As the Green Hornet and Kato team up with the Brass Hornet in Legenderry: Green Hornet #4, Byron Brewer checked in with series writer Daryl Gregory. Cover art by Sergio Davila.
BYRON BREWER: Daryl, has it been fun writing Green Hornet and Kato in this steampunk world? Does it present you with challenges, or actually free you up from some?
DARYL GREGORY: On one hand, it’s a shame not to be adding to the canon in the main universe. But on the other hand, it’s incredibly freeing to not have to worry about much continuity, and to lay the foundation for stories to come. I imagine myself shouting at future Legenderry writers, “Deal with my choices, lackeys! Wait, where’d you get that retcon button? Stop!”
BB: You once told me the character of Kato is pivotal in this world and to your storyline: why?
DG: In my mind, the title of the book is “Legenderry: Green Hornet and Kato.” They’re a team, and GH without Kato would make for an incomplete story. Kato isn’t a teenage sidekick — he’s a grown man, with his own reasons for doing what he’s doing. I’d love to spend even more time on the nuances of his relationship to GH, but this comic is mostly about snappy dialogue and the kicking of the butt.
BB: How the heck are the two Hornets and Kato gonna make it on a five-mile walk on foot with every gang in the city after them?
DG: This is where I’m supposed to say, “Tune in next week to find out!” But I will say that this is the issue that is most directly influenced by one of my favorite movies, The Warriors, with a nod to another favorite movie, The Blues Brothers. (As a native Chicagoan, it is my sacred birthright to be allowed to insert references to Jake and Elwood on anything I work on.)
BB: Tell us about the character of Lidia Valcallan from your perspective.
DG: Poor Lidia. I would have liked to have written more about her before she became the bride of BlackMass, the main villain of Bill Willingham’s world. What would she have been like when she was scrambling for power, murdering her way to the top of the crime world? But now she has to keep a demonic husband fed with souls, and that eats up a woman’s time. At this point, she’s a woman seriously considering divorce, if she only knew the right dark-arts-wielding lawyer to do the deed. And yes, I realize that the term “dark-arts-wielding lawyer” is redundant.
BB: How has it been working with artist Brent Peeples?
DG: It’s been so much fun. I write down crazy stuff, and he makes it crazier. Crazier, better, and beautiful.
BB: The BRASS Hornet?? Really??!
DG: REALLY!!!! (I just wanted to use more punctuation than you.) By issue #4, people will have a lot more information about this new Hornet and the secrets behind that helmet.
For more information on Legenderry: Green Hornet #4, click here.]]>
With Dynamite’s recent announcement of the Swords of Sorrow event lead by an all-female writing team, a lot of people took notice. Byron Brewer caught up with Nancy A. Collins to talk about her part of the event, Swords Of Sorrow: Vampirella / Jennifer Blood. Cover art by Billy Tan.
BYRON BREWER: Nancy, how does it feel to be a part of this major event as the “Women of Dynamite” strut their stuff?
NANCY COLLINS: I’m both excited and honored to be among the creators chosen for this unique landmark event.
BB: Tell us a little about how you became involved in this event.
NC: Well, I’ve been writing the monthly Vampirella title for Dynamite for the last year, and Gail and I are old friends—she’s the one who introduced me to Dynamite via the Legends of Red Sonja mini-series. It was only natural that Vampirella—Dynamite’s flagship character, and one they actually own—be a key figure in any cross-over. It was Dynamite editorial that came up with the idea of teaming up Vampi with Jennifer Blood—basically taking a blatantly supernatural/fantastic character and teaming her up with a hyper-realistic female character from a reality where the only monsters are the ones in human form.
BB: In this supporting miniseries, do Vampi and Jennifer meet/team up or is this two separate tales?
NC: Vampirella and Jennifer Blood start off with separate stories that keep dove-tailing into one another’s narratives, repeatedly bringing them into conflict with one another.
