Mike Mignola on Hellboy 2 and his new prose novel Baltimore.

My Chemical Romance’s Gerard Way on his new comic The Umbrella Academy.

Director Tim Sullivan on the comic version of his Southern horror film 2,001 Maniacs.

Voice actor Phil LaMarr on Samurai Jack, Futurama, and the new Transformers cartoon.

A sneak peak at Robert Kirkman, Sean Phillips, and Arthur Suydam’s Marvel Zombies 2.

Hayden Panettiere on Heroes Seasons One and Two.

Pretty much the entire Heroes cast and writing staff on Heroes Season One, episode by episode.

Can YOU spot the error in this horror-themed LOLcat?

Via where else?

Jeff Lester saw Cemetery Man (aka Della’morte Dell’amore) and didn’t like it! (You know you’re in trouble when he says “It’s designed to be a horror film for the Smiths set”; simply put, no.) Here’s a bunch of reasons why he’s wrong.

In other news, I didn’t tell you that I saw Wolf Creek a few weeks back. It was good. Intense, at least in part because of all the baggage I took into it. The “torture porn” label is honestly the best thing to happen to a lot of these movies, because the dread you feel when you start to watching them is 50% due to that label alone. I forget who it was who pointed out that that’s the genius of the title The Texas Chain Saw Massacre–it does half the work for the filmmakers right there. But that of course is also a brilliant movie. This isn’t on that level I don’t think, but it’s rough. Parts of this reminded me of Michael Haneke’s Funny Games, though the setting, protagonists, and antagonists are all very different. Haneke, I’ve learned through Jason Adams, is remaking that movie in English. I think he’s a little too late to catch the torture porn wave, which crested and crashed, but oh well.

Curt Purcell, whose Groovy Age of Horror blog has been bringing us the heavy heavy monster sound for quite some time now, has announced his attention to expand past his “60s/70s sleazesploitation horror” niche to include whatever genre of fiction is tickling his fancy at the moment. Good for Curt, I say! Though he’s certainly correct that his laser-like focus on horror’s groovy age put him on the map, my guess is he’ll find the freedom to follow his bloggy bliss on the newly rechristened Beyond the Groovy Age of Horror blog rewarding as all get-out (he already has, by the sound of it). Anyway, Curt and I have discussed this in the past; click here and here to see.

Jog on Darko Macan and Igor Kordey’s Soldier X, the Cable-starring “existentialist/absurdist superhero” series that’s the hidden gem of the late Bill Jemas era at Marvel. Cancelled just before the “we’ll collect any goddamn thing” era at Marvel began, its individual issues are among the few floppy-format comics I continue to treasure.

“Lovingkindness,” from the series And Jeopardize the Integrity of the Hull, Charlie White

I urge you to look at more of White’s deeply horror-inflected work, which I believe has made the blog rounds at some point in the past, at his website.

(Via Strange Ink)

My thoughts on the latest issues of The Immortal Iron Fist, Batman, Green Lantern Corps, Amazing Spider-Man, Green Arrow: Year One, Thunderbolts, and World War Hulk: Gamma Corps may be found at this week’s Thursday Morning Quarterback at Wizard.

Turns out that cool 31 Days of Spielberg blogathon is plagued with plagiarism (click here for examples). The author’s kind-of sort-of not-really mea culpa is here; Matt Zoller Seitz of The House Next Door comments here.

Look, any time one of these cases pops up people talk about how it’s a thin line. It’s not. It’s a giant mile-wide crystal-clear line. It’s really, really easy to not plagiarize, and it’s really, really hard to do it, especially in the fashion illustrated by those examples, without knowing that you’re doing it.

The Missus and I watched House Party the other day. We felt inspired. This is the result.

Twin Peaks: The Definitive Gold Box Edition, featuring both seasons and the pilot, is now available for pre-order. It goes on sale October 30th.

(Via Whitney Matheson.)

Wizard’s got an interesting interview up with Zack Snyder, director of Dawn of the Dead, 300, and the upcoming Watchmen, a line-up of films that were he to die after completing movie #3 would make him the nerd-director equivalent of John Cazale (whose C.V. consisted solely of The Godfather, The Conversation, The Godfather Part II, Dog Day Afternoon, and The Deer Hunter). It focuses primarily on his relationship with Watchmen artist Dave Gibbons, with whom he’s collaborating on promotional, conceptual, and storyboard art. Snyder reveals that he himself is actually drawing many of the film’s storyboards (the ones that aren’t straight lifts from the comic).

