The following is an interview with Vince Brusio, writer of the new comic book Autopsy: Feast for a Funeral #1, which was made in collaboration with (and fully licensed by) famed death metal band Autopsy. The band, which was formed in 1987 by Chris Reifert and Eric Cutler and has long been considered a pioneering band in the death metal and Doom/Death genres, has previously ventured into other mediums (with contributions to the 2005 music documentary Metal: A Headbanger's Journey and Hellbent for Cooking: The Heavy Metal Cookbook); however, Feast for a Funeral marks their first foray into comics. Now, Brusio and Autopsy are joining forces and taking the world by storm, as cast members in this year’s premier episode of Showtime’s Shameless can even be spotted wearing Feast for a Funeral t-shirts.
In this interview, Fanboy Comics Managing Editor Barbra Dillon chats with Brusio about the inspiration for the comic book, the creative process of working with Autopsy and artist Mats Engesten, his other upcoming projects, and more!
This interview was conducted on May 13, 2014.
"I've been looking for an original sin
One with a twist and a bit of a spin
And, since I've done all the old ones
‘Till they've all been done in
No, I'm just looking
And, I'm gone with the wind
Endlessly searching for an Original Sin"
So sang Taylor Dayne in the theme to the ill-fated 1994 film adaption of The Shadow starring Alec Baldwin. The movie may have been a flop, but the song still rests comfortably in my iPod.
He's so "Lucky;" he's a star! I can't remember the first time I became aware of my cosplaying friend, Chris Riley. I think at some event here in L.A. It's a little presumptuous to say "friend," as I don't think we've actually met, but he is a kindred spirit nonetheless. With cosplaying at the height of popularity with shows like Heroes of Cosplay and Hollywood mega hits making every Tom, Dick, and Harry want to don a cowl, I thought it would be fun to check in with Chris Riley (a.k.a. Captain Lucky), and the following interview transpired.
“Never trust anyone who places your prosperity above their own.”
-- Grand Nagus Zek
The Ferengi were originally intended as TNG’s Klingons, the shadowy foil to the shiny, happy Federation. Introduced with some fanfare in “The Last Outpost,” the cannibalistic monsters of that episode, with their energy whips and Worf-beating prowess, are scarcely recognizable as the cheerfully greedy space capitalists that we know and presumably love. The Ferengi never worked as a convincing other (even their name, derived from the Arabic faranji, or “foreigner,” states this purpose for the race), but they do function as a fascinating and often hilarious counterpoint to Starfleet. They’re basically a bunch of hard-charging capitalist hustlers from the go-go ‘80s trying to exist in the middle of a post-scarcity utopian economy. The stories practically write themselves.
The following is an interview with Leslee Scallon, co-founder (with Michael Trent) of the Los Angeles-based Dances With Films festival, which is celebrating its 17th year and taking place from May 29th through June 8, 2014. In this interview, Fanboy Comics Managing Editor Barbra Dillon chats with Scallon about the mission behind the film festival, this year's motto, the new addition to the festival's Advisory Board, and how both aspiring filmmakers and cinefiles can learn more about this year's event.
This interview was conducted on May 8, 2014.
The following is an interview with Eisner Award-nominated Deron Bennett (letterer of Tale of Sand, Cyborg 009, Thrilling Adventure Hour, Masters of the Universe), writer of the creator-owned comic book series Quixote. In this interview, Fanboy Comics Senior Contributor Jason Enright chats with Bennett about his sci-fi and fantasy take on the age-old Don Quiote tale, the process of working with artist Dan Mora and letterer Paul Little, and the future of the comic book series.
This interview was conducted on May 8, 2014.
The following is an interview with Eryk Donovan, a contributing artist to IDW Publishing's new In the Dark Horror Anthology. In this interview, Fanboy Comics Guest Contributor Morgan Perry chats with Donovan about how he became involved in the anthology, the creative process of working with so many talented creators, and the influences of his own artistic style.
This interview was conducted on May 7, 2014.
“No favorite of mine!”
-- Avery Brooks on this episode
The most bracing thing about the Trek universe is how different the basic pitches for each show are. TOS is about one tiny ship exploring a huge and terrifying galaxy. TNG is about the flagship of a mighty utopia, juggling exploration and diplomacy with aplomb. DS9 was a highly serialized space opera, dealing with the dark side of utopia. Voyager was a lost vessel, a survival adventure against the backdrop of unexplored space. Yet, for the first season, every Star Trek show thinks it’s the one before it. Voyager featured a mutiny, some imported villains from DS9, and the kind of skullduggery that a lost ship really can’t afford. TNG had cheeseball sets, unconvincing bad guys, and scripts that seemed to date from the ‘60s. It’s not just that the first season thinks it’s the show previous, it’s that it thinks it’s only the bad parts of that show. This brings me to “Move Along Home,” this week’s episode of DS9, which really feels like a bad TNG episode.
The following is an interview with Richard Martin and Julian Curtis, the director and lead actor (respectively) of the new digital series Spooked from Bryan Singer’s Bad Hat Harry and Felicia Day’s Geek & Sundry, which will be released on June 4th. In this interview, Fanboy Comics Managing Editor Barbra Dillon chats with Martin and Curtis about their initial interest in the project, the creative process of the cast and crew, and their own favorite scary movies.
This interview was conducted on April 28, 2014.
“Fate has granted me a gift, Major. A gift to be a healer.”
--Dr. Julian Bashir
It’s tough to know what to make of DS9’s resident medical officer on first blush. He’s naïve, arrogant, and oblivious to all but the most blatant social cues. He’s eager for challenges, but doesn’t yet know what those challenges mean. He embodies the can-do, starry-eyed, boyish sense of adventure that the British Empire always imagined it had. He is a pretty bold creation by the writing staff, if they intended him as I believe they did: a character as intentionally obnoxious as possible, that they might eventually redeem somehow. Bashir’s character becomes even more fascinating in retrospect, as a later revelation places his early overweening arrogance in a much darker context.