BB: What can you tell us about the storyline for this issue?
NC: Vampirella is sent to Southern California by The Kabal to hunt down a serial killer called the Pacifica Slasher who has supernatural origins, only to end up crossing an interdimensional threshold that sends her to an alternate reality that most closely resembles our own—one where vampires, werewolves, and demons don’t exist. It’s there she stumbles across vigilante Jennifer Blood, who is hunting down a serial killer called the Anaheim Ripper. Hijinx follow.
BB: Can you (non-spoilery) give us any hints at all about the importance of the character called The Courier or the sword he has in his possession?
NC: The Courier is in the service of another, more powerful character called The Traveler, who has chosen certain ‘champions’—two of which happen to be Vampirella and Jennifer Blood. As for the sword Vampirella is given, it’s identical to the sickle-sword wielded by the goddess Kali, often viewed as a vampire—a divine monster created by the gods to kill monsters.
BB: What does artist Dave Acosta bring to this mix?
NC: His art is very dynamic and his Vampirella and Jennifer Blood are both beautiful and bad-ass, and at the same time believable as real women. I was really lucky to get him for this mini-series.
For more on the Swords of Sorrow event, check out our original story on the announcement.]]>
We have the flip to another of our writer-to-writer interviews. This time Justin Gray, writer of Lone Ranger: Vindicated #4, talks with writer Frank Barbiere about Solar: Man of the Atom #9, both on sale now. Covers by Marc Laming and Jonathan Lau.
JUSTIN GRAY: In Solar #9, Erica and hereafter have returned to earth and you do a fantastic job of bringing readers up to speed in an interesting and exciting way. What got me thinking was the idea of a father and daughter team working within the construct of superhero comics. There is this kind of wonderful absurdity when you realize the protagonist’s dad, aside from giving her superpowers, is essentially a ghost in a skin tight bodysuit that no one else can see. What makes that a compelling set-up for you as a writer?
FRANK BARBIERE: The central conflict of the series has really been about Erica coming to terms with her estranged father essentially haunting her/teaching her to be a “hero.” We’re finally seeing Erica really step into her own and define that word on her own terms, rather than just punching through her problems. I think that emotional core is really what drew me to the book—the chance to make it more about family, about growing into your identity, rather than just a “dude gets powers and punches bad guys” take on the character. Though this issue did have decidedly more punching.
JG: I would think you can get a lot of emotional mileage from the father/daughter dynamic because it strays from the formula in a way I find refreshing.
FB: Absolutely. It’s the core of the book and I’m excited to get to the resolution of this 12-issue arc where we really see a lot of the payoffs.
JG: Something else I found interesting is the way Erica is a normal person in terms of appearance and even in costume, which almost goes out of its way not to look sexualized with the way Jonathan Lau is illustrating her. I mean I have to think other publishers would at least have a ponytail if not all of her hair out. There’s always a lot of noise being made about female super heroines represented with impossible proportions and gratuitous designs. Was there a conscious effort to represent her more realistically based on the Solar costume?
FB: Juan Doe actually designed our new Solar costume and did a fantastic job. We pushed from very early on to have Erica be a much more realistic person, rather than some kind of over-exaggerated, hypersensualized character, and I think Jon has done a remarkable job of making Erica look great without being a cartoonish parody. For me it even goes far beyond the aesthetic as we want to portray Erica as an interesting, diverse character who brings a new viewpoint to being Solar vs. the traditional takes on the character.
JG: Can we expect birds next issue?
FB: Haha, time will tell. But we do have the return of a villain that should make things pretty interesting, as well as some fun bridging of the Gold Key books that show our readers we are working in an exciting, shared universe.
JG: On a more serious note obviously this issue shows that you’re building toward something bigger in the story with a special appearance by a character I won’t spoil, but can you give people a taste of what to expect in the coming months?
