Monday, March 29, 2010

Deep Discussions with Decapitated Dan: Mike Hoffman

Welcome back kiddies. I have lured Mike Hoffman into the depths to pick his brain about life and everything in between. So sit back and relax as he tells us about who he is, what he does, and what we can expect from him in the future. Trust me, you will like what you read!

Alright lets start out with a short answer section and get the usual out of the way.

Mike Hoffman, but my wife calls me "Minky".



Nita (dog, after the Silent actress Naldi), Chelo (also dog, after Alonso, from Samson movies), Tiggy (cat after my character "Tigress" and Darling Boy (a blind cat).

Highest Education Level:
No College for this boy, just "get high" school.

High School Mascot:

First Job:
Car Wash

Best time of the day to eat tacos:

Favorite place to eat said tacos:
The Park.

Staying with short answers lets talk about what you do:

Comic(s) you created Before 1999: Freelancing for Marvel, DC, Dark Horse, etc.
January 1, 2000 - January 2, 2004: Tigress, Madame Tarantula, Squid Girl
January 3, 2004 - Today: Minister Sinister, Sargasso Squad.

Alright all that stuff aside lets get to the meat of the interview:

What do you do when not making comics?
Usually some other form of art, maybe recording and writing music, or hitting the Thrift stores.
Maybe goofing on people in public.

All time best video game?

You see on the news that a mysterious ooze fell into the sewers.
I thought ooze came OUT of sewers.

What animal do you hope to find to train to be your ninja slaves?
Kangaroos in French maid outfits.

When you were 10 and 20 what were you for Halloween?
All I got is one from last year when I was Frankenstein!

Any TV shows grabbing your attention these days?

If you were in the mountains and found a dragon would you: A. Try to catch it. B. Get your gun and try to kill it. C. Run like hell. D. Crap your pants because you didn't think he was real which for some odd reason the child in you is dead and you need to get your imagination back.
A, of course.

What could you do with a stick of dynamite, a grapefruit and a big box of socks?
Make a hell of a sex toy.

Back to comic stuff for now.

Knowing that Iceman is the greatest hero of all time, why do you think he is so underused?
He's sexually frigid.

Favorite comic character when you were 5, 15 and 25?
Casper, Spiderman and Black Bolt.

Alright your making a comic about a horse who can run headfirst into walls and not get hurt. Whats the name of the book and sell me on a quick pitch, Go!
DOORSLAM used to be a door-to-door salesman, but got tired of doors always slamming in his face.

We all know your a great artist but what do you really want to be when you grow up?
The last man on Earth.

Where is the real money at in comic creating?
I guess whoring out to the Big Boys.

When your making comics whats going on around you? Music, what kind? Silence? TV on?
Quiet for layouts, music for inkin'.

Favorite character you ever created/worked on and why?
Minister Sinister, he's fun to draw.

10 years from now. Where do you see yourself?
Going to conventions in a wheelchair and not even being asked to do recreations from my
"glory days", whenever that was.

Alright we can finish up with a quick word association game. I will say a word, you give me a quick one sentence response.

Minister Sinister?

In my head

Horror Comics?
Ghastly Graham Ingels

Chorophobia- Fear of dancing?
Country Line twitching.

Elephant Ears?
Eat 'em or wear 'em.

Miller Lite?
Weasel Piss.

2 = 8 = Cookie Dough?
I been had!

Decapitated Dan?
I hope you find your body soon.

Mike Hoffman?

Thanks so much Mike.
Yer welcum...

To see more of Mike's work and what he is up to please go to

Friday, March 26, 2010

Deep Discussions with Decapitated Dan: Bryan Baugh

Welcome back kiddies. This time I have lured Bryan Baugh back into the depths to pick his brain about all things Wulf and Batsy. So sit back and relax as we find out why we should all be reading his stuff and what the future holds for this great artist and storyteller.

Decapitated Dan: Hey Bryan, thanks for taking the time to talk to me about whats going on with Wulf and Batsy. Lets start off with a recap. What is it that you do?

Bryan Baugh: My day job is working as a storyboard artist in the animation industry. I have worked on a variety of animated TV shows – everything from Winnie the Pooh, to Batman, to Jackie Chan Adventures, to Masters of the Universe, to Starship Troopers, to Harold and the Purple Crayon. But at night, and on quiet weekends, I write and draw horror comics. So far I have finished two graphic novels about my characters, Wulf and Batsy, and a handful of short comics stories.

