Justin Leach’s
MAJESTIC XII
Leach & Kilian

By Richard Moore

For those who’ve been keeping track of the dwindling comics market (yes, I’m speaking to both of you), it’s not pretty out there. No one knows the difficulty of launching a new comic title better than myself, which is why I’m loathe to criticize a new entry into the field. I genuinely wanted to find something worthwhile to recommend in Justin Leach’s MAJESTIC-XII, but unfortunately I was limited to the contents of the book.

MAJESTIC-XII is the story of a team of superheroes charged with fighting a secret war against alien invaders. One has to wonder how these aliens–who already control most of the universe–can possibly be held off by a handful of superhumans, who seem to do nothing but engage in chaotic fist-fights with other superhumans, and moon over each other in constant, maudlin interior monologues. Oh, and did I mention that most of these superheroes(?) are criminals, freshly sprung from prison? See, that makes them a rag-tag group of anti-heroes; it makes ‘em edgy.

The writing is awkward at best, from confusing scene jumps to sledgehammer exposition delivered through cliche-ridden dialogue. Consider this charming example, followed by “revealing” inner thoughts, from a superheroine in the midst of a super-powered brawl:

“Eww! That smells like fried zucchini–Ick!” Wow, Legend is soo dreamy!!“

Even the emphasis of particular words within the dialogue is baffling. Emphasis should crystallize dialogue, help it come alive inside the reader’s mind. Here, it creates a verbal obstacle course, tripping-up the reader and requiring multiple readings of the same lines to make sense of them.

All this might at least have been tempered by good (okay, great) artwork, but such is not the case with MJ-XII. Backgrounds are virtually nonexistent, which not only means that no sense of space is created, but at times makes it difficult to tell exactly where things are taking place. Bodies are uniformly massively-muscled, with the only difference between genders being huge breasts on all woman. I realize subtlety is not the point here, but it would be nice if every single character didn’t look like his or her super power were superhuman tolerance of anabolic steroids.

This is only the first issue of MJ XII, and normally I’d allow for the possibility of growth. Unfortunately, about the best that can be hoped for here is that readers will mistake the book’s glaring flaws for camp.

“Love and Sex in the Films and Graphic Novels of Alan Moore”
2010 Film & History Conference: Representations of Love in Film and
Television
November 11-14, 2010
Hyatt Regency Milwaukee
www.uwosh.edu/filmandhistory
Second Round Deadline: November 1, 2009

AREA: Love and Sex in the Films and Graphic Novels of Alan Moore

Alan Moore has a love-hate relationship with the film industry, yet films based on his work proliferate: From Hell (2001), V for Vendetta (2005), The League of Extraordinary Gentlemen (2003), and Watchmen (2009). Sex and (possibly) love abound in Moore’s novels and in the films grounded, to some extent, in his writing. In V for Vendetta, Moore juxtaposes the love of the computerized state with the more transient love of men and women. In V for Vendetta, The League of Extraordinary Gentlemen, and Watchmen, he poses difficult questions about the nature of (super)heroic love for others, and for democracy, nation, and empire. Throughout his work, Moore is attuned to issues of representation, and to how representation demarcates the reality of those who are “loved.”

Moore may be the exemplary postmodern graphic novelist, and “his” films are well worth considering for what they say about our particular historical moment, and in *this* particular moment, what they say about various manifestations of love.

This area is open to any paper or panel proposal which examines the representation of love, sex, and ethical relations in any work influenced by, or authored by Moore. Possible topics might include:

Anarchy as love
Love, sex, and postcoloniality
Victorian love
Postmodern pastiche as a form of love-making
Love in (loving) the state–fascist love
Love and the body
Love in adaptation
Representing love in film versus sequential art
Representation and the limits of love
Loving one another: Thomas Pynchon and Alan Moore
Freedom as love
God and (as?) love
Exposure as love
Inoperative communities and love

Please send your 200-word proposal by email to the area chair:

Todd Comer, Area Chair
Defiance College
701 North Clinton Street
Defiance OH 43512
Email: tcomer@defiance.edu (email submissions preferred)

Panel proposals for up to four presenters are also welcome, but each presenter must submit his or her own paper proposal. For updates and registration information about the upcoming meeting, see the Film & History website (www.uwosh.edu/filmandhistory).

