MoCCA 2012 Day 1

London Horror Comic at MoCCA 2012

London Horror Comic at MoCCA 2012

Just finished MoCCA 2012 for the day and all I can say is: “Wow. Huge.”

Fuller write-up coming later on as off to get lunch but here’s a pic to be getting on with.

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posted by JP at 12:10 am  

Jim Hanley’s Universe now stock London Horror Comic

Copies of London Horror Comic are available at the awesome Jim Hanley’s Universe store in New York.

4 West 33rd Street (just after 5th Avenue, opposite the Empire State Building)

London Horror Comic now at Jim Hanley's Universe

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posted by JP at 8:55 pm  

Time Machine Comics now stock London Horror Comic

Copies of London Horror Comic are now available at Time Machine Comics New York on 207 West 14th Street.

Previews here: http://londonhorrorcomic.com/issues/issue4.html

London Horror Comic now at Time Machine Comics

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posted by JP at 11:17 pm  

’80s retro punk in New York

Some super cool posters done in an ’80s punk style. Rough, crumpled textures and cut and paste style really makes the work pop out at you.

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posted by JP at 2:30 pm  

One hour in New York and here are my thoughts:

1. Bank of America colour scheme is same as Domino’s Pizza. Walked in and tried ordering a four seasons. Got asked if I wanted to open a ‘checking account’.

2. Must discern what MiTrom is. Sounds like a robot from Buck Rogers or Marvel limited series from the ’80s.And by limited, I do in fact mean shit.

3. Staples office supply store and FedEx stores here are things of beauty. FedEx photocopying and printing open 24/7 and Staples at seven. Plus, they sell every possible form of stationery I usually have to go running across three different stores to get.

4. The above aside, I had to explain what A4, A3, etc sizes were to the shop assistants just like the metric system in Pulp Fiction.

5. When you order a “small” pizza here, they do in fact mean Galactus-sized large! I worry if I ordering ‘large’ Pizzas are actually people claim to have seen UFOs this side of the pond.

6. Got a ticket for “Death of a Salesman” with Phillip Seymour Hoffman and Andrew Garfield. Spider-man meets Arthur Miller!!!

7. Snooty guy at box office reminded me not to be late because, unlike the movies, which is all he presumed I’ve been to up until today, they don’t allow late admission. Replied nonchalantly “Quite so.” Lesson: for all the tweed you wear box office guy, don’t try and out-snoot a guy from England. It’s practically a compulsory GCSE here.

8. Starbucks here have seven or eight boards of choices. Jeez, I just want something warm and liquidy!

9. My hotel room is like the one rented by the Terminator in the film “The Terminator”. Or like the one in Taxi Driver. This rocks!

Dude New York 2012

Dude New York 2012

10. According to local news, the US and not Germany, have in fact been supporting a failing euro through a garage sale being held in Poughkeepsie.

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posted by JP at 12:06 am  

London Horror Comic’s Cover for FrightFest Magazine

London Horror Comic provides the artwork for this month’s issue of the FrightFest magazine, featuring a perfectly scandalous theme of Werewolves versus Strippers.

Below is the “virgin” art without the masthead and slightly more visibility of aforementioned strippers’ *ahem* costumes.

London Horror Comic FrightFest #10 Magazine Cover

London Horror Comic FrightFest #10 Magazine Cover

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posted by JP at 10:28 pm  

A Week of Horror Films

It’s been a week of watching horror films new and old for me.

First up was The Thing (1982) and its prequel. I reviewed the prequel when it was out a few months ago, but watching it back to back with the original does reveal a few new insights.

The first, and something I praised the prequel for in my original review, was its ability to recreate the same wild imagination of monster scenes that the original did. The mix between prosthetics and CGI was balanced to produce creatures that were effective.

It’s a shame though that being the prequel or remake of something is the only time modern horror films feel they have the license to push the boundaries in effects and creatures. It’s like some studio exec is sitting watching the rushes going; “Yeah, don’t make it too OTT, otherwise people won’t believe there’s a mad axe murderer on the loose.”

I like the Final Destination films for this very reason, and while the merits of the SAW films are in question, at least they make an attempt at showing you something you haven’t seen before.

From the “making-of documentary” of the prequel, the guiding principle behind the films was to provide a logical explanation of the events that were hinted at in John Carpenter’s version. It’s a mistake, since the audience don’t come looking for explanations but entertainment.

Next up was Lucio Fulci’s Lizard in a Woman’s Skin which I caught down the Prince Charles as part of a Cigarette Burns screen. This thriller produces its fair of share of laughs (unintentionally), the biggest being when the police chief asks that every man in London with red hair be rounded up because they could be a suspect.

Aside from the kitsch laughs, the film does have a fierceness of eye. The chase scenes are genuinely terrifying and the film’s dream-like sequences are bold and unlike anything you’re likely to see in modern films.

Again, how many horror films do you see nowadays are all too willing to show graphic violence, but bail when it comes to showing an elaborate or overblown dream sequence?

Speaking of dreams, I’m halfway through re-watching the Nightmare on Elm Street flicks again. Here’s a franchise that knew how to keep things full blown mental. For the first time in ages I was reminded how inventive some of the scenes in the film are.

When it came to a New Nightmare, Craven breathed new life into the franchise by blending the real world into that of the film—truly meta. New Nightmare was scarier than the rest of the films in the way it keeps you off balance until the very end. In this way, it wasn’t bound to the tradition of the films that had come before it. Here’s Freddy, but in a context you haven’t seen him before.

The net result of all of this is that horror films should be allowed to be horror films: dream-like, inventive, mad and bold, without the restraint of what’s come before it.

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posted by JP at 11:23 pm