Archive

mignola

Today, I finally made it out to the theatre to catch Avengers: Endgame, which means that I have now seen all 22 of the “Infinity Saga” (or whatever they’re calling it) films in the theatre, and I have done my duty by them (and they by me). I know that technically Phase 3 isn’t over until Spider-Man: Far From Home, but while I have every reason to assume I will see that in a theatre, too, this feels like the ending to me, and I’m good with that.

MV5BZDhiMDkxY2ItODg3NS00ZWZjLWEwOTctYTQwMmU2NDA5NWE1XkEyXkFqcGdeQXVyMjUyNDk2ODc@._V1_

I’m not really here to talk about Endgame, though. I’m here to talk about my books. Today is also the last day to pre-order Revenge of Monsters from the Vault direct from the publisher. The book will still be for sale through the regular channels when it launches in August, but we appreciate direct sales, and they put more money into my pocket. So if you’re thinking about buying Revenge of Monsters from the Vault (and I sincerely hope that you are) now is the ideal time to do it. But please hurry!

If you’re just coming here from… somewhere else, Revenge of Monsters from the Vault is the follow-up to my 2016 book Monsters from the Vault and, as such, it’s a collection of a whole bunch of essays about various classic (and not-so-classic) horror films from the silents to the ’70s, including such beloved and obscure titles as Condemned to LiveRevolt of the ZombiesThe Devil Bat, not one but two versions of The Black CatReturn of the VampireThe Giant ClawZombies of Mora TauDark IntruderX: The Man with X-Ray EyesBrotherhood of SatanThe Creeping Flesh, and lots more. If you’d like a taste of what you’re in for, you can read my essay on Toho’s “Bloodthirsty Trilogy” of Dracula movies right here.

Not already familiar with the previous volume? Not to worry, you can actually pick it up in a package deal with Revenge of Monsters from the Vault if you pre-order right now!

Today is also Walpurgisnacht. As most of you know, I wrote a story called “Walpurgisnacht” which originally appeared in the Laird Barron tribute anthology Children of Old Leech, and has since been reprinted in my second collection, Painted Monsters & Other Strange Beasts. If you’ve already read that one, though, plenty of other seasonally appropriate stuff can be found in my latest collection, Guignol & Other Sardonic Tales. I think “When a Beast Looks Up at the Stars” would be particularly well suited to the evening’s festivities, don’t you?

Speaking of witches, I was also a guest on the latest episode of the Nightmare Junkhead podcast where I talked in some rambling detail about my feelings on the new Hellboy movie (which has more than a few witches), the comics, Brian Lumley, and lots of other topics of occult interest. Greg D. and Jenius McGee of the Nightmare Junkhead podcast are the same cool folks who put on the Nerdoween Triple Feature that has become my birthday/Halloween staple every year, so it was a real pleasure to finally sit down with them in their inner sanctum.

Let us not bury the lede here: There is just over a week left to pre-order Revenge of Monsters from the VaultYou can get it direct from the publisher, avoid putting money in Amazon’s pocket by putting a little extra in mine, and get some special deals that you won’t be able to get any other way. If you’re planning to order, pre-ordering now is definitely the best way to do it! Go forth! Click!

It has obviously been a little while since I updated here. I didn’t post any kind of wrap-up of the Outer Dark Symposium on the Greater Weird in Atlanta because, frankly, the trip was a bit of a whirlwind, and I’m just now getting more-or-less fully recovered. Tyler Unsell of Signal Horizon and I drove overnight to get there, had a full day of programming, and then drove all day coming back. Not an ideal itinerary for restful cogitation.

Highlights, of course, include the various panels and readings of the Symposium itself, meeting Ben Thomas for the first time face-to-skull, hanging out with old friends like Jesse and Selena, and, of course, the Silver Scream FX lab where the Symposium was held, which was piled to the brim with monsters and magicians. Any more in-depth an exploration is simply beyond my capabilities at present.

monsters single coverI managed to come home without loading up on too many books, though I did pick up a copy of Whiskey Tales. I’ve been a fan of Jean Ray’s weird fiction ever since reading “The Mainz Psalter” and his classic weird novel Malpertuis, and I have been frustrated by the paucity of Ray stories that have been readily available in English, so it was with great pleasure that I learned that Scott Nicolay was taking it upon himself to translate the body of that writer’s collection of tales of the fantastique and with equal enjoyment that I read through this first installment, even if the stories themselves are a tad more prosaic than his more famous works–and a lot more anti-Semitic, more’s the pity.