FB: This arc is the finale we’ve been building towards since issue one and I’m really, really proud of how it’s all wrapped up. I think we have some real emotion and power in this final arc, and it will really serve to define Erica as Solar for years to come, as well as deliver some really exciting superhero action.
For more on Solar: Man of the Atom #9, click here.]]>
When done right, Green Hornet is an amazing character regardless of what time period he’s in… when done wrong he looks like Seth Rogen… so dropping the masked man into a steampunk world really only changes the look of the book, the heart of it – the relationship with him and Kato and the dedication to fighting crime – remain. Daryl Gregory understands that and he chatted with Byron Brewer about the latest project.
BYRON BREWER: Daryl, has it been fun in this miniseries to work with Green Hornet in the steampunk world? Were there any writing challenges there for you?
DARYL GREGORY: The most fun is just working with Green Hornet, period, and that’s also the challenge: to make a good story, period. The steampunk is window dressing around a good plot and snappy dialogue. Every issue, if I’ve given Brent Peeples fun stuff to draw and I’ve made myself laugh, then it’s a good issue.
BB: How do you assess Tik-Tok’s worth as a super-villain? Give us some of his motivation for his skullduggery please.
DG: Is there a prize for making a supervillain from a character in a beloved children’s book? The most fun about Tik-Tok was taking this cozy Oz character and making him into a power-hungry sociopath. He’s a major player in the Big City — not only a leader of a cult, but a crime lord in his own right, with a posse of machine-modified deacons to do the dirty work.
If the audience likes Tik-Tok, I’ll look into despoiling other childhood characters. Ask me about my pitch for Thomas the Meth Cooking Tank Engine.
BB: You said Kato is very important for you in this mini. Why?
DG: There’s a reason why the Green Hornet TV series was known in Hong Kong as The Kato Show. He’s important because he’s the sole of the series. By which I mean that the sole of his foot is always kicking someone in the head.
But seriously, folks. Kato is fascinating, and in the book I spend a little time (between head kicks) to show his relationship to Green Hornet, and why these two guys hang out together.
BB: The Brass Hornet sounds like a great mirror-image villain for GH, kind of like Doctor Doom and Reed Richards, or Lex Luthor and Superman. Tell us about his conception.
DG: To quote Bill Willingham (or misquote him, since I was drinking at a con bar when he said this), superhero comics are all about the villains. Because this was the first standalone Green Hornet comic in this new universe, I’d be damned if I was going to pass up the opportunity to create not only a raft of new villains, but an old-fashioned arch-nemesis. And because it’s steampunk, of course he had to be brass. Also, he has huge brass … weapons.
BB: How has Brent Peeples been meeting your writing challenge on this very different take on the Green Hornet?
DG: It’s very hard to think of something that Brent would find a challenge. He’s a veteran of comics, and I’m the new guy, with just a few comics under his belt. (This is not a metaphor. I carry them all with me at all times. It’s difficult to sit down.) I’ve just been telling people, “Wait to you see these pages, they’re terrific.” And I’ve been loving Michael Bartolo’s color work! I’m in good hands with these guys.
For more information on the Legenderry: Green Hornet series, click here.]]>
This isn’t the first time that Dynamite has tapped into the world of H.P. Lovecraft, they have already had Army of Darkness Vs Reanimator in the past… but now Dr. Herbert West is moving to the center stage for the new four part miniseries written by Keith Davidsen. Byron Brewer chatted with Davidsen about the new project and delving into the horrific worlds of Lovecraft.
BYRON BREWER: Many of us know you as a Dynamite Comics exec (his name is in itty bitty print on all Dynamite covers). Tell us about Keith Davidsen the comic book writer.