I think it was only this past week that I realized how cool it would be if they make a good movie out of this book.

This is what happens when comic book nerds go to Jamaica.

Jaime Hernandez’s Love and Rockets digests make unbelievable beach reads, by the way. You may recall me panning Locas in The Comics Journal a while back; I was really proud of that review because it actually caused at least one drunk guy to grab me at dinner and yell at me, which to me is the hallmark of a good Journal review. But I’ve since come around on the “Locas” stories, thanks in large part to these wonderful digests Maggie the Mechanic and The Girl from H.O.P.P.E.R.S.. They’re much more complete, much more readable…just the way the stories were meant to be presented. It’s like a soap opera shot by Fellini.

At the Horror Roundtable this week we’re recommending good foreign horror movies. Here’s a completely NSFW tip as to what mine was.

Beginning with [Indiana Jones and the Temple of] Doom, [Steven Spielberg] begins a process of apologizing for disturbing his audience – outside the film at first, but internalizing these dual impulses *within* the films as he continues.

—Jeffrey Allen Rydell in the comment thread for Damian Arlyn’s analysis of Temple of Doom, part of his “31 Days of Spielberg” blogathon.

(I’m back, back in the New York groove.)

This week in the hotseat at my regular Wizard interview column: Jeffrey Brown of Incredible Change-Bots and sundry autobiographical graphic novels fame. Sex is discussed.

If by “fishing” you mean “to Jamaica.”

Back in a week or so.

Pay a visit with me, won’t you, to the House of Ideas as I review Criminal, Daredevil, Nova, Powers, World War Hulk: Front Line, and X-Factor in this week’s Thursday Morning Quarterback at Wizard.

(Additionally and for the record, I loved B.P.R.D. and Batman, and New Avengers and Green Lantern and The Incredible Hulk were fun too.)

Gary Frank is one of my favorite superhero artists. He gives his characters a realistic but heightened physicality and an intensity in their eyes that connotes both potential violence and, well, sex appeal (for both sexes). We’ve got a ginchy gallery of Gary Frank sketches for his upcoming run on the Superman title Action Comics over at Wizard–take a look.

On his blog, Paul Pope has posted a quote from Frank “Dune” Herbert’s son Brian about how upset his father was over the (ahem) similarities between his work and George Lucas’s later, much more successful Star Wars. It got me thinking in a way that’s sort of in direct opposition to the way I’ve been thinking about a lot of art lately.

This is something I’ve gone into on the blog before: Basically, a sometimes-writer and a frequent consumer of fiction, I’m a very big fan of what I think of as “the art of enthusiasm”—the magpie approach of constructing your own little mythos or whatever based on elements of other stories that you really really enjoy. That’s why I like that the He-Man/Masters of the Universe toys and cartoons were an incoherent mish-mash of sci-fi, fantasy, pulp and superhero conventions; they just took everything awesome and jammed it together. That’s also why I like Kill Bill, or Scott Pilgrim, or The Immortal Iron Fist*, or Star Wars itself, and so on. And it’s not just fiction. The same principle probably applies to Bowie throughout his career, latching on to whatever music had him psyched at the time and then moving on when he felt like it, as well as really really sample-heavy late-80s/early-90s hip-hop. So on the one hand I’d say that a big part of the appeal of Star Wars is that Lucas took all the stuff he loved—Flash Gordon, Carlos Castaneda, Dune, the Fourth World, drag racing, Joseph Campbell, World War II dogfighting movies, 2001—and jammed it together. Of course the downside is when you appropriate from a specific-enough source that it’s recognizable, even if it’s in a different context or surrounded by enough other elements that it’s just part of a patchwork. It’s a fine line aesthetically and morally as well as legally. I think it’s likely that both sides are right—it’s a perfectly valid artistic approach, and it’s perfectly valid to be upset if it’s your work being appropriated.

My yapping aside, click the link to see a badass Paul Pope drawing of a Tusken Raider sandperson.