The second item relates to a call for contributions to an anthology related to the Twilight series. Although many horror fans bristle at the idea that this should in any way be considered horror, it is an important facet of the fantastic in pop culture at the moment, and its take on the vampire mythology with a strong emphasis on romance has precedence elsewhere in the evolution of this monstrous icon:

For an anthology on the series and related films, I am seeking papers of approximately 6,000 words on Stephenie Meyer’s Twilight series. Any methodological approach is welcome. In particular, papers may
consider the reception of the novels by fan groups, especially in generational terms or in light of significant differences among various fan communities; papers may also consider the novels in relation to the film (shortly to be films), reading strategies, generic aspects, authorship issues, problems in adaptation, etc.

Abstracts of 600 words with short bibliography and brief author biography are needed by 1 November 2009. Send them as Word files to Anne Morey at amorey@tamu.edu.

BELLINGHAM, WASH. (NOVEMBER 25, 2008) – The success of Ray Harryhausen Presents; The Pit and the Pendulum, a short stop motion animated film produced by Hand Made Heroes Film & Television has resulted in a comic book deal with Bluewater Productions. When Bluewater President Darren G. Davis and Director Marc Lougee of Hand Made Heroes discovered they were both producing work independently under the Ray Harryhausen Presents banner, Bluewater immediately penned a deal with director Marc Lougee to further develop film & comic book cross-over properties.

Since it’s premiere hosted by Harry Knowles of Ain’t It Cool News at the BNAT Film Festival, The Pit and the Pendulum short film has screened in over 200 film festivals and comic conventions around the world including AFI Dallas and San Diego Comic-Con. Nearly 100,000 visitors logged into the film’s website within two days of the film’s premier in Austin, TX, and has continued to garner a global fan following. 

“Seeing the film published as a comic thru a brilliant publisher like Bluewater is the realization of another dream of mine.” said Director, Marc Lougee, “What started as a labor of love, and a once in a lifetime chance to make a film with Ray Harryhausen at the helm, has just continued to expand and reach further than I’d imagined. I’m really excited to have an issue of Ray Harryhausen Presents; The Pit and the Pendulum comic in hand come February 2009.”

Susan Ma, producer on the stop motion adaptation of The Pit and the Pendulum, says the soon to be released comic book is a wonderful extension of the film. “In producing the film, we sought to bring the story to life for a broad audience, while staying as close to the original story as possible. Executive producer Ray Harryhausen was especially keen to see the story develop with a strong visual aesthetic and real storytelling.  In bringing the film version into the realm of comic books, I feel we’re accomplishing the goal of making the story very accessible. We’ve been surprised with wonderful feedback from teachers and professors who are thrilled to have a resource like the film to teach Poe’s works in class.”

Director Marc Lougee adds, “ I think between the comic book and the DVD, we’ve got a wonderful package to create interest in great literature thru visual means, starting with E.A. Poe’s The Pit and the Pendulum. Gothic horror, Ray Harryhausen and Edgar Allan Poe- who wouldn’t be thrilled?”

The story in brief: The Pit and the Pendulum. A victim of the Spanish Inquisition is brought before a tribunal. Condemned and alone, he’s left to suffer a fate worse than death as his captors employ fiendish machinations in their efforts to unhinge him.

About The Pit and the Pendulum comic book.  Featuring images taken directly from the award-winning animated film and coupled with Poe’s original text, the graphic version of the story in comic book form ratchets up the effect of Poe’s tale of Gothic Horror, creating a spine-tingling experience not to be missed. 

The Pit and the Pendulum comic book is scheduled for release in February 2009. The PIT AND THE PENDULUM DVD is available online at www.thepitandthependulumdshortfilm.com

About Bluewater Productions:

Bluewater Productions, Inc. is one if the top independent production studios of comic, young adult books and graphic novel titles. In the tradition of great storytelling and cutting edge art, Bluewater storms onto the comic book and graphic novel scene. With more titles than ever, including smash hits such as the 10th MUSE, VSS, and THE LEGEND OF ISIS, Bluewater is poised to continue to produce engaging stories with art from both the top names in the industry alongside with up and coming stars.

