Gabriel Hardman is an artist with a very fluid and powerful drawing style. And that carries over to his writing as well. His latest one-shot comic for Image Comics is a perfect case in point, entitled, THE BELFRY, a trippy surreal vampire jaunt. You could say this is how truly engaged cartoonists dream, or have nightmares: a sequence of seemingly random events that creep up on you to unveil some unnerving results. For Hardman, it all began with a sketch of a vampire woman with silky wings sprawled inside a dank cavern. That haunting drawing led to this strange and lyrical story.
Hardman runs with dream logic and gives us quite a number of compelling visuals: an airliner crash-landing in a remote jungle, devilish winged figures, a spike jammed into an eyeball socket! Yes, it can get gruesome but this is stylish horror. For those of you into quirky comics, you are likely already fans of Gabriel Hardman (KINSKI, Star Wars Legacy) as well as his work teamed up with Corinna Sara Bechko (INVISIBLE REPUBLIC, HEATHENTOWN). This is an artist loaded with wit, vision, and endless energy. Hardman loves to draw as his expressive ink does attest!
The initial sketch that set things in motion.
“Fwip! Fwip! Fwip!” go the incredibly long batwings. There’s a deliciously uncompromising vibe to this comic. Right after the airliner crashing, because of those demonic wings getting in the way, co-pilot Bill is awakened by flight attendant Janet. All the passengers have been accounted for. But what about Captain Anders? Well, er, he’s alive except…there’s a stake through his eye. Then there’s a beautifully surreal transition…Bill is running through the wild jungle and falls, as into a rabbit hole, except it’s a huge cave full of humanoid bats. Bill lands with a tremendous thud. He’s been stripped bare. All the other passengers are naked as well. And from there the screws are turned tighter and a splendid nightmare spreads out in full bloom.
THE BELFRY will prove to be a great new addition to your comics reading so make a note of it as this one is a month away. And, if you haven’t been following Hardman, seek him out. A good place to start is the ongoing series, INVISIBLE REPUBLIC, to which I provide a review right here.
THE BELFRY one-shot issue is available as of February 22, 2017. For more details, visit Image Comics right here.
“The Girl with All the Gifts,” a novel by M.R. Carey, caused quite a sensation when it was first published in 2014. I have read it and quickly found it to be inventive, something of a game changer to the zombie genre. Well, the movie adaptation became a smash hit in the UK when it was released in 2016. And now it invades its way to a wide release: on DirecTV January 26th and in select theaters and On Demand February 24th.
Kudos to Mike Carey for writing the screenplay to his novel!
Melanie (Sennia Nanua)
The near future: humanity has been all but destroyed by a fungal disease that eradicates free will and turns its victims into flesh eating “hungries”. Only a small group of children seem immune to its effects. At an army base in rural England, this group of unique children are being studied and subjected to cruel experiments. But one little girl, Melanie (Sennia Nanua), stands out from the rest.
When the base falls, Melanie escapes along with Miss Justineau (Gemma Arterton), Sergeant Parks (Paddy Considine), Dr. Caldwell (Glenn Close) and two other soldiers. Against the backdrop of a blighted Britain, Melanie must discover what she is and ultimately decide both her own future and that of the human race.
THE GIRL WITH ALL THE GIFTS is directed by Colm McCarthy and written by Mike Carey. The distributor is Saban Films, Lionsgate. Visit the movie’s Facebook page right here.
Just in time for Halloween, VICE’s art editor, Nick Gazin, shares his list of the top five scariest horror comics. With horror comics being dismissed by many as just a junk genre, there was a golden opportunity to fill that void and create great art using strange artistic styles. Nick provides a quick history lesson, and an unexpected treat among his choices. He also wears some big toothy fangs all for your enjoyment.
VICE Guide to Comics: The Top Five Scariest Horror Comics is right HERE.
Kerry O’Quinn and Friends. Illustration by Henry Chamberlain.
Kerry O’Quinn is the co-creator and publisher of STARLOG, FANGORIA, CINEMAGIC, FUTURE LIFE, COMICS SCENE and more than a dozen other monthly newsstand magazines. Mr. O’Quinn is featured in an upcoming documentary on fandom, FROM THE BRIDGE, written and directed by Spencer F. Lee and hosted by George Takei. It was my pleasure to get a chance to interview Kerry. Here is someone who tapped into the world of fandom as if he were born to do so. O’Quinn and his partner Norman Jacobs got their start by creating and publishing a soap opera magazine in 1972. By 1976, they were ready to pursue publications aligned with their passions for genre cinema, television, and related pop culture.