KEITH DAVIDSEN: It’s funny – this industry, perhaps more than any other, is populated by people who have to wear a lot of hats. As I like to joke, “I’ve done everything in this business except draw comics and run a company… because I’m not talented or crazy enough, respectively.” So while I’ve worked as an editor or marketing guy at several publishers over the years, I’ve also had a few opportunities to write comic scripts or news articles. I’d say that my favorite project thus far had been Poison Elves, a gothic fantasy series with a pretty rabid cult following. Its creator, the late Drew Hayes, gave his blessing for me to play in his sandbox, so back in its Sirius heyday and in its recent Ape revival, I would enjoy telling dark, violent stories full of killers and thieves, goblins and imps. It’s a pleasure to be harnessing that darkness again with Reanimator!
BB: How did you happen to get attached, as it were, with the reanimation of Reanimator?
KD: Publisher Nick Barrucci and I were spitballing ideas for potential Dynamite projects, and I proposed a February event that’d draw in a variety of the company’s most recognizable horror characters (Evil Ernie, Vampirella, Reanimator, etc.), tied loosely together with Mardi Gras as a backdrop. We’d introduce new villains, plus concepts from the Cthulhu mythos and Louisiana voodoo. While the overall event didn’t materialize, the various ideas started to blend together (like some wickedly delicious Bourbon Street gumbo) into a solo outing for Dr. Herbert West. I’m thankful that Dynamite is open to new ideas from its staff, and even more grateful that they empowered me to helm the project. We’re taking a classic literary character, one widely familiar to horror fans, and finally giving him the spotlight that he’s due in comic books.
BB: Tell us your perceptions of Dr. Herbert West as a character. Will we see any new sides of the good doctor in this miniseries?
KD: When we first meet Herbert West in the new series, he’s more focused than ever on his ultimate goal: perfecting the process of reviving the dead through scientific means. In his earlier Dynamite appearances (notably in a supporting role in Army of Darkness and Prophecy), he’d dabbled in supernatural methods to resurrect zombies – but he’s since rejected that path. This is old school Lovecraft – a genius-level intellect and self-proclaimed Man of Science, dedicated wholly to his mission with little care for ethics or consequences (and if you know Lovecraft, then you know what becomes of brazen men in pursuit of forbidden knowledge). Also, there’s a whole new side of the doctor that we’re going to explore as well… but it ties into a mystery building over the course of the series, so let’s keep that a secret. Shhh…
BB: Speaking of such, Keith, can you give us any hints at the storyline for this book (non-spoilery, of course)?
KD: Determined to overcome death with his mad science, Dr. Herbert West recruits a new assistant and sets up his operation in Louisiana, a region of America steeped in black magic and superstition. But his experiments are costly; chemicals, equipment, and bodies are not cheap to come by. When he discovers that zombie brain fluid can be sold as a powerful narcotic, he begins to fund his research as an upstart player in the New Orleans drug trade. With the precarious balance of power upended, the Reanimator and Susan Greene draw the attention of powerful rivals, those tied with secret societies and Voodoo practices. If Breaking Bad and The Walking Dead had an unholy union, Reanimator would be its wicked little bastard child, all teeth and tentacles.
BB: What is the import of that young pharmacologist, Susan Greene, to the story? Tell us a little about this character.
KD: Remaining faithful to the original source material, the Reanimator comic introduces Susan Greene, a curious young woman who can provide the audience with an average person’s perspective into his unorthodox research. The classic Lovecraft tale featured an unnamed narrator who understood the wrongness of West’s actions, but was always captivated by his work; Susan fills that role very well. She’s a decent, likeable person, but she’s a bit lost after suffering a personal tragedy, and has been drawn to darkness ever since. Through Susan, we’ll see that there’s something very tempting about casting morals aside… but can she survive crossing that line?
BB: Why is artist Randy Valiente right for this sort of book?
KD: Oh, there’s no doubt that Randy Valiente is the perfect artist for this project. He already cut his teeth on Dr. Herbert West in the Army of Darkness / Reanimator one-shot from last year, where his visual style really captured the sinister, creepy atmosphere of a Lovecraft tale. He’s a very versatile artist with great attention to detail, so he’ll put those skills to use as he illustrates peeling zombie flesh, simmering beakers, nightmarish Elder Gods, shattered tombs, blazing gunfights, and blood-spattered lab coats. It’s good fun!