As of May 2007, Bluewater Productions, Inc. moved from production studio to publisher, in conjunction with legendary filmmaker, Ray Harryhausen — the genius behind some of the greatest movie magic of all-time while continuing to publish it’s popular superhero line starring it’s flagship character the 10th Muse. Bluewater has also just signed a publishing deal with William Shatner,Roger Corman and Lionsgate.

About Hand Made Heroes:
Hand Made Heroes Film & Television produces compelling & entertaining animated properties for television, film and online audiences.  

Director & Creative Producer Marc Lougee & producing partner Susan Ma share years of experience in the genre, playing part in many series & film projects, including the BBC/ Discovery Kids! series DINOSAPIEN, BBC’s ACE LIGHTNING, CBC’s WHAT IT’S LIKE BEING ALONE and MTV’s CELEBRITY DEATHMATCH. Aside form broadcast projects, Marc & Susan have produced several award-winning films, including THE PIT AND THE PENDULUM animated film (exec produced by Ray Harryhausen), available now on DVD.  For more information on the PIT AND THE PENDULUM animated film, visit the official website: http://www.thepitandthependulumshortfilm.com. 

TheoFantastique: Chazz, thanks for agreeing to discuss some of your many horror activities. To begin, how did your imagination come to be captivated by all things horrorible, and how did this lead to your projects like Cryptic Magazine?
 
Chazz DeMoss: I was hooked on horror at birth, my rents took me to the drive in every weekend to see the latest horror features and I obviously became consumed by publications like Creepy, Eerie, Fangoria, Famous Monstersand more. I produce in film productions like a major budgeted horror feature titled “CYRUS” with Executive Producer Joel Castelberg and Director Mark Vadik. I am in the middle of producing this particular feature in Michigan and will be shooting throughout October 2008. I also play in a band called Wrecking Day and am being produced by Chad Banks of American Head Charge.  I also produce horror convention such as CRYPTICONMINNEAPOLIS.com and CRYPTICONSEATTLE.com or The Minneapolis Indy Horrorfest as well as currently producing comics for Image Comics and just finished producing a band called Hate Incorporated from Kansas City, MO on a label called Arkham Music Inc. So Cryptic Magazine is one of many things horror I am involved in and as to how I got here?  Pure passion for the genre I suppose. 
 
TheoFantastique: Can you share a little of the origins and history of Cryptic Magazine?

Chazz DeMoss: It started of as a comic book company called Dead Dog Comics that put out many horror titles of either original creations or licensed such as Night of the Living Dead, Day of The Dead, Tom Sullivan’s Books of the Dead or Curse of the Blood Clan to name just a few. Then evolved into this amazing and horror-driven publication that is made up of all the things horror I personally love… with a lot of influences that obviously show in its production. 
 
TheoFantastique: For those who may not be familiar with its content, what types of subjects do you tackle in the magazine?

Chazz DeMoss: New Releases; Indy films; Cult Classic Cinema; Tattoos; Interviews with writers, directors, famous monsters, custom bikes, scream queen hotties; convention info: interviews with top name rock, metal, industrial or punk bands; and the best part, six horrifying tales illustrated and written by some of the best names in the genre… I could go on forever on this topic, I suggest you read it and find out for youself, if you are a real horror fan then you owe it to yourself to check it out.

TheoFantastique: What are some of the influences that go into it for the artists and writers?
 
Chazz DeMoss: Some stories I drive myself from starting conception to finished pages working with some of my favorite artists, like Tim Seeley, Mark Kidwell, Nat Jones or the amazing Jay Fotos to name a few. So when real talent comes calling I just can’t seem to turn it away, I wish every artist could get in the mag but it has become something more than just a mag, it has evolved and will soon become an online publication and television station known as www.crypticTV.com and is already growing new wings, so as for what is influencing, the artist in the form of either me or their own sick and twisted imagination.
 
TheoFantastique: Let’s talk a little about Crypticon Minneapolis. In November you will hold your third annual convention. How did you move from horror zine to convention?