In the time since my return from Atlanta, several things have happened that are worth noting, at least in brief. For starters, I received the gargantuan box containing the first part of my Hellboy boardgame, which I Kickstarted from Mantic Games some time ago. The box is as enormous as predicted, and filled with room tiles, miniatures, delightful cards, and all manner of fun stuff. To date, I’ve only essayed a couple of missions, but it has been a great deal of fun so far.

Speaking of all things Hellboy, well, there are lots of things Hellboy to speak of. Hellboy Day, marking the 25th anniversary of the series, happened while I was in Atlanta, and I was forced to miss the festivities, though I marked them as best I was able with an essay in appreciation of Mignola’s work that is included in the Symposium program book, alongside an illustration by Mignola himself.

Then, last weekend, the latest attempt at transposing the comics onto the big screen, this time helmed by Neil Marshall, hit theaters. So of course I went to see it. My reaction was… complicated. If that’s not enough of me rambling about it, you’ll be able to hear more when I’m a guest on the Nightmare Junkhead podcast soon, where we’ll be talking about the movie.

What’s more, yesterday saw the publication of the last issue of the regular B.P.R.D. series, which rings down the curtain on at least the “present day” of the Mignolaverse titles. There’s plenty of “Hellboy and the B.P.R.D.”-style adventures still left to see print, I’m sure, but this is certainly the end of an era, and it was delivered with sufficient pomp and circumstance.

I also published a few more reviews of older films for Signal Horizon and have penned more that are forthcoming over at Unwinnable, and I appeared on Monster Kid Radio talking about The Vampire Doll. If you like what you hear there, The Vampire Doll is just one of the many, many, many classic (and not-so-classic) monster movies I cover in Revenge of Monsters from the Vault, which, once again, you can pre-order right now!

Tomorrow night, I leave for Atlanta to attend the Outer Dark Symposium on the Greater Weird, which is being held in the belly of a real-life monster lab, aka Silver Scream FX Lab. As I write this, there’s still a few hours left to get in on the IndieGoGo, with plenty of cool swag up for grabs. (I’ve got an essay in appreciation of Mike Mignola–along with some art by Mike himself–in the program book!)

Us-Movie-Director-Cast-Interviews-Sxsw

Because I’m gonna be otherwise occupied over the next few days, I managed to sneak into a preview screening of Jordan Peele’s latest last night, and I wrote up my (as spoiler-free as possible while still actually talking about the movie at all) impressions for Signal Horizon. It’s a movie I’m looking forward to talking about a lot more once other people have seen it.

I figured, since I’m headed out of town anyway, and I just posted a new film review for an actual new film, rather than something stumbling onto Blu-ray from the ’90s or the ’70s, it was probably a good time to talk about my film writing a bit. (There’s also the little fact that Revenge of Monsters from the Vault is currently up for pre-order.)

For various behind-the-scenes reasons, I’ve been doing a lot more film writing lately, and posting it places other than here, mostly Signal Horizon and Unwinnable. I think, in doing so, I’m also carving out, bit by bit, my own identity as a film writer, whatever that actually means.

I’m especially proud of the writing I recently did for Unwinnable about Audition, an incredible film that I hadn’t seen in almost twenty years. But I also wrote about kickboxing cyborg movies in general and Albert Pyun’s Nemesis in particular, and about the 1994 Double Dragon movie–which, I didn’t know until I was writing about it, was only the second live-action video game adaptation ever made. Which maybe explains some things?

I haven’t had as many things pop up at Signal Horizon lately, though you can go back and read my reviews of stuff like Bloody Birthday and Fulci’s Zombie. More recently, I wrote about the new Arrow Blu of Horror Express, a film that I also covered in the first volume of Monsters from the Vault. (Which, it bears repeating, you can get if you pre-order its sequel here.)

There’s lots more like that on the way, but that ought to keep you all occupied while I’m out of town. If you’re coming to the Outer Dark Symposium, I’ll see you there, and if we haven’t already met, come up and say hi. And if anyone wants to bring me any Hellboy Day swag, I’ll be tied up with Symposium stuff all day on Saturday, so it would be much appreciated!

Putting this here because I’m going to get asked more than once, and I need a place to point people back to for the next four months or so. The trailer for the new Hellboy movie just dropped and, yeah, it’s scored to “Mony Mony,” which, as I said on social media, is certainly a decision, anyway.

