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Looking for the most part like a cornered rodent, Fairchild plays anchorwoman Jamie Douglas, who always manages to look like she just stepped out of a salon, even when she's fighting for her life against a psychotic stalker. The performances are impeccable Ellen Burstyn is at the same time a doting mother and a selfish bitch, and blameless in both regards, while Linda Blair has the distinction of reaching her acting apex before needing a training bra , the photography beautiful, and the mood impenetrable. Claire Bloom is seductive and smart as her thinly-veiled lesbian roomate, Theodora, who tries to give Ellie a little comfort when creepy goings-on start happening after lights-out. In the end, nobody gets what they want including the audience and the queer element is really only there for "ooh! It may not have done much to further understanding of transgendered individuals, but the film made a clear point that the character was forced into living as another sex, and that his violent behavior was a result of this trauma, not of his actual sexuality. It's the first comic I remember owning- choosing it from the newsstand because of this amazing cover click to embiggen: A sad follow-up to the thoughful Dahmer.

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Live Busty Girl Cams. Virtual Girls. Huge Tits. Well, it gets even cooler because Zane went and answered some questions. Do you think I'm cool?? One thing I love about both Brea and Zane is that they're actually, you know, horror fans. Talking with them obliterates any doubts you may have about their motivation behind writing We Will Bury You , about whether or not it's simply a vanity project for some actress.

I'm an only child, but from my understanding, brothers and sisters are supposed to hate each other and pull each others' hair. Why, then, would you want to write a comic book with your sister? How did the idea of working together come about? We both like comics and horror movies, and we get along really well, so…. Practically speaking, how did you share scripting duties ie, did you divide up the characters, etc?

The way we work is we read a lot about our setting and make notes for stories. From there, we just traded off scenes, which I think works for the most part. Can you tell what I wrote and what she wrote? Why is We Will Bury You set in the s? The lack of certain technologies like cell phones and future weapons makes the spread of mass violence scarier as well.

Plus, it just had a good aesthetic that works out well as a setting for a visual medium like comics. What are some of your influences for WWBY , both in terms of horror whether written, cinematic, or other and comics? We try to have a lot of reveals in the books, which were inspired by the surprise endings of EC horror comics.

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And the shallowness of some of the people Mirah and Fanya run into sort of match the EC tone, where people react almost too normally but they are all hiding something.

Also, there is a way in which, we are also reacting to Walking Dead , which pushed the genre in a way by showing horror comics can be ongoing and still have some attachment to the traditional horror genre. We were inspired, of course, by Romero, but there are other pieces we pull from like Wild Zero which has a trans person , the Greek zombie film Evil , 28 Days Later , and in the first issue we played with the slasher view from the first page.

How did you come across Kyle Strahm's work, and what is it about his art that attracted you? Was there a specific style you wanted when you were looking for an artist, or did it strike you when you found it? How are you working with Kyle in terms of the script? We tend to stick to basic descriptions, dialog, and reference pictures for some things.

When Kyle wants more, he asks. Like we were bad about military uniform research and what revolvers officers were issued, so he just asked and we did some research and got back to him. Why do you think comics are the best medium to use in telling this story? Comics is the best medium to tell any story….

But also, I think horror works best as a visual medium, or maybe easiest as a visual medium is more accurate. People have a stronger reaction to seeing pain than reading about it. In the better zombie films, zombies are usually representative of a societal issue or a certain populace. I have my own thoughts on what they represent in WWBY On societal issues and horror, I had an argument with my friend Carrie, who does tryharderyall blog, about Driller Killer a while back because on your blog, you gave it a kind of class analysis, which is my default to reading pretty much everything except that movie.

When people try to rationalize zombies, I usually get bored. Are your zombies slow or fast? Fast zombies are scary and have made slow zombies harder to make scary, which is sad. Our zombies are about mass, so they are slow. Our zombies are scary like those rooms.

