where nothing seems to make sense. His character designs are remarkable and varied. The large panels showing off this purgatory world are as impressive as they are complex.
Fialkov wastes no time pulling the story to a head with the introduction of Ernest Hemmingway. A character I wasn’t expecting in the least, but serves as easily one of the most charming parts of the issue. The adventurer is sure to pull our protagonist into a wild journey of discovery, and while the influential writer does offer a lot of exposition, it’s hardly distracting.
What should be a intense concept hardly ever feels that way. While the comic does have some difficult scenes within it, it never feels over indulgent. Instead we’re given a dose of terror amongst all the wonder on the page. Not everything in this world can be wonderful, and knowing Failkov, there is bound to be a whole lot more horror around the corner.
“The Life After” is equal parts whimsical and haunting. It’s brilliantly paced and expertly communicated. This debut issues shows you a world where anything is possible and teases a near limitless scope for the future of the series. As far as first issues go it’s a total knockout.
The cinematic influences behind Justin Jordan, Kyle Strahm, and Felipe Sobreira’s new series “Spread” are numerous. In the author’s “patented end of issue ramblings,” the Mad Max film series are unapologetically paid homage to. And rightly so. While reading Issue #1, I also picked up on (obvious) references to John Carpenter’s 1982 sci-fi classic The Thing, especially given the icy setting, but also Ron Howard’s 1988 fantasy epic Willow. Both made me very happy.
WRITTEN BY: Justin Jordan
ART BY: Kyle Strahm
PUBLISHER: Image Comics
RELEASE: July 9, 2014
Reviewed by Nick Brehmer
The Spread is a terrible, ravenous, infectious mass with stylistic renderings similar to that of the demonic force from Hayao Miyazaki’s Princess Mononoke. It eats its way through people and animals that don’t run fast enough, and even those with an immunity, like our mysterious protagonist No, may still suffer being ripped to shreds.
The story is propelled by the narration of the (presumably) now older Hope, a baby (at the time of Issue #1) with an incredible gift. She is rescued by No in the inaugural issue from a band of post-Spread-apocalyptic raiders. The hero quickly realizes her importance, but he isn’t the only one with a vested interest in the infant.
The writing flows like pieces of nightmarish memory slowly being put back together. Little is revealed in Issue #1 about the nature of the Spread or how much damage has actually been done to civilization. And, like Issue #1, I’m not inclined to reveal much in this review. I suspect that you’ll be as intrigued as I am during your own read-through.
I found the aforementioned back matter “ramblings” to be very insightful to the creators’ process. Jordan writes “I’ve never been as interested in, say, the first days of a zombie apocalypse as I have in what the world would look like ten or twenty years after.” I share this sentiment. The world of “Spread” has been plagued for some time and the danger is significant. However, given the events of Issue #1, there may be hope (*ahem*) left for humanity.
The colouring of this series is going to be a major draw to some. The coldness of the human world, dominated by blues, greys, and most prominently, white, is cut by the heat of the bright red Spread. It makes for an (at one point literally) eye-popping experience.
Tracking Board – who has been both right and wrong about scoops on occasions – says that Gus Van Sant (Good Will Hunting, Psycho) will direct Death Note, Warner Bros.’ adaptation of the manga written by Tsugumi Ohba and illustrated by Takeshi Obata!!
“The film follows the story of a high school student who finds a mysterious notebook that lets him instantly kill any person by writing their name in the book. As the student’s body count piles up, a nameless FBI agent begins tracking him.”
Van Sant replaces Shane Black, who was attached to direct as recently as 2013. The most recent draft of the script was written by Black, Anthony Bagarozzi, and Charles Mondry.
Dan Lin, Doug Davison, Roy Lee, and Brian Witten are producing through Vertigo Entertainment, Witten Pictures, and Lin Pictures.
The Archon has interrupted the local chaos and mayhem in Arcadia that our one-eyed vigilante is used to. “X” #15 looks to rectify that situation abruptly with lots of bullets and beat downs as a remedy. This issue is nice and tightly paced. All the excess has been trimmed away to keep the throttle down on this escalating story arc. Has X met someone he ultimately can’t take down?
WRITTEN BY: Duane Swierczynski
ART BY: Eric Nguyen
PUBLISHER: Dark Horse Comics
RELEASE: 9 July 2014
Reviewed by: Your Friendly Neighborhood Brady
Rich men and gangsters. Both want what the other has. There’s blood and power on one side and legitimacy and sophistication on the other side. They often meet and almost always never end things well. As it usually happens, one forces the other to give them what they want. In our tale, we have the mobster Tango getting the raw (and bloody) end of the deal from would-be Arcadia real estate savior Peter Winter. The odd part of this equation is what Winter is really after. Writer Duane Swierczynski swerved my expectations there as to the motivations of the new, handsome villain in town.
As always, artist Eric Nguyen keeps the world of Arcadia looking dark and angular and distinctive. The training of our hero coupled with the torturing of X’s prisoner was a nice, off-putting and dynamic change of scenery in rapid succession. The gore and violence are also up to par with Nguyen’s previous work in this bloody series. None of his characters look the same in any way which is always refreshing to see in comics.
