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Far Cry 3: Blood Dragon Soundtrack Gets Limited Vinyl Release For Record Store Day

Thu, 03/13/2014 - 14:56

Invada Records (which is operated by Geoff Barrow of Portishead) has announced that they will be releasing a limited edition 2xLP neon pink vinyl soundtrack to the hit Ubisoft game Far Cry 3: Blood Dragon on Record Store Day (April 19th). The soundtrack was composed by Australian duo Power Glove and is a total throwback to the great soundtracks of the 80′s.

The artwork will be done by James White, who has done posters for Blade Runner and The Thing. Head below to listen to the brooding track “Power Core”.


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Categories: Horror News

Share Your Favorite 'Resident Evil' Memory For A Chance To Be Featured In An Upcoming Capcom Game

Thu, 03/13/2014 - 14:15

Capcom is offering a chance to be featured in one of their upcoming games, and all you need to do is share your favorite Resident Evil memories. Was it the original game’s well of deliciously cheesy dialogue? The first time Nemesis pulled a Kool-Aid Man and broke through a wall in his unending hunt for Jill? Or maybe it was the first time you took on a chainsaw-wielding Ganado in Resident Evil 4?

This is a series that has no shortage of memorable moments, and now Capcom wants you to tell them your favorite.

As for the game in question, all we know is it’s an “upcoming Capcom title,” so that could be anything. Obviously, I’d like to think it’s related to Resident Evil. There have been rumblings of a pending announcement, but what that is — Resident Evil 7, a remake of one of the older games, more HD chicanery, or something else — is currently unknown.

If you’re feeling sociable, head on over to the Resident Evil Facebook to share memories of your own.

On a related note, we’re playing through Resident Evil 4 in its entirety on our YouTube channel. You can get started on that below, if you like.

Feel free to send Adam an email or follow him on Twitter:

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Categories: Horror News

'Proxy' Trailer Shares A Woman's Nightmare

Thu, 03/13/2014 - 13:58

The loss of a baby would make anyone go crazy…

Here’s the trailer for the April 18 release for Zack Parker’s Proxy, which was acquired by IFC Midnight out of TIFF 2013 (read our review). The film will debut on various VOD platforms before its DVD release.

Alexia Rasmussen, Alexa Havins, Halloween‘s Kristina Klebe, and The Sacrament and V/H/S‘ Joe Swanberg all star.

A very pregnant Esther Woodhouse (Rasmussen) is walking home after her latest OB appointment, when she is brutally attacked and disfigured by a hooded assailant. When Esther seeks consolation in a support group, she finds friendship and empathy in Melanie (Havins), another mother scarred with tragedy. Esther soon begins to believe that the horrific event might be a bittersweet act of fate. However, friendship and empathy can be very dangerous things when accepted by the wrong people.

Categories: Horror News

An "Enormous" Trailer Sets Up March 20th Premiere!!

Thu, 03/13/2014 - 13:52

What has everyone so in shock?

The first trailer for BenDavid Grabinski’s “Enormous” is here and teasing impending doom!

Created by Tim Daniel and artist Mehdi Cheggour for Image Comics, the “Enormous” web series will debut on March 20 on Machinima.

Ceren Lee stars as a woman who works for the United Nation’s Search and Rescue division looking for abandoned children. Erica Gimpel, Steve Brand, Garret Coffey, Billy Miller and Charles Melton also star.

Grabinski worked with Troll Hunter’s Andre Ovredal on the screenplay.

The world as we know it has ended. A group of survivors on a mission now find themselves face to face with unspeakable dangers, some human and some…much bigger.

Categories: Horror News

[Random Cool] Movie Characters Get 8-bit Treatment

Thu, 03/13/2014 - 13:49

Right now 8-bit is about as hot as vinyl, and that’s no shock as the kids of the 1980′s are the working class.

NYC artist John McGregor has some fun with classic films by making pixel animations from old video games.

Take a look at some of his work including Alien, Jaws, The Terminator, Predator, Beetlejuice and more…

Categories: Horror News

'Alien: Isolation' Will Make The Alien Scary Again

Thu, 03/13/2014 - 13:48

With Alien: Isolation, one of developer Creative Assembly’s goals is to make the alien scary again. Its efficacy as an object of terror has been watered down over the years, mostly thanks to the numerous games in the series (Colonial Marines, AvP) that have thrown waves of the bugs at the player to be easily squashed. Those days are over.

Isolation features a lone, solitary xenomorph. It’s also huge and intelligent. Learn more about this beast after the break.

This game made our list of 2014′s most anticipated horror games for a reason. It looks terrifying.

Alien: Isolation arrives later this year for PC, Xbox 360, Xbox One, PlayStation 3 and PlayStation 4.