Kerry O’Quinn, co-creator and publisher of STARLOG and FANGORIA
Starlog and Fangoria are the flagship publications from that golden era. Starlog was launched in 1976. Fangoria was launched in 1979 and continues in its great tradition of covering the horror scene. These are the prime publications, along with Cinemagic, that would go on to influence thousands of creative people including many of the most celebrated talents working today like J.J. Abrams and Quentin Tarantino. Before the internet, you got your in depth information on the entertainment industry from magazines. One cannot stress enough how significant Starlog and Fangoria were in their heyday.
Fangoria, Issue One, August 1979
Kerry O’Quinn would go on to celebrate the worlds of science fiction, horror, comic books, and fandom in various ways. Some of the most notable are his conventions that paid tribute to the 10th anniversary of Star Wars, the 20th anniversary of Star Trek, and the 20th anniversary of Starlog. It was during the 10th anniversary celebration of Star Wars that Gene Roddenberry and George Lucas would share a stage for the first and only time together. How was such a marvelous feat accomplished? Well, Kerry O’Quinn was friends with both of these legends. It was Kerry O’Quinn who landed an exclusive in depth interview with George Lucas that was so comprehensive that it spanned three issues of Starlog.
Gene Roddenberry meets George Lucas, 1987, the 10th anniversary of Star Wars
Over the years, Kerry O’Quinn has proven himself to be a man of many talents consistently exploring and creating new work. He has become an accomplished screenwriter with a number of projects including “Dragworms,” his unique take on zombies which is actually more character-driven than just blood and guts. What strikes me about Kerry O’Quinn is his energy and determination to pursue his dreams. I can relate to him on many levels. We’re both from Texas. We both love New York. We both juggle a number of passions: writing, drawing, acting, filmmaking. I think some people are just wired to need to do many things and will find ways to realize each goal over the course of a lifetime. That’s what is special about Kerry O’Quinn. That said, he’d be the first to say it is well within reach for everyone to follow their dreams. For more details on his remarkable life and his observations, check out his website here.
HENRY CHAMBERLAIN: Kerry, I want to chat with you about fandom, and the upcoming documentary that you are featured in, “From the Bridge,” and cover as much as we can about your remarkable career. I want to begin by giving a shout out to your friend, Kurt Edward Larson. He conducted such a beautiful and heartfelt interview with you.
KERRY O’QUINN: Kurt and I have known each other for a long time and have a lot of fun things in common. Kurt is such a Star Wars fan–and, when he got married several years ago, I wondered about what to get him–a toaster? a blender? No, what he would want was a day at Skywalker Ranch. I arranged that. He and his wife had lunch there and got a tour of the ranch. So, he was in heaven!
I was talking to a buddy of mine about doing this interview and we got to speculating over the long lines for Star Wars on the very first day of release. We were just kids when it came out. I started to think about how Jaws had attracted long lines too a couple of years prior. From your special vantage point, Starlog was already on the scene having come out in 1976, would you share with us your take on the explosion of excitement over Star Wars in 1977?
It was phenomenal timing. My partner, Norm Jacobs, and I had launched Starlog magazine in 1976, the Bicentennial year. At that time, there was no science fiction that was alive and happening. It was all stuff from the past that was being consumed. You know, stuff from the 1950s, the movies made by George Pal. Those movies were popular with nerds like me. But they weren’t going to win any Academy Awards or get any mainstream cheers of any kind. It was considered trash, like daytime soap operas. Horror movies, stuff like that, was not taken seriously.
Starlog, Issue Seven, August 1977
When we started the magazine, there wasn’t anything like it like there is today. And we had great difficulty starting the magazine for that reason. But, lo and behold, the very next year Star Wars came out. All of a sudden, it made the cover of Time magazine, with exactly the same X-wing cover that we had for Starlog. So, suddenly science fiction was at least getting noticed by a mainstream audience all over the world. It has gone on to become an important part of the culture in the same way that Star Trek has. And in the same way that horror and superheroes have. It’s very trendy today to be a nerd. It wasn’t 40 years ago.