If you want my take, I think that the trailer is the wrong tone to start off with, but there’s also nothing in it that guarantees a misfire in theatres. I do like that most of the stuff we can only see for a few seconds is straight out of the comics but, beyond that, we’ll just have to wait and see.

But I’m not here to talk about the trailer, not really. What I’m here to talk about is the existence of this movie at all. As someone who is at least on speaking terms with some of the principals involved, I can tell you with as much certainty as one can ever muster about a Hollywood deal to which one was not directly privy that there was never going to be a third Guillermo del Toro Hellboy movie, regardless of anything he might have said. If there was, the day when it was possible was in the months following the release of Hellboy 2, and that day is long behind us now.

And, speaking from my own personal perspective, there never should have been. Hellboy 2 has many fine qualities, to be sure, but it fails as a sequel to the first film and even more as a Hellboy movie.

Guillermo del Toro’s first film was the best Hellboy movie that we could have gotten at the time, given the realities of comic book adaptations in 2004. In fact, I would argue that it played a big (and largely unsung) role in getting us from there to here. But things have changed a lot in the last decade, both in the movies and in the comics, and a Hellboy adaptation made now has the opportunity to cleave closer to the source material than Del Toro’s version ever could have.

Will this movie be the one to do it? Only time (and definitely not a brief teaser trailer) will truly tell.

A very long time ago, when LiveJournal was still a thing, my standard user icon there was an old convention sketch that Mike Mignola had done of what would later become his signature skull-head guy. I used it so often, in fact, that I came to sort of be known for it.

Back then, I was also doing some work for a now-defunct magazine of classic-style weird fiction called The Willows. Ben Thomas, editor of The Willows, was putting together a masthead for the magazine that included little portraits of all the staff, done by my old friend Reyna. I asked if I could have her draw her own take on the skull-head guy to use as my staff portrait, and Ben agreed.

To go along with the portraits, we were all supposed to contribute a short bio. I’ve never enjoyed writing bios for myself, and so I was dragging my feet, as usual. In order to do layout, Ben composed a one-sentence bio for me as a placeholder. It read, simply, “Orrin Grey is a skeleton who likes monsters.” It has been my bio ever since.

Because the skull-head portrait was now sort of made official by its inclusion in the bio, when it came time to publish my first collection, Never Bet the Devil & Other Warnings, I decided to check with the publishers at Evil Eye Books to see if I could stick with it. They agreed, and Reyna drew up a new version, which decorates the back cover of the first edition of Never Bet the Devil. By then, my identity as a skeleton was cemented, and there was no going back.

I used a version of the portrait on my website and my business cards. Before I started using it officially, though, I felt like I had to make sure it was okay. I reached out to Mike Mignola, told him the story, and asked him if he’d mind. He was kind enough to give me his blessing.

A few years later, I asked Mike Corley to do up a new version of the skeleton portrait, which currently decorates my website and business cards. Mike Corley would also illustrate the Strix Publishing reissue of Never Bet the Devil, where another take on the skeleton portrait appears as my “author photo.” A stand-in for my skeleton persona has since appeared on the covers of just about all of my books, with Nick Gucker handling the art duties on both Painted Monsters and Guignol and Thomas Boatwright doing me up for Monsters from the Vault.

TattooAll of this sort of came full circle recently when I saw someone post a photo of their tattoo on a Mike Mignola appreciation group that I’m a member of on Facebook. I recognized the tattoo immediately as… my author photo! The individual in question had never heard of me or Mike Corley, and didn’t know where he had gotten the image. He had made a couple of minor changes and embellished the whole thing with some tentacles, but the resemblance was unmistakable.

We had a nice conversation about it, and I sent him a copy of Never Bet the Devil, because it’s not every day that someone gets a tattoo of me, even by accident.

It’s not the only time that the resemblance between my skeleton persona and Mike Mignola’s skull-head guys has been noted, and it probably won’t be the last. It isn’t something I did on purpose, but I’m pretty happy about it. After all, Mike is probably my single biggest influence and inspiration, when it comes to the kind of work I do, and it’s nice to have my infatuation with his work tied up in my authorial persona this way.

Today is his birthday and, because I am good at stuff, I didn’t plan anything for it like I normally would, but the tattoo thing happened not that long ago, so I’m telling this story now, to mark the occasion.

