The Big Question with Barry Kitson
Interview with: Troy Brownfield

Thanks for joining us again in the Big Question! Our guest this time should be no stranger to fans of the JLA . . . or DC Comics in general. He’s been plying his trade around 12 years, working on icons like Batman, Superman and the aforementioned JLA. He did a memorable stint on L.E.G.I.O.N. as well.

However, it’s hard not to mention his name without thinking of his association with Mark Waid. Together, they produced the fantastic JLA: Year One, The Flash and Green Lantern Brave and the Bold mini-series, and are currently doing great things with Empire for Gorilla Comics.

Ladies and gentlemen, a man that really knows how to draw Black Canary, Barry Kitson!

THE BIG Q&A

Q1. Please give us a little insight into the sheer volume of credits that you’ve accumulated.

A1. My first professional work was Spiderman for Marvel UK – two episodes inked by Mark Farmer circa 1988. Then I moved to 2000AD drawing JUDGE DREDD and JUDGE ANDERSON strips, also a few FUTURE SHOCKS
My first DC work was BATGIRL SPECIAL #1 (1989)
Then LEGION OF SUPERHEROES ANNUAL # 4
Four weekly episodes of CATWOMAN in Action Comics Weekly
L.E.G.I.O.N ‘89 #1 through #17 and #23 through #60 – Covers #61 through #67
WOLVERINE # 31 & 32
IRON MAN ANNUAL #(?)
DETECTIVE COMICS # 670
BATMAN/PUNISHER LAKE OF FIRE #1
ADVENTURES OF SUPERMAN #502 – 520
LEGENDS OF THE DARK KNIGHT #63
ALPHA FLIGHT (two back up stories circa issues 123/4 I THINK)
AZRAEL #1 – 28 covers 29 & 30
SHADOW OF THE BAT # 35 -39
JLA Year One #1 through 12
BRAVE & BOLD #1 through 6
Flash # (?) layouts
EMPIRE #1 & 2
Batman:Book of the Dead #1 & 2
Currently working on a six part Legends of the Dark Knight arc and Empire.
Future works include an Elseworlds project with Howard Chaykin and David Tischman.

Q2. I’ve admired your work for awhile, but one of my favorite things that you’ve worked on is L.E.G.I.O.N. Could you describe that experience for us?

A2. It was a joy really from start to finish – my first regular US work and I got a chance to learn from Keith Giffen’s breakdowns and storytelling while doing my best to improve my drawing and writing skills. By the time I left the book I had pencilled, inked and written several issues. All with the incredible support of a large and very loyal readership. I was incredibly fortunate to have had L.E.G.I.O.N. as a vehicle as it was full of great characters and character driven stories. It still amazes me today how many people have such a strong regard for those stories. I’m always saying how I’d love to bring the characters back one day, so who knows it might just happen. I still look back on the L.E.G.I.O.N. days as some of the best I’ve enjoyed as a professional artist – it was a great learning curve and a wonderful group of people to work with. Sorry if this sounds gushing, but it is how I feel about it.

Q3. Your profile increased with your work on JLA:Year One. How did it feel to help re-write (or in your case, re-draw) the history of some great comics icons?

A3. That was a dream come true for me! An opportunity to work with all the characters that had originally got me hooked on comics – in their original forms. I think of it as maybe how a contemporary actor might feel if he were given the chance to work with all the greats that had inspired his career, but not as the older men and women they would be, but actually in their prime! It felt about as good as it could get I think!

Q4. How did you become involved with the Gorilla Comics project?

A4. Well that was pretty straight forward – Mark Waid rang me up one night and told me he and some very talented people were interested in starting a creator owned imprint and wanted to know if I’d like to be part of it. I’d always enjoyed working with Mark in the past – and I had a huge respect for the other creators in the group – so I hopped on board!

Q5. Tell us about “Empire” and your role as far as plotting and character designs.

A5. Well as far as the character designs went I pretty much had carte blanche. Mark and I would discuss the nature of each character and them I’d just begin sketching away until we had something we were both pleased with. In fact the designs came pretty quickly , most characters only took a couple of tries before we had them nailed. Probably Golgoth took the longest, I was very conscious of trying to create something unique and powerful. To get the mask right took maybe a dozen attempts, we wanted it to be both impassive and yet imposing.. I think we just about got there! :)

Q6. This is the obligatory “what art tools do you use?” question.

A6. I use a vast array of tools from straight forward pencils, retractable pencils 0.3 or 0.5 usually HB for rough sketching. Brushpens and felt tips for high contrast roughs. A PC for image manipulation. Pencils and retractable pencils B or 2B for final drawings. I use Canson Bristol Board to draw and ink on. I ink using mostly Rowney S.40 #5 kolinsky sable brushes, dip pens usually with Joseph Guillot 303 or 170 nibs and a variety of Rotring technical pens. I usually use Rotring or Pelikan India ink.

Q7. Finally, what’s your dream project? Any characters out there that you’d like to redesign or take over?

A7. There’s hardly a character that I wouldn’t like a shot at taking over and/or redesigning! :) I still love all the classic superhero characters and to be given free reign on any of them would be a dream project. To be more specific I do have a property of my own that I’ve been working on over some years that I’d love to see print one day – that features entirely new characters. I have another dream project using established characters, but don’t actually want to talk about it as I’ve just learnt there’s a chance it might actually come about so I wouldn’t want to jinx anything!

We’d like to thank Mr. Kitson for taking the time to be our guest in the Big Question! Go check out Empire and the JLA: Year One trade paperback and keep an eye out for his upcoming projects.

As always, if you have someone you’d like to suggest as a Big Question guest, let Troy know at psikotyk@aol.com.

Troy Brownfield is the Editor-in-Chief of Shotgun Reviews. He also recommends that you pick up some L.E.G.I.O.N. back issues, especially #50 where Dox fights for his child. That one kicks ass.

The Big Question with Fred Dekker
Interview with: Troy Brownfield

Usually in the Big Question, we have guests from the realm of comics. Notable exceptions are author Steve Beai, Jeph Loeb (who has an awesome comics career but also writes films) and icon Julie Strain. However, this time I’m pleased to announce that we have secured our first interview with a film director.

At this point, I’ll admit that I’ve been very excited to have this guest. One of my sentimental favorite films from my teen years is The Monster Squad, and this gentlemen co-created and directed that film! He’s also the man behind Night of the Creeps, Robocop 3, and quite a bit more, as you’ll see.

Before we begin, I do have to note one funny thing. Fred actually came to our site via my big Best Horror Movies of all time article (wherein I named Monster Squad as a favorite). He wrote me a very nice email, agreeing with some picks and really giving it to me over some others. Needless to say, I was flattered that he took the time, and I’m very pleased that he agreed to be interviewed here. Ladies and gentlemen, Fred Dekker!

You’ve worked extensively as a writer and director. How did you “break in”?

First, I got rejected from every film school I applied to (well, two). This freed me up to enroll as an English major at UCLA, where I made a bunch of great friends and started writing screenplays. The first three sucked — screenplays, not friends — and had to be put in a drawer. The drawer was burned, the ashes scattered, the room fumigated. The fourth script wasn’t terrible. I was friends with Ed Solomon (Men In Black, Charlie’s Angels) who had just broken into television writing. I asked him how he went about getting an agent, and he gave me some names of agents he had met but not signed with. I called the first one on the list and sent him my meager-but-not-sucky effort; a science fiction thriller entitled The Forever Factor. This particular agent read it, asked to represent me, and represents me to this day.

Around this time, Steve Miner (Halloween H:20, Texas Rangers, etc.) had optioned the rights from Toho to make an American Godzilla movie (this was years before the Emmerich/Devlin version). Steve wanted to do it in 3D like he had done the third Friday the 13th, and based on The Forever Factor asked me to write the script. So that was my first job in the movie business.

After Godzilla 3D I sold a pitch to Tri-Star Pictures (a “pitch” is when you sell someone on an idea, then they pay you to write it, as opposed to presenting a completed script). It was called Teen Agent and eventually became a terrible piece of dog poo called If Looks Could Kill. Despite the stench of this film, I maintain my original script rocked.

My next script was a low-budget horror-comedy I insisted on directing. It was called Night of the Creeps, and the rest is hardly history, but you can catch it on cable at 3 a.m.

You noted that you’ve worked as an uncredited writer on films like Ricochet, Lethal Weapon 4 and Titan A.E. How does that happen, and do you find it frustrating to know you worked on a project that doesn’t carry your name?

Unlike most writers (who are scurrilous credit-hogs), I prefer my name to appear on projects that I actually care about, the ones I had a real hand in and weren’t shat upon or re-written beyond recognition.

Ricochet was an original screenplay of mine, originally intended as a Dirty Harry movie. Joel Silver bought it (he told me Clint Eastwood found it “too grim”) and I was briefly going to direct it with Kurt Russell possibly playing the lead. For reasons I can’t recall, I left the project. The screenplay was re-written by Menno Meyjes, then Steve DeSouza. All three of us retain screen credit, but I count only four things in the movie that are mine. Because I originated it, Writers Guild rules automatically awarded me “Story by” credit. Interesting addendum: the opening scene of my original Ricochet script (or a variation thereof) is being used in the new Steven Segal movie, Exit Wounds. Because Warner Bros. owns the script, they can do whatever they want with it.

Lethal 4 arose out of my relationship with Joel Silver and director Richard Donner who wanted more “Whammos” (that’s Silver-speak for action scenes). We had a meeting and I said, “How about if Riggs and Murtaugh jump a car off a freeway and drive it through a high-rise office building?” A week or two later, they were filming it. I didn’t want or receive screen credit, but I did get paid very well and got to hang around the set and drink coffee. Thanks, Joel!

The less said about Titan A.E., the better.

I’ve also worked on Demolition Man, Anastasia, and numerous unmade projects including my favorite script, the live-action feature film version of Jonny Quest.

Tell us about your involvement with Tales from the Crypt.

I’d always loved the old EC Comics and the Amicus movie versions, so it was a thrill when Robert Zemeckis (and again, Joel Silver and Dick Donner) asked me to write the very first filmed episode, “…And All Through The House”. I’ve been a huge Bob Z. fan ever since Used Cars, so working with him was a dream. When the series sold to HBO, I worked on it on and off for the first two seasons, writing five episodes and directing one. My favorites were probably “Lower Berth,” a period piece that FX maestro Kevin Yagher directed (brilliantly), and my own “The Thing From The Grave” mostly because I got Teri Hatcher to wear a blue silk teddy and fall in love with a zombie (I suspect she’s still mad at me).

Everybody here at Shotgun Reviews loves The Monster Squad. In fact, it’s kind of hard to figure out a way into the topic. How did that project originate with you and Shane Black?

Any discussion of The Monster Squad has to start with Abbott and Costello Meet Frankenstein (hereafter “A&CMF”). As a boyhood fan of both Abbott and Costello and the Universal monster series, this was probably the Holy Grail of my pre-teen years. Only later did I come to appreciate how difficult it is to pull off a “comedy/horror” film (obviously, it’s the genre I explored with mixed results in Night of the Creeps). A&CMF is an exception; a movie that is genuinely hilarious and scary at the same time. An American Werewolf in London would be another, coincidentally made by another A&CMF fan, John Landis. But I’d have to say there are only a handful of other films that have pulled off this difficult balancing act (I’m not a fan of Fright Night or the Scream movies).

As a kid, l also loved the Little Rascals shorts that ran on local TV (my favorites are the first talkies through to 1936 or ’37). After Creeps, the idea of an “Our Gang” meeting the classic Universal monsters seemed appealing to me; an obvious tribute to my misspent youth in front of the television. Shane was a college buddy and we shared a love of many things, including A&CMF. He had just started writing, which meant I could still afford him. So I asked him to take a crack at a first draft of Monster Squad based on a story we concocted together. It ended up being a 50/50 collaboration, to the point where I honestly can’t remember who wrote what. The 100-Year-Old-Amulet-That-Can-Tip-The-Scales-Between-Good-And-Evil is pretty much every episode of “Buffy The Vampire Slayer,” but I can’t remember where we got it, although Shane may have read Lovecraft at some point since he’s as voracious a reader as I am a film buff.

I showed the script to producer Jonathan Zimbert who was then partnered with director/writer/cinematographer Peter Hyams, a hero of mine for films like Capricorn One and Hanover Street. Although Peter was not crazy about Night of the Creeps, he did like the Monster Squad script and agreed to produce the movie. We made a deal with a company called Taft/Barrish, whose bigshots Keith Barrish and Rob Cohen (also a director and a great guy) executive produced.

Obviously, my first preference was to do the picture at Universal, which would allow us to resurrect the classic Jack Pierce make-ups. In their infinite wisdom, Universal passed (look at the mileage they get out of those monsters NOW! Again, ahead of our time, I guess). So the great Stan Winston designed our monsters, all in the spirit of Universal without crossing the copyright line. I was particularly happy with the Creature… sorry, “Gill Man” (played by FX genius Tom Woodruff) and the mummy, who I decided was probably a boy prince when he was mummified. I wondered why mummies were always depicted as big and lumbering. Besides, we already had a big lumbering guy.

The shoot was a baptism-by-fire. My hero Peter Hyams turned out to be a stern father figure, who sometimes wanted things done his way or the highway. Much of the time, we agreed, but when we didn’t, it got sticky. To make matters worse, the crew was made up of people he’d worked with before, so if there were sides to pick, they mostly picked his. Peter’s input was mostly in casting and shooting style. Creeps had been an aesthetic I like: moving camera, bright colors, wide lenses; Peter’s is more smoky and classic, earth tones, long lens master shots, that kind of thing. Our styles clashed a bit (I think Rob Cohen kept Peter from firing me) until he finally decided I knew what I was doing. For this reason, the last third of the movie — I think the best part -– I was left totally alone. It was great shooting in wide-screen (Panavision), and I loved working with cinematographer Bradford May, now a highly paid TV director. Oh, and the kids were all terrific.

I had also loved Bruce Broughton’s music for Silverado — its playful combination of pastiche, emotion and rousing adventure — so I asked him to score the movie before we even started shooting. I think the score is one of his best, and added immeasurably to the feel of the movie. Peter subsequently hired Bruce for several of his films, so he must have thought I was doing something right.