Chazz DeMoss: I have been to every consistent horror show across this great nation and even some out of it, but wanted to bring that same love to areas that don’t have it. Besides it is every horror fans dreamworld to be in a convention filled with all things horror as well as some of your favorite stars, the magazine was only a tool to help such things grow. We also put on CRYPTICONSEATTLE.COM as well. I must say though that behind each show is also a great promoter. For example with Minneapolis (it’s my brother from another mother) “Nick Kaufman”, he is the real brains behind the Minneapolis show and the brawn behind Seattle is all around promotor master Bill Berry of Random Acts & BBM&E. Also the agents who book the talent are great to work with and help bring new and fresh faces from the core of the industry, this will be our second show in Seattle and our third in Minneapolis and both are growing rapidly thanks to not only us the fans but the agents and promoters alike. 
 
TheoFantastique: What types of guests have you had in year’s past, and who are some highlights for 2008?
 
Chazz DeMoss: I have to say Sid Haig and Bill Moseley are my faves as far as past guest go (check out the links to past con guests right from the sites). But so far  this year Tom Savini, a man of many talents and skills who has made himself an icon to the genre, will be great at this years show, and of course Doug Jones from Pan’s Labyrith and the Hellboymovies is someone I have yet to meet in all my many years of con going and creating. Doing cons, film festivals, and even promoting concerts are a few more of my sick passions with horror in its many forms but the con after parties are my favorite pass time and I usually have way too much fun to remember all of those so called highlights. If its horror related, then to me, its a highlight. I suggest you attend the Cinema Wasteland Show, in Strongsville OH. It’ the best cult cinema show in the country and by far my favorite show to attend. This year’s is Oct. 3-5 right outside Cleveland OH. I will be there and ready for lots of horrorfying fun!

TheoFantastique: What other companies and projects might readers be interested in?
 
Chazz DeMoss: www.cryptictv.com, www.crypticmag.com, www.arkhammusic.com, www.crypticonseattle.com, www.crypticonminneapolis.com, www.myspace.com/wreckingday, www.myspace.com/hateincKC, www.byobmultimediaproductions.com are just a few of my many projects and there will be a site going up soon for www.cyrusthemovie.com we are also running a 24/7 horror station at cryptictv.com and more coming in 2009. You will be able to buy all back issues of magazine and or comics on the sites and we’ll soon be doing digital media as well. Thank you and your readers for your “terrorfying” interest in what crazy things I keep myself consumed with and I thank you CRYPTIC FANS for keeping me busy!
 
TheoFantastique: Thanks again for talking about your great work. I wish you the best, not only in this Halloween season, but in frights all year long.

One of my fellow LOTT D members, Chad Helder of Unspeakable Horror!, is involved in a new comic project through BlueWater Comics titled Bartholomew of the Scissors. I have had the privilege to preview this comic and the look is amazing. Below Chad shares some of his thoughts on the comic as writer, and Daniel Crosier talks about the art and his use of wood burning.

TheoFantastique: Can you share a little about your background in comics and your previous work?

Chad Helder: Strangely enough, my background is in poetry. I studied poetry in college, and I have a collection of poetry called The Pop-Up Book of Death. However, the horror genre has always been with me, and I’ve always felt a drive to tell horror tales. With Bartholomew, the story really goes full-blast into the genre. I hold nothing back. It basically includes everything I’ve always wanted to put into a horror tale: psychics, undead children, razor-sharp instruments, perverted psychiatrists, fire demons, paranormal investigators, aliens from another dimension, and a flame-thrower battle with the National Guard! But to answer your question, this is my comic book debut! I started reading comics in my thirties. I am completely in love with them. I’m also writing scripts for Vincent Price Presents, which premieres the same time as Bartholomew in September. Now I wish I could draw!

TheoFantastique: What was the creative inspiration behind the story for Bartholomew of the Scissors?

Chad Helder: I was walking through the forest on my way to linguistics class at Western Washington University when I imagined hundreds of stainless steel sewing shears floating out of the trees toward me. I don’t know where the image came from. It was a very strange and unsettling image. My next thought was: what would happen if these weird animated scissors attacked me, sort of like the seagulls in Hitchcock’s Birds? I knew that I had something that I’d never seen before in a horror story. The story was built up around this concept of the scissor swarm. I created an entire story-world to explain the scissor swarm and how it could possibly exist—and why.