For more on Reanimator #1, click here.]]>
The new Dynamite series Legenderry: Vampirella has kicked off and Byron Brewer sat down with writer David Avallone to talk about working with the iconic vampire in such a different setting and about bringing in the most famous of vampire hunters.
BYRON BREWER: David, there is a lot going on in this steampunk Vampi saga. You must really be enjoying getting your fangs … er uh, teeth … into this one, eh?
DAVID AVALLONE: I’m having a lot of fun. I set out with a plan for the five issues but as it unfolds it starts to transform into something else, as stories always do. Joe and Molly at Dynamite have given me a lot of freedom and I’m trying to indulge myself while still telling an entertaining story.
BB: What is it like handling a steampunk femme fatale vampire AND this incarnation of Van Helsing?
DA: I think I first discovered the character of Van Helsing through Peter Cushing in Hammer horror films, and I’ve always been a fan. A man of science, but fighting with the tools of faith and superstition… there’s something compelling about that. He’s a great, iconic character and he’s survived a lot of different interpretations.
Given that, I felt I’d have been remiss if I didn’t bring him into the series. Since we’re in Vampirella territory, I’m using Conrad and his son Adam but – as with all the characters – they’ve been transformed a little bit. I’m working in a completely new world, which gave me the license to start from scratch and show her first encounter with the Van Helsing family… and that encounter provides a dramatic setting to reveal a little bit about my Vampirella’s origins.
BB: So we have a romance with Rassendyll ongoing here? Is this a character move or is there, as I suspect, something of heavier import to this relationship?
DA: Tricky… because even if I say “spoilers” that’s an indication that there’s something secret going on I could spoil. But I will say this: that Rassendyll is a charming and heroic rascal, ain’t he?
BB: Hey, what’s up with Kurtz?
DA: Kurtz is, of course, the character from a certain famous novella (now public domain) who went into the jungle, lorded it over the locals, and died. Our Kurtz, in our world of Legenderry, had a different outcome. He returned from the jungle a rich man and turned into something a little bit like a certain other fictional character whose name starts with a K.
We haven’t spent as much time with Kurtz as I want to: there’s been too much fist shaking and yelling, and he’s way more interesting than that. One of my favorite things about writing this series has been the freedom to pack it with a bunch of characters I love. The downside is five issues just fly by. That said… issue #3 we get to see what Rupert had in mind for Kurtz in some background details. Issue #4 we’ll get to see it come to the foreground.
BB: Has artist David Cabrera, in your opinion, been “bringing it” for your Vampi mini?
DA: David C. is doing amazing work. His compositions are fantastic, the action is clear and exciting, and our leading lady looks gorgeous. I’m kind of a research nut, so I provide him with a lot of visual reference, and he makes great use of it while still giving everything a unique look. I couldn’t be happier.
BB: Would you like to work with more of the Legenderry universe’s characters?
DA: Absolutely. I’m a longtime fan of Flash Gordon and Ming (and I think Bill Willingham’s Legenderry spin on them is really fascinating). Steve Austin and Oscar Goldman were huge heroes of mine when I was a kid. Zorro is always fun. And honestly, I would love to do more with the characters I’ve brought it, like Jones, Rupert, Kurtz, Rassendyll, Mercy, etc. Providing they survive past Chapter Five.
For more on Legenderry: Vampirella, click here.]]>
As the new Dynamite miniseries Blood Queen Vs. Dracula moves forward, Byron Brewer caught up with writer Troy Brownfield to talk about the series, artist Kewber Baal and if he favors Elizabeth or Vlad more.
BYRON BREWER: How excited are you to bring these two classic characters, both deeply embedded in history, together for one adventure? Biggest challenge in doing that?