In the final analysis, I can’t decide if the movie’s box office failure was the studio’s fault, or the audience’s (I’ll take the fall for RoboCop 3). Tri-Star did the best they could with something that straddled kid’s movie, comedy, and horror, and this was years before these elements became mainstream (Goosebumps, Harry Potter, etc.) I think parents were afraid their kids would be scared, and teens and adults thought it was a kids’ film, so we ended up with, essentially, no audience.

Until the magic of home video, of course.

Speaking of which: all Monster Squad fans should unite and write your favorite home video company requesting a new, remastered, widescreen DVD (with director audio commentary, of course!). I don’t want to be self-serving by starting the ball rolling, but you guys can — Just pretend it was your idea! A letter-writing campaign will have more effect than a phone call from a sniveling director. Those pan-scanned VHS tapes must be banished into the vortex!

Here’s a really specific question about The Monster Squad: when Rudy is fighting the monsters toward the end, we definitely see him kill two of Dracula’s brides. However, to my recollection, the third is never shown as being slain onscreen. Could you explain that bit?

I learned many valuable lessons from editor Jim Mitchell, and one thing he taught me was cheating. Next time you look at the movie, check out the kids in the scary mansion being stalked by the monsters while Sean tries to figure how to spring the trap door. In one shot, Eugene’s holding Pete the dog. In the next, Pete’s on the ground. In the next, he’s back in Eugene’s hands. And so on. Jim would say, “If the audience is watching the dog while the kids are about to be killed by monsters, we’re in big trouble.” In other words, editing is cheating. The trick is not to get caught. (At the end of the movie, as the vortex recedes, Phoebe repositions herself behind a bench, then – in a reaction shot – is back where she started. That always drove me crazy, but we never fixed it.)

As for the vampire brides (two of them played by college crushes of mine, the third by a stuntwoman), my eye was on getting to the next story beat: Dracula/Bat, Sean’s Dad arrives, Wolfman, etc. I figured, “We know Rudy’s killing the brides, so let’s move on.” In other words, I cheated on the third bride. You just caught me, that’s all.

(Here’s a question: where do the vampire brides’ bodies go when the sheriffs’ cars drive up to battle the Wolfman and the Creature? Also, why is Frank sucked into the vortex when he’s one of the good guys? Damn! Maybe I should look at this movie again.)

Why do you think that movie (The Monster Squad) resonates so strongly with the viewers who saw it in their teens?

Truly, I have no idea, but I’ll take a crack at it. It’s the same reason Harry Potter and “Buffy” and Nickelodeon are all so popular now. Two words: Teen Empowerment. John Hughes aside, how many movies were made in the ‘80s that didn’t depict kids as cliches (horny, jocky, nerdy, stupid)? Answer: not a lot. Here was a movie with a simple premise: Grown-ups don’t get it. It featured teens who are smart and resourceful, who form a club based on mutual interest, who tease but do not rebuke each other, who do not let their personal problems get in the way of friendship, and finally, most importantly, have enough simple, pure IMAGINATION to solve a problem in an unconventional way. In other words, smart teens who save the world: How could that not resonate with teen viewers? Of course, that’s just my theory.

Monster Squad Fun Facts (exclusive for Shotgun Reviews):

– Liam Neeson was hired to play Dracula’s mysterious alter ego, but we cut his scenes from the script before shooting them.

– Paul Reiser auditioned to play “Del Crenshaw” but Peter Hyams thought he looked too young to play the kids’ father.

– Dustin Diamond (“Screech” from TV’s “Saved By The Bell”) acted in, but was cut out of, an early school scene with Sean and Patrick.

– Mary Ellen Trainor who played “Emily Crenshaw” is married to director Robert Zemeckis.

– Michael Faustino who played “Eugene” is the younger brother of David Faustino from “Married With Children”.

– My friend and college roommate Ethan Wiley was making House 2: The Second Story at the Culver Studios the same time we were making Squad, so we’d visit each others’ sets.

– Other visitors to the Monster Squad set included Alyssa Milano and the Ackermonster himself, Forrest J. Ackerman.

– Sound mixer Richard Portman also worked on such classics as The Godfather, The Deer Hunter, Nashville, Young Frankenstein, and Star Wars (he also mixed my “Tales From The Crypt” episode).

Tell us what projects you have coming up.

I recently sold a pilot to Columbia-Tri-Star television, which I will write, direct and executive produce with Barry Sonnenfeld and Barry Josephson (the Men In Black guys). Entitled “Rocket City,” it’s my attempt to create a live-action version of Japanese anime, blending science-fiction, girls in school uniforms, ninja assassins, secret agents, robots, artificial intelligence, and an assassinated President who still runs the country from a top secret underground command post. In other words, it’s too cool for TV, so it will probably die on the vine.

I am also writing a feature I plan to direct which could be described as a realistic, Dogma 95-style re-working of Night of the Creeps. In other words: Be afraid. Be very afraid.

Meanwhile, enjoy my wife’s work as Story Editor and writer on the new James Cameron/ Fox television show, “Dark Angel.” Her name’s Moira Kirland Dekker and not only is she a wonderful writer, she’s also cute.

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The team at Shotgun Reviews would like to thank Mr. Dekker for his time! Personally, I’d love to see Rocket City make it onto someone’s schedule. In the meantime, let’s bombard Anchor Bay, a noted rescuer of films for DVD, and get them on the ball about Monster Squad! Thanks again to Mr. Dekker, and maybe we’ll be able to have him back someday. Go rent Night of the Creeps.

Troy Brownfield is the Editor-in-Chief of Shotgun Reviews. He’s proud to admit that his Master’s Thesis short novel, The Order, was influenced by The Monster Squad. Email Troy at psikotyk@aol.com.

THE BEST HORROR FILMS OF THE 20TH CENTURY
by Troy Brownfield

I’d like to start this list off with a few qualifiers. The following films are the best based purely and entirely on my opinion. I have seen all of the films, and believe that each holds a place on the list. While it’s true that your personal favorite may not appear, you will find that several films I like myself didn’t make the cut.

What I am attempting to do is to merely provide a guideline for quality films rooted firmly in the horror genre. I’ve had to make judgment calls on several films as to whether or not they are “too sci-fi” or “too something” to be included on a horror list. However, I think I’ve achieved a good stretch of diversity by including films that branch off into action, humor or other classifications.

The list will start with the ’20s and move forward from there. Each decade’s films will be presented in alphabetical order. I am not attempting to choose a best film for each decade or anything like that. These are simply movies that deserve to be seen.

Before I get going, I’d like to give a couple of thanks and recommend a couple of resources. First, thanks to Sharon Russell, my film professor from Indiana State University. A lover of horror films, she transfers her passion and knowledge to her students in a tremendously accessible fashion. For resources, check out John Stanley’s Creature Features video guide, Stephen King’s Danse Macabre and David J. Skal’s The Monster Show; these books provide great direction for anyone wanting to learn more about solid horror movies.

This list is dedicated to local television stations and PBS stations, who, in the days before satellites and digital cable, would run classic horror and sci-fi in the early afternoons. They introduced me to the genre. My love for these films would also not have been complete without Bob Carter, better known in the Indianapolis area as Sammy Terry, late-night horror host. From about the time I was eight till about my 15th year when he left the air, no weekend was really complete without catching him and his spider George introducing flicks like Children of the Full Moon or Baron Blood. When I think about it, his spooky intro and deep laugh were staggering influences on my childhood.

The 1920’s

Nosferatu (1922): There were earlier horror films, like The Cabinet of Dr. Caligari in 1919, but this is truly the one that everyone seems to start with. One possible reason is that it’s the first feature-length (though unauthorized) adaptation of Bram Stoker’s Dracula. F.W. Murnau based his silent film in Germany and changed the monster’s name to Count Orlock, but the story is obviously Stoker’s. Though it’s not a very exciting film by today’s standards, it contains some classic moments, and Max Schreck’s horrific appearance contributed to many horror staples.

The Phantom of the Opera (1925): Including the greatest horror movie unmasking of all time, The Phantom of the Opera is dominated by Lon Chaney Sr.’s triumphant turn as the disfigured musical genius who falls in love. Based on Gaston Leroux’s novel, this was the first of the big Universal Monster movies. While silents can be hard to view in comparison to today’s sound-drenched films, the great sets and the amazing Chaney make it a stalwart and massively influential work.

The 1930’s

Bride of Frankenstein (1935): From start to finish, one of the best horror films ever. Anyone with even the weakest grasp of popular culture knows Elsa Lanchester’s gravity-defying hair-do and legendary scream. With incredible high sets that seem to stretch to the moon and other startling visuals, director James Whale hammers out another Universal classic. Best bit of dialogue? The Frankenstein Monster himself (Boris Karloff, of course) intoning, “We . . . belong . . . dead.” Great, great stuff.

Dracula (1931): The film that launched a thousand clichés, Dracula will forever be associated with Bela Lugosi’s portrayal of the Count. While Tod Browning’s direction is more stagey than usual, and the script is hampered by being adapted from the stage play rather than directly from the novel, Dracula comes loaded with immortal bits that make the viewer think, “So that’s where that came from!” The best part of the film is the beginning, when Renfield (Dwight Frye) arrives at Dracula’s castle. Overall, another brilliant Universal offering.

Dr. Jekyll and Mr. Hyde (1932): Frederic March won an Oscar for his portrayal of Robert Louis Stevenson’s famous superego and id. This effort raised the bar for effects in its day by showing March actually transforming on screen.

Frankenstein (1931): James Whale directing Boris Karloff in Jack Pierce make-up? Call it the ultimate in Universal Studios horror. This adaptation of Mary Shelley’s brief novel, staggering in its artistic value, surely represents one of the greatest filmmaking achievements ever. Whether it’s Colin Clive screaming “It’s alive!” or the hoard of angry villagers or the monster’s isolation, very few pictures can lodge themselves so firmly into the consciousness of popular culture with such staying power. And just in case there’s still any question, Frankenstein is the doctor, not the monster.

Freaks (1932): Widely discussed, but infrequently seen, Tod Browning’s Freaks can be difficult to watch. Why? Mainly because this tale of betrayal at a sideshow features real “human oddities”. At times bizarrely hilarious, at other times unsettling, Freaks pulls the same trick as Frankenstein by generating sympathy for the “monsters” and showing that so-called regular people can be incredibly evil. With a great climax, Freaks has to be recognized as a classic. Musical footnote: The Ramones’ “Pinhead” was inspired by the film, right down to its “Gabba gabba! We accept you! One of us!” chant.

The Invisible Man (1933): It almost redundant to say it again, but here’s another Universal Studios masterpiece directed by James Whale. However, the star this time is Claude Rains. Rains turns the amazing trick of giving a powerhouse performance while being either a)unseen or b)wrapped in bandages and dark glasses. Based on H.G. Wells’s novel, this is one of the landmark stories that simultaneously straddles science fiction and horror. For spectacular use of this character today, check out Alan Moore’s comic series, The League of Extraordinary Gentlemen, where the Invisible Man plays a very visible part.

Island of Lost Souls (1933): Another Wells adaptation? You bet. Souls is based on The Island of Dr. Moreau, a tract questioning the role of science versus nature. Here the mad doctor (played by Charles Laughton) is conducting experiments that turn animals into human/animal hybrids. Moreau gives them laws to follow, which are recited by Sayer of the Law Bela Lugosi in an awesome performance. A rock solid interpretation of the book. The 1977 version, which goes by the original name, is quite good as well, but do yourself a favor and skip the botched Brando/Kilmer affair.

King Kong (1933): Is there anything more fun than a giant gorilla? Not much. The progenitor of all giant monster films, Kong begat legion of imitators after him, some of which (Godzilla, Gamera, etc.) became legends in their own right. Nearly everything about this film is a classic. Willis O’Brien’s stop-motion effects were stunning in their day and continue to be fun. The set pieces, such as the “sacrifice” of Fay Wray to Kong, Kong’s battles to save her against other giant monsters, the rampage through New York and the siege at the Empire State Building, have been absorbed into our mass consciousness. Though some of the scenes with the natives are uncomfortable today, there remains a resounding sense of zeal, Hollywood spirit and sympathy for Kong about the whole deal. And of course, there’s always the fact that giant apes are just plain cool.

M (1930): A German film that dealt with pedophilia and child murdering in the 1930’s, you might ask? M attacks those topics in an intelligent manner, buoyed by Peter Lorre’s debut performance. Although the picture pigeon-holed Lorre as “the creepy guy” for life, he comes across as thoroughly chilling in Fritz Lang’s psychological examination. What’s really more frightening is that the story is based on a true case.

Mad Love (1935): Another Lorre vehicle, this one based on Maurice Renard’s The Hands of Orlac. Everyone’s seen movies or TV shows that deal with the notion of transplanted body parts taking over someone’s body; this is where the idea was pilfered from. Even though I’ll always think of Peter Lorre first in his role from Casablanca (”Pleeeese! Help me, Reeeck!”), his portrayal of Dr. Gogol is certainly a memorable one.

The Mummy (1932): Welcome back to Universal’s domination of 1930’s horror. Boris Karloff strikes again as Im-Ho-Tep, once again done up by Jack Pierce. Exploring Egyptian burial customs (though not actual Egyptian legends), the film features striking set pieces as Karloff searches for what he believes to be the reincarnation of his lost love. It may not have the special effects razzle-dazzle of the 1999 version, but it’s got style, it’s got class, and it’s got Karloff.

The 1940’s

Abbot and Costello Meet Frankenstein (1948): I can hear the groans now, but man, this movie is absolutely hilarious and an enormous amount of fun. Despite the title, Frankenstein’s monster (here, Glenn Strange) isn’t the only one involved. We’ve also got Dracula (Bela Lugosi, for God’s sake!) and the Wolf Man (Lon Chaney Jr.!), not to mention a cameo by the Invisible Man (the voice of Vincent Price!). The astounding cast gives uniformly appealing performances, and Lou Costello has never been funnier. Classic comedy line: As Larry Talbot (Chaney) tells Costello that he becomes a wolf at night, Costello remarks, “You and a million other guys.” Simply beautiful.

Cat People (1942): Great atmosphere and interesting sexual overtones lend this thriller a fine noir feeling. Simone Simon believes that getting turned on turns into a panther. Does it? The build-up is great, particularly as Jane Randolph is stalked on both a city street and in a darkened swimming pool. Most of what makes it so good is what you don’t actually see. Credit director Jacques Tourneur, producer Val Lewton and writer Dewitt Bodeen for this particularly strong effort.