I remember when I first met George Lucas. He was telling me about having lunch one day at Hamburger Hamlet on Hollywood Boulevard. And it was right across the street from Mann’s Chinese Theatre. He said that he looked across and he saw lines of people. He asked what was going on. And a friend told him that it was his movie that was playing. It didn’t occur to George that huge lines were gathering along the sidewalk for his movie. He was delightfully surprised by the enormous fan reaction to his movie as all the rest of us were.
It was when Star Wars lit up the sky like it did that Starlog went from a quarterly to a monthly magazine. Indeed, we were already there. Starlog was the voice of science fiction. And George launched the science fiction that is very much alive and booming today.
That scene with the long lines, that’s in your interview with George Lucas.
For our Star Wars fifth anniversary issue, I had called to arrange an interview with George Lucas. He had turned down all the big magazines. I was told that he wasn’t doing any interviews but I begged and pleaded. George agreed. I flew out from New York to visit him. This was before he had build Skywalker Ranch. I did an lengthy interview with him in which he told me all kinds of wonderful tales. We were very comfortable talking with each other. We had many of the same values and things that excited us. We talked about everything from space to technology to classic cars. We talked for hours at that first interview. In fact, it turned out to be too much for one issue so I turned into three consecutive parts spanning three issues of Starlog. I believe it is the longest interview anyone has ever done with George Lucas.
Starlog, Issue One, August 1976
Share with us your insights on how Star Trek became a phenomena, after having struggled in the ratings when it was originally broadcast.
It did indeed struggle. In fact, after the first two years, NBC had cancelled the series. And an amazing lady by the name of Bjo Trimble and her husband, John, did something that, at the time, was phenomenal. This was back in the mid-’60s. They organized a letter writing campaign to NBC by fans that generated more than a million letters. A TV network had never received that kind of reaction to the cancellation of a show–and they were stunned by it. Don’t forget that this is before the internet. Fans contacted each other back then with mimeographed newsletters mailed to each other. And then, ten years after the first broadcast of Star Trek, there was Starlog maganzine and fans could communicate with each other through our letters forum–as well as at conventions.
Bjo had gotten a television network to renew a cancelled series. That had never happened before. What Bjo did was allow for a third season of Star Trek. However, NBC scheduled it on Friday nights, which is a dead zone for shows. So, NBC cancelled it for the second time. Everybody seemed to think science fiction was dead. But it was very much alive within this hidden fan culture. And the documentary that my friend, Spencer, is putting together covers how this fan base has grown in the last 40 years. It went from this invisible, almost ashamed, audience to what it has become today when you have 150,000 people show up at Comic-Con in San Diego each year in July. And the biggest movies today are superhero, science fiction, and horror, everything that our magazines were all about.
Star Trek is right at the root of that response, at the heart of it. Gene Roddenberry created a concept of the future that was positive and inspiring: rationality, science, and the better values of human nature would prevail. Star Trek not only inspired the original audience that tuned in for its three-year run. In syndication, Star Trek reached around the world with its universal concept that the human race can be better. Gene deserves everybody’s praise as Star Trek is one of the most inspiring things to be created in any genre. Sometimes science fiction warns us of things that we need to be careful about. And sometimes science fiction shows us that things are within our control, we can make it better, and gives us hope for the future.
I’m thinking of how Star Trek was ahead of its time and so it made sense that it would struggle in the ratings. The same is true for The Twilight Zone. Both of these shows have a lot in common. The primary thing is that they both have subtext. There was social commentary in the guise of fantasy and science fiction, very much ahead of its time–now, we take that for granted, don’t we?
We do but we still need it since we don’t have a lot of it. Even with the science fiction that we have today, with all the dazzling special effects that we didn’t have back in the ’60s. Visually, science fiction today is dazzling, uncontrollable, and amazing. Back then, the effects were kind of clunky, rubber monsters and the like, but nobody cared because–and this is certainly true about The Twilight Zone–the story talked about the issues, important values, and principles.
Science fiction does not show us the day-to-day reality but something that may exist in the future, something that could and that ought to exist. That is the noblest undertaking of art and science fiction is the best at doing that. Rod Serling and Gene Roddenberry are hugely important and we featured them in the early issues of Starlog. At that time, there wasn’t any science fiction, like we know today, so for the first few years most of the content in Starlog was looking at things from the past in terms of movies and television.