As anybody reading this is probably already aware, I love Hellboy and all things Mike Mignola. To the extent that there’s any one person I want to be when I grow up, it’s him. Except for the part where I can’t draw, so I have to stick with writing, instead. (Which he is also better at than me, curse that handsome devil!) Anyway, what you may not already know is that I am also a huge fan of games with room tiles, even though they have let me down so many times in the past. Put those two things together, and you’ve got this Kickstarter that I backed within a few hours of it going live.

Dcaj0FlXcAEv3Uy

As of my writing this, the Hellboy board game has already raised well over a million dollars, unlocked piles of stretch goals, and opened up an optional add-on in the form of one of my favorite Hellboy storylines, “Hellboy in Mexico.” Now I’ll finally have some luchador models to fight that tube of knockoff Universal monster figures I bought a couple of years ago. And it’s still got ten days to go!

Backers already get more than a hundred miniatures, several of them pretty big, as well as a Conqueror Worm expansion and tons of other stuff including, of course, room tiles. Honestly, I don’t know where they’re going to fit them all in the box, which, incidentally, also boasts a new piece of Mike Mignola art.

If this sounds like an advertisement for someone else’s Kickstarter, well, it kind of is. Not because they need my signal boost–did I mention they’ve already raised over a million bucks?–but because there’s a really big cross-section of the people who are likely to be reading this blog who are probably also interested in a Hellboy board game. If you’re in that cross-section and you somehow haven’t already heard about this before now, here’s your heads up. Don’t say I never gave you nothin’.

So, good grief, I guess it’s been four years ago  already that I wrote a blog appreciation post on Mike Mignola’s birthday that said just about everything that I’m going to say here again, today. In the years that have passed since then, I’ve been fortunate enough to meet Mike several times in person, and chat with him frequently on Facebook. (I think I had already met him a time or two by then, as well.) In fact, there’s a fair-to-middling chance that he’ll read this, although maybe not, because he’s on the set of the new Hellboy reboot movie (!) right now, which probably means that he’s got better things to do.

In that four-year-old post, I mention a story that Mike often tells about how reading Dracula as a kid made him realize that all he wanted to do was draw monsters, and I say that it was Mike’s work on Hellboy that made me have a similar realization. That’s all still just as true today as it was four years ago. I’ve been in a lot of Lovecraft-themed anthologies over the years (more than any other kind). I came to Lovecraft early on, along with Barker and others, and he definitely had a big impact on my work. But if you really want to understand what I’m trying to do in my stories, you’re better off looking at guys like Manly Wade Wellman, William Hope Hodgson, and E.F. Benson. And I came to most of those guys through Mike.

More than just an artist, I was inspired by Mike as a storyteller. When someone asks me who my favorite artist or my favorite writer is, the answer is pretty much the same. His approach to the supernatural. His way of repurposing his own inspirations. His ability to make surrealism approachable, to make horror both creepy and fun. Those are what I aspire to in my own work.

If I had an inspirational quote tacked up above my desk (instead of a framed Mignola print), it would probably be this line from Alan Moore’s introduction to Hellboy: Wake the Devil, “… the trick, the skill entailed in this delightful necromantic conjuring of things gone by is not, as might be thought, in crafting work as good as the work that inspired it really was, but in the more demanding task of crafting work as good as everyone remembers the original as being.”

That or perhaps this perfect line from Joe R. Lansdale’s introduction to Baltimore: The Curse Bells, “Isn’t that the job of all great art, to kick open doors to light and shadow and let us view something that otherwise we might not see?” Put those two together, and you have a pretty succinct summary of what makes Mike’s works so brilliant, and what I strive toward whenever I sit down in front of the computer.

In that previous blog post, I mentioned that my first collection was dedicated to Mike, and that, if there were any others, they just as easily could be too. Since then, there has been one other, plus a variety of chapbooks, a collection of essays on vintage horror films, and even a licensed novel for Privateer Press. None of them are dedicated to Mike (I already used that dedication up early on), but most of them probably could be. And maybe it’s no coincidence that my first collection is due back in print in a new deluxe edition sometime in the next few weeks, with pre-orders closing literally tomorrow. When it’s released, that dedication to Mike will still be there, front and center.

So happy birthday to my favorite creator and my biggest creative inspiration. If you are (somehow) reading this and are unfamiliar with Mike’s staggering body of work, do yourself a favor and go pick up one of his many books. They’re all good.

Why can't they all be that easy