Dead of Night (1945): Troy’s rule of horror #17: Dummies aren’t cool. This anthology features several ghost stories and a framing device with a great ending. One of the first British horror films just after World War II, Dead of Night carries the elegiac weight of a country that had been under attack for the better part of five years. Very creepy in parts (especially that damn dummy), Dead of Night is built to make you think.

The Wolf Man (1941): Though he got to the Universal party a little late, The Wolf Man has distinguished himself as a horror favorite. Werewolves represent a fascinating dichotomy that draws in audiences (particularly me; I love a good werewolf flick), and this is the best. Lon Chaney Jr. plays poor Larry Talbot, who receives the curse from the bite of another werewolf (Bela Lugosi, who else?). Jack Pierce does the make up yet again, and it’s immortal. Also on hand are Claude Rains as Chaney’s dad and Maria Ouspenskaya as the gypsy lady who recites the most famous poem in horror film (Even a man who’s pure in heart . . .). For my money, no other werewolf film has been able to beat it.

The 1950’s

The Blob (1951): Steve McQueen’s film debut wasn’t as a cop or a gunslinger, but as the central teen in this story of a protoplasmic entity that arrives via meteorite and begins swallowing the town. Fun effects dominate, particularly in the movie theater and diner scenes. One of the things that I especially like about the film is the ambiguity of the ending; as Dan Patrick might put it, “You can’t destroy the blob; you can only contain him.”

The Creature from the Black Lagoon (1954): Gilled death rises from the deep, and Universal Studios is there! Originally shot in 3D by director Jack Arnold, Creature contains stellar underwater photography for the time period and a fantastically designed monster. One of the highlights is the Creature stalking the heroine in the water (while she’s wearing what Stephen King calls “the requisite one-piece white swimsuit”). Other films have sunk trying to imitate the style and atmosphere, but Creature rises above them all.

The Fly (1958): Featuring the immortal “Help me, pleeeease! Help me!”, The Fly was as close to a gross-out film as you could get in the late ’50s. With the giant fly’s head and hand grafted onto a hapless human scientist, you know that you’re in for a good time. And of course, there’s Vincent Price, who can elevate the quality of a horror film just by walking into the room. The Fly is another movie that straddles the lines of science fiction and horror, but I think that anyone who’s seen the awesome costume and chilling ending knows exactly which side it belongs too.

Godzilla: King of the Monsters (1958): The title says it all. Godzilla is the king! The movie that launched an industry of atomic-powered monsters, Godzilla still reigns as the 400-foot tall champion. I recommend picking up the unedited Japanese version if you get a chance. It’s longer and doesn’t have Raymond Burr cut in as reporter Steve Martin. Still, Godzilla rules the rubber-suit kingdom regardless. Despite the dated effects, the movie still holds up extremely well; it crushes by comparison the weak Devlin/Emmerich remake from ‘98. Hell, the scene of Bob Goldthwait in a Godzilla suit stomping the model development in One Crazy Summer is about twenty times as good as the Devlin/Emmerich version.

Horror of Dracula (1958): Christopher Lee as Dracula vs. Peter Cushing as Van Helsing. I could stop the review there and you’d understand why this is so great. However, other points need to be made, like the fact that this launched the Hammer Studios franchise, and that the blood ran in color. Though the film’s script is brutal on the novel, there is so much going on that the film takes on a life of its own. The climatic battle between the Count and his nemesis is fantastic. Many, many Lee/Cushing films followed. Good, good stuff.

Invasion of the Body Snatchers (1956): Though director Don Siegel insisted that this wasn’t a McCarthyist allegory, it still works in that fashion amazingly well. As in Jack Finney’s novel, the hero (Kevin McCarthy, ironically enough) discovers that alien pods are replacing people. A ticking clock of suspense, the movie is especially memorable for the scene of McCarthy shouting in the middle of the street. The 1970s remake is pretty darn good too, as in the ’90s version, simply titled Body Snatchers.

The Thing . . . From Another World (1951): Commonly known as The Thing, this absolutely awesome flick set many standards for ’50s horror and science fiction. Drawn from John W. Campbell’s “Who Goes There?”, the film is set at an isolated Arctic research station with a mix of military and scientific personnel. The sci-fi chestnut of “destroy the alien or study it” is clearly defined here. Though Christian Nyby gets the directorial credit, it’s generally understood that producer Howard Hawks oversaw the whole deal. The entire affair moves at a slam-bang pace with great suspense. And now dig this: James “Marshall Dillon” Arness played The Thing.

The 1960’s

The Birds (1963): Two words: Alfred Hitchcock. The man who basically defined suspense throughout the decade used a creepy story by Daphne DuMaurier (and scripted by Evan Hunter a.k.a. Ed McBain) to crank up this firecracker of avian terror. The cast is filled with familiar names (Jessica Tandy, Tippi Hedren, Suzanne Pleshette, even a very young Morgan Brittany) and the direction is spectacular. It’s enough to put you off pet shops.

The Haunting (1963): Not to be confused with the recent bad remake, the Robert Wise-directed ultimate haunted house party came from Shirley Jackson’s The Haunting of Hill House. Featuring some all-time chilling scenes, all of which are based in pure psychological fear, the film also boasts an awesome cast in Claire Bloom, Julie Harris, Russ Tamblyn and Richard Johnson. Whatever walks in Hill House may walk alone; see this movie, and you won’t want to sleep that way.

The Masque of the Red Death (1964): Edgar Allan Poe will always be the first scary author I read as a child. Roger Corman also found the inspiration from the poor, doomed writer to make some of the best movies of his career. Teaming up with the always fantastic Vincent Price as Prospero, Corman crafted this colorful allegory into a fine picture.

Night of the Living Dead (1968): George Romero introduced himself to the horror world with this black-and-white spear of icy darkness. Redefining horror and revolutionizing zombie films, Night of the Living Dead begins simply and builds to a horrifying climax. Though many of its motifs have been repeated over and over in subsequent films, the movie retains its simple power. Romero also shattered several taboos, including vivid realizations of cannibalism and matricide. Elements of the sheriff and national guard scenes were intended to evoke images of news footage from Vietnam, which was reaching a fever pitch at the time of filming. Night was followed by two sequels: Dawn of the Dead and Day of the Dead. The Return of the Living Dead films are not related to Romero’s work.

Psycho (1960): Alfred Hitchcock. Anthony Perkins as Norman Bates. Janet Leigh in the shower. What else really needs to be said? Perhaps horror’s finest moment in the 1960s (maybe ever). The screenplay by Joseph Stefano came from Robert Bloch’s novel, itself said to have been based on the true-life case of serial killer Ed Gein (also an inspiration for The Texas Chainsaw Massacre).

The Raven (1963): Roger Corman goes back to Poe for material, and this time Richard Matheson writes the screenplay. Even with that high-class pedigree, Corman has actors Vincent Price, Peter Lorre and Boris Karloff in his corner. And he makes a comedy! But what a comedy. The Raven stands out as an incredibly fun movie, highlighted by a wizard’s duel that really only has a rival in the Merlin-Mad Madame Mim showdown from Disney’s The Sword in the Stone.

Rosemary’s Baby (1968): Stephen King noted in Danse Macabre that this was one of the few film’s that is so close to the book it was based on, that you almost don’t need to read it. I tend to agree with him; Roman Polanski’s adaptation of Ira Levin’s corker is amazingly accurate. Mia Farrow is believably naive as Rosemary, a young woman who is pregnant . . . with something. This film is so creepy that even Anton LaVey has a cameo (seriously). Not to be viewed by Lamaze classes.

The 1970’s

Alien (1979): While undoubtedly rooted in science-fiction, the thrill-engine that is Alien churns ahead with relentless power. A masterful combination of direction (Ridley Scott), writing (Dan O’Bannon), design (H.R. Giger) and score (Jerry Goldsmith), Alien rips through your guard with shocks both psychological and spattered with gore. The brilliant cast plays every note perfectly, from the infamous chestburster through the mounting tension. You can see the influence of H.P. Lovecraft in the proceedings with the notion of hideously terrifying power hidden among the stars. Without a doubt, a classic. Don’t miss the sequel (and one of the greatest action movies ever), Aliens, which is and always will be (despite the Oscars) James Cameron’s finest hour.

Captain Kronos: Vampire Hunter (1972): Beating Blade to the big-screen by about 26 years, Captain Kronos wielded a mighty sword against the bloodsucking undead. With his snuff-sniffing mannerisms and hunchbacked sidekick, Kronos should have been another franchise for Hammer Studios. The atmosphere brings Errol Flynn to mind, and Horst Janson is perfect as Kronos. It’s just cool.

Dawn of the Dead (1979): Romero’s sequel to Night of the Living Dead rises above the predecessor with blood-drenched color and slow, shuffling menace. A genuinely unsettling and frightening movie, Dawn cleverly sets itself up as a wicked satire of consumer culture as well. Zombies always tend to bother me, but zombie children are particularly bad. On a dumb note, this is the film that inspired the New Radicals video. On a sublime note, this film more than any other contributed to Neil Wright’s formation of the Warriors of the Inevitable Zombie Apocalypse® (see Features).

All kidding aside, I dare you to watch this then go sit outside alone in the dark. You won’t last ten minutes.

The Exorcist (1973): William Friedkin directed William Peter Blatty’s novel into screen history. This brutal, scary picture plays on parents fears while simultaneously pushing the taboo buttons for sacrilege and gore. What young Linda Blair does with the crucifix turns my stomach also as easily as she turns her head. Mercedes McCambridge essays the voice of Evil, and Max von Sydow (who strikes that legendary pose outside the McNeil house) is awesome as a servant of God bent on moral victory. Man, what a ride.

Halloween (1978): John Carpenter stormed into the upper echelon of horror directors with this masterpiece. Co-written with Debra Hill and layered with unforgettable music of Carpenter’s own devising, Halloween brings us young Jamie Lee Curtis being stalked by the William Shatner-masked Michael Myers. Myers is a study in slow, dogged persistence, and it’s that relentless, determined quality that heightens the fear. Donald Pleasence is magnificent as Michael’s psychiatrist, delivering one of the best last lines in horror history. A must for any October 31st movie-watching party. Just be sure to get the smart babysitter . . .

Jaws (1975): Though at times more of an adventure/buddy movie than a horror film, Jaws abounds with scary moments. Though Roy Schneider aptly observes, “We’re gonna need a bigger boat”, this boat is big enough to contain spectacular performances by Schneider, Richard Dreyfuss and Robert Shaw. After seeing this film, a few things will be certain: you won’t want to swim at night or wear a lifejacket again, and if you ever work up the nerve to go on one, you will need a bigger boat.

The Night Stalker (1972): The first made-for-TV project on the list, The Night Stalker surprised everyone by becoming the highest rated TV movie ever at the time. The reasons why should surprise no one: produced by Dan Curtis, written by Richard Matheson from Jeff Rice’s book, and starring Darren McGavin in a tremendous performance. McGavin plays hard-bitten reporter Karl Kolchak who stumbles onto the trail of a vampire in Vegas. This is a great story that inspired its own spin-off series and helped spark the concept of The X-Files.

Nosferatu-The Vampire (1979): A remake of the original by Werner Herzog, starring Klaus Kinski in the title role. Beautiful Isabella Adjani plays the heroic woman at the center of the tale, and the vampire make-up and plague images are incredibly disturbing. This is a really well-made film that deserves much more recognition that it’s received over the years.

The Omen (1976): It’s all for you, Damien!! Often imitated but never duplicated, The Omen sparked several sequels, knock-offs and a trend of devil-child flicks. Boasting a strong cast in Gregory Peck, Lee Remick and David Warner, Richard Donner’s film contains several sensationalistic (for the time) set pieces, including decapitation, dog attacks, and the world-famous kid’s-bike-knocking-mom-over-the-railing.

Phantasm (1979): Angus Scrimm delivers an immortal horror performance as the Tall Man in Don Coscarelli’s graveyard bash. Second-billing goes to the flying steel ball with the drill. Phantasm gets bonus points for the Tall Man’s Jawa-like dwarven assistants. A really weird film overall, it also pumped out a couple of fun sequels. Not really for the squeamish, but the hardcore will love it.

The Rocky Horror Picture Show (1975): Obviously, this isn’t here because it’s scary, but because it’s got such love for the horror classics of yesteryear. Skewering horror conventions with its rock-musical mileu, Rocky justifiably earned its cult status for insanely catchy and memorable tunes and the plethora of great characters. This one is just packed with fun moments, whether it’s Susan Sarandon busting out with Toucha Toucha Touch Me, Richard O’Brien screaming through Time Warp (”I rememmmmber . . . doin’ the Tiiiiime WARP!!) or Barry Bostwick’s remarkably uptight Brad. Tim Curry turns in the classic centerpiece though, as Dr. Frank N. Furter, Sweet Transvestite from Transsexual, Transylvania. I have to also note, Rocky contains one of my all-time favorite movie lines (Richard O’Brien’s “They didn’t like me! They never liked me!”). It’s all in the delivery, and this is all about delivery. (Editor’s Note: In college, I once won a Rocky Horror costume contest for dressing like Tim Curry. What’s better, my better half, Becky won as Janet. However, Comic Kingdom founder Nick Jankowski sort of outdid us both by winning for Magenta. College was great.)

‘Salem’s Lot (1979): Made for TV from Stephen King’s amazing book, Lot fails to live up to its source material in several ways. However, as a TV work, it’s pretty effective, and it has the distinction of one of the scariest scenes in any kind of film ever. When the little boy who has been turned into a vampire floats outside the window with his otherworldly grin, you’ll be leaping to close your blinds. I saw that as a kid, and I’ve never gotten over it.

The Texas Chainsaw Massacre (1974): Though its perceived reputation is that of a gorefest, Chainsaw really proves itself in the viewing as a well-constructed, albeit brutal, film. Tobe Hooper put this together based on the real-life case of Ed Gein, just as Psycho was, illustrating how the same source material can yield wildy different treatments. Certainly not for the weak of will.

Young Frankenstein (1974): Mel Brooks’s monument of hilarity, Young Frankenstein still holds up amazingly well. Parodying the Universal classics with razor-sharp wit, Brooks and co-writer (and star) Gene Wilder pile up more one-liners and sight gags in a second than some comedies do in an entire film. Wilder, Marty Feldman, Terri Garr, Peter Boyle, Gene Hackman, Cloris Leachman and Madeleine Khan are uniformly brilliant. Featuring an inspired duet of Puttin’ on the Ritz and some of the best dialogue ever (”Werewolf?” “Where wolf? There wolf! There castle!”), YF remains a truly great movie experience.