Cinemagic, Issue 20, June 1983
You were commenting on the past but then, at some point, you were not only commenting but you were part of the industry. There’s the whole how-to aspect from Cinemagic. There was quite the evolution as you became part of the scene.
Exactly. When we began Starlog, we included everything even those things that were very loosely considered science fiction. And that included horror, and articles on special effects, and Hollywood technology workshops, all the way to NASA and the space program. As we evolved, we discovered that we had many different audiences reading our magazine. Some of these people wanted to be filmmakers. They wanted to make these movies that they loved. Therefore, we branched off and created the magazine, Cinemagic which taught young filmmakers the techniques of production and special effects. We had a short film contest each year. We gave out prizes and trophies at a big theater in New York with celebrities to present awards. Some of these award winners are working in Hollywood today.
A lot of folks, like J.J. Abrams and Robert Rodriguez were inspired by Cinemagic. Steven Spielberg, at one time, said that Cinemagic was his favorite magazine, the only magazine promoting the future of the film industry to young people who were unsure if they could recreate the amazing things that they adored on the screen.
Director/Writer Wes Craven, from “Fangoria’s Weekend of Horrors” (1986)
I was curious about the overlap between Fangoria and Famous Monsters of Filmland. There does not seem to have been a rivalry between you and Forry Ackerman. Famous Monsters began in 1958. Fangoria began in 1979. You have Forrest J Ackerman, the founder and editor of Famous Monsters, in your film, “Fangoria’s Weekend of Horrors,” which I must say is an outstanding documentary on fandom in its own right.
What can you tell us about Forrest J Ackerman? What did you learn from him?
He was obviously the precursor to all of our magazines. He did something very daring in his day: to do a magazine about monsters! What kind of freaks are interested in something like that? Well, it turned out that there was quite a few. Again, these people were all in the closet, so to speak. They bought the magazine but they didn’t have any social status whatsoever. They were outcasts. They were unusual. That was me. That was a lot of people. Our magazine brought people out of the closet. I met Forry many years ago, at a convention, and immediately we had a lot in common. We became friends and we remained friends, it makes me sad to talk about it…I was with him just a few days before he died. He was still in good spirits and still telling me jokes.
From “Fangoria’s Weekend of Horrors” (1986) segment with Forrest J Ackerman
Forry was such an important person in my world and he became a very dear friend. I actually went over to his old home out here in L.A. years ago, which was called the Ackermansion. And it was a museum of props and artwork and all kinds of things that he collected from these strange movies that no one gave enough credit to but that he knew that it was an important part of the culture that should be saved and preserved. And there still is no permanent museum for that sort of thing. And I’m hoping that, in the near future, there will finally be a museum that recognizes and preserves science fiction, horror, superheroes, fantasy, all of the films that are now way out of the closet–and a part of mainstream culture, not just in the U.S. but world-wide.
Kerry, there are so many things we can talk about. Ayn Rand. Cannabis. More about Star Wars. There’s your book on how to chase stars, chase your dreams.
Yes, “Reach For The Stars.” It’s a book that has a lot of practical advice on how to make your distant dreams come true.
I also have to touch on your project with HBO which may still find its way back to them. It’s a Twilight Zone type of show called, “Future Tales.” Boy, that would be some show!
I agree, it would be. And it’s still a good idea. I haven’t been able to sell it to the Syfy channel even though that ought to be just the sort of show they would be interested in. I enlisted 45 of the world’s greatest science fiction writers (including Arthur C. Clarke, Isaac Asimov, and Harlan Ellison), we signed agreements, that they would create a story or that we could use an existing story as the basis for one of our episodes. It was an anthology series all about the world of tomorrow. When HBO had me develop it, we were calling it “Future Tales.” Now, I’m calling it, “Exploring Tomorrow.”
I love that.
Me too. Who isn’t interested in tomorrow?
Exactly! You know, Kerry, I’m over the moon. We share so many connections. I’m a cartoonist.
Yes, and I love New York.
And I can see your early interest in cartooning probably having to do with being able to control the whole production and allowing your vision to run free.