TROY BROWNFIELD: I’m definitely excited to get this in front of readers. I had a great time with both the Blood Queen series and the Prince Dracula novel, so stirring both together has been tremendous fun for me. I think the biggest challenge in a “Vs.” setting like this is to make sure that both characters have equal weight. I probably skew a little toward Dracula in the first issue, but Elizabeth certainly gets moments to shine.
BB: Are you a history buff? How much time do you put into such research?
TB: I’d say a mild buff, I suppose. I like to mix up my personal reading of fiction with non-fiction when I can. And history has always been something that I enjoyed. I put a lot of time into research for this particular mini. There are many things that will never show up on the page, but I wanted to have things straight in my head for my approach. In terms of things that you WILL see, artist Kewber Baal and I really committed to trying to get the Ottoman and Romanian armor and weapons styles as accurate as we could. The cannon that Dracula turns against the Ottomans in the first issue is taken right from the art and artifacts of the period.
BB: As #2 hits, tell us where our – well, not really heroes – our protagonists find themselves.
TB: Elizabeth and Dracula came face to face at the end of the first issue. She knows about him by reputation and legend, and he’s been learning bits and pieces about her, particularly that she’s been training young witches in blood magic and that she’s been contending with something that her soldiers called “Helena’s Rebellion” (which is a direct reference to the original Blood Queen series). I don’t want to go further than that; read the issue to see what happens next.
BB: Can you remind us about the common enemy here and what the goals are of that person?
TB: The pair certainly have a wide array of enemies, but their common foes are the advancing Ottoman Empire. Dracula in particular has inspired some hatred from some powerful members of the Empire. You’ll learn about that and the lengths that those enemies may be going to in short order.
BB: Are you happy with artist Kewber Baal’s interpretation of your scripts thus far? Any surprises?
TB: I love what Kewber is doing with the book. He has terrific attention to detail and a true flair for action scenes. He’s also full of interesting ideas, such as the look of the twin witches in issue #2. He’s been a great partner and I can’t wait to see how the whole thing turns out.
BB: Is it hard to balance horror and character in tales like this where everyone can be perceived as a “villain”? How do you overcome such a challenge?
TB: It’s definitely a tricky proposition. One of things that’s important is to try to establish strong motivations for each character. If you do that, then members of the audience will make interesting decisions as to who they “prefer” in terms of those “hero” or “villain” roles. I know how I look at it for this particular mini; I’m rather curious as to what the readers think.
For more on Blood Queen Vs Dracula #2, click here.]]>
David Walker, writer of Shaft #3, talks with writer Paul Tobin about KING: Jungle Jim #1, both on sale February 4th.
DAVID WALKER: Jungle Jim is a character that isn’t that well remembered these days, and this version seems quite different from the original. Can you give us a brief overview, and then explain how your version differs from the original character?
PAUL TOBIN: Jim used to be a comic strip about an adventurer in southeastern Asia. It branched out into television, movies, radio plays, etc. Jim was a fairly generic “I’m not Tarzan because I use a gun” type, but I never found him all that interesting. So, when I had the chance to unload my brain on him, I did some pretty big changes, including moving him up into space and then making his name a lot more literal. Jim’s connection to the jungle is MUCH more dramatic in our series.
DW: What has it been like working with artist Sandy Jarrell?
PT: Sandy has not murdered me, and I look for that in an artist. Also he’s pretty good at art-ing. That’s nice, too.
DW: How was the decision made to transplant the character from Earth to an alien world?
PT: Editor Nate Cosby and I wanted to link Jim closer to the rest of the King Features world, so it was either move all of them into Asia, or else move Jim himself into their world. And we wanted him linked with Flash Gordon to a certain degree, and there was this whole forest/jungle world of Arboria that was just WAITING to be used. One quick science-fiction explanation later, and Jim was up in space. We still have him as a native of Earth, but … complications arose.
DW: Will any of the other King Features characters show up?