Zombie (1979): An exercise in brutality from Lucio Fulci, Zombie is notable for several reasons. One is a scene of a zombie versus a shark. Another is a really sick eyeball scene. And chief among the reasons, a lengthy, Wild Bunch-like last stand against the advancing undead. This should probably only be seen by hardcore zombie or gore buffs.

The 1980’s

An American Werewolf in London (1981): I see the Bad Moon Risin’ . . . John Landis’s horror flick doesn’t always take itself seriously, but in the moments that it does, credit Rick Baker’s genius effects work. The scene of David Naughton transforming took movie visuals to a completely different level. As a whole, this is an enjoyable film, though some of it might be hard to take for the weaker of stomach.

Angel Heart (1987): You almost can’t talk about this film without giving everything away. Steeped in noirish tradition and directed with dark atmosphere by Alan Parker, Angel Heart contains great performances by Mickey Rourke and Robert DeNiro. Though most of its press upon release hailed from former Cosby-kid Lisa Bonet’s revealing sex scene, it’s so much more, building to a startling finale.

The Company of Wolves (1985): This is one of my sentimental favorites. Directed with stunning visuals by Neil Jordan, Company finds its source material in the writing of Angela Carter. Carter had a gift for transforming fairy tales into gems of horror, as evinced in her collection The Bloody Chamber. Jordan works some of those tales into the tapestry of the film, notably an extended set piece built around the story of Little Red Riding Hood. Great transformation sequences abound and Anglea Landsbury is perfect as the Grandmother. Very artistic and moody, it’s a step above in terms of thought and meaning.

Demons (1985): If you aren’t familiar with the term splatterpunk, then this film will acquaint you. Set in that home of weirdness, Berlin, Demons is a full-on assault in terms of blood and gore. The action unfolds in a movie theater where the patrons begin falling prey an excruciating form of zombification. Man, it’s gross, but any movie where a guy rides a motorcycle through a movie theater while swinging a sword to take out zombies can’t be all bad.

Evil Dead 2: Dead By Dawn (1987): There are movies with sequels, there are movies with good sequels, and there are movies where the sequel rules with such a God-damn fist of steel that you could almost forget there was a part one. Guess what kind this is? The only zombie flick that you can really classify as a party movie, Evil Dead 2 showcases all-time horror hero Bruce “Groovy” Campbell again as Ash in the movie that makes the chainsaw the ultimate zombie-dispatching tool. Genius director Sam Raimi throws so much at you, it’s hard to assimilate. We’ve got severed hands, swallowed eyeballs and books bound in human flesh. It’s a full-scale siege on the senses and the sense of humor. An all-time classic, and the film that Spin magazine once named the number one movie of my generation. If you like horror, there is no excuse if you haven’t seen it. It’s only $8.99 to own on video, for God’s sake.

The Fly (1986): When is a remake better than the original? When David Cronenberg goes absolutely crazy with it. The movie won an Oscar for special effects as it follows Jeff Goldblum’s slow and sickening metamorphosis from doomed scientist into insectoid monstrosity. Geena Davis does a great job making her love for the increasingly foul Goldblum believable. New heights in gore are reached with acidic vomit and a birth sequence that will put you off Lamaze.

The Fog (1980): Another John Carpenter mind-blower. Starring scream-queens Jamie Lee Curtis and Adrienne Barbeau, The Fog has an unbelievable opening ghost story by John Houseman that will turn you white. I remember seeing this for the first time on ABC when I was a little kid and it completely scared the crap out of me. With sword-wielding corpses shambling from the mists, this one will also bother you for a long, long time. I live by a lake, and man, some days that steam out there just isn’t cool.

Fright Night (1986): A truly great and sorely underrated vampire film, Fright Night plays on the kid-knows-something-is-wrong-but-no-one-believes-him school. William Ragsdale is good as Charlie, and Chris Sarandon is great as vampire Jerry Dandridge, but its Stephen Geoffreys (as Charlie’s pal Evil Ed) and Roddy McDowell that steal the show. McDowell is utterly brilliant as Peter Vincent, Vampire Hunter!, a broken-down actor turned horror movie host that reluctantly becomes Charlie’s only ally. Loaded with cool sequences and building to an explosive finish, Fright Night positively rocks. If you like this one, you should also enjoy Fright Night 2, in which Charlie and Peter Vincent take on a whole group of vampires. Fine stuff.

Ghostbusters (1984): Not scary by any stretch, but it trades so heavily on horror elements as to demand inclusion. Hands-down, this has got to be one of the funniest movies ever made. The script by co-stars Dan Akroyd and Harold Ramis is loaded with hysterical one-liners while serving as a clever and knowing parody of the H.P. Lovecraft mythos (don’t believe me? Check out the running references to strange reference books, bizarre architecture, dimensional walls, ancient gods, etc.). At the center of the film is the immortal Bill Murray, defining that beautiful All-American Archetype: The Smartass. Murray plays Dr. Peter Venkman in a fairly understated style compared to other manic roles, but his lines sing and his put-downs drip with uncut acid. We can’t forget great supporting work by Ernie Hudson (who has seen shit that will turn you white), Rick Moranis (as both Lewis Tully and Vince Clortho, Keymaster of Gozar) and Sigourney Weaver (who must have a lovely singing voice). With dialogue that’s been quoted a million times and amazingly funny set pieces, Ghostbusters is a classic that simply doesn’t get old.

Gremlins (1984): Another movie that isn’t scary but involves enough horror elements to merit inclusion in my list, Gremlins stands out as a rocket-ride through the fun house. A collaboration between Stephen Spielberg, Joe Dante and Chris Columbus, Gremlins was one of two PG-films in ‘84 (the other being Indiana Jones and the Temple of Doom) that contained so much violence they directly caused the creation of the PG-13 rating. All that aside, this one has the very cute Mogwai, the very cute Phoebe Cates, and the very entertaining creatures from the title. The kitchen battle scene is an all-time classic, and the scene where the Gremlins in the movie theater join in with the Seven Dwarves in singing “Heigh Ho” is one of the most ridiculously hilarious movie moments ever.

Hellraiser (1987): Clive Barker created, wrote and directed this downright frightening vision of worlds beyond our own with an eye toward “unexplored territory”. His Cenobites are monuments of horror, especially their leader, Pinhead. The metaphors of pleasure and pain, the skinless resurrection, and a hook-and-chain demise push your senses as you wonder if there really is good anywhere. Followed by Hellraiser II: Hellbound, a rare sequel that is on a par with the original. Strong, grotesque images and deep allegory make Hellraiser a solid inclusion.

The Hitcher (1986): One of the greatest second-life-on-video-and-cable films ever. The Hitcher distinguishes itself for a twisted Eric Red script, taught Robert Harmon direction, and tight performances by C. Thomas Howell and Jennifer Jason Leigh. However, the absolute star of the show is Rutger Hauer as a psychopath that is easily in the league with the pinnacle of thriller characters. This film exemplifies the idea of “Oh-my-God-now-I-know-it-can’t-get-worse-oh-hell-it-just-got-worse” as Hauer relentlessly torments Howell across endless miles of desert. You must see it; just don’t choose french fries as your snack.

The Howling (1981): Take Joe Dante’s slick direction, a cool script by John Sayles, and Rob Bottin’s mind-blowing transformation sequences and you’ve got yourselves one awesome werewolf flick. Dee Wallace screams her lungs out as protagonist, a reporter checking out a strange retreat. She gets more than she expected. Some great old-school performers fill out cameos and small roles, including Forest J. Ackerman, Roger Corman, Slim Pickens, Patrick Macnee and John Carradine.

The Lost Boys (1987): Before wiping his backside with the Batman franchise, Joel Schumacher directed some cool movies; this is by far the coolest. The cast is impeccable, with such actors as Corey Haim, Corey Feldman, Jason Patric, Jami Gertz and Dianne Wiest filling out their roles perfectly. Kiefer Sutherland stands out as the main “lost boy”, vampires who prey on the residents of carnival-beach community Santa Carla. The Lost Boys is one of those fanboy touchstones; the main teens learn how to take out bloodsuckers from comic books and movies, then kick ass in inventive ways, employing squirt guns filled with holy water and a really, really great dog. Bernard Hughes is hysterical as the grandpa, delivering one of the best final lines in any movie genre.

The Monster Squad (1987): Another fanboy classic that deals with teens versus monsters, The Monster Squad is all about laughs and fun. Using the Universal Monsters (Dracula, Frankenstein’s monster, the Wolf Man, the Mummy and The Creature from the Black Lagoon), director/co-writer Fred Dekker and co-writer Shane Black tell a fast-paced story about Dracula’s efforts to take over the world and the kids that stand in his way. Duncan Regehr’s Dracula is particularly ruthless, and the whole thing is really enjoyable.

Near Dark (1987): Director Kathryn Bigelow (Strange Days) and writer Eric Red fashioned this dark and violent tale of dirty Texas vampires. The monsters kill because they like it, especially leader Lance Henriksen and maniacal Bill Paxton. There are lots of great twists on the vampire clichés to be found, such as the black-windowed van and the concept of how to cure the infection. Harrowing in places, Near Dark deserves much more attention than it gets.

A Nightmare on Elm Street (1984): Don’t groan. Before he became an overplayed joke, Wes Craven’s dream-killing slasher Freddy Krueger was genuinely frightening. Never was Robert Englund’s portrayal of the razor-handed one more chilling than in the first installment of the franchise. Heather Langenkamp and John Saxon turn in good performances, and Johnny Depp dies in spectacularly bloody fashion. Truly scary.

Poltergeist (1982): I think by now everyone’s seen this Spielberg-produced, Tobe Hooper directed cable mainstay. Everyone knows about “They’re here” and the corpses in the swimming pool. You should know then, what is truly the most frightening part of the entire movie: that God damn clown. You know what I’m talking about, and the clown alone lands Poltergeist right here.

Prince of Darkness (1987): This John Carpenter film is scary as hell. One of my favorite horror flicks, it has roach-reanimated corpses, demonically possessed homeless people, Donald Pleasance as a priest, an abandoned church as the setting and tons of style. It’s thought-provoking and unsettling. The “broadcasts” will give you nightmares. A creepiness factor of ten, and overwhelming evidence that Evil Incarnate is real.

Re-Animator (1985): Based on the writings of H.P. Lovecraft and featuring a genuine horror hero in mad doctor Herbert West, Re-Animator is actually a fun zombie flick. Great disgusting special effects abound, the most special of which is Barbara Crampton’s (of CBS soap fame) natural charms. It really has to be seen to be believed.

The Shining (1980): Though Stanley Kubrick dropped the ball at adapting what Stephen King actually wrote, he made a spectacular movie when viewed on its own terms. Jack Nicholson rips through an amazing performance as he spirals into axe-swinging madness. I have a number of problems with the adaptation (not the least of which is the fate of Scatman Crothers, an ugly departure from the book), but I will admit to the film’s power.

Sundown: The Vampire in Retreat (1989): This movie, so obscure that I’m not sure it’s even a cult classic, pulls off the best vampire-western gestalt I can think of. It features the great Bruce Campbell alongside the immortal David Carradine in a truly bizarre movie that juggles conventions like ping pong balls. A definite curiousity, worthy of a look. How many other vampire films can resolve themselves in an O.K. Corral-style shoot-out?

The Thing (1982): A special effects blowout from director John Carpenter that hews closer to the John W. Campbell source material than the 1951 film version. Carpenter’s main man Kurt Russell leads a great cast as the alien monster of the title does horrible things to the crew of an Antarctic research station. Truly an amazing exercise in gore. That poor dog.

Tremors (1989): Tremors simply rocks. First of all, it’s got everyman Fred Ward. It racks up points in Six Degrees of Kevin Bacon. And it’s got Reba McEntire and Michael Gross shooting giant monsters with elephant guns. It’s just an all-around fun movie. (Editor’s Note: Becky and I saw Reba McEntire live once. As part of her effects-laden show, there was a segment where she did Ringo Starr’s Act Naturally as she changed in and out of costumes from all of her movies. During the Tremors part, one of the monsters came up through the floor and ate one her dancers. I’m serious. It was brilliant).

Vampire Hunter D (1985): Anime that RULES for fans and non-fans alike. Set in 12,000 A.D., the film follows “D”, a supernatural monster killer that protects a peasant family against a blood-drinking feudal lord. It plays like a combination of Shane and Blade with fast moving action scenes, spooky style and an ambiguous ending. Good stuff.

Waxwork (1988): A rollicking monster mash directed by Anthony Hickox, Waxwork follows young people trapped in a musuem where the exhibits come to life as classic worlds of horror. Packed with great cameos and a self-referential over-the-top attitude, the film moves quickly and wraps with a great battle between old guys wielding pitchforks and torches against a legion of familiar creatures. Righteous party flick.

The 1990’s

Blade (1998): Marvel Comics, the House that Stan and Jack built, finally launched one of their characters into theaters in a movie that vibrates with life, over-the-top action, a pulsing soundtrack and miles of cool. The flick gets right down to business, opening with an amazing montage that plunges the viewers into the vampire world. Immediately afterward, we are treated to one of the coolest action sequences ever, as Blade shows up and opens a can of vampire-slaying whoop-ass that rivals the operatic shoot-outs of John Woo. Wesley Snipes, looking every bit the part, hits like the Tazmanian Devil on acid, taking out bloodsuckers with every conceivable weapon at his disposal. Blade uses innovative camera work, a cool-as-anything techno-driven soundtrack and wicked pacing to keep things going. Every action scene is beautifully done, evoking everything from (again) Woo to the Shaw Brothers, from Tsui Hark to John Carpenter. It’s a roller-coster ride through a dark funhouse. Blade kills.

The Blair Witch Project (1999): Maybe it’s a bit early to include this, but what the hell? If you can get past the shaky-cam and the middle-section meandering, this film works. It requires suspension of disbelief, but I don’t find that hard because it’s a movie. If you just let yourself be taken by the flow, it’s gripping, creepy and has a knock-out ending. It’s my wish that other young filmmakers learn two things from Blair: how to use real darkness, and atmosphere.