That also carried over into animation. In New York, years ago, I was so impressed with Disney and his multiplane animation that created three-dimensional pictures. I got a bunch of plumbing pipes and I built my own multiplane animation stand in my apartment in New York. At the time, my dream was to create a little film that was so damn good that I’d send it out to Disney and he’d have me come out to work for him. That was my dream: to work for Walt Disney! Now, it never did happen and I clearly changed my mind since then but I did produce a few short films on that animation stand. I still love animation, and illustration–that was my original career. I’ve done so many things since then that I have a resume that looks like I’m schizophrenic.
Well, I wish you and Spencer the very best with “From the Bridge.” I’m excited about it and I’m sure it will find a wide audience.
It’s going to be very popular with the fan community–because it’s all about them. And the power that they have grown to hold in the last few decades.
I interviewed George Clayton Johnson a number of times–a science fiction writer and big supporter of fans–and he always brought up people power. In the end, it is the fans who matter the most.
Absolutely. I’m going to do a panel at Stan Lee’s Comikaze Expo (newly renamed Stan Lee’s Los Angeles Comic Con) here in L.A. next month with Bjo and John Trimble and my friend, Tom DeSanto, who produced X-Men and Transformers, and we’re going to talk about fandom. That’s what it’s all about.
Well, very beautiful. Thank you so much, Kerry.
You’re very welcome, Henry. I always enjoy talking about what I enjoy most of all.
Here is the podcast interview to listen to. Just click below and enjoy:
Check in with Kerry O’Quinn at his website here. If you are in Los Angeles on October 28-30, come see Kerry and enjoy some pop culture fun at Stan Lee’s Los Angeles Comic Con. You can find details on that right here.
“I started writing when I was eleven. I didn’t start writing at age eleven because I thought I was going to become a movie director. I did it because I enjoyed it. I fed off the movies I was watching and the comic books I was reading.”
–Spencer F. Lee, writer/director of FROM THE BRIDGE
FROM THE BRIDGE is a documentary that looks at the career of Kerry O’Quinn, one of the leading figures in fandom, and explores in depth the rich and exciting world of science fiction, comic books, and horror–and the fans who love it. At this point, those fans include a vast number. But it wasn’t always that evident. With this new documentary, due out in 2017, writer/director Spencer F. Lee shares with you his childhood passion that has blossomed into a deep understanding of some of today’s leading forms of entertainment.
FROM THE BRIDGE, directed and written by Spencer F. Lee, executive producers George Noe and Spencer F. Lee, produced by Philip Nelson, and hosted on-screen by George Takei, is a feature film documentary that tells the story of how fans worldwide have “come out of geekdom’s closet” in the last 40 years, largely nurtured and encouraged by Kerry O’Quinn. Having the opportunity to interview both Spencer F. Lee as well as Kerry O’Quinn, I’ve come away with a great appreciation for what this film will mean to an audience. The film features interviews with Stan Lee, Bryan Singer, Gene Simmons, Joe Dante, Nichelle Nichols, Tom DeSanto, Bryan Fuller, Rod Roddenberry, Howard Roffman and many more.
The full podcast interview with Spencer F. Lee is right below. Just click the link:
Up next is my interview with Kerry O’Quinn, co-founder of such landmark magazines as Starlog and Fangoria.
On his deathbed, Kevin Smith will say, “Clerks,” and die with a smile on his face. For now, he is content with giving us his latest movie treat, “Yoga Hosers,” both written and directed by him. This will please any diehard Kevin Smith fan and may puzzle quite a few critics pondering the director’s vision and legacy. Quite the prankster, I am quite happy to chalk this up as Mr. Smith just having some fun. If I try to read into it, perhaps I can see him saying something about the state of Hollywood. There’s a scene where the villain (hilarious performance by Ralph Garman) asks if he might be taken more seriously if he were to speak in the melodious tones of Al Pacino. He then goes on to do a spot on impersonation as he describes his diabolical plans to kill off all the critics who have savaged his art. This could be interpreted as Smith saying that if only he were to play the game, then he would be taken more seriously.
I got to thinking that maybe Kevin Smith is right about how he’s been unfairly treated by critics. I’m just thinking here but consider the fact that Kevin Smith’s breakout hit, “Clerks” and Quentin Tarantino’s breakout hit, “Pulp Fiction,” both came out in 1994. This is nothing against Mr. Tarantino but I would argue that he and Mr. Smith are more alike than not. One director got the adulation of critics as his career progressed; while the other got a very hard time by the critics as his career progressed. The end result is that Tarantino finds himself in a very good place. And Smith finds himself the underdog. It’s worth considering this and might add to the enjoyment of this rather bizarre yet compelling film. It’s that special blend of Kevin Smith weird. And maybe he needs to keep doing what he’s doing.