Feel free to send Adam an email or follow him on Twitter:

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Categories: Horror News

Shocking 'Patrick: Evil Awakens' Viral Goes Terribly Wrong!

Thu, 03/13/2014 - 13:39

Bloody Disgusting has two new clip from Mark Harley’s Patrick: Evil Awakens (review), checking into limited theaters and on VOD platforms this Friday, March 14 via Phase 4.

The first clip is a found footage video of an unethical medical experiment gone wrong! The other shows You’re Next‘s Sharni Vinson in which she’s hired to join the clan of nurses.

A remake of Richard Franklin’s 1978 horror pic, “When a young nurse begins work at an isolated psychiatric ward, she quickly becomes fascinated with Patrick, a brain dead patient who is the subject of a mad scientist’s cruel and unusual experiments. What starts as an innocent fascination quickly takes a sinister turn as Patrick begins to use his psychic powers to manipulate her every move, and send her life into a terrifying spiral out of control.

Charles Dance and Rachel Griffiths also star.

Categories: Horror News

[Interview] Greg Rucka Discusses The Horrors Of 'Veil' & Upcoming 'Gotham' TV Series

Thu, 03/13/2014 - 13:33

Greg Rucka has been synonymous with specific genres, but horror is not one of them. His body of work on books like “Queen & Country”, “Gotham Central”, and “Batwoman” are held in high regard as classic examples of titles that are complex examinations of the characters and elevate the comic book medium to another level.

Challenging fans and critics expectations is something that Rucka is currently doing with his first foray into the horror world with “Veil”. The book centers around an amnesiac woman who wakes up naked in an abandoned subway, as she struggles to piece things together in her new surroundings and defend herself from vicious animals that view her as nothing more than prey.

Bloody-Disgusting interrogated Rucka about the mystery that is “Veil”. During our cross-examination Rucka revealed his trepidation about working on a horror book, the confines of being labeled, the overt themes of “Veil”, details about the new “Stumptown” ongoing series from Oni Press, and his thoughts about the upcoming “Gotham” television series.

Bloody-Disgusting: The first issue of “Veil” is out now and this is quite a departure from your previous works. Is this your first time experimenting with the horror genre?

Greg Rucka: It’s funny because I didn’t think of this as a horror book when I was working on it, but then my editor Scott Allie had me on a horror panel at New York Comic Con. I was sitting on the panel thinking to myself, “Why am I here?” Then when I really thought about it, I finally came to the realization that this is essentially a horror book. I get leery of genre labels, and not because I have anything against horror, but rather because I get nervous that there is an expectation that comes with that label. I think if you are looking at this book empirically from a genre standpoint, then yes this is absolutely horror, but working on it I didn’t think of the book as horror nor do I think of myself as a horror writer. When I write a crime story I’m not thinking of it as a crime or espionage book, it’s just the story that I’m telling. If we define horror by horrible things happening to people, in horrible ways, that are frightening and unnatural then yes we can firmly call this a horror.

BD: Defining a book as a horror story can mean so many different things depending on how the person views the genre.

GR: Right; “The Walking Dead” is not H.P. Lovecraft or “Silence of the Lambs”, but they can all be called horror at varying points. I guess it’s somewhat of a slippery label for me.

BD: As a creator you’re always banging the promotional drum for projects, but you also don’t want to reveal too much about the story. Is it hard for you to talk about “Veil”, because so much of the story is shrouded in mystery?

GR: It has been murder (Laughs). You are the first person to ask that, but it has been really difficult to talk about “Veil”, especially prior to this week when the first issue finally hit stores. I don’t feel like I have a vocabulary that I can use to describe the book without giving away the story. There is an element of suspense to the narrative and certainly questions that are mysterious, and if you put it bluntly like Dark Horse did in solicitations, this is a story about a naked woman that wakes up in an abandoned subway and strange shit happens. (Laughs) That isn’t necessarily going to send people running to pick up the book.

BD: Even after reading issue #1 the characters and the plot are still a mystery. It’s not like many other debut issues where everything is spelled out for readers, so they know exactly what they are getting and what to expect.

GR: I don’t dislike books that lay out everything for the reader in the first issue, and there is a kind of storytelling where that is perfectly functional, good, and appropriate for. I think these days I’m in more of a place where I want the audience to ask questions, the most basic of which is, “What’s gonna happen next?” I don’t feel like there is a need in a story like “Veil” to explicate everything. Part of the nature of it being a horror story and a mystery is to make people ask, “Why is this happening?” Those are mystery questions and I think that “Veil” certainly chucks readers into the deep end. At the same time, everything will be answered and I don’t think that it is a particularly complex or mysterious story once we reveal everything. I think once people read issue #2 they will have a much better handle of what’s going on and by issue #3 they will know, but by that time the reader should be asking much different questions. I don’t think this book is inaccessible by any stretch, but you are right by saying there is a lot that readers have to figure out because I’m not telling you yet. (Chuckles)

BD: I don’t think that anyone could read issue #1 of “Veil” and not want to read what comes next. I think good horror books and good comics in general will always make you hungry for more…

GR: Well that’s the nature of any good story right? Especially in comics, because they want you to pick up the next issue. That sequence in the hallway at the end of issue #1 sets the tone for the book, so come along for the ride. I just finished up a big section of the script for issue #4 and if Tony executes it like I imagine it then I think it will be the goriest thing that I’ve ever done. I will say that it is a very inventive death!