Bram Stoker’s Dracula (1992): Francis Ford Coppola made the most faithful adaptation of the Gothic classic, then bungles the ending. I never got that Mina was in love with the Count from the novel. At any rate, the direction and on-camera effects are superb. Gary Oldman is truly great as the Count. There are lots of great scenes and some good casting. An imperfect, almost-masterpiece.

Cemetary Man (1993): This is a fine, mystifying movie. CM traces the story Victor Dellamorte (Rupert Everett), a cemetery caretaker who patiently and methodically slaughters the undead that rise from his graveyard seven days after they’re buried. Why? Who knows? The first half of the film rejoices in Everett’s Bruce Campbell-esque crusade. Then suddenly, almost as if Sam Raimi tags in David Lynch to direct the flick, everything takes that sharp left turn as Victor’s mind begins to fragment and we aren’t sure if he’s going mad or actually making sense. I still don’t understand the ending, but the ride there is a breathtaker.

Dead Alive (1992): Zombie sex. A zombie infant. A zombie-dispatching lawnmower. A zombie-making Sumatran rat monkey. A zombie-bashing kung-fu fighting clergyman who kicks ass for the Lord. A zombie movie from New Zealand. I’m not kidding. Dead Alive treads the line between screamingly scary and screamingly funny. Peter Jackson crosses the line from horror to humor so many times he does everything but rope cattle with it. A total triumph.

Dream Lover (1993): Nicholas Kazan wrote and directed this sorely overlooked psychological head-game. James Spader falls in love with the devastatingly hot Madchen Amick, marries her, then begins to realize that things aren’t what they seem. Twist and turns collapse upon reversals in the story and much of it remains unclear until the just-deserts ending. What a truly great, artful working of suspense.

Ed Wood (1994): Based on the true and hilarious life of one of the worst directors ever, Tim Burton’s Ed Wood shows a genuine love for the horror genre that Wood worked in. Johnny Depp is great as Wood, and Martin Landau is uncanny as Bela Lugosi (his “Pull the string!” and “Come on, Eddie! Let’s shoot this fucker!” have been officially inducted in the movie-quoting hall of fame). The rest of the cast is rounded out by consistently good work from Sarah Jessica Parker, Patricia Arquette, George “The Animal” Steele (as Tor Johnson), Lisa Marie (Burton’s girlfriend as Vampira) and Bill Murray. Burton should keep making movies that deal with the underside and the disenfranchised like this, instead of screwing Kevin Smith out of writing Superman. Anyway, good flick.

From Dusk Till Dawn (1995): Very few movies actually generated as much discussion as this one. The vast majority of the audience who saw it in the theaters left saying, “It was like two movies!” Exactly. The you-got-your-chocolate-in-my-peanut-butter maniacism of the whole thing is what makes it so enjoyable. A lot of movies employ what I call the “sharp left turn” strategy (Malice, Lost Highway, even Love Story) where the plot appears to be building in one direction and then completely reinvents itself at the midpoint. Maybe what was so jarring to people was that Quentin Tarantino and Robert Rodriguez give no sign at all that the Aztec vampires are going to appear. And when they do, that first surprise fight scene is still spectacular to watch. Another great thing is that George Clooney is so good as the unrepentedly bad Seth Gecko who becomes the focal point that the viewer cheers for. It just makes me want to watch it again.

In the Mouth of Madness (1994): Directed by that John Carpenter fellow I mentioned earlier, ITMOM owes more than a little to Lovecraft. The movie follows an insurance investigator (Sam Neill) as he searches for missing horror writer Sutter Kane (Jurgen Prochnow). Many critics wrongly tied Kane directly to Stephen King because of the initials, but Kane is H.P. all the way. The rural New England setting was Lovecraft’s before King was even born, and the unnamable horrors lurking in the darkness are right out of the Cthulu mythos. Although it easy to consider this straight horror, the flick is awesome satire as well, poking fun at our consumer and entertainment cultures. Many people who saw this missed the point, but if you found your way here, I’m sure you won’t.

Jacob’s Ladder (1990): An Adrian Lyne film that demands strict attention from the viewer, Jacob’s Ladder is steeped in allegory and driven by a wonderful Tim Robbins performance. Amidst flashbacks and conflicting views of reality, we watch a mystery unravel either around Jacob, or within Jacob. Are you sure? Am I? Alternately chilling and touching, this film from a Bruce Joel Rubin script is one of the best films of any kind from the 1990s.

Lost Highway (1996): No one typifies baffling the viewer like David Lynch, and no one does it in so beautiful and haunting a manner. I don’t know that I can even render a plot synopsis that makes sense, so I won’t try. Every part of the film oozes menace, from Robert Blake to the creepy as Hell score (Lou Reed’s version of This Magic Moment and Marilyn Manson’s cover of I Put A Spell On You both bother me). Ultimately both scary and sad, it’s only for people who want to think about what they’re watching.

The Reflecting Skin (1991): The Reflecting Skin is a gripping story that I first saw in a film class taught by Dr. Sharon Russell. Some people find it impenetrable; I find it deeply moving and terribly sad. Definitely a movie about loss of innocence, it follows a little boy who thinks that his next door neighbor is a vampire. Unfortunately, he soon grows to discover that the regular, everyday world can be much worse than anything you’ve seen in a book. Disturbing, depressing, but ultimately rewarding.

Scream (1996): I really debated about this one, because I’m angry with it. You see, Scream damaged the horror genre in my opinion, because it a) made people think that it’s okay to laugh at any horror film and b) spawned a legion of imitators who didn’t get that it was a satire. Sure, the Wes Craven film is fun, but when I think about the 12-year-old customers at the video store where I once worked begging their moms to let them see it, it irks me a little. My wish is that Craven would do a full-bore horror movie again, and NOT just another Freddy flick. However, recent films (Sixth Sense, Blair Witch, etc.) have proven that serious horror can come back. So, I guess this is how I feel: watch Scream because it’s fun, but remember that your new boyfriend or girlfriend could still turn out to be a maniac and knife you when you least expect it. There. I feel better.

Seven (1995): Spacey. Freeman. Pitt. Andrew Kevin Walker script. David Fincher directing. What’s that equal? One of the most ferocious thrillers of all-time with a one-hundred percent iron hammer to the gut of an ending. Wickedly inventive, Seven was one of those films that just left me gaping as I watched it. Pitt and Freeman are terrific as the young-and-old cops trailing one of the most vile killers in movie history: a man basing his sick, twisted crimes on the Seven Deadly Sins. I still can’t believe that an actual Hollywood studio let a film this unrelentingly dark get made. But I’m glad they did; it really is a fine piece of work.

The Silence of the Lambs (1991): If you listen to a lot of media-watchers now, they’ll tell you that this film is about sexual harassment. Well, maybe. But I happen to know that it’s about Anthony Hopkins as one of the craziest, scariest characters of all time: Hannibal Lecter. A heavily-awarded film (Best Picture, Best Adapted Screenplay, Hopkins got Best Actor, Jodie Foster got Best Actress, Jonathan Demme was Best Director) based on Thomas Harris’s novel, Lambs still has a resonant power, despite the fact that even people like Rosie O’Donnell quote Lecter now. My advice: watch this alone in a dark house. I’m sure you really like the last ten minutes that way.

The Sixth Sense (1999): I only saw The Sixth Sense recently, and my God was it good. Haley Joel Osment certainly deserves an Oscar. Bruce Willis is understated and extremely good in his uniquely demanding role. M. Night Shyamalan wrote and directed himself one heck of a picture. There are very few movies that are solid in every single category, from effective music and lighting to appropriate colors in the set design, but this is one of them. While I won’t cover the plot, it is worthy to note that this incredible supernatural picture was accomplished with very little language or violence and a heavy accent on thinking. This classic approach favors the mysterious appeal of the story and involves viewers rather than repelling them. I am confident that as years go by, it will be noted as a great film and a highlight of Willis’s career.

And there you have it. In my estimation, the best of the best. That’s not to say that there aren’t a landslide of other good horror films out there. Some are creepy. Some are funny. Some are so bad they’re hilarious. Consider this a guidepost. Hopefully you’ve seen something you’d like to try, or you’ve learned something new. At any rate, enjoy yourself. And remember: if you pull the blankets over your head, the monsters can’t get you.

Troy Brownfield is Editor-In-Chief of Shotgun Reviews. Remind him that the next time he wants to cover 80 years of a whole genre, he should start six months before he wants to actually post it.

Email him at psikotyk@aol.com.

The Big Question with Jeph Loeb
Interview with: Troy Brownfield

Considering that we’re in the midst of the Halloween season, it’s only fitting that we have as our Big Question guest this a man who has appropriated the holiday as his own in the field of comics. With frequent collaborator Tim Sale, he brought us several Batman Halloween tales before giving us one of the finest Batman stories ever, The Long Halloween.

That’s not to say that his resume stops there. Far from it. Before making a mark in comics, our guest wrote the screenplays for hits like Commando and Teen Wolf. His comic writing credits include Challengers of the Unknown, the sublime Superman: Man for All Seasons, the Wolverine/Gambit mini-series (all with Sale), X-Man, X-Force, and Coven.

Currently, he’s writing Superman and finishing out Batman: Dark Victory, the thematic successor to Long Halloween. He’s also about to join Carlos Pacheo as the scripter of Fantastic Four. He’s also one heck of a nice guy.

Ladies and gentlemen, Mr. Jeph Loeb!

THE BIG Q&A

Q1. It’s common knowledge among comics fans that you actually had a well-established career as a Hollywood writer prior to comics fame. How did you end up making the transition from films to comics?

A1. In an odd way. I was working on, of all things, a FLASH movie at Warner Brothers. The producer, Stan Brooks, is a dear friend and he introduced me to Jenette Kahn, the President at DC comics. One thing led to another and Jenette asked if I wanted to write a comic book. Well, it was like Santa asking if I wanted to ride in his sleigh! So, I asked for Superman, Batman…er… well, the list went on until we somehow got to CHALLENGERS OF THE UNKNOWN — not, my first choice, second or 11th choice — but it was COMICS — and I thought that was so cool. It took a long time to find the right artist — and here’s the best part of the story, but Barbara Randall (now Kesel) introduced me to a young artist named Tim Sale. And the rest they say… is hysterical…er, history.

Q2. Batman: The Long Halloween has got to be one of the finest Batman stories ever. How did you develop the concept of the 13-part holiday-themed mystery, and did the unique nature of the story make crafting its sequel, Dark Victory, more difficult?

A2. I never thought of Dark Victory as a sequel, but as a continuation of the original story. We had taken the reader on a very dark ride in The Long Halloween and we drove into a long deep tunnel. About half way through, Tim and I got out and left the readers in the car. It was time to bring the car back into the light and that was the start of the journey. I wanted to tell the story of how Batman survived the loss of Harvey Dent, what happened to the crime families in Gotham City and the origin of Robin and that’s where we began. We set out to tell something that was more… I don’t know … grand … in its design than The Long Halloween and I hope we succeeded. I think we’re all better at our craft — everyone,Tim, Greg Wright our colorist, Richard Starkings our letterer, than we were three years ago and hopefully it shows in the work. So the challenge was to make something BETTER.

Q3. When you hear “Jeph Loeb” as a fan nowadays, it’s hard not to immediately think “Tim Sale” along with it. How did your partnership develop?

A3. Well, I’ve told the story of how we met above. But, the partnership started with my acting like I knew everything and Tim tolerating me! As the years have gone by, we’ve become the best of friends and it is a true partnership. Now he knows everything and I tolerate him!

Q4. Your work on Superman: Man For All Seasons and the monthly title actually brought me back to reading Superman after an absence of many years. How do you continue to find new approaches to a character that has been in continuous publication for over 60 years?

A4. I’m glad you came back to the character. I hear that a lot and that makes me smile. I am, first and foremost, a fan. I collect comics and have collected them since I was ten years old. I go to the store every Wednesday and I buy stuff I know I’ll get in my “box” from DC or Marvel by the end of the month, but I want it NOW. So, I try and approach Superman the same way I approach all my work. I try and tell the best stories I can. Now, I’m not an idiot, so I surround myself with the best people I can. Look at the artists I had to work with over the years! Tim Sale, Ed McGuinness, Joe Madureira, Jeff Matsuda, Ian Churchill, Steve Skroce, Chris Bachalo, Adam Pollina… I’m sure I’m fogetting somebody who I adore (!) … but I’d really have to screw it up to screw it up with that kind of talent. So, I’m very, very lucky and I never try and forget that. I respect Superman. I know what he can do for the reader and for the comic book business IF we respect him. And we have FUN. That’s the key. Eddie Berganza (Superman Group Editor) GETS IT and that’s most of the battle. And McGuinness. Pure Joy.

Q5. I just read that you’ll be scripting the Fantastic Four beginning with the December issue. I seem to recall you noting in a Wizard interview that FF was a book you’ve always wanted to work on. Any indication of what we might see as readers?

A5. Again, hopefully, FUN. The F.F. are the first family of comics. They are this wonderful dysfuntional family who are bickering one second and then fighting to death for each other the next. To clarify a bit, I am only scripting the book — Carlos Pacheco — who was the OTHER main reason I agreed to take the book — is plotting and doing the artwork. He’s beyond brilliant and has the same passion as I have for the characters. So, the stories are his — I just get to polish his car. But, I’ve finished two issues now and it’s pretty grand stuff. But, it is the Carlos show. He’s the star. And we’ll see The Grey Gargoyle and The Negative Zone and a New Frightful Four and all kinds of wild stuff. If you love the F.F. you’ll love where Carlos wants to take the book.

Q6. As if Superman, Batman, and the FF weren’t enough, you’ll be taking on Daredevil soon. What can you tell us about that?

A6. Well, by the time I start Daredevil:Yellow, Batman will be all done. So, my energies won’t be too divided. DD: Yellow is about the time where Matt wore the Yellow costume (DD Vol. 1 #1-6). We want to tell a story about the JOY of being a hero. So much of what has made DD great of late (post Miller) is the DE-construction of the hero. But, there was a time when DD really enjoyed what he was doing — sort of the Indiana Jones of the Marvel Universe — swinging around and really gettting off on it. We want to bring that excitment to a story about his early days.

Q7. In the past, you’ve written for both Awesome Entertainment and the X-office over at Marvel. What were those experiences like?