When I think of spiked rooms, I think of Resident Evil. I love Resident Evil. The s were a tumultuous time. Lindbergh made the first solo, non-stop trans-Atlantic flight. Telephones were en vogue. Women fought for their rights. Prohibition kept boozin' on the DL. Pole sitting and marathon dancing were popular.

Then there was that zombie outbreak in New York City. Yes, zombies in the Big Apple Before it gets to the zombies, though, We Will Bury You offers a fascinating glimpse into the sexual politics of the day. Our heroine, Mirah, is all flapper chic, enticing men to spend their money dancing with her in a clip joint.

She 's married to Henry, who finds his wife's profession and attitude wanton and her morals loose. Mirah rails against his misogynist attitude. While at her place of employ later on, Mirah meets up with her lover Fanya, a cross-dressing Ukranian immigrant. Before we delve too deeply into their relationship, there's a zombie outbreak in the club.

The women end up on the street, in the midst of bedlam. Until the undead showed up, I almost forgot that We Will Bury You is a zombie horror comic- and that's not a bad thing. The brother-sister writing team of Zane and Brea Grant set the story in an interesting time period, one that's politically charged; as zombie films particularly those from George Romero tend to be rife with social commentary, so it should come as no shock that a zombie comic can be the same.

Still, I almost didn't want the zombies to show up quite yet, for I was enjoying the character development at play. I'm anxious, though, to see how the rest of the mini-series plays out. Photoshop and Illustrator have all but taken over the mainstream comics industry; there's a slickness to most modern comic art that's pretty but oddly soulless- sometimes there isn't any paper involved in the process at all.

Strahm's art seems to be the opposite of that. There's a tactile quality to it, as if he's dug the pen into the paper. Of course, this fits with the whole "rotting corpses" angle quite nicely. Crumb meets Rick Geary meets Richard Corben style is gruesome This book shows there's still some meat left on those rotting bones. I was just poking around my hard drive not as sexy as it sounds and I found this Shining -related comic strip from It's a few years old!!!

Yes, this is the thrift store of posts- click to embiggen! When I was only small, my elementary school would have these fucking rad events called Book Fairs. A few times a year, a small room off the cafeteria was filled with books books books you could buy buy buy.

They were open late-ish so you could come back after dinner with your mom or dad and As a nerd, I really looked forward to these fairs, and my mom always obliged my nerdish tendencies she still does, by the way. We'd go and I'd come home with a small armful of gems: As the books were aimed at grade-schoolers, the pickin's were slim, unless you count Bunnicula which I do.

One particularly magical year- of course it was - they had the Classics Illustrated edition of Bram Stoker's Dracula. As you can imagine, young Final Girl snatched that shit up. I mean, who could resist Dracula in a purple suit- complete with see-through purple cape! Certainly not I, and thankfully not my mom, either.

The story was adapted by Naunerle Farr and Nestor Redondo. As I grew up to be a fairly well-read comics fan, I've become familiar with the late Redondo's fantastic work through the 70s and 80s on titles like House of Secrets, The Witching Hour, and Conan. He concentrated heavily in horror-based comics, for which his gothic flair is particularly well-suited. Of course, when I was poring over Dracula again and again, my opinion on his amazing draftsmanship wasn't one that would Seriously, You couldn't count on hands the number of times I've gawked at this book.

The linework and inks are so good, I kind of want to eat them. Many comics have become about detail, about cramming as much crap into a panel as possible; of course there are big exceptions to this Mike 'Hellboy' Mignola is the first that comes to mind , but to me there's simply an overabundance of unnecessary information on the pages.

I don't know where this came from- the Image boom in the 90s, from editors or from the artists themselves- but it's resulted in artists not being able to maintain a monthly schedule. Working together, Jack Kirby and Dick Ayers could crank out pages a day, in no small part thanks to the fact that there's not a lot of extra stuff on the page.

You get everything you need as a reader and it's creative and gorgeous, but it's simple. This is all my big old lady complainy-way of saying that the panels in Dracula have atmosphere to spare and lush environments, but it's streamlined. Take, for example, one of my favorite pages: What is a blood transfusion?