BD: You mention working with Tony and this issue looks absolutely gorgeous, especially with the color palette he used for the book.

GR: I think he’s amazing and I couldn’t be happier to be working with him. A lot of the stuff that I was trying to do with this story was sort of slippery for me. It was really hard for me to get a grip on this and get what was in my head onto the page. I can script to my heart’s content but I can’t draw, so when the script goes to the artist, how they interpret that and what they bring to it ideally means we are influencing each other, but I can’t control that. As we have progressed on the book, I have got more and more confident in the things I’m asking him to do and know that he will be able to augment that. He’s really wonderfully talented; he’s penciling, inking and coloring this book. All of the art in this work is his and I think the book feels very unified because of that. This is a very clear vision of a very skewed world.

BD: One of the things that good horror does is showcase human emotions to very frightening situations.

GR: I don’t think that final scene in issue #1 would have worked if he didn’t hit those numbers as cleanly as he does. In that scene you are looking at something that is essentially invisible in a visual medium, so it’s entirely based on the participants in that scene and their reaction. Tony made it work.

BD: You’ve stated that one of the themes of this book is the way that men treat women and I’m interested to know if there was a moment that triggered this story for you?

GR: I think living in the modern world. It’s not a new observation in any shape or form, but I’m predominantly known for writing women and I’ve been asked a number of times over the years, “How do you write such strong female characters?” The question is infuriating to me. I’m interested in questions of gender identity, sexuality, and sexism. We live in a very fucked up culture with how we treat each other and in particular women in first world society. I think that good horror is very literal, but it’s also a form of social commentary. It has elements that talk about our “real world” that upon closer examination can be twisted with very little effort into truly horrific circumstances. Thematically that’s what this book is about is these men, interacting with this woman, and through those interactions what they create. I don’t think it’s giving away too much to say that they create a monster. In that sense it is very much a nature verses nurture story. Veil in issue #1 is a blank slate and you see that with her ability to work language and her absolute innocence. She spends half the issue naked and she doesn’t even notice. That is the primal state right; the Garden of Eden. Don’t eat that apple! You’ll need clothes! (Laughs)

BD: Can you tell us about the inspiration for her rhyming speech pattern without giving anything away? Does it come back to her waking up as blank slate?

GR: The idea for Veil as a character has been around inside my head for about twenty years. I’m not entirely sure why that word salad that she uses in issue #1 sort of came to me as a means of sort conveying that. One of the things I like about it is the word play of it and you get the sense that she is really feeling the words inside her mouth. The words are all there for her, but she has to sort of unlock them. She says some things that are absolutely nonsensical, but they provide an interesting juxtaposition to the action. Look, I’m a writer, so playing with language is always fun for me. I don’t know where it came from but I always sort of dug that idea that she has all the knowledge for these words, but she’s just trying to get them out. I think sub textually she’s labeling everything and even though it doesn’t really mean anything yet.

BD: I’m interested to know what made Dark Horse the perfect partner for this type of book, because you are one of the few writers that works for multiple publishers in an age of exclusive contracts.

GR: I think you get different things from different publishers. One of the things that made Dark Horse appealing for this project was the fact that Scott Allie actively pursued the project. He said you need to do something for Dark Horse and when I pitched him my various ideas, he immediately pounced on “Veil”. It makes sense in the way they market their books, their line of books, and a book like “Veil” makes sense next to “Hellboy”. They are not necessarily the same, but they are of a family that is not out of the expectations for the publisher. When I’m looking at a publisher, I’m looking for someone that is going to work with me to do the best job that they can to bring the project to fruitition. Taking “Veil” to Vertigo would have been a viable option but Dark Horse is more intimate, and I think a book like this needed that sense of intimacy.

Dark Horse has really stepped up to become one of the premiere horror publishers in the comics market with their “Hellboy” line of books, the adaption of Del Toro’s “The Strain”, and books like “Grindhouse: Doors Open at Midnight”. These books might not do phenomenal numbers sales wise, but their damn good horror comics.