A7. When I was at Awesome it was a magical time. We were building something and Rob Liefeld gave me a chance to be a PUBLISHER when no one else would even think of it. And we were making great books that people were just coming around to — when our financier pulled the plug. It was beyond tragic. I’ve never lost something in a work environment that was so painful. But, I learned an enormous amount and have applied that in new directions. The X-Men office was equally thrilling in its own way. I was in at the end of the last big rush — The Age of Apocalypse — the creation of X-Man — and working with Scott Lobdell on bringing Cable and X-Force into the Top Ten books again. We had a blast and then, again, things happened — this time with editorial — where it wasn’t as much fun any more. So… I moved on. It was a very good decision.

Q8. I saw you take part in the McLaughlin Group panel at Wizard World in Chicago with Mark Waid, Brian Pulido, and Erik Larsen, and my wife and I thought the banter between you and Waid was hilarious. Tough question: who’s funnier?

A8. Larsen. Waid and I were just his sock puppets. :)

Q9. Comics seem to be in a period of upheaval, with major moves made almost daily. What’s your reaction to the future of the industry and what it might mean to small companies?

A9. I think it’s a great time to be in comics. When everyone is wondering what will work, as a creator you HAVE to take chances. I mean, Ed McGuinness on Superman? You think that just HAPPENS? So, I couldn’t be happier. I wish that the FANS would buy more books — really ravage the stores and that will happen. It always does.

Q10. Last question: when you wrote “Commando”, did you ever think that Alyssa Milano would grow up to be so hot?

A10. Um… she was TEN. ’nuff said.

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We’d like to thank Mr. Loeb for taking the time to be our guest here at The Big Question! Be sure to check out his monthly work, and I highly recommend The Long Halloween and Man For All Seasons. I’d also encourage you to rent Commando (but if you’re really into Alyssa Milano, you’re probably better off with Embrace of the Vampire).

If you have a suggestion for a Big Question guest (or if you’re a entertainer with a project that you’d like to promote), contact Troy at psikotyk@aol.com.

The Big Question with John Cassaday
Interview with: Troy Brownfield

Welcome again to the Big Question. If you’ve been following comics in the last year, then you’ve heard the name of one title again and again: Planetary. Written by Warren Ellis, the title follows a team of archaeologists who are uncovering the super-heroic secrets of the Wildstorm universe. A huge part of what makes the series so great is its stunning art, rendered by our guest. Prior to Planetary, he’s done work for the likes of Boneyard Press, Caliber, Dark Horse’s Ghost, Marvel’s X-books, and DC’s Batman family of titles. He got wide acclaim for the Desperadoes mini-series. However, it’s fair to say that Planetary has really been that break-thru project that has put him at the top level of comic artists. He’s an extremely talented man with a knack for showing us the ordinary and the fantastic, often in the same panel. And my wife thinks he’s cute.

Ladies and gentlemen, please welcome John Cassaday!

THE BIG Q&A

Q1. Every time I talk to anyone who really knows comics these days, “Planetary” constantly comes up as a Favorite Book. How does if feel to know that your and Ellis’ work is resonating with so many readers?

A1. Well, it’s a great feeling, of course. I knew we had something special from the beginning, but it’s something to see when a project really lives up to its expectations. And I had many. I’ve heard everything from “It’s the first book I read when it comes out” to “It’s this generation’s WATCHMEN.” High praise, I think. It’s a thrill.

Q2. Speaking of Ellis, he has cultivated a devoted following due to his at-times outrageous persona. What’s it like to work with such a fiercely imaginative writer, and how does that come out in your end of the process?

A2. It does nothing but inspire me in my work. I know I can push things as hard and far as I want and Warren will be there to back me up and vice-versa.

Q3. Your style comes from a very detailed and realistic sense of design, yet you capture the fantastic quite easily. What about your background enables you to deal with these disparate elements?

A3. I’ve always been the most thrilled with fantastic stories when they were portrayed in a realistic manner. It’s easier to relate. And the wonder of it all was that much greater, depending on the level of realism involved. I also try to apply a real world sense of design to the fantastic worlds we create. Who’s to say the sculptures of Bernini or the collages of Rodchenko can’t apply to an alien vessel buried for thousands of years near the Earth’s core?

Q4. In a way, the story arcs of “Planetary” allow to draw nearly every super-hero and science fiction concept of the last sixty years. Would you like to take a crack at the icons themselves, or are you happier doing reinterpretations of archetypal concepts?

A4. Although I can’t imagine having any more fun than I’m having “reinterpreting” these great characters and genres, I do love the archetypes themselves. I certainly see myself playing with some of them in the future. Captain America is my hero. I’ve also had a life long fascination with Batman, who’s appearing in a cross over with Planetary that we’re working on. It should make an interesting mix.

Q5. This is the obligatory “what type of art supplies do you use” question.

A5. Smooth and rough stock art board depending on my mood, 0.5mm HB lead in mechanical pencils and Higgins Black Magic Ink. I like to mix things up a bit too. I like using charcoal pencils or gauche to do shading at times. It keeps me entertained and constantly learning.

Q6. I can’t help but notice that you bear a passing resemblance to The Drummer. Do you try to include impressions of other people you know in your art?

A6. Sure, it depends on whether I see them in my head first or in the face of a friend.

Q7. What type of projects might you like to try in the future?

A7. I’d best not say much here. My editors will start to sweat. Needless to say, I’m looking forward to more Planetary at the time being.

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We’d like to thank Mr. Cassaday for taking the time to visit with us at The Big Question! He’s a very nice guy, and if you haven’t been devouring each and every issue of Planetary, you’re only hurting yourself. Late-comers should check out the trade of the first six issues, All Over the World and Other Stories. You’ll be glad you did.

Troy Brownfield is the Editor-In-Chief of Shotgun Reviews. If you have anyone you’d like to see in the Big Question, let him know at psikotyk@aol.com.

The Big Question with Jimmy Palmiotti
Part 2
Interview with: Troy Brownfield

Welcome again to the Big Question! This is the second installment of our two-part interview with Jimmy Palmiotti. Our guest has distinguished himself in several facets of the comics business. As an inker on too many projects to count without an abacus, he’s indelibly contributed to the evolution of comic art in the last decade. Not to be content with this, he co-produced the Marvel Knights project, acting as an editor to spearhead the revival of characters like Daredevil and The Punisher. He’s recently begun a stint as writer as well, taking on Deadpool for Marvel.

Take a look at what he’s got going on RIGHT NOW: “The two part, JLA: Secret Society of Super Heroes book written by Howard Chaykin and penciled by Mike Mckone, a 5-part Legends of the Dark Knight series by Doug Moench and Paul Gulacy, writing a load of issues of Deadpool and working with Paul Chadwick on the first three have been a gas. Also, (we’re) always pushing gatecrasher which I co-plot with Mark Waid and get to work over Amanda Conner, as well as writing for the animated series with Mark.”

What else can I say? It’s Jimmy Palmiotti!

THE BIG Q&A

Q5. As one of the Marvel Knights engineers, you obviously have great ideas on how to refresh characters. What characters, DC or Marvel, might you like to take a crack at in terms of an overhaul?

A5. Let’s see, as far as Marvel goes, I’m really enjoying Deadpool at the moment, but would one day like to take a shot at the Fantastic Four. At DC, I’d like to take a shot at doing something Superman related, or maybe create something new for the Vertigo Line. Another cool thing would be to have a shot at illustrating an Alan Moore story for the Wildstorm guys.

Q6. It was noted in “Chasing Amy” that inkers often get little respect. How hard is being a “tracer”? :)

A6. Like anything else, all it takes is a lot of practice, a lot of patience and a little splash of talent. This could be said for most jobs.

Q7. Barely two weeks ago, it was announced that your Marvel Knights partner Joe Quesada was appointed as the new Editor-in-Chief of Marvel. If you don’t mind, what are some of your thoughts on the move in total?

A7. I think it’s a great move on Marvel’s part, and I know Joe will continue the standards we set when we created Marvel Knights together. It should be real interesting and exciting.

Q8. Will there be more of Ash?

A8. As far as I can tell, not in the near future.

Q9. How do you feel about online comics and the future of the small press?

A9. I think on-line is a great venue for small press because on-line doesn’t have the budget restrictions it takes to publish print and distribute comic books. There’s a lot of great stuff out there that doesn’t get seen because of the narrow mindedness of big time publishing. I personally think that Top Shelf comics publishes some of the best stuff out there these days.

Q10. What’s the single best piece of advice that you can give to young people who want to enter the field?

A10. My best piece of advice is to keep a positive attitude about your work, play nice with others and try not to badmouth people. This may all sound easy to you but you have no idea how much restraint it really takes.

We’d like to thank Mr. Palmiotti for taking the time to visit us and The Big Question! We urge you to seek out ALL of his projects. He honestly is one of the most creative guys in the field today. Reward yourself with some of his work.

Troy Brownfield is the Editor-In-Chief of Shotgun Reviews. Despite what James Brown says, we seem to think that Mr. Palmiotti might be the hardest working man in show business. Email Troy at psikotyk@aol.com.

The Big Question with Jimmy Palmiotti
Part 1
Interview with: Troy Brownfield

Welcome again to the Big Question! Our guest this time has distinguished himself in several facets of the comics business. As an inker on too many projects to count without an abacus, he’s indelibly contributed to the evolution of comic art in the last decade. Not to be content with this, he co-produced the Marvel Knights project, acting as an editor to spearhead the revival of characters like Daredevil and The Punisher. He’s recently begun a stint as writer as well, taking on Deadpool for Marvel.

Take a look at what he’s got going on RIGHT NOW: “The two part, JLA: Secret Society of Super Heroes book written by Howard Chaykin and penciled by Mike Mckone, a 5-part Legends of the Dark Knight series by Doug Moench and Paul Gulacy, writing a load of issues of Deadpool and working with Paul Chadwick on the first three have been a gas. Also, (we’re) always pushing gatecrasher which I co-plot with Mark Waid and get to work over Amanda Conner, as well as writing for the animated series with Mark.”

What else can I say? It’s Jimmy Palmiotti!

THE BIG Q&A

Q1. You’re primarily known as one of the best inkers in comics, but you’ve also had some extensive editorial experience. Could you tell us how you and Joe Quesada went about building the Marvel Knights project?

A1. Well, Gareb Shamus recommended to Joe Calamari to try new things and we were at the top of the list. We were already editing the Event books as well as working on Ash, Painkiller Jane and 22 Brides, so it was not really a big thing to do the Knights. We took all our friends who did good work for us and brought them along. We had to play ball with Marvel totally. I already had art director and editorial job experience for 10 years previously in advertising. For Joe, it was a natural to work up at Marvel, he was made for it, and we liked the space!

Q2. You’ve recently been writing Deadpool for Marvel. Coming from the “art” side of the equation, how does that experience influence your writing style?

A2. Well, I see things visually so I laid out Paul’s run as well as Mike Lopez’s issue. They don’t have to follow it, but it helps me with the pacing. Paul actually thought they were good, a huge compliment coming from such a talented creator.

Q3. Lately, you’ve worked with Mark Waid and your fiancée Amanda on Gatecrasher at Black Bull. I find Gatecrasher to be an incredibly enjoyable book. What’s it like working on that team?

A3. Working with Amanda and Mark is the single best thing to happen to me in the last year. Everything about Gatecrasher is perfect to me; Mark is brilliant, Amanda is the best storyteller in the biz hands down, Paul Mounts is a colormaster and Chris Eliopoulos spells his name right each and every month. Black Bull treats us like all pros should be treated and they really put in a huge effort to give the reader their money’s worth with the letter column, pin-ups and cool stuff in each and every issue. Now with our tie-in with Mainframe, it looks like we are going to get the chance to do some cool TV work in the future.

Q4. The Punisher and Daredevil are two of Marvel’s icons, and you’ve gotten to contribute to their revamping in significant ways. What do you feel that you’ve brought to the look and feel of the characters as they are now?

A4. Well, as for the feel, we changed the tone of the book from light to heavy…good heavy. DD has always been a great comic and I think it takes more work to do it bad than good….the premise is perfection! Punisher is all Garth and Steve right now. I am really happy to be inking this title; it’s how I got my start at Marvel in ‘91. Lots of Punisher! This is how we all wanted him to be and we all agreed to it. The 2 mini-series before, we picked some far-out ideas and concepts to shake up the readers, and they too were very successful.

We’d like to thank Mr. Palmiotti for taking the time to visit us and The Big Question! Look for another installment with him coming soon!

Troy Brownfield is the Editor-In-Chief of Shotgun Reviews. Despite what James Brown says, we seem to think that Mr. Palmiotti might be the hardest working man in show business. Email Troy at psikotyk@aol.com.

The Big Question with Mark Waid
Part 2
Interview with: Troy Brownfield

As you know, Mark Waid recently visited the Big Question. At that time, however, he hadn’t made the HUGE announcement that he would soon be moving to Florida, and CrossGen Comics! CrossGen, the new company that has roared out of the gate this year with an impressive studio system, a money-back guarantee on its books, and high-quality product, managed to obtain Waid as a new Senior Writer. Waid is best-known for The Flash, Kingdom Come, Impulse, Captain America and his creator-owned Empire (with Gorilla Comics). Currently, he’s also the writer on JLA.

So, once again, here’s Mark Waid!

THE BIG Q&A

Q1: With your move to CrossGen, you now have a definite “end date” on your JLA run. Will you take advantage of that to build your plot threads to a BIG FINISH as Morrison did, or will you simply work harder at establishing a framework for the continuation of the book?

A1. I honestly haven’t yet given it much thought, but now that you mention it, I’d better have one hell of a finale planned. Oh! I know! But I can’t tell you.

Q2. I understand that “Empire” will continue for several months. Does this mean that you won’t be releasing more Gorilla work after your work begins for CrossGen?

A2. That’s the way it looks right now–but keep reading EMPIRE!

Q3. Can you give us any details at present about your plans for “Sigil”, and are you developing new titles?

A3. Barbara Kesel and I have yet to sit down and have our Official Sigil Hand-Off Talk. I am indeed developing a new title. At this time, it’s too early to discuss it, but trust me–what they have in mind for marketing alone would have swayed me to take the assignment somehow, some way. It’ll be the biggest writing challenge of my career, that’s for sure.

Q4. The “fan” reaction to your move seems to be one of complete shock. However, given your apparent problems with Marvel editorial and other issues in recent years, it seems fairly logical. Could you tell us about some of the particulars of your decision?