Knives, bullets, swords and dog food all go flying in this chapter. The beatings are thorough on both sides as are the double-crosses. The cliffhanger is a pretty good hook to see where the havoc train that is X will go next. Things have escalated rapidly and I’m hoping the creators haven’t painted themselves into a corner with this opponent. I’ve come to enjoy seeing the man called X kill everything in sight in the name of his mission. I hope it doesn’t end anytime soon.
Across the nation people are killing themselves in horribly creative ways for especially disturbing reasons. Detectives Langford and Jensen investigate these strange suicides in an attempt to unravel the mystery popularly known as “The Empty Man Virus”. In “The Empty Man” #2, Jensen and Langford are finally confronted with one of the horrors that haunt the victims of The Empty Man. More players are introduced, and more mysterious are revealed. Trying to put all the pieces together is the real fun of this meticulously plotted horror mini-series, but for the faint of heart, its going to be a bumping ride.
ART BY: Vanesa R. Del Rey
PUBLISHER: BOOM! Studios
RELEASE: July 9, 2014
Reviewed by Epic Switzer
If the creators of “True Detective” on HBO had written the show on acid, they might have come up with something like “The Empty Man”. I’ve written a lot on the horror-noir genre recently, and this book is among the best of the best. It’s really quite impressive that Bunn manages to fill each issue with so many different things.
There is the central mystery of The Empty Man Virus, there’s the concept of psychic disposition or “extrasensory potential” as a scientific study, there at least two religious cults at play, and a host of complex characters with their own agendas and secrets. Its hard to believe in just four more issues all will be said and done, but I have the feeling its going to be extremely satisfying.
Premise is the hook, but character is the heart, and Bunn is building them out with expert pacing. As the plot progresses we learn just enough about what the characters are hiding to keep us intrigued. It doesn’t hurt that Del Rey’s characters emote genuinely without mugging, and are represented uniquely yet familiar. Speaking of the art, the panel work is subtle yet effective, which is something I always appreciate. Like film editing, layout is often best when it is invisible.
By way of critique, I was a little confused at the way Langford reacted to the spider monster. I realize he deals with gruesome death and wanton violence on an almost daily basis, but having never actually seen anything supernatural before, he was suprising casual about the encounter. There were a couple of panels during the fight in which it was difficult to figure out what I looking at at first, but all of this is nitpicky stuff because the bottom line is I really love this book.
It is exactly the kind of mind-fuck horror I’m interested in reading and its being done perfectly. This is going to end up being a gorgeous trade when its finished, so if for some reason you can’t snag issue one today, don’t forget to pick up the collection. “The Empty Man” just got moved to the top of my stack.
Epic Switzer AKA Eric is an aspiring filmmaker and screenplay writer living in Los Angeles. His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality. He can be found on twitter @epicswitzer or reached via email at firstname.lastname@example.org.
A childhoods worth of fantastical creatures and inventions grow up in a world that’s morals aren’t black and white, but shades of grey. That’s the amazingly creative world of “Shutter.” This month the story takes shape with the seemingly random events from previous issues coming together, but come with heaping spoonfuls of intrigue and mystery.
ART BY: Leila De Duca
RELEASE: July 9, 2014
Reviewed By: Torbin Chimners
Issue four begins with an excellent short story revealing the background of a character introduced last issue. It’s told in a totally different style to the norm, but perfectly fits the story it’s telling. It’s formatted like I imagine comics looked in the 1920’s. Last month’s issue #3 opened in a similar fashion telling the story of issue #2’s cliffhanger, albeit with an absolutely brilliant Busy Town reference. I’m hoping this is a new trend that’ll continue as it’s a marvelous way to open a book.
Shawn and Ekland’s side story stands strong on its own. Ekland brings Shawn to Mikey, a smoking platypus who operates out of an alley with a fax machine. If that’s not something you want to read about, I don’t think we can be friends. In past issues I wasn’t overly interested in their side story. Not that it was bad, I was simply salivating so much for more of Kate’s story that nothing else mattered much. Now I’m equally anticipating both. With the world around Kate being a bit more whimsical and relatively safe for now, I’m genuinely excited to see Shawn and Ekland dig into the exceedingly violent and filthy underbelly of this astonishing world.
Visually you’ve got the whole package and then some here. The sheer amount of detail on each page is staggering. The characters are as expertly rendered as the background. Nothing looks phoned in, it’s a labor of love and you can damn well tell. The more you think about it the more impressive it is. The characters don’t all wear the same tights every issue and most of them are extraordinary creatures but Shutter’s art never suffers.
This is why I read comics. It’s a wondrous story that can only be told through this wonderful medium. If it were a film or television show the cost would be astronomical. That would mean there would be a million fingers in its pie, deluding, twisting and corrupting everything that makes it magical. Do the creativity in your life a favor and read “Shutter.”