GR: If you’ve met Scott Allie at all then you know that he is a fan of the genre. I’m not sure if you have spoken to him before, but I have a feeling that you two would get along like a house on fire. He’s very knowledgeable about the genre as a whole and it has become a passion for him. I was really nervous about this project and being able to feel that I was backed by someone that was informed about what we were doing was comforting. Let’s face it, horror is yet another bastard genre that people ignore and diminish. Working with someone that honors it and understands the power and the depth of it; I needed that. If I didn’t have that I would have felt even more lost in the woods than I did at the start.

BD: Horror is a genre that most people would never expect from you. Is it fun for you to do a project like this and challenge people’s expectations?

GR: It’s fun, but also terrifying. This book is way out outside my comfort zone, and for the last few years I have been reasonably comfortable in what I do. “Veil” and “Lazarus” are big departure books for me. They are very different books and they feel riskier to me. “Veil” in particular has that “strong female character” label which I find incredibly problematic, because it reduces the problem of representation. It also makes it seem like the solution to that problem is to write women that kick ass and take names. No character should ever be just one thing. You mentioned before that the strength in horror comes from the strong emotional response to it and that is one of the key elements here. Veil’s emotional responses needed to be honest and she is not presented as an ass kicker. I was very cognizant of the fact that here is a guy that is proudly a feminist who is writing a book about the male gaze where the female character is naked for half the issue. (Laughs) I can see where this might be problematic. It really was a hard book to write and I’m feeling a lot better about it now. We’ll see at the end what people think. The thing is people have read the first issue of five, and they’ve seen the start but not the end. It’s very difficult to judge any work until you’ve seen it in its entirety. We can talk again in five months and you may have some very different things to say.

BD: I was reading that you worked as an EMT for a number of years and that the experience had a large impact on the way you depict violence when you writer. Can you tell us a bit about how that experience shaped the way you as a writer?

GR: Look, I write action and stories of violence and when you work as an EMT, police officer or paramedic you see violence and the results of it. It is impossible for me to remove that experience from the way that I write violence. Even in the most fantastic of stories I tend to take the violence very seriously and I want to know the exact details of the violence so that I can relate it appropriately. Working as an EMT, you see people when they are hurt and when they’re hurt they are raw. When you respond to a call and there is one guy on the ground whose face looks like hamburger. He’s bleeding, he’s sobbing, and he’s so drunk that his tears aren’t about the pain but the guy that did this to him. That’s very raw, very potent, and good writing has to have an emotional connection to the work. You nailed it when you were talking about the honest emotional reaction. Horror so often takes the fantastic and if you juxtapose it against what we call reality, then the reaction is not honest and it will fail or collapses because people will say that’s just a guy in a mask. When we’re reading or even watching a movie, there is a difference between the acceptance of the absurd, the surreal, or the unusual as normal and the portrayal of those things as abnormal but the reaction is normal. It all comes down to if you believe the emotion of the story and it matters less if you believe a guy could have his head chopped off and go wandering around carrying it in his hand. If that reaction to that guy is honest then you have a story. If people are looking at him and saying, “Hey boss!” then you are writing something else.

BD: We are huge fans of your work at Bloody-Disgusting and we’re excited to see that “Stumptown” is returning as an ongoing series from Oni Press.

GR: Well the idea is to do the book as we originally envisioned doing it way back five years ago. We want to do a case, so you’ll get four or five issues, then take a month or two off and then do another case. In that sense it’s absolutely an ongoing book and hopefully that will allow me to build the world out like I wanted to at the beginning. The first arc is called ‘The Case of the King of Clubs’ and its actually much darker than I thought it would have been. There is a personal element to this case for Dex and there is an act of violence in the first issue that really sets her off and we see a different side of her. In this arc you will see her with a gun in her hand. We’re being coy about who is drawing the book because Matthew Southworth stepped away to pursue other projects, but the artist that I’m working with on this is fantastic. He has his own take and I think it really honors the stuff that Matthew has established. I loved working with Matthew Southworth and I also love working with this unnamed artist. We’re going to be revealing who that artist is at the end of the month at Emerald City Comic Con. We did talk about having Matthew possibly come back for an arc if his schedule allows, but unlike “Queen and Country” which was about rotating artists with every arc, this is a new partnership with a new artist.

The internet has been buzzing about the development of the “Gotham” TV series. Do you think they will be using any of your run on “Gotham Central” as source material for the show?

GR: I’m as excited and interested in the process as anyone else, because I’m not involved so I don’t know what they are doing. That said, I think that they would be foolish not to avail themselves of the work as it exists and I don’t think they are foolish. There is a world of difference between concept and execution, but it’s very clear in the way that DC Entertainment has been so aggressive about mining the comics for movies and television. I will be shocked if there are not elements of “Gotham Central” present in the show. I’m very proud of that book to this day, so we will see…

BD: When “Gotham Central” was being published it wasn’t a big seller for DC Comics and sort of teetered on the verge of cancellation. Now years later, the book continues to sell and attract new readers with the various collected editions that have been put out. Does it feel like your work on the book has been vindicated to all the higher powers that said a book like “Gotham Central” will never work?