DD: What do new readers need to know about Wulf and Batsy?

BB: Wulf is a ferocious werewolf and Batsy is a cute female vampire. They are wandering the earth in search of a place to call home. But everywhere they go, they eat people, and get run out of town.

DD: How have things gone with Volume 1? Sales good? Good Reviews? Do you notice that you have a strong following with the book and its characters?

BB: Sales have been surprisingly good considering that I am self-publishing these books. And that I sell them mostly online, and have no regular distribution to comic book stores. Reviews have been mostly positive as well. As a result Wulf and Batsy has developed a small but loyal cult following. Let’s put it this way: Wulf and Batsy is the comic book equivalent of a punk band that has developed a fan following from playing at small clubs and handing out homemade cd’s, but who has not yet been offered a recording contract. Very few people know about it, but those who do seem to like it very much. And while we haven’t had our “big break” yet, the number of fans, and the level of interest and excitement does seem to grow every year.

DD: So what can you tell us about Wulf and Batsy Volume 2: Lustmord Nightmares?

BB: With Volume 2, I wanted to do something very different from the stories that appeared in Wulf and Batsy Volume 1. The first book was funny and had a certain friendliness to it. Lustmord Nightmares is a lot more mean-spirited, and a lot more demented and perverse. It’s more challenging and, dare I say, thought-provoking. For example - in Volume 1, Wulf and Batsy were best friends, they did everything together. In Volume 2, the first thing that happens is Wulf and Batsy have a big fight and split up. They spend the whole book apart and don’t get around to reconciling their differences until the end. Volume 2 also contains a lot more graphic violence and sexual innuendo. It’s a very different story from what has come before.

DD: Can we expect to find any zombies from Volume 1 showing up?

BB: No - Volume 2: Lustmord Nightmares has a large cast of characters, but the only characters who return from Volume 1 are Wulf and Batsy themselves. Everyone else is new.

DD: Did you hit any setbacks in the art or story?

BB: No setbacks in the artwork, but in the story, yes. With Lustmord Nightmares, I was trying to create a graphic novel in the style of a European Horror Film. I was thinking of filmmakers like Dario Argento, Jean Rollin, and Armando De Osorio in particular. And if you’ve watched a lot of horror movies from Europe you know they tend to be very sexy. Another theme I wanted to deal with in this story was the sin of lust. As a result, this graphic novel became very sexually-charged. I’m a pretty conservative guy, so this erotic content made me feel like I was handling dynamite. It seems like every writer, or comic book creator, or filmmaker, goes through that phase where they must do at least one big story that deals with sex… and I guess Lustmord Nightmares is mine.

DD: What is it that draws you to these characters? Why continue on?

BB: I am a kid at heart, and creating stories is like the grown-up equivalent of playing with toy soldiers. It’s too much fun to quit.

DD: Another treat that readers of the first volume know about are the Captain Bloodclot Company ads. Can we expect more of these gems in this book?

BB: Those guys who run the Captain Bloodclot Company are crooks. They have had numerous tangles with the law over several of the products they have advertised in my books. I hate those evil bastards, and keep telling them I’m going to stop carrying their ads. But every time I complain they send me death threats. I didn’t take them seriously at first but then I started finding dead crows with their throats slit on my front doorstep. I think this gesture must be symbolic. Or perhaps it is supposed to send some kind of message. As long as I run their ads and don’t complain, I keep finding big fat envelopes full of unmarked bills inexpertly crammed in my mail slot.

DD: Will there be any other extras in the book?

BB: Yes, this book ends with a long, in-depth Supplemental Section, full of sketches and explanatory text, showing the creative process that went into the development of this story. I did the same thing at the end of Volume 1. I love putting the Supplemental material in there. It’s the comic book version of a “Behind-the-Scenes” Documentary on a DVD.

DD: What has it been like doing this on your own?