Torbin Chimners AKA Torin Chambers is a rad dude from the nineties who does film stuff or something. Thomas the Tank Engine is his favorite transformer. Find him on Twitter@Vulgar_Rhombus
In 2012 a chilling new horror series launched with one of the most alarming covers I’ve ever had the pleasure of collecting. “Colder” was a unique story about the nature of insanity from Paul Tobin and Juan Ferreyra that oozed confidence and chilled to the core. The original work was an incredible look at mental illness that you don’t often find within the pages of comics, it’s not an easy thing to attack and it’s certainly no stranger than the bulk of comic panels. However the raw vulnerability of the first volume made for a book that wasn’t scared to linger on the horror of human perception. So much so we said ourselves “If you aren’t reading Colder, you’re missing out. Hugely. Don’t make that mistake.”
So today we’re happy to have the EXCLUSIVE reveal of “Colder: The Bad Seed.” This is a direct continuation of the first series and brings an entirely new threat into Declan’s world. We we’re lucky enough to sit down with Paul Tobin to talk about mental illness, working with Juan Ferreyra on the horrors in volume two, and his favorite type of fear.
BLOODY DISGUSTING: What interests you most about mental illness? And what sort of research did you do to prepare to dive back into the world of Colder?
PAUL TOBIN: Mental illness to me is all about the perception, and from both sides. It’s secrets that nobody else shares. An insane person can see something that doesn’t exist in “reality,” but at the same time it’s real in THEIR reality, and I find that fascinating. I’ve had a few (ahem) altered states where I’ve had hallucinations, and during them I KNEW that I was seeing something that wasn’t real… but… couldn’t deny my eyes anyway. So, the perception of “crazy” is a knife edge: both sides deny the other. And, from one perspective, both sides are right. As far as what kind of research I’ve done, life experience, mostly. I work in a creative field. Plenty of wonderfully strange people to learn from. I like my friends between a little insane and moderately insane. More interesting that way, right?
BD: What can you tell me about the mysterious Swivel? How could he possibly be any worse than Nimble Jack?
PT: Swivel’s of the same breed as Nimble Jack, in a way, in that they both have a specific goal that’s entirely normal. Nimble Jack was just hungry. Swivel just wants to grow his crops. Nothing wrong with either of them. It’s that perception switch of insanity that I play with, though, that record-scratch moment of, “Oh, he just wants to do this very simple and normal thing, and so there’s no problem, and… wait… THAT’S what you mean. Well, hell. That ain’t good.” That’s what I love about writing Colder, just taking the everyday events and desires and making them horrible things. Floors always seem solid until the earthquake hits, and you never quite feel like you have your balance afterwards. That’s the feeling that artist Juan Ferreyra and I are going for: just that feeling of unbalance, that your equilibrium is forever in danger.
BD: How much time has passed since the events of Colder?
PT: Not long. A couple months. Enough time that Declan and Reece have gotten on with their lives together, though in an odd way, for Declan. He’s still on a quest, and that quest leaves a door opens.
BD: How are you and Juan working to outdo the horrendous and unsightly horrors of the first volume?
PT: We made a very conscious decision NOT to try to outdo the first series. Our primary goal is to create a new work, a solid one. I think creators who feel a conscious need to top a previous work can quickly move their works into parody… losing the subtlety, characterization, and the general feel of what made a work successful in the first place.
BD: Now that Declan has overcome his “insanity” what causes the most conflict in his life?
PT: In a way, what causes the most conflict in Declan’s life is that he HAS overcome his insanity. And when you take away the insanity, you don’t have anything left but the truth. If that truth turns out to be horrible, there’s unfortunately nowhere left to turn.
BD: What excites you most about Bad Seed? What scares you most about it?
PT: Working with Juan is always such a treat. In the beginning I worked with him as per my normal methods: I’m a very “complete” scripter. But now I’ve built so much trust with him that I often will just describe the overall scene, and then know that Juan is going to bring it to life in a better way than I could have conceived. So, I think we constantly surprise each other. That’s a damn fun way of working. As far as what scares me most, it’s losing that knife edge… of starting to lean into cheap horror, the cat jumping from the closet, that sort of thing. It’s important for horror writers to stay true to the fear.
BD: What type of fear/terror/horror are you trying to tap into with this new volume?
PT: I love a lot of the Korean and Japanese horror movies, and works by such artists as Junjo Ito and Toshio Saeki… just anything that slips the carpet out from under reality. When it comes to horror, I don’t want to sit there screaming, I want to wake up sweating.
Colder: The Bad Seed hits in October, and we’ll have all sorts of coverage leading into the launch of #1. For now, here’s what Dark Horse has to say:
Colder: The Bad Seed #1
Writer: Paul Tobin
Artist: Juan Ferreyra
Life goes on for Declan Thomas after his deadly encounter with the psychotic Nimble Jack, but Declan’s strange powers continue to develop, offering him a profound connection with the nature of insanity. Little does he know that the malevolent Swivel wishes to pick up where Nimble Jack left off!