GR: That is a series that got legs and I think sold better in trade than it ever did in floppies.

BD: Being a writer that has had some of work adapted into television and movies, is it a strange experience to see something that you have had a hand in writing depicted on the screen?

GR: Yes. (Laughs) I’m not sure what else to say other than that. The few times that I’ve had the chance to see that happen it’s been extraordinary. I don’t draw, but when I write a comic script I can see the pages as I envision them in my mind, but when I get the work back from the artist it will always be different from what I imagined. You get the same thing when you see a version of them on screen that sometime bears resemblance and sometimes bears absolutely no resemblance.

BD: So having a director adapt your writing on screen is similar to handing off a script to an artist that you’ve never worked with and having them bring it to life?

GR: Ya’ that’s a very good analogy for it. You gotta understand that with most entertainment, I’m just not involved. It’s cliché to say this, but it’s very much like, “Well it’s flattering just to have been nominated.”

BD: So you have a number of projects that are currently underway, but is there anything else that you have coming up that you can talk about?

GR: I’m doing “Cyclops” for Marvel and I have three other projects in development at the moment. My new novel “Bravo”, which is the follow-up to “Alpha”, comes out in July. Then I have the web comic “Lady Sabre & the Pirates of the Ineffable Aether” with Rick Burchett, which is another break from tradition for me, as its sort of an all-ages pulp adventure story.

Categories: Horror News

Review: 'The Crow: Pestilence' #1

Thu, 03/13/2014 - 13:19

“The Crow: Pestilence” #1 satisfies the reader’s taste for a good old fashioned revenge thriller. From the mind of creator James O’Barr, readers get another vengeance-driven tale from beyond the grave. Hardcore fans of the “The Crow” series will still get a kick out of the gun-toting action and stylized artwork.

WRITTEN BY: Frank Bill
ART BY: Drew Moss
PUBLISHER: IDW Publishing
PRICE: $3.99
RELEASE: March 12, 2013

Raw Dog is part of a criminal organization, named Saint Death Cult, that has been making millions off of drugs and prostitution. In Juarez, Raw Dog has been illegally transporting women from another country to the US border to serve as drug mules and call girls. Years ago, Raw Dog and his associates murdered the wrong innocent man. The mystical crow has brought back Salvador, an ex-boxer, from the grave. Nothing will stop Salvador as he plans on bringing pain and misery to the men who murdered him.

Writer Frank Bill lays down the groundwork for Salvador’s revenge plan. In this installment, Bill introduces one member of the gang that killed Salvador in cold blood. Following the mythology of “The Crow” series, we know why Salvador is back from the grave and who he’s going after. There’s not much room for Bill to play around with because this is a standard origin tale. Hopefully, in the next installments, Bill is able to move away from formula and bring something his own to the franchise. The reason I enjoyed “The Crow: Curare” miniseries was because there was an interesting twist. It’s not the dead little girl seeking revenge; it’s the retired cop.

What Bill does add in this installment is some fresh dialogue and social commentary. Bill uses the Juarez setting to tell a gritty crime tale about illegal immigration and the drug cartel. When Salvador speaks, his dialogue is meant to be expressive and poetic. Bill has an easy-to-follow rhyming scheme to the pulpy dialogue. I hope Bill is able to explore more of these aspects in the upcoming issues.

Artists Drew Moss illustrates a dirty and violent atmosphere to the Juarez setting. It’s not a pretty lifestyle in Juarez as Moss depicts his characters as junkies and sleazy hit-men. In a fantastic extreme wide shot, Oliver Lee Arce uses muted colors for Juarez’s nighttime setting, highlighting the dirt roads and trash-filled backyards. The flashy purple tone of the rooftop from Raw Dog’s hideout stands out from the rest of the buildings.

My favorite of Moss’ illustrations is when he uses a splash page to capture Salvador’s character design. Making great use of little details, Salvador has the sides of his head shaved, with just a mohawk on top. Salvador tilts his neck up, so you can see how his throat was slit. Because Salvador was a boxer in his previous life, Moss emphasizes the muscles around the chest area. I really like how Moss added black wings to the larger-than-life image.

“The Crow: Pestilence” #1 starts off solidly but needs more to deliver the bloody goods. I’m hoping now that the origin story has been told, we can get to the core elements of the narrative.

3.5/5 Skulls

Reviewed by – Jorge Solis

Categories: Horror News

Review: 'Abe Sapien' #11

Thu, 03/13/2014 - 13:15

For the past few issues, Abe Sapien’s story seemed to be stalling. Abe was bouncing around to different locations and there was very little intrigue built up. Thankfully, this final installment of the current arc brings a ton of intrigue to the forefront which really brings this book together with “Hellboy in Hell” and “B.P.R.D.: Hell on Earth”. This is definitely a standout issue.