I worked on it as a novel for years. I think I wrote the novel three times, but it always fell apart in revision. There were countless changes made to the characters and the monsters, but I think the world of the story is very rich and complex as a result of this. Then I met Darren from Bluewater. He was a guest speaker in the English 101 class I was teaching. The students had an assignment to write about a superhero. During Darren’s presentation, it occurred to me to adapt the story into a comic. I pitched Darren the idea later in the week, and we went from there. Immediately, I knew that the story was meant to be a comic.

TheoFantastique: A question for you Daniel as the artist. The most unique facet of this comic for me is that each page it is burned into wood. How did this method of creating the art come about?

Daniel Crosier: Actually, wood burning is one aspect of the mixed media approach for the art in the book. I am using graphite, color pencils, some ink, paint marker, as well as wood burning. I enjoy investigating materials potential and using different things in my sculpts or illustrations. When the Bartholomew book was presented to me I thought it’d be a great opportunity to try my hand at wood burning. Since it is a horror genre book, the rustic or weathered look would lend itself well in supporting the story.

The wood burning was suggested last November by Elizabeth Breitweiser, artist and art teacher, and her husband, Mitch, who is an illustrator for Marvel Comics. She saw I was doing some very detailed work on wood and adding sculptural elements. Honestly, wood burning was something I never considered until Elizabeth planted that seed.

TheoFantastique: What was the most challenging about doing a comic in wood, and has this opened up possibilities for expressing comics in other artistic ways for you?

Daniel Crosier: Challenges would be weight, storage, and splinters. Wood burning is also a strain on the eyes, having to stare at the weaving wood grain for hours.

Comic books are a significant story-telling device, up there with any other medium. That includes high-art or contemporary art. Most of the globe seems to accept this notion, it is part of their culture. America stills sees comic books as a sub-cultural movement, despite the fact the it has infiltrated almost every aspect of pop culture. I think with creators like your Alan Moores, David Macks, Frank Millers, there are greater potential to validate comic books as an indisputable high and low brow art form up there with your Francis Bacons, Hunter S. Thompsons, or Stanley Kubricks. With that, I intend on exploring different materials, styles, and approaches to comic books or story-telling in general. This doesn’t mean I won’t try more of the general approach, but it is nice to mix it up.

TheoFantastique: Thanks to both of you for your work on this, and I wish you and BlueWater the best of success with yet another interesting comic.

In an interview in the July edition of Rue Morgue magazine, del Toro discusses the story for the new film that he developed, as well as the influences that shaped this film, including not only mythology and fairytale, but also the magical stop-motion animated monsters of Ray Harryhausen, and the music of Bernard Hermann.

This film seems to have been released at a time which will maximize its ability to do well at the box office. The summer film bonanza is in full swing, and while Hellboy II will face stiff competition from the new Batman film The Dark Knight and WallE, comic books continue to provide the stuff of creativity and box office success for filmmakers. Audience fascination with and positive response to comics turned into films have led some to suggest that comicbook superheroes now function as new sources of mythology in our time.

Although Hellboy II was already greenlighted for production prior to the success of Pan’s Labyrinth, del Toro says that given the positive reception to that film it gave him greater leeway for his plans for Hellboy. Let’s hope that Hellboy II does well in fan reception and box office receipts so that del Toro’s desires for a trilogy can become a reality.

TheoFantastique: Darren, thanks for stopping by and taking time out of a busy production schedule to share some thoughts with readers. For those who may not be familiar with BlueWater, can you tell us how this company came about?

Darren Davis: I have been producing comics since 2001 at Image Comics and Alias. When Alias changed directions in publishing, I ended up self publishing our titles. We are staying on the smaller side doing about 5 titles a month. We have a deal with Ray Harryhausen to produce a line of comics with the film legend.

TheoFantastique: I have a thin connection to the comic industry through my brother who is a comic artist and creator of the Boneyard series. With this connection I’m always interested in how people become involved in comics. How did you personally develop an interest in comics and decide to make this your career?

