Comicmonsters.com interviews me about the London Horror Comic
“If you’ve hung an Army of Darkness poster in your apartment, or debated whether the Blair Witch Project was really scary, or feel compelled to see Halloween vs. Predator part 22 in the same way you feel compelled to visit that all too attractive ex of yours, then the London Horror Comic is the book for you.”
Eight page preview of London Horror Comic #1
PDF, 3MB, approx. 1-2 minute download
How to buy London Horror Comic #1
See this coupon below?
Download it using the link below.
Print out. Fill in.
Hand to comic shop. Easy.
Or go to your local comic shop from the 25 June 2008 and say “I want to order a copy of London Horror Comic issue one. The Diamond order code is
JUL084146. It is published by London Horror Comic Ltd.”
This will mean you get the book when it is available at the end of September.
Horror Film Short: The Usual Attraction — UK, 2006
This video is a short film I wrote for director Rick James back in 2006.
Rick has gone on to work on films such as
Hostel part 2 and Wanted and I have gone on to start my own horror comic.
It seems that those who love horror are nothing short of ambition, even if their taste in films are sometimes questioned.
The film was made almost two years today and I thought I would post it here as a marker of just how much you can accomplish in two years.
For those who are interested: it was shot over a period of two sixteen hour days in Scotland for the price of a big mac.
We used corn syrup mixed with red food colouring for the blood.
I’m busy preparing the cover for issue two at the moment and looking for inspiration and found this.
Ain’t it gorgeous?
Pitch black driving-in-the-darkness-with-the-headlights-off humour, a semi-clad heroine and a hijacked Coca-Cola spokesman.
Creepy had an epic run from the mid sixties right through to the eighties.
With covers like this, it’s easy to see why.
Thoughts on horror comic cover design
This is why
Gil Kane was brilliant.
Check the canted angle: the tight space puts the reader in the car with the passengers and we feel their reactions.
The hands of the werewolf are approaching – what will happen next?
Kane cleverly uses the mirror to reveal the face of the werewolf.
Plus, there is the added danger of the oncoming traffic.