WRITTEN BY: Mike Mignola and Scott Allie
ART BY: Max Fiumara
PUBLISHER: Dark Horse Comics
RELEASE DATE: March 12
Price: 3.50

This series, though titled after the main protagonist Abe Sapien, has had another story with an odd panel here or there, but it never really got the spotlight until now. The resurrected Agent Vaughn and the warlock Gustav Strobl have been on long monotonous journey to the destroyed city of Seattle and have finally reached their destination. This event really explains the background of the warlock and finally begins to bridge this story line to that of the event in “Hellboy in Hell”. I never really understood how this plot line would tie into Abe Sapien but the events of this book really emphasize that there are so many stories being spider-webbed throughout Mignolaverse.

The writing is top notch. Allie seamlessly weaves the two plot lines together, having both panels and dialogue boxes mixed and matched throughout. This jumping between narratives can be complex when done incorrectly, but that is not the case here. The issue allows the story to pick up in its intensity and starts to answer so many questions. Abe’s story has been unfolding predictably from the readers stand point as we are given insight to events that Abe is unaware of, but with the additional tension that derives from the Vaughn and Strobl’s story, it sets this book above its predecessors.

Even though the writing behind this book is incredible, the art is it’s own beast. Every panel is teeming with visuals, down to the smallest details, and filled with creative colouring, whether it’s the desolate Seattle covered in alien substance or the quiet landscape of Payson. I’ve always been impressed by the talents of Max Fiumara and Dave Stewart, and this book is just another testament to their skills as artists.

This story line is really starting to tie into its two companion series. As the year rolls on I can’t wait to see just what Mignola and the gang have in store for Abe Sapien.

4/5 Skull

Reviewed by – GreenBasterd

Categories: Horror News

Review: 'Beasts of Burden: Hunters & Gatherers'

Thu, 03/13/2014 - 13:06

A charming and dark fairytale, the one-shot “Beasts of Burden: Hunters & Gatherers” takes its enchanted concept and brings it up to its fullest potential. Filled with well-developed characters, you will forget you’re actually reading about talking animals. Newcomers will surely be hooked and become future fans of the “Beasts of Burden” series.

WRITTEN BY: Evan Dorkin
ART BY: Jill Thompson
PUBLISHER: Dark Horse Comics
PRICE: $3.99
RELEASE: March 12, 2014

The Devourer has come for the peaceful animals living in the sleepy town of Burden Hill. A group of cats and dogs have something to fear against the monstrous creature lurking in the shadows. Led by Emrys, the group has to band together whether they like it or not. If they do not stop the Devourer, the monster will continue to tear apart one town after the other. But Emrys knows that even if they somehow stop the Devourer, there will be a long list of causalities from this battle. When the humans, the owners, can’t save their pets, it’s up to these paranormal investigators to rescue their own kind.

Writer Evan Dorkin could have easily taken his simple premise and completely turned it into a silly cartoon. At first, I thought this installment was going to be infantile because it has talking animals. But Dorkin takes such a dark and serious approach to the narrative, it actually blows away reader’s expectations. Through well-written dialogue, Dorkin gives each of his characters a moment to highlight their personality. Surprisingly, religion plays out through the group’s banter during the opening pages.

My favorite part of Dorkin’s narrative is the intense and suspenseful chase sequence between Rex and the Devourer. Served as bait, Rex stands out alone and in the open, waiting nervously for the Devourer to show up. Behind Rex, Dymphna hides as his look-out, telling him exactly when to start running. It starts out as a hilarious exchange between a cat and dog, which suddenly turns frightening when the comic relief goes away.

Though this is fantasy-based, artist Jill Thompson doesn’t aim for a cartoony style, but rather a more realistic approach. Thompson puts in tons of detail into the facial expressions of the animals. In the opening pages, you can tell the two dogs are arguing with each other just by their frowns and snarls. In a close-up, one of the dogs even sticks out his tongue in a mocking tone.

Thompson’s water-color technique makes the forest setting feel picturesque and creepy at the same time. The Devourer’s attack on the woods is set during daylight; so you have to see everything. As Thompson holds back from revealing the monster, the illustrations showcase the creature’s massive destruction and death count. Tress are torn from the ground and even the squirrels are pulverized to a bloody pulp.

I am really hoping “Beasts of Burden” becomes a monthly series.