What good was a blood transfusion after being attacked by Dracula? What animals could Dracula change into? How can a person protect himself from a vampire? I certainly hope for the sake of all teeny tiny nerds out there- especially the horror nerds- that book fairs are still alive and well and they sell amazing comics like Dracula. How else are kids supposed to learn about words like "bloodthirsty", or know what sexy vampire ladies look like?

Won't someone think of the purple suits? If you are particularly astute, you will notice that I have done a comic for this month's installment of the Film Club. If you are super wicked astute, you will notice that I just darkened the pencils rather than inking the strip. This was my effort to give the comic an old-timey, vintage feel.

That, or I was just feeling lazy. Either way, clicking makes 'em big! Film Club Coolies, y'all! One of my earliest AMC columns was all about horror comics becoming horror movies - which ones stink, which ones anti-stink, and so on- and in it I mentioned Tomb of Dracula 69 April , yo!

It's the first comic I remember owning- choosing it from the newsstand because of this amazing cover click to embiggen: I mean, the issue- which finds Dracula stripped of his status as Lord of the Vampires and on the run from an angry vamp horde- features said gross-looking bloodsuckers trying to get their cold, bony fingers on kids.

I was a kid! No one was safe from the hungry undead! So, sure, I'm repeating myself a bit, but in this day and age of angst-ridden sparkling vampires, I think it bears repeating: Tomb of Dracula was a brilliant comic book proving that vampires could be wrapped up in soap opera-worthy storylines and they could be mysterious, evil, and scary.

The dead ones laugh, and the laugh is as cold as their rain-soaked flesh! Please- that's the shit. The writing-pencilling-inking team of Marv Wolfman, Gene Colan, and Tom Palmer is one of those magical unions that comes along every so often in the world of comics, where words and art serve each other and mesh together flawlessly enough that the work is still celebrated 30 years on.

You can pick up the entire saga in black and white which only adds to the gothic atmosphere in 3 volumes of Marvel Essentials: Tomb of Dracula and settle in for some sweet comics-y goodness. Marvel was a heavy hitter in horror in the s, and ToD stands out as some of the best stuff they've ever published. And so begins a new weekly feature here at FG: Because duh, that's new comic day.

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Featuring a gay couple who actually get a considerable amount of screen time devoted to establishing their relationship they have a completely disposable cutesy dialogue scene; we also see one of the men cry when his partner is killed, and is sincerely consoled by a somewhat gruff-looking fella also trapped in the art gallery. Comfortably sandwiched between the likewise entertainingly-horrible Shark Attack and Shark Attack 3 , Shark Attack 2 boasts the same formula: The lack of certain technologies like cell phones and future weapons makes the spread of mass violence scarier as well. I mean, the issue- which finds Dracula stripped of his status as Lord of the Vampires and on the run from an angry vamp horde- features said gross-looking bloodsuckers trying to get their cold, bony fingers on kids. Instead of a mousy-yet-lovable Carrie type, Angela Bettis 's May is a bona-fide freakattack just waiting to pop. I'm an only child, but from my understanding, brothers and sisters are supposed to hate each other and pull each others' hair.

Entries Tagged 'Comics' ↓:

  • It seems that a deranged killer is using sculptor Lily's Apology line a tape machine that records anonymous apologies from New Yorkers to be used later in an installation as a confessional, and of course ends up getting a little closer to the artist than she's really comfortable with.
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  • Bluto from Robert Altman 's Popeye shows up, still squinting, and there are some pretty gory deaths, but ultimately the stupidity and predictability of it all sink the movie entirely.
  • Though we started with a great idea all-girl slasher in the woods, offering a great chance to deconstruct same-sex relationships, pull off some classic campsite scares, and get some laughs at our own queer expense , what we have ended up with is basically yet another by-the-numbers gay relationship movie Cheating.
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