A4. Really, what it comes down to is this: the industry’s in trouble, and having worked in every aspect of it over the past 16 years…well, I don’t know if there’s anything I can do to HELP in an administrative capacity, but there’s ABSOLUTELY nothing I can do strictly as a freelance writer. I want to be with a well-financed company that’s willing to experiment, to grow, and to find new markets.

Q5. What, in the long run, do you hope to accomplish with a tenure at CrossGen?

A5. I want to help Mark Alessi create a new paradigm for the way freelancers should be treated by publishers–with respect rather than with contempt.

We’d like to thank Mark Waid for dropping by once again! I’d like to note that some of us got the chance to see Mr. Waid speak at Chicago at Wizard World and briefly speak to him ourselves; he’s a remarkably personable and funny guy who honestly loves comics. We wish him all the best with his new endeavor. Visit the CrossGen web site at www.crossgen.com. And oh yeah, read Empire.

Troy Brownfield is the Editor-In-Chief of Shotgun Reviews. He can’t believe that he got Mark Waid as guest once, let alone twice. Email Troy at psikotyk@aol.com.

The Big Question with Steve Beai
Interview with: Troy Brownfield

To say that I’ve made some interesting friends over the years would be a serious understatement. One of the funnier people that I’ve ever met is Steve Beai. When I met Steve, he was playing drums with my good friend Blind Jimmy Blues. Steve, James, site designer Shawn and I spent many evenings in the Coffee Grounds in Terre Haute prior to my finishing grad school and moving to Indy.

As fate would have it, Steve’s done some pretty cool things since. And even though he still runs Reservoir Studio, Steve’s success has come from writing. In fact, Steve’s novel, Widow’s Walk, was a Bram Stoker Award Finalist this year. That’s an amazing feat in the field of horror fiction. Steve has published over a 100 other short stories and articles, and his book on censorship, Censoring the Censors, was very well-received.

So, this famous pal of Shawn and I has dropped by to answer some questions and basically explain himself. Kids, Steve Beai…

THE BIG Q&A

Q1. Steve, on his novel:

A1. Widow’s Walk is set in a suburb outside of Kansas City. I drew much from the area where I spent about fourteen years and many of the places, such as the story’s main setting, the children’s park bordered by woods, actually exists. The main character is a county Sheriff who’s seen better days. As the book opens, he is an alcoholic, facing a divorce and certain failure at his job as he tries to unravel the mystery of a young boy’s death in the woods near the park. The more he learns about the case, the stranger things become and he begins to question his sanity as events from the past come back to haunt him. That’s all I’ll say for the sake of those who haven’t read the book except that certain reviewers have declared that I’ve pulled out all the stops, and I guess that may be true; there are creatures, both real and imagined, along with a good bit of action, a compelling mystery, and some memorable characters such as Alvy Morehouse, the teenage killer introduced in a flashback section of the book.

Widow’s Walk is available through all on-line retail channels, i.e., Amazon and Borders, and local bookstores can order the title if they don’t have it in stock.

Q2. On his Bram Stoker nomination:

A2. The Horror Writers Association honors Superior Achievement in Horror each year with the Bram Stoker Awards. Since I’m a member of the organization, I was notified via e-mail that Widow’s Walk was a Finalist. There’s a three-tiered process to the award. Works are recommended by any interested member of HWA, then a Preliminary Ballot is sent out. After an initial voting process, works in each category are cut to include only the four receiving the most votes. Then, the Final Ballot is sent to members for the last stage of voting. There were ten other novels in the category with Widow’s Walk, including Wes Craven’s Fountain Society (which didn’t make the final cut), so I was honored when the book passed all voting stages. Q3. On his initial interest in writing:

A3. I’ve been writing for a very long time, since elementary school days; my grandfather developed my love for words and what they mean and I think that consequently led to my aptitude for English and the other liberal arts. I began writing professionally in the eighties, with a short (five year!) break between then and now, as I moved around the country. Finally settling back in my home state a few years ago, I re-started my career with the release of Censoring the Censors, a paperback compilation of previously-published (and hard-to-find) columns and essays on censorship I initially wrote as an ongoing column for the national Small Press Writers and Artists Organization. (Also available through on-line and retail booksellers). Currently, my agent has two more completed manuscripts on her desk in New York (including one set in Indiana) In addition, I produce at least two short stories a month, in between working on larger projects. Of the short work, there’s over a hundred pieces out there, published in various on-line and print magazines. I’m lucky in that I manage to sell short work on a fairly regular basis, owing, I guess, to my output. I write every day. EVERY day.

Q4. On being a musician and how it impacts writing:

A4. Good writing has a definite rhythm in both what is being said to the reader and how it is presented. I think my drumming background, as well as my writing style, both came from whatever internal sense of music and rhythm I have. I listen to words as I write, following the melody, so to speak. It’s like when you read a book and are suddenly interrupted by a passage that doesn’t seem to naturally flow into the next, causing you to re-read the offending part the writer has dropped the beat. I’m always conscious of that meter, or try to be, anyway!

Q5. On his influences:

A5. I’m a big fan of both Harlan Ellison as a person as well as his writing. Harlan and I met over the phone one day when he called in response to my mailed request for a comment on Censoring the Censors. I’ve followed his work for over twenty years and point to him as the biggest influence in my own writing. So that initial call left me understandably beside myself… since then, we’ve spoken frequently–as frequently as writers who live long distances apart do–and we saw each other at the World Horror Convention in Denver this last May. Other writers I admire are Sherman Alexie, Donald Barthelme, Iain M. Banks, Philip K. Dick, Bradbury–the list is fairly extensive.

As far as filmmakers, I enjoy the work of Martin Scorsese, Tarantino, Kubrick… EVERY one of Kubrick’s films, including The Shining (which I consider a failure as an adaptation) are compelling, if even for their repellent qualities, haha! I found his final work with “Eyes Wide Shut” an effective horror story; the sexual element was, in my opinion, overrated in the publicity–but the story was fascinating from the standpoint of watching it unfold and asking yourself, “What would I do in this situation?”

Musically, I enjoy Steely Dan, The Police, Metallica. I’m not a big fan of any music from the last few years–absolutely cannot stand rap or hiphop, but I’m a big fan of R&B– REAL R&B as opposed to sampled crap. Also not too fond of most Country & Western, though I do like some of the old standbys–Willie Nelson, for instance. Hands down, the best music going from the most accomplished musicians in my lifetime has to be XTC–these guys have been putting out music for almost twenty years, yet remain largely undiscovered by the masses. And that’s a definite shame. If all musicians except XTC were to stop tomorrow, that group would be the only music I’d ever need.

We’d like to thank Steve for dropping by and discussing his work! You can get Widow’s Walk and Censoring the Censors at amazon.com or other fine outlets. Steve’s website can be found at www.stevebeai.hypermart.net. Check ‘em out.

As always, if you have any guests that you’d like to see us get, or have an indie comic that you’d like to promote yourself, let Troy know at psikotyk@aol.com.

Troy Brownfield is the Editor-In-Chief of Shotgun Reviews. Another fact about Steve is that he’s able to drink more coffee in one setting than we ever thought humanly possible. Troy’s in awe of the man.

The Big Question with Mark Waid
Interview with: Troy Brownfield

Whenever you write columns and do interviews, you make a mental list of who you would ultimately like to have as a guest. I’ve always wanted to be able to ask questions of personalities like Warren Ellis, Kevin Eastman, and Matt Wagner, and fortunately, I’ve been able to do so. However, there was one writer that I really wanted to track down, based on his obvious work ethic, affection for certain characters, creativity, and all-around insight.

And here he is.

Our guest this time has written The Avengers, X-Men, and Captain America. He did The Flash for eight years and co-created its spin-off, Impulse. With Alex Ross, he did the magnificent Kingdom Come. He’s one of the forces behind the new Gorilla Comics and writes Empire there. He writes Gatecrasher for Black Bull. And he’s just taken over as the writer of nothing less than the JLA. Ladies and gentleman, he’s Mark Waid.

THE BIG Q&A

Q1. You just ended a remarkable run on “The Flash” (98 regular issues?). If you would, please tell us how you feel about departing a book that obviously means a lot to you personally?

A1. It’s no secret that Wally and I dovetailed enough for me to (I think) seamlessly overlay my own personality, speech pattern, and personal goals and dreams onto him. If ever I had an alter ego, Wally was it. We had similar upbringings–small-town boys who wanted to move faster, fathers we couldn’t connect with, a real desire to find outside the standard family dynamic that which family gives you. And the day early on when I first wrote, in Wally’s voice and my own, “Time is the enemy,” I knew I’d found a vehicle for my own self-expression for as long as I liked.
However.
Eight years later, Wally and I were in different places. Through him, I’d worked out a lot of my own issues with romance, with women, with impatience and with self-image…and one day, I woke up to realize that our roads had finally diverged, that we’d maybe learned all we could from one another at this stage in my life. The issues I now have to work out nearly a decade later are probably things for which Wally’s not an appropriate vehicle. Maybe Golgoth is. Maybe Gatecrasher. I’m not sure yet. Stay tuned.

Q2. By now, you’ve taken over JLA. Perhaps the greatest thing Grant Morrison did with the book was to give it a consistent iconographic tone. What would YOU most like to bring to the book?

A2. Without losing Grant’s scope, I’d like to bring a lot more character intensity to the book. The standard line on a team book is that you can’t do anything substantive to characters who have their own books. Baloney. If you don’t think what’s about to happen between Batman and Superman isn’t substantive and far-reaching, you’re wrong. And wait until you see what’s coming with Aquaman and Wonder Woman.

Q3. This is the semi-obligatory JLA line-up/bad guys question. Will we get to see old favorites like Zatanna, The Ray, Firestorm, and, dare I say it, Amos Fortune and the Royal Flush Gang, during your tenure on the book?

A3. For the LAST TIME, I HATE FIRESTORM! Seriously, Firestorm’s better left to the Jay Faerbers or Ben Raabs of the world who have the same nostalgic affection for him that I do for, say, Robby Reed or Mr. Terrific. Better for me to work with characters I have a passion for. Zatanna. Atom. Adam Strange. And, yes, eventually even Amos Fortune and the staggeringly unfortunately named Royal Flush Gang.

Q4. Who are some of the other writers and artists that you believe are elevating the field of comics?

A4. Grant Morrison. Devin Grayson. Grant Morrison. Tom Peyer, when he gets his damn work in. Scott McCloud. Grant Morrison.

Q5. What advice would you give to young writers wanting to break into the field?

A5. Speak kindly of me when I’m a burned-out hack and you’ve just stolen my last regular assignment.

Q6. Gorilla Comics. Tell us what we need to know.

A6. Eight creators with proven track records doing dream projects with 100% editorial control. If that’s not a recipe for good comics, it’s all hopeless.

Q7. You’re one of the top writers in the field. Still, you’ve faced some editorial obstacles from time to time. What’s the single most difficult thing to deal with as a high-profile comics writer?

A7. Not allowing it to make you fat and lazy when it comes to challenging yourself. It would be so, so, so easy to write nothing but amusing, vaguely entertaining super-hero comics for the rest of my life, and I could probably have a relatively long career, but eventually everyone would catch on that I was just repeating myself endlessly, using the same old tricks and schticks. Denny O’Neil once told me that my responsibility as a writer is to force yourself to learn new habits by reaching into that bag of tricks every four or five years and throw out half of ‘em whether they still work or not. Wise words.

Q8. How cool is it to see a character you co-created (Impulse) and another you reinvigorated (Max Mercury) being released as DC Direct figures?

A8. Immeasurably. Now, if only Warner Bros. had allowed Nickelodeon to pick up the live-action option like they wanted to a few years ago…but the toys are keen.

The staff of Shotgun Reviews would like to thank Mark Waid for taking the time to be our guest here. Be sure to read Mr. Waid’s monthly work, especially Empire and JLA. If you’re a Flash fan, you’ll also want to check out the recently released Dead Heat trade paperback. As always, if you have any guests that you’d like to see us get, or have an indie comic that you’d like to promote yourself, let Troy know at psikotyk@aol.com.

Troy Brownfield is the Editor-In-Chief of Shotgun Reviews. You can read his review of Empire #1 over in the Comics section.

The Big Question with Matt Wagner
Interview with: Troy Brownfield

Welcome back to The BigQ! We caught our next guest as he was about to depart for the Comic Book Legal Defense Fund Cruise, and we’re very grateful he took the time with us. You primarily know him from his amazing creator-owned work on his varied and epic incarnations of Mage and Grendel. Aside from a mountain of other cool projects like Sandman Mystery Theater and reinvigorating Dr. Mid-Nite in last year’s DC mini-series, he’s about to see one of his creations realized on the big screen. The BigQ is proud to welcome the great Matt Wagner.

THE BIG Q&A

Q1. The Mage project is build strongly on the themes of legends, myths and religions from all over the world. How massive an undertaking was the research for that project, and what were some of the sources that you most relied upon?

A1. I’d have to describe my research as continual rather than massive. I take a great delight in the world’s religious legendry which most people would find at odds with the fact that I’m an atheist. Still, I continually try to convince others that my belief in mythology as metaphor as opposed to cosmic fact doesn’t preclude me from enjoying, perceiving and even being moved to tears by the moral lessons and implications therein. The sources I use are all around, not centered in any one tome.

Q2. What made you decide to release Grendel: Devil’s Legacy in its new form after so many years since the original project?

A2. We’d been wanting to make this and all the other incarnations of GRENDEL available to readers ever since bringing the title to Darkhorse nearly ten years ago. Trouble was, the smouldering aftermath of Comico’s demise left us no access to the printing negatives vital to any publication in the pre-digital age. Now, the current technology has so advanced that this isn’t as much of a problem. Ultimately, we plan on re-issueing as many of the original story arcs as possible. With Devil’s Legacy, I’m particularly struck with what a precursor to many contemporary styles that the Pander Brothers’ work entailed. The long, hard-bodied women, the frenetic, panel-bursting lay-outs seem to be somewhat “proto-Image”.

Q3. What’s your target date for the next installment of Mage?

A3. HA! And so begin the “When’s MAGE III?” questions. I promise it won’t take another ten years. The events depicted in The Hero Defined occurred to me nearly a decade ago and so, at this point, I do have the emotional distance and necessary life experience to move onto The Hero Denied. Still, producing MAGE is a rather draining undertaking and I’m not quite ready to move onto the final installment.

Q4. It’s widely understood/rumored that Mage is in development as a feature film. How much are you able to tell us at this point?