Darren Davis: I loved watching Saturday morning cartoons as a kid. Superfriends was my favorite – so I started getting into comics from that. As for working in comics, I really never wanted to work in them. I just collected them. I was working at Lionsgate Films when WildStorm (DC Comics), doubled my salary to sell their services. While working there I was watching all these people creating their own projects and I thought I could do that. So after I left DC Comics I started my own line with the 10th Muse (which was the 6th highest selling comic on the Diamond chart for Nov 2001). I used my entertainment marketing background with my love of comics – so then a comic creator was born! It is funny that you mention your brother – because my brother writes for Bluewater. We have also gotten my 16 year old niece to write her own book (Violet Rose – out in Nov).

TheoFantastique: As you mentioned, your comic The 10th Muse was your initial comic production. You also did Legend of Isis. Can you tell us something about the storylines for these comics and how they came about and perhaps led to the creation of BlueWater?

Darren Davis: I saw what appealed to me in the comic book world when I was creating these characters. I really thought that TOP COW was doing it right. Amazing looking books with great stories. So I used them as motivation. I knew Randy Green from my DC Comics days and asked him to help me design the 10th Muse. I got Marv Wolfman who was my favorite writer to write the book. I have been a Greek mythos fan since I was a kid and thought this would be the perfect genre to do. So right after 10th Muse we developed takes on Atlas, Isis, Orion & Valkyrie.

TheoFantastique: One of your more interesting and noteworthy projects that has been mentioned in many comic, sci fi, and horror magazines is your comics that fall under the “Ray Harryhausen Presents” series. How did you come to be associated with Ray?

Darren Davis: I met Ray at a book signing up in my home town of Bellingham, WA. He was always an inspiration to me. I tend to create comics that have mythology ideas. So I gave Ray a couple of graphic novels of the book I produced and told him that he was my inspiration. I loved Clash of the Titans (even better than Star Wars – I know that is not very PC to say). I spoke with his manager, Arnold Kunert, at the event and asked him why there has not been comics with Ray. He told me many people were interested but flaked out. So in two weeks I had artwork and proposals on Wrath of the Titans, 20 Million Miles More and Sinbad: Rogue of Mars. The contracts were drafted up right after that.

TheoFantastique: How did you come up with the idea of new storylines based upon Ray’s classic sci fi and fantasy films, and has it been something of a challenge producing comics that live up to these infamous films and the standards of their even more infamous creator?

Darren Davis: When we did this deal, I did not want to make these adaptations off of the movies. So we hired writers that were passionate about the projects. I wanted to do what happened to Peruses, so I wrote Wrath of the Titans. Scott Davis wrote 20 Million Miles More – it is a modern take of the story (along with going to Venus to seeing where the Ymir live). Sinbad Goes to Mars was a screenplay that floating around Hollywood right after Clash of the Titans. When I was doing research on the projects this one really jumped out at me. So Rogue of Mars was born. I met the writer at a convention and his passion for the Ray line was insane. He told me that he would love to write all the Ray titles. At this point Greg Thompson is doing a couple. We also have David McIntee (who writes Dr. Who novels), writing Jason and the Argonauts.

TheoFantastique: What has the feedback been like from Ray and his agent Arnold Kunert on this project, and what has been the response of fans and readers of the comics themselves?

Darren Davis: Everyone is happy with the books. Ray and Arnold love the art and stories. We are really sensitive to keeping the feel of his films with the comics. We tend not to be too racy or violent in the books. The fans have been really supportive of the books as well. I get letters from people all the time about heir favorite Ray Harryhausen story.

TheoFantastique: Have you gotten any indication as to whether these comics might lead to a new generation of fans who, somehow, might not have been familiar with Ray’s work previously?

Darren Davis: We were sensitive to making sure that people can pick up these titles without the knowledge of Ray’s pervious work. My nephew who is 11 loves the comics and now has seen all the movies. We do also make sure there is lots of “Harryhausen” monsters and action in the books for die-hard fans.