4.5/5 Skulls

Reviewed by – Jorge Solis

Categories: Horror News

[BD Review] 'Among The Living' Combines Masterful Atmosphere And Gore With A So-So Story

Thu, 03/13/2014 - 12:47

Since I wasn’t at TIFF in 2011 I haven’t seen Livide, the seemingly eternally delayed second film from Julien Maury and Alexandre Bustillo. Still, even though their debut classic Inside is something of a distant memory at this point, I feel like the pair constitute something close to event filmmakers for the horror crowd. And for good reason. Even if most of us haven’t been able to see all of their films – when they do something new you take notice.

And, despite a few misgivings, Among The Living doesn’t do much to change that. Maury and Bustillo’s status as masters of imagery, mood and unrelentingly beautiful carnage remains intact. And my misgivings here are mainly of the “it’s not as tight as Inside” variety. The three central kids – Victor, Dan and Tom – are at times remarkably authentic troublemakers. But the price we pay as an audience for their hijinks is a somewhat lurching narrative. I get that we need to set them up as known ne’re do wells so their claims aren’t taken seriously when they witness something truly horrible, and that objective is more than accomplished. Still, there’s not a lot of pull to their story – it’s much more of a hang-out film with characters who are too young to have really developed much regard for anyone but themselves. The much touted Stand By Me comparison rings a bit false here, even though there’s plenty of fun to be had in their interactions.

When they do witness something grisly and untoward, they return home to their separate families and that’s where the film’s amazing final stretch begins. Klarence, a villain with a simple yet almost iconic and mesmerizing appearance, begins to hunt down each of the boy’s families looking to eliminate witnesses. And it’s here (along with a brutal opening to the film) that we’re reminded why Bustillo and Maury are masters of both atmosphere and gore. We’re also reminded that a lot of American films with similar production values play it so incredibly safe compared to these guys – without spoiling too much there are casualties you wouldn’t expect. And there are ways of killing people onscreen that I have ever seen before.

Despite a few occasionally turgid elements, I can’t wait to see this film again. Even if the film’s opening stretch still fails to really carry me, I know I’ll aways have the utterly insane and effective last act to look forward to.

Categories: Horror News

Check This Band Out: Slug Comparison

Thu, 03/13/2014 - 12:00

Doug Harrison, vocalist for Canadian progressive rock band Fen, has launched a new side project called Slug Comparison and sweetened the announcement by releasing a video for the band’s first single “Bringer Of Doom”. I wanted to bring it to you because the song has a dark edge to it and reminds me of more recent work from Katatonia. So if you’re a fan of melancholic, dark rock, this is right up your alley.

The video was directed by Peter Wilholm and tells the story of a woman who attempts suicide only to be pulled into her dream-like subconsciousness where she keeps running into a mysterious man.

Harrison states, “The story wasn’t what I had in mind when I wrote the song. But when Peter came up with the idea, I was impressed by how well it matched the lyrics, so we went ahead with making it.

Head below to watch the video and make sure to buy a copy of “Bringer Of Doom” for only $1 through Bandcamp.

Slug Comparison online:
Bandcamp
Official Website
Facebook


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Categories: Horror News

'Saw' Star Tobin Bell Has a Wicked Mullet in 'Dark House'

Thu, 03/13/2014 - 11:26

From Victor Salva, the director behind Jeepers Creepers, this new clip from Dark House features Saw‘s Tobin Bell and his absolutely ridiculous looking mullet.

The other day, Cinedigm launched the film in North American across cable, VOD, Blu-ray Disc and DVD. Paladin will release the movie in New York and Los Angeles tomorrow, with additional markets to follow.

“Dark House is a thrilling and horrifying road trip, full of twists and brutal surprises; a suspenseful thriller about a young man and a chilling old house that has survived decades, awaiting the return of its prodigal son… a house that can escalate Nick’s gift to see death before it happens, but holds within its walls the origins of a dark family legacy so horrible it may have already reached out to Nick’s unborn child.

Headlining the cast is Tobin Bell. Up-and-coming young actor Luke Kleintank (Pretty Little Liars, 1000 to 1) stars, along with Alex McKenna (Crossing Jordan”, “Dallas), Zack Ward (Postal) and multiple award-winner, Lesley-Anne Down (Upstairs/Downstairs). Victor Salva co-wrote the script with Charles Agron, based on a story by Agron.

Categories: Horror News

In 'Ashen Rift's' Wasteland, A Dog Is Your Only Friend

Thu, 03/13/2014 - 11:00

There seems to be no shortage of promising indie horror games on Kickstarter these days. In the first person horror shooter Ashen Rift, it’s you and your pitbull against a crumbling, post-apocalyptic wasteland that’s brimming with monsters. Your goal is to close something called the “Rift,” which is supposedly the cause of the Earth’s falling apart.

Unfortunately, hordes of monsters known as Feeders stand in your way, but it’s okay, because you have man’s best friend. See this game in action after the jump.