A4. The film is being produced by Spyglass Entertainment (The Sixth Sense ) in conjunction with Critical Mass Productions. We’ve just received the final draft of the screenplay written by John Rogers (Jesse James ) and everyone involved thinks it just rocks the fucking house. Very exciting. The screenplay is truly a fine adaptation in every sense of the word, which means that it embraces a necessary group of “adjustments” for the translation to film. Still, I applaud (standing O) John for his brilliant interpretation. It is by no means a panel-by-panel film version and yet so captures the heart and soul of MAGE that even the most hardened fan will delight in the familiarity of it all while still encountering excitements in the film that are not to be found in the comic.

Q5. Your writing on Sandman Mystery Theater was outstanding! What are your favorite noir works, and will you be tackling works in that vein in the future?

A5. Favorite noir…hmmm. Well, I’d have to go with some of the classics…Chandler, Hammet, Cain, Thompson, Willeford, Ellroy. But I also like noir that doesn’t fit into the typically niche. For instance, I loved AMERICAN PSYCHO. It had been years since I’d read a book that made feel dirty and stained. A horrifying experience. I’m also a big fan of a book called TOPPING FROM BELOW by Laura Reese. Its an S&M murder mystery that is really provocative and intriguing and has a great pay-off. Again, parts of it made me feel icky and uncomfortable which is how Chandler’s work originally affected its much less jaded audience.

ShotgunReviews.com would like to thank Matt Wagner for taking the time with us, especially when he had a boat to catch! Follow his work diligently as it issues from various sources; Grendel: Devil’s Legacy is out now, and the reprints of the first Mage series are readily available. Get to it. As always, direct questions, guest requests and brickbats to Troy Brownfield at psikotyk@aol.com.

The Big Question with Brian Michael Bendis
Interview with: Troy Brownfield

Perhaps one of the best purveyors of crime comics today, our newest guest to the Big Question captured popular attention and enormous critical acclaim with work like Fire, Goldfish and Jinx. He’s taken on historical noir in his Torso series. He’s poked fun at himself while lacerating his Hollywood experiences in Fortune and Glory. He writes Sam and Twitch, and pretty soon he’ll be doing a stint on Daredevil with David Mack. As if that wasn’t enough, he’ll be debuting a new series at Image called Powers. And there just might be more coming. Ladies and gentlemen, the Big Q welcomes Brian Michael Bendis . . .

THE BIG Q&A

Q1. “Fortune And Glory” is great on any number of levels. One of the sequences I found to be most effective and entertaining was where you describe exactly what an “alternative” comic personality is and does. Why do you think that small press and black & white books seem to carry a stigma even among comics fans?

A1. Thanks. If I knew that I would be so goddamn rich that you would never get me to do this interview..:) but it does exist. Many feel black and white is incomplete or some such thing. black and white is beautiful and immediate. David Lynch said it is an immediate abstract way to see the world.

Q2. Another “Fortune & Glory” comment you made was that video games may be cutting into comic fandom. You said that was a rant for another time. Please consider this another time.

A2. Well, it certainly isn’t my original theory. And its more fact than theory.

Comics, beyond the aesthetic artform, have always been an entertainment. an escapism.

Well, video games are of such high quality and they fill the same need, only better. Why read Spiderman if you could be him? and I mean this from a kids perspective, not as an adult one. And the funny thing is, comics sold the video games. You open up a mainstream comic? what do you see? ads for cool video games.

So, the youth market is gone. Disappeared but the adult audience is still there. they just need to be spoken too. And I can’t do it alone..:)

Q3. Much of your work carries that heavy noir ambiance. What were your earliest storytelling influences in that regard?

A3. Well, earliest, it is hard to say. But strongest are Mamet, Richard Price, Jim Thompson, Jon Alton. Steranko.

Q4. Do you follow much of the comics mainstream?

A4. Sure. I hate to break it to you, but as much as I see myself as an indy comics guy- and it is my deep roots- I am writing two spawn books, daredevil, a smidge of Batman and my creator owned book this year POWERS is a full color book. so…

Q5. What do you find to be particularly compelling among the “big companies” right now?

A5. Well, the icons are there. And the industry is so lost, the opportunity to do something new and bold is out there.

Q6. You’ve been doing the Spawn spin-off “Sam & Twitch”. Is it hard to convince readers to try a crime book with that Spawn connection?

A6. Well, yes. So you give them one for free. read it! It is apparent in two seconds how legit the book is. I love the book. its a dream job. Great art, freedom to express myself.

Q7. “Powers” looks to be a fresh and entertaining concept. Could you explain its genesis, and how other creators are being involved?

A7. Its a crime concept I’ve been developing with Mike Oeming for a couple of years and the first issue looks fantastic.
Michael Avon Oeming has worked for every major publisher of comics. He is best known for the two graphic novels of his space opera Ship Of Fools and the multi-award winning Foot Soldiers. His recent credits include The Spirit, and the new Supermans Pal, Jimmy Olson and Young Justice for DC Comics.

For Powers, Mike will be using an art deco mixture of Bruce Timm and Alex Toth. This style compliments both the dark cinematic quality needed for crime fiction, and the iconography needed for super people.

The concept of Powers?
Detective Christian Walker is a special homicide officer in charge of cases that involve Powers. What is a cops job like in a world where powers are par for the course? And what kind of cop is given the assignment? Find out in the gritty, new crime comic book series Powers.

Powers takes place in a large unnamed metropolitan city. It will feel and breathe like a crime fiction drama but its backdrop will be littered with brand new original and mysterious hero and villain icons created especially for this series. These characters will strictly remain in supporting roles and cameos. We will rely on the simple shared popular notions of comic book characters and not on elaborate continuities and origins Cheshire, Retro Girl, Blast, Lizzie Bordon, Fury, Diamond, The Sift, Elemental, Shotgun, Johnny Royalle, And The Fat Fish Gang are just some of the supporting characters that litter this special comic. See a peak of some of them in the enclosed artwork.

The First storyline: Who killed Retro Girl?
Detective Christian Walker has to investigate the shocking murder of one of the most popular superheroes the world has ever known: Retro Girl.

As the female ex-counterpart of one of the world’s most famous and beloved superheroes, Retro Girl had it all, and she used it to help people who couldn’t help themselves. with a spunky verve, a killer smile, and an innocence that harkened back to a simpler time, retro girl stole the hearts of everyone.
But now her mutilated corpse is found butchered in a dark and dirty alley. walker is teamed up with spunky rookie Detective Deena Pilgrim, and the murder investigation takes them from the seediest underbelly a city has to offer, to the gleaming towers that are home to immortal beings.

As shocking twisted hidden truths about Retro Girl come to light, Walker finds that to solve this crime, he might have to reveal his own dark secret.

Though a majority of the character creations for this comic will be done by the series creators, one of the bold ideas behind this new comic book world will be asking well known comic book creator friends of ours to lend us brand new super hero and villain creations to fill our cityscape. This will be an extra layer of fun for the readers. Many big name talents, talents people don’t usually think of in this genre, have already committed.

So far the A-list includes David Mack, Joe Quesada, Paul Jenkins, Bob Gale, Phil Jimenez, Mike Allred, Ashley Wood, Brian Holguin, Jim Valentino, Steve Lieber, Ed Brubaker, Dan Brereton, Mark Crilley, Judd Widnick, Jim Krueger, Dave Walker, Phil Hester some real surprises to come

Q7. At this point, where do your potential films stand?

A7. Torso is in active development. Torso is currently in development at Dimension films with producer Todd McFarlane and Terry Fitzgerald with a screenplay by Bendis and Andreyko

The other stuff are in limbo or haven’t been shopped yet. But there’s always a couple things cooking over here.

We’d like to thank Brian Michael Bendis for taking time from his obviously busy schedule to answer ALL of our questions. If you’re smart, track down his work! Just about everything is available through the site www.jinxworld.com. It’s a killer site; check it out.

As always, if you’d like to see a question asked or any interviewee discovered, email Troy at psikotyk@aol.com. He’ll try to oblige.

The Big Question with Mike Carlin
Interview with: Troy Brownfield

Our guest this time in The Big Question is Mike Carlin, Executive Editor at DC Comics! Before I get into the specifics, I’d like to take a moment and say that it’s been my experience that Mr.Carlin is one of the nicest guys in comics. I spoke to him for the first time about three years ago regarding internships at DC, and have since spoken to him at a couple of conventions. He’s thoroughly personable and patient with every fan I’ve seen him speak to. Comics are fortunate to have an ambassador like him.

BIO: Mike Carlin is the Executive Editor of the DC Universe for DC Comics… he worked his way up from being a writer/artist for Marvel’s CRAZY magazine to assistant editor to editor there. Whisked away by DC Comics to work with John Byrne on their re-launch of the SUPERMAN titles in 1986, Mike achieved his greatest notoriety when that led to his orchestrating the world (In)famous “Death & Return of Superman” storyline. Mike still writes and draws funnies for his own enjoyment.

THE BIG Q&A

Q1: How do creators go about proposing a new title, mini-series, etc.? For example, what are the steps and do younger writers stand much of a chance?

A1: Established writers can approach editors with ideas. New writers need to have some form of previously published examples of their writing which we can read without the legal concerns of ideas being stolen. The sample comic should be accompanied by a note that says something like: “Here’s an example of my work… I also have a Green Lantern idea if you like the enclosed sample. Would you like to see my idea?” We cannot read unsolicited material that features our characters or the genres they exist in… only after we ask to see the sample can a new writer break in.

Q2: Will DC be pursuing the concept of any original online comics via DCComics.com?

A2: This is still a new area for us and there are no concrete plans at the moment… but you can check out several Superman “Webisodes” available online now. Not quite comics… but fun nonetheless!

Q3: Despite the advances made by DC over the years with such things as Watchmen, the Vertigo line, and more Mature Readers titles, the general public perception of comics still seems to be that they are either “kid’s stuff” or like the old Batman TV series. How can the general public opinion be changed so that they see the diversity and maturity in the field?

A3: Only the public can change their own minds… I DO think DC as well as many other publishers have widened the accepted range comics are “allowed” to tread… things like Art Spiegelman’s MAUS… Jeff Smith’s BONE… tons of new and different work from all quarters HAVE changed what can be done and what is accepted. Even things like the first BATMAN movie have served to dispell the majority of the public’s prejudice… but we still have a long way to go. We’re on the right road though!

Q4: DC has been doing an outstanding job of reviving characters from the Golden Age (Hourman, Star-Spangled Kid, JSA, etc.). Are there plans for any more revamps of the classic sort?

A4: Watch the skies for Hawkman!

Q5: Can I have a job?

A5: Looks to me like you have one! (If he only knew . . . Ed.)

We’d like to thank Mike Carlin for taking the time to appear in The Big Question! Be sure to read DC’s books (and that includes Vertigo, Wildstorm and the guilty-by-association America’s Best Comics)! If you have anyone that you’d like Troy to track down, or a question you’d like answered, email Troy at psikotyk@aol.com. He’ll do his best to get your guest.

An Informal List of Television Ponderances
by Troy Brownfield

These are random items that have accumulated to bother me over the years. I submit them for you to mull over, debate, or write songs about. It can be added to as the need arises.

1) On The Love Boat, Isaac tended bar up on deck, in the Pirate’s Cove and in the ballroom. For each scene, he would have a different outfit. How did he move between bars so quickly, changing as he went? I theorize that the bars were each on different levels and that he had a bat-pole style device that facilitated rapid movement and clothes-changing.

2) On Manimal, why didn’t he ever turn into anything other than a hawk, a panther or a dog? Wouldn’t it have been cool for him to turn into an eel or a porcupine or an elephant now and then? The relative mass argument doesn’t work, as the hawk is much smaller than a man to begin with. I believe the show would have lasted longer with a wider array of animals.

3) On MacGyver, if Mac needed glasses to read, shouldn’t he have put them on to disarm atomic bombs?

4) How many members of the A-Team were there? Don’t forget to count both women from the first two seasons, the Hispanic special effects guy from the last season, and Tia Carrere’s guest stint as a nurse. That would be eight. Do we count Decker, who was their commander in Vietnam?

5) Do you ever watch Dawson’s Creek and wonder when John Wesley Shipp is going to burst out of the room at super-speed?

6) Speaking of which, on Sisters, Sela Ward had storylines that involved both Shipp (The Flash) and George Clooney (Batman). Does that mean that Stephen Collins or that Ed Marinaro guy from Hill Street Blues is going to end up playing Superman?

7) Speaking of Stephen Collins, I have five words: Tales from the Gold Monkey. That makes me think of eight more words: Bruce Boxleitner in Bring ‘Em Back Alive.

8) When are people going to acknowledge that Babylon 5 is better than Star Trek? And does Bruce Boxleitner ever think, “Man, I’m sleeping with Half-Pint?”

9) The first five Charlie’s Angels (Kate Jackson, Jacklyn Smith, Farrah Fawcett, Cheryl Ladd and Shelly Hack, or if you prefer, Sabrina, Kelly, Jill, Kris and Tiffany) were cops. However, the last one (Tanya Roberts aka Julie) was a model. Even though she had, as Kelly described, a “tough edge”, why did the producers think this break from formula was good? The show ended that year.

10) Peter Boyle played the monster in Young Frankenstein. David Boyle played Bosley. Tom Bosley played Mr. Cunningham. Everyone got that?

11) Regarding Happy Days, what the hell happened to Richie’s older brother?

12) I find it implausible when an entire cast moves, as the cast of Laverne & Shirley did when they went from Milwaukee to Hollywood.

13) Does anyone actually exercise to the shows on ESPN2?

14) Larry King and Katie Couric are the two worst interviewers on TV ever. And that’s with me including Magic Johnson.

15) The Brady Bunch. Cousin Oliver. Who’s idea was that?

16) If you were KITT from Knight Rider, wouldn’t you yell “BOO!” to random passers-by in dark parking lots?

17) Is David Hasslehoff a genius or merely lucky?

18) Who would have won in this fist fight: Lee Horsely and Buddy Ebsen from Matt Houston vs. Daniel Hugh-Kelly and Brian Keith from Hardcastle and McCormick.

19) You think Scott Baio had any idea how hot the two blondes from the second version of Charles in Charge would grow up to be?

20) Wonder Woman went from the 1940s to the 1970s in one season and no one noticed (not even Debra Winger, who played Wonder Girl).