Harley Quinn Smith and Lily-Rose Depp
“Yoga Hosers” is connected to Smith’s previous film, “Tusk” so he’s on a roll with his experiments in comedy/horror mashup. And there will be at least one more, “Moose Jaws,” rounding out Smith’s True North trilogy. For those of you who missed 2014’s “Tusk,” that proved to be quite unusual and not without some fairly gruesome moments in the spirit of Tarantino. That film had quite an edge to it. This time around, the gore has been rolled back but there’s an interesting sense of tension that Smith plays with especially early in this story that centers on two teenage friends, both with the first name of Colleen, thus they are known as The Two Colleens. The two work at the Eh-2-Zed, a convenience store owned by the father of Colleen Collette (played by Lily-Rose Depp). The other Colleen is Colleen McKenzie (played by Harley Quinn Smith). It’s pretty miserable for them being clerks. And the fact that the dad who owns the Eh-2-Zed is dating the store’s manager does not sit well at all with his daughter. Lots of domestic despair depicted with good comedic timing. It’s as if Smith knew he could have continued along that route but then decided to give his critics the finger and unleash his theater of the absurd.
You can give Smith credit for his abrupt shifts in tone. I fondly remember that moment in “Tusk” when Justin Long pleads not to die a horrible death. And then there’s a pause. And he ends his sentence with “…in Canada.” That was a genuinely masterful example of the comedy/horror mashup that Smith was going for. In “Yoga Hosers,” he not only doubles down but ratchets up the silliness with a bunch of menacing little sausage Nazis. The plot involves the untold story of Canada’s Nazi past–and this involves sausages. If critics want to give Smith a hard time, then he’s going to make them sit through a free screening involving little sausage Nazis. The fans will love it. The trilogy will one day be complete. The rarefied pompous hypocritical critics get the finger. Everyone wins.
That said, if you view the trailer, you’ll get a sense of how this film is actually more substantial than it may seem at first. Again, I go back to the idea of shifting tones, or shifting viewpoints. Part of the film is simply a heartfelt satire of high school life. The Two Colleens are sweet absent-minded girls who happen to love yoga. Thus the title to this film.
If you enjoyed “Tusk” or were curious about it but want to avoid some disturbing content, then go see “Yoga Hosers.” Justin Long is in it and he provides some impressive extended comedic bits as a yoga guru. Johnny Depp reprises his role as inspector Guy Lapointe to great effect. Both Lily-Rose Depp and Harley Quinn Smith are quite charming and show promise. Both have the sensibility and grace to pursue acting careers. And then you have Kevin Smith who portrays all the itty bitty Bratzis. Oh, and a cameo by Stan Lee as a police dispatcher! Overall, Smith turns the teenage horror flick up on its head and provides some good laughs. Amid so many Hollywood, and indie, cookie-cutter films, I want to see Mr. Smith continue making movies. He’s going out on a limb with his wacky Canadian horror/comedy trilogy but that’s fine by me.
Find out more and where to see the film by going to Kevin Smith’s Smodcast right here.
A Dennis Etchison femme fatale. Illustration by Henry Chamberlain.
A femme fatale in a Dennis Etchison story is “twenty-nine going on forty, and pretty, too, but not really very.” She is the sort who would visit a Beverly Hills beauty salon. She is the sort who would have a C-note handy in her pocketbook.
“Got to Kill Them All & Other Stories,” an e-book collection you can find through Bowery Books, is a great mix of classic short stories. The first two stories alone are priceless as you have the earliest published Etchison short story, 1966’s “Sitting in the Corner, Whimpering Quietly,” followed by 1976’s “The Walking Man.” From these, I make my assertion on Etchison femme fatales.
Etchison deliberately takes the same description for his 1966 female character (twenty-nine going on forty with a C-note in her purse) and attaches it to his 1976 female character. It’s a grand little inside joke since he is certainly not at a loss for words. Doing that adds another eerie layer of alienation. It’s a brilliant move, especially for a writer who enjoys playing with disconnection.