TheoFantastique: I noted in reading Ray’s book Ray Harryhausen: An Animated Life, that there are several projects that Ray never got to see begin production. Is it possible that some of these might serve as sources for future comics with BlueWater?

Darren Davis: We are launching a bunch of new Ray Harryhausen Presents properties in 2008. Some of them are going to be ones that were never put into film production. The Eleme
ntals will be out in February which is one that I am really excited about. We are also doing ones called Flying Saucers vs. the Earth (which is from the perspective of the aliens). And we will also produce It Came From Beneath the Sea…again. We are doing these in conjunction with the release of the SONY DVDs. There will also be a tradional Sinbad story as well as an ongoing Wrath of the Titans story. Back to Mysterious Island is one that will be out in 2008 as well. We also have plans to showcase some of his Fairy Tales from his early years. The 1st one will be the Tortoise and the Hare that will be in the Ray Harryhausen Presents one shot in November.

TheoFantastique: I understand that you are preparing to launch a sci fi line in 2008 that includes a deal with Legend Films. Can you tell us a little about this, and an other projects we can look forward to from BlueWater?

Darren Davis: Some of the projects we are working on with Legend Films are SHE, Missile to the Moon and Plan 9 From Outer Space. I am really excited about this line. We did try getting the rights to the old tv show Buck Rogers but the rights were tied up. Other sci fi projects we have going on is bringing back Tom Corbett: Space Cadet.

TheoFantastique: Darren, thanks again for sharing with us. I wish you the best of success in your continued projects and look forward to many more years of creativity and entertainment from BlueWater.

Darren Davis: Thanks again for your interest in the Bluewater line!

TheoFantastique: Thanks for taking time out of a busy art production schedule to answer some questions that will give us some insights into the comic book industry, but let’s begin by exploring your background. What led you to become a comic book artist, and what artistic, literary, or cinematic elements influenced you in your art and storytelling?

Richard Moore: Well, TheoFantastique — may I call you TheoFantastic? — I’m actually a frustrated film maker. Or maybe frustrated would-be film maker is more like it. I’ve always loved movies, and wanted to be a writer/director, but never had the dough to pursue it. I’d read comics as a kid but lost interest as I got into fine art in high school. It wasn’t until I took a serious look at Bernie Wrightson’s Frankenstein and some of the things people like Neil Gaiman and Grant Morrison were doing that I realized the potential of the medium for telling stories.

I couldn’t afford a 16mm camera, but paper’s cheap, and i could draw (though I have to say, it was a hell of an artistic U-turn going from “fine art” to “comic art”, and one I’m still struggling with). As for influences, they’re kind of all over the place. I love horror films, the good ones anyway, which is clearly where Boneyard came from. I don’t get to read much these days, but I love Tim Powers and Dan Simmons,and I just discovered Christopher Moore; his stuff kills me. I think there’s a law that if you can’t wind up as a comic artist without having been a Frank Frazetta fan as a kid. But a greatly underrated artist of the 20th Century was Norman Rockwell. People tend to dismiss his work as corny or old-fashioned, but his skill was amazing. My favorites, though, are the Pre-Raphaelites, especially John William Waterhouse.

TheoFantastique: What comic projects have you been involved with, and how can interested readers secure copies beyond their local comic book stores?

Richard Moore: Lessee. . .I started off with Far West — got pretty lucky right out of the gate with that one; Far West still has a cult fanbase. I’ll finally be getting around to new Far West material next year (fingers crossed). Then I did some shorter, one- and two-issue stories, The Pound and Deja Vu, and then was lucky enough to place Boneyard with NBM. The older stuff is mostly sold-out, from what I understand. There’s a collection of the first Far West story arc available from NBM, but for The Pound or any issues of Deja Vu the best bet would be to contact me directly, at richardmooreart@sbcglobal.net. And of course NBM puts out regular collections of Boneyard, in black-and-white and color editions. People can order directly from them at www.nbmpub.com, and of course a lot of bookstores are carrying graphic novels these days.

TheoFantastique: While comics are obviously a visually-driven form of storytelling and media, nevertheless they need to have a good story behind them as well. In your creative process, what comes first for you, the elements of the story or the visual images?