For more on Ashen Rift, check it out on Kickstarter.

Feel free to send Adam an email or follow him on Twitter:

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Categories: Horror News

'In Fear' Director Could Helm 'The Changeling' Remake

Thu, 03/13/2014 - 10:58

With In Fear out now, British filmmaker Jeremy Lovering is prepping his potential next project, which could be the long-gestured remake of Peter Medak’s 1980 masterpiece, The Changeling.

In speaking with Fango, Lovering rightfully expresses concern about doing something fresh and new, which is extraordinarily difficult when many of modern filmmakers use the classic as a focal point for their own supernatural horror. In fact, the classic Ringu franchise is a direct rip-off of Changeling, utilizing VHS tapes as a modern device to tell the story.

While a script is now completed, he shares his hesitation:

I’m really nervous about it, for obvious reasons. The original is an extraordinarily good film, and I’ve tried to take a kind of alternative point of view—doing the scenes you don’t see, the ones in between those that are in the film. The Changeling has such iconic, much-copied sequences, and obviously loads of directors, from James Wan to [The Woman in Black’s] James Watkins and a whole bunch of others, happily acknowledge The Changeling as a massively influential film. It’s the same producers [as the original] who want to make it, and it has been a very interesting process, but I’m still trying to decide whether it’s the right thing to do or not.”

George C. Scott starred in the original as a man whose family is killed in a road accident and retires to a lonely mansion only to experience supernatural occurrences linked to the house’s mysterious past and its previous owners.

Categories: Horror News

[TV] See What the New John "Constantine" Looks Like!

Thu, 03/13/2014 - 10:46

Both NBC and Slates for Sarah shared our first look at “Constantine,” which features our first ever look at “Criminal Minds’ ” Matt Ryan as John Constantine in the drama based on the “Hellblazer” graphic novels.

‘Constantine’ centers on master of the occult John Constantine, who struggles with his faith as he is haunted by the sins of his past and is suddenly thrust into the role of defending humanity from the gathering forces of darkness.

The series will debut on NBC later this year.

Categories: Horror News

[TV] First Look: NBC's "Rosemary's Baby" Miniseries

Thu, 03/13/2014 - 10:43

EW shared the first ever look at Zoe Saldana in NBC’s “Rosemary’s Baby” four-hour miniseries, an adaptation of the 1967 best-selling suspense novel by Ira Levin.

Red Lights‘ Carole Bouquet, Doghouse‘s Christina Cole and Jason Isaacs also star in the series directed by Agnieska Holland and produced by Lionsgate TV.

It centers on Rosemary Woodhouse (Zoe Saldana), a young wife and would-be mother who, with her husband Guy (Patrick J. Adams), moves into a Paris apartment that has a dark past. After finally getting pregnant, she becomes increasingly suspicious that both her husband and their mysterious neighbors have ulterior motives about the future of her child.

Categories: Horror News

Trailer for 'Camp Dread' Centralizes Horror Icons for Game Show!

Thu, 03/13/2014 - 10:04

Hey kids, pitch your tent and prepare for a summer of dread! Because we’ve got a clip that tips its scalpel to your old school desires and could send you into a “box” six feet under.

Bloody Disgusting hopes to avoid said early grave with the exclusive trailer premiere for Camp Dread, an homage to classic summer camp horror that RLJ/Image Entertainment will be releasing on DVD on April 15, 2014!

Looking to give a nod to films like Friday the 13th, Harrison Smith’s pic stars Sleepaway Camp‘s Felissa Rose, Human Centipede III‘s Eric Roberts and Hatchet II/III, Halloween‘s Danielle Harris.

The “Summer Camp” horror trilogy was one of the most popular movie franchises of the 1980s. However, the decade ended and so did director Julian Barrett’s career. Now Barrett plans to resurrect his gory series via a modern reboot patterned after reality filmmaking. With his former leading lady and an eclectic group of 10 young “contestants,” Barrett returns to the same locale where his old splatter-fests were filmed. When one of the campers is found savagely murdered, they discover there’s more at stake than just fame and fortune. Each of them is in a fight for their lives as they realize summer is over – forever.

DIG IT.!<--more-->

Categories: Horror News

There's No Sleeping Through This 'Caffeine' Teaser

Thu, 03/13/2014 - 10:00

Another teaser trailer for the upcoming indie horror game Caffeine recently made its way online, and boy is it brief. At least it shows actual gameplay footage, which I definitely appreciate.

If you’re unfamiliar with it, Caffeine is sort of like Among the Sleep in outer space. You’re set in the pint-sized shoes of a young boy who awakens on a seemingly abandoned caffeine mining station. Alone and confused, you set out to find out where everyone went. Check out its latest teaser after the jump.

Feel free to send Adam an email or follow him on Twitter:

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Categories: Horror News