Having recently posted a review of a collection of work by George Clayton Johnson, it is fitting to follow up with a review of one of the great Johnson protégés, a masterful writer in his own right, Dennis Etchison. We can even begin with a comparison of work between Johnson and Etchison. Both wrote stories with the freeway as a looming background character. In Johnson’s short story, the freeway is much like one big car bowling alley. You simply let the cars be towed along by the grid. If you happen to lose your way and pull over, you are lost.
In Etchison’s story, also set in the future, the freeway is also a vast wasteland but one that results in carnage at a much higher rate. In fact, the system in place demands it. Welcome to the world of Dennis Etchison where the edges can be sharp but that does not take away from the storytelling craft at play. I became aware of Dennis Etchison through my friendship with writer George Clayton Johnson. It was in 2014, during our last conversation in person, that George went over some writers I needed to visit or revisit if I hadn’t. Robert Sheckley for my sense of humor. Theodore Sturgeon for my soul-searching questions. And Dennis Etchison for my dark side. I did just that. In fact, I’ve posted about Sheckley here and Sturgeon here. And, now, Mr. Etchison.
“Got to Kill Them All and Other Stories” by Dennis Etchison
Nightmare logic is at play here in a big way. Do you remember any of your best nightmares? Wasn’t there some lyrical quality about them that got under your skin? Think of the placement of seemingly random things that you know, down in your bones, actually belong together. Here it is, special delivery just for you: a transmission from the deepest recesses of your subconscious. It’s as if someone, or something, is trying to pass on an urgent message that never gets through during the daylight hours. The pounding at the door. There’s a reason for it. Well, I’m getting a bit carried away here. Chalk that up to my writer sense becoming all tingly just now. The point is that here we have this writer, Dennis Etchison, who masterfully crafts stories with the special edge of a nightmare. Consider, “The Scar.” I swear, that is one long nightmare narrative. That’s it! I really think I struck on something. We follow these characters in mid-flight. They are literally fleeing and it looks like they do a lot of that. The background, the landscape, it’s all a blur. For all we know, it’s an post-apocalyptic setting–or it just feels like that for this man and woman on the run with a child. The man and woman are unfit for normal society, total nihilist trash. Then things get really violent. Everyone falls down. Our characters get up and start running again. Truly a nightmare masterpiece!
“Got to Kill Them All & Other Stories” is certainly a title that will get your attention. It’s a delicate balancing act going on here between the brash and the subtle. There’s a lot of groundwork involved. Consider the title story, we begin with a classic Etchison main character, a hardened Los Angeles native: jaded, wired, and angry. I’ve been devouring Etchison short stories to the point where I feel I have a good handle on his dark vision. His characters are usually doomed and susceptible to entering into delusions and false hope. This is noir, extra-dark. With a writer of the caliber of Etchison, this can be quite a ride. So, regarding the title story, you have one very angry dude making all the wrong choices. The last thing he needs is a partner in crime. Ultimately, this leads to deadly disaster–with a grace note of macabre humor.
“Got to Kill Them All and Other Stories” by Dennis Etchison
I’ll leave you with one more. This one involves another sad sack Everyman. Our poor anti-hero is literally just padding about his apartment when he gets a call that will seal his doom. Poor soul, he even lets his message machine pick up so he can monitor the call. But, it’s no use, the pull of fate is too great. The call is so compelling. It’s the voice of a little girl in panic. She is pleading for help. She mentions some landmarks before the line cuts out. The man has no choice, really, but to rescue the little girl. Which is actually the last thing he should be doing.
“Got to Kill Them All & Other Stories” is an excellent introduction to Dennis Etchison. There are numerous titles to choose from. I would definitely seek out more like “The Dark Country” and “Red Dreams.” You can find both of these titles at Crossroads Press. You really can’t go wrong with any Dennis Etchison title.
I bring to your attention a funny and thoughtful comic with a cannabis theme that I’m excited about. You can support the Kickstarter campaign running thru August 31st right here. The project’s creator, Jeremy Myers, has found a sweet spot for comics and cannabis fans alike with this mashup of humor, horror, and political commentary. Cannabis and comics do indeed mix, going at least as far back as the Sixties underground. Here is a new generation’s turn.