Richard Moore: The nudity. That, and the characters. If it’s an ongoing series, that is. No matter how much i might like a given story idea, I can’t actually put it on paper until the characters become “real” for me. With an ongoing series, like Boneyard, I know the characters so well that I just plug them into a story and let them behave according totheir personalities. If the characters aren’t dictating the direction of the story, I know the whole thing is in danger of becoming artificial and forced. With a stand-alone title, the story definitely comes first. An image might inspire an idea for a story, but I then need to work out at least the basic structure so I have a context for the visuals. One trick I learned writing screenplays was to visualize the movie trailer. That gave me the spark, the exciting visual high points. . .but again, I had to have that story in place to start with.

TheoFantastique: As you’ve discussed, your current project is Boneyard, a comic that I would (probably poorly) describe as a horror-comedy piece. Can you summarize this series for readers and tell us why you were drawn (literally) to this type of project?

Richard Moore: I don’t think there’s any real horror in Boneyard, but that’s a common description of the series. It’s a natural assumption, when you look at a cover and see a vampire, a swamp creature, a werewolf.. . Basically, Boneyard is about a guy, Michael Paris, who inherits a piece of land that happens to contain a cemetery. A cemetery inhabited by monsters. He comes to realize that you can’t judge by appearances, andwinds up living with the outcasts. The only drawbacks for Paris are the occasional demonic plot or zombie outbreak they have to deal with. Of course, the fact that he has it bad for Abbey, the resident pretty vampire, makes it all a lot more bearable. My original concept was to do a sitcom in comic form. I just happened to pick monsters as characters because of my love of the old, classic horror films. If you look at my two current favorite shows, you’ll see the same basic structure: likeable characters interacting and dealing with problems in funny ways. The only real difference is that Boneyard is framed by dramatic story arcs that feature some larger threat.

TheoFantastique: What do you enjoy the most, and what is your greatest struggle as a comic book artist?

Richard Moore: Again, nudity. (Hold, for laughter.) I think the best thing is still the reason I got into the field: I can tell stories in ways that would be much more difficult and immensely more expensive to tell through film. For some reason I am compelled to tell stories; if Ididn’t have this outlet, all those characters running around in my head would drive me nuts. The greatest struggle — well, there are two, actually. The first is the workload. It takes a tremendous amount of time and effort to producea comic single-handed, much more than people would imagine. That’s whythe big publishers have teams working on their titles. My readers are constantly asking for more of this title, more of that title; they’d love Boneyard to be bi-monthly instead of quarterly. But it just isn’t possible — and this is coming from a confirmed workaholic. Second wouldbe exposure. I’d ideally like to reach a wider audience, but advertising’s expensive, and I’m ultimately dependent on my publisher.Shame, too. If they’d only invest a little in my work, I could make them very, very rich. Ah, well. *sigh*

TheoFantastique: Do you have any other projects you are working on, or are planning on in the near future?

Richard Moore: I’m going to be starting a web comic called Gobs,hopefully next year. It’s about a bunch o
f goblins who are barred from their favorite pub, so they build their own. . .in the petrified body of a dead giant. Think Cheers with dragons, cranky wizards, and exclusionary zoning laws. I’m also doing a miniseries for Antarctic Press, called Fire and Brimstone. The titular characters are a demoness and a cherub forced to round up a wide variety of demons and rogue angels who’ve escaped fromthe afterlife into our mortal world. It’s basically a buddy comedy, with big guns, hot girls and lots of supernatural action. A little furtherdown the line readers can look for a fantasy detective story called Dragonthorne, probably coming out through Archaia Studios Press, and Billfur,a kind of animated movie in comic form, about a duckbilled platypus who finds himself in the middle or a North American forest with no memories of who or what he is. He’s joined by a semi-crazed squirrel escaped froman animal testing lab, and together they set off to discover who the platypus is, and where in the world he belongs. Then there are some children’s books I’ve been wanting to do for a long time. . .so yeah, I’ll be busy for awhile.

TheoFantastique: Rick, thanks again for taking the time out of your schedule to share with readers. I hope this interview gives them a little glimpse into comic book creation, and perhaps some new readers and fans of your work.