PT: We’ve used a lot of secondary characters from the Flash Gordon franchise, and Ming himself is always butting in, since the plot revolves around a main character’s brother scheduled for his head to be lopped off at the command of the Merciless One. And … yeah… there’s room for other King characters. They’re so damn much fun.
DW: What other projects do you have looming in the near future?
PT: In addition to my regular work on Bandette, and Colder, and Plants vs. Zombies, I’ve more Witcher on the way, and an unannounced series from Dark Horse, and then further unannounced books from three other companies. Oh, and another one from Dark Horse I can’t talk about. Plus I have a series of middle-readers novels over at Bloomsbury that will start coming out in early 2016. I’ve probably forgotten some other things. It’s a constant brain-balance, and sometimes I topple.
For more on King: Jungle Jim #1, click here.]]>
Paul Tobin, writer of KING: Jungle Jim #1, talks with writer Nancy Collins about Vampirella #9, both on sale February 4th.
PAUL TOBIN: So… vampires. A lot has been written about why they’re so ingrained in the public consciousness, but, enough with the other people, why do you yourself like them, and what do you feel makes Vampirella unique in the vampire mythos?
NANCY COLLINS: As I’ve said before in other interviews over the years, vampires are handy archetypes because they are monsters that not only look like us, but used to be us. They can represent the dark, exploitative, and predatory aspect of human nature, as well as the romantic. The vampire can easily lend itself to social, religious, sexual, and political metaphor and allegory, and depending on the writer and the point of view can be portrayed as unrepentant fiends, charismatic antiheroes, or misunderstood Byronic heroes, and can be used in any time period you choose. As for Vampirella, she is unique in that she was actually the first female vampire—hell, she might be the first vampire, period—to have her own comic book. She was also the first vampire in comics designed to be the hero, not the monster.
TOBIN: Would you be friends with Vampirella? If she called you and said, “Hey Nancy! I’m at a cabaret only two blocks away. Come have drinks with me!”… would you go?
COLLINS: Sure, I’d be friends with her. I used to hang out with a voodoo priestess and the Coney Island Sideshow’s Tattooed Man, back in the day. What’s a little vampirism, here or there?
TOBIN: For your Vampirella, what’s her goal? Just to survive? To fight evil? To save the innocent? What gives her the most satisfaction?
COLLINS: For the most part, Vampirella’s interest is in protecting humanity and trying to get rid of the evil her mother unleashed upon it, millennia ago. She’s also trying to find a purpose for herself, now that her life has been upended yet again. She was raised to kill vampires and other monsters—it’s pretty much all she knows how to do. Monster Hunter is a fairly narrow job description. I have her transitioning from one covert group to another—going from the Vatican’s version of MI-6 to The Kabal, which is run by monsters attempting to police their own.
TOBIN: Of all the “classic” monsters, which would you say is your current favorite? Has that changed over time?
COLLINS: I flip back and forth between the wolfman and the vampire, and occasionally the Frankenstein Monster. When I was a little kid, I was way into the wolfman. As a teen, I was more into Dracula, etc. But as I’ve grown older, I’ve come to appreciate the pathos behind Frankenstein’s Monster—especially as portrayed by Boris Karloff.
TOBIN: How do you juggle all your projects, and… just as importantly… how do you resist the urge to barrel full speed into new projects? Are you, like most authors, filled with ideas that need to get out?
COLLINS: Pacing myself can be problematic at times. There’s nothing more maddening than coming up with a really good idea for a new story while in the middle of another one you’re already writing. It’s really tempting to wander off and explore the new idea instead of finish the story at hand. I always end up feeling guilty about it, though, because it’s kind of like cheating on your spouse. Oh, yeah—I’ve got plenty of ideas and stories aching to be told. To be honest, I’ve been extremely surprised at how easy it has been for me to write for Vampirella. She’s provided a wealth of inspiration. I look forward to continuing to expand her universe.
For more on Vampirella #9, click here.]]>