Let’s say that you do go out to L.A. to chase that dream of fame and fortune. Alright, you’re walking down Hollywood Boulevard. You get a text. But it’s not your agent. You don’t even really have an agent but you know someone who does. Or you thought you knew this person. Where did the time go? At this rate, you only have enough money to last you through…the week? Ah, it can happen. Variations of this happen every day. Meet Farrah Durante. She’s struggling at cattle calls for whatever part she can get. And she actually used to be somebody. Yeah, she was Cee-Lin on that really popular sci-fi show, “Space Farers,” or it used to be popular. That was so many years ago. Close in on Farrah. She’s attractive and seems pretty agile but she’s at the mercy of youth-obsessed Hollywood. However, Farrah has stumbled upon some sort of secret weapon in “Glitterbomb,” the new comic book series from Image Comics with a Hollywood horror tale to tell.
You see, Farrah has a way to exact revenge. She is not looking to make trouble. But something has tapped her to be a vessel that can unleash horrific fury. You wouldn’t think it remotely possible to look at Farrah. And, Jesus, what exactly would horrific fury entail? Look, it’s been brewing for a very long time. Hollywood’s fame culture has already unleashed its own horrific fury, so to speak. We question our looks, our own worthiness, compared to the latest celebrity darlings. We all do it in our own way. And, if you don’t, there are others who will do it for us and unfairly judge us. Poor Farrah finds herself caught in the middle of some cosmic reordering of balance. That much I can tell you. That’s fair enough. I’m not here to spoil anything. What I am here to say is that Farrah Durante is a great character and exemplifies the tragic state of our culture when a talented woman reaches a certain age and becomes something less than worthy: unemployable, unmarketable, unwanted.
There are a couple of classic films that readily come to mind now: “Sunset Boulevard” and “All About Eve.” Both films came out in 1950 and each stars a woman who has committed the worst act in Hollywood: she has gotten older! Gloria Swanson was 51. Bette Davis was 42. Each character was at a dangerous point in their lives with threats coming at them from all sides. Who would love them? Who would hire them? Both films are dark with Billy Wilder’s “Sunset” decidedly noir. Neither is horror, per se, but we come close as, in both cases, these two older women are so up against it. “Eve” is far more restrained although the threat from the young Eve Harrington on the older Margo Channing reaches the level of a blood sport. For horror movie theatrics, you can’t find much better than Gloria Swanson as the aging and desperate Norma Desmond. This is all to say that both of these movies were playing with a common theme, one of the oldest in the book: the young will devour the old…and women are placed at greater disadvantage.
Clearly, “Glitterbomb” is playing for keeps! This is an ambitious work. It’s also a scary one! Jim Zub (WAYWARD, Thunderbotls) has created a script that realistically brings us into the hard luck world of Farrah Durante endlessly scrambling for an acting gig. And he melds that with some of the most inventive supernatural content that I’ve seen in a long while. Add to that the very nimble artwork by Djibril Morissette-Phan that captures the pathos and rage of Farrah quite convincingly. We see her as someone potentially so full of life but who must continue to sidestep all sorts of life’s sucker punches along with whatever that is that spawned from hell–or is it just Hollywood?!
K. Michael Russell provides some great atmospheric colors. And Marshall Dillon rounds out the creative team with well balanced, well-placed, lettering. I especially appreciate his creative flourishes in evoking the urgency of text messages.
At the end of this comic, there’s an eye-opening essay on the abusive culture of Hollywood by Holly Raychelle Hughes. As she experienced it, Hollywood made her feel less than human, more like something expendable. It is a perfect companion piece to this remarkable work.
GLITTERBOMB provides a clever horror vibe as well as great biting social commentary. The first issue is available as of September 7th. For more details, visit Image Comics right here.
Eric Heisserer is a screenwriter you want to follow. He is known for “The Thing” (2011), “Final Destination 5” (2011), “A Nightmare on Elm Street” (2010), and “Hours,” (2013) his directorial debut, starring Paul Walker.
You will see his work this year in “Lights Out,” a supernatural horror film directed by David F. Sandberg; and “Arrival,” a sci-fi thriller directed by Denis Villeneuve. “Lights Out” is in theaters starting July 22, 2016 (USA). “Arrival” will open wide on November 11, 2016.
In this interview, we chat about storytelling and we begin with “The Dionaea House,” an online project that launched Eric’s professional screenwriting career with its sale to Warner Bros. in 2005.