BB: Fun but difficult. I am not only writing and drawing the books but also taking care of the technical duties that a publisher would ordinarily be in charge of. Such as: preparing the book for the printer, taking orders, and shipping books. Thank God I’ve got my wife Monica, who is always willing to make trips to the post office when I run out of time, and my ingenious website designer, John Walsh, who does all the online promotional stuff. Those two have been a huge help, and have made the whole experience a lot smoother. I am getting a real education on self-publishing. But man, I’d still prefer to have the book picked up by a real publisher so I could just focus on writing and drawing the stories.

DD: What do you hope readers will take away from Volume 2?

BB: I just hope readers take away a deeper understanding of the characters. Volume 2: Lustmord Nightmares represents a new chapter in the undead lives of Wulf and Batsy. It’s a darkly humorous story, but there’s also some pretty serious circumstances that arise along the way. The somber moments reveal sides of the characters that were not apparent in Volume 1.

DD: Where can readers grab a copy of Wulf and Batsy Volume 2: Lustmord Nightmares?

BB: The easiest way to get the book is to order a copy directly from the Store Page on my website:

DD: Can we expect you at any upcoming shows promoting the book?

BB: Unfortunately I don’t make it to very many comic book conventions. My work schedule in animation is too heavy to break away very often. But I try to appear at San Diego Con every summer.

DD: Anything else you’re working on these days?

BB: I’m working on a new animated TV series, which is my real job and therefore takes top priority. And secondly, whenever spare time allows, I am creating new Wulf and Batsy material.

DD: I know it's early but can we expect a Wulf and Batsy Volume 3?

BB: There will definitely be a Wulf and Batsy Volume 3 and 4. I have story material worked out for both of them, and a lot of pages drawn for both of them. One of them will be a short story collection, and one of them will be another big, epic-length story… probably longer than Lustmord Nightmares. But it’s still early and I am not sure which one will come first.

DD: All right lets bring it all together. Why should people go out and pick up Wulf and Batsy Volume 2?

BB: Well, if you liked Wulf and Batsy Volume 1, then you are going to love Volume 2. Same characters in a better story, with better artwork. Simple as that.

DD: Thanks so much Bryan. I can not wait to see what you have in store for us.

If you would like to know more about Bryan or to learn more about Wulf and Batsy please head over to

Wednesday, March 24, 2010

4 New Reviews Posted!

Posted 4 New Reviews this week! Suicide Note OGN, Zombie Tramp #2, The Shelter, and Devil #2. Come check them out!

Monday, March 22, 2010

Deep Discussions with Decapitated Dan: Rob Guillory

Welcome back kiddies. I have lured Rob Guillory into the depths to pick his brain about life and everything in between. So sit back and relax as he tells us about who he is, what he does, and what we can expect from him in the future. Trust me, you will like what you read!

Alright lets start out with a short answer section and get the usual out of the way.

Rob Guillory


Married for 3 years.


2 cats, George and Emma.

Highest Education Level:
Fine Arts Bachelor's Degree in Painting at University of Louisiana at Lafayette.

High School Mascot:
I think it was a bear.

First Job:
My grandparents had a janitorial service, and from a reeeally early age (age 10-ish or younger) they let me help out. I bought my first comics with that cash.

Best time of the day to just dance:
I'm more of an afternoon dancer. But if I can manage it, early morning jigs get the blood flowing.

Favorite place to get away from it all:
Our house is pretty good for solitude. We're surrounded by nothing but country, really. I retreat there periodically.

Staying with short answers lets talk about what you do (if you want to ad descriptions I guess it would be okay):

Comic(s) you created Before 1999:
I made a bunch of little stapled-together comics on looseleaf, starting in 1992. They weren't really stories, as much as they were elongated fight scenes. A few of the titles were typical 90s-era fare: Captain Brigade, Invincible Man, etc... Pretty proud of those, actually.

January 1, 2000 - January 2, 2004:
I worked on a series of biographical comics called DRAMA, which were really just melodramatic dating stories. Those were published in my college's paper. After that, I drew 100 pages of a creator-owned thing that'll never be published. Looong story.

January 3, 2004 - Today:
Did a few shorts for Ape Entertainment's Teddy Scares, Image Comics' Popgun Anthology Vol.1, Actor Comics Presents (written by C.B. Cebulski), 30 pages of a Tokyopop pilot that was never published and a series of weekly strips for RandomHouse UK's The DFC anthology and Chew.

Alright all that stuff aside lets get to the meat of the interview:

What do you do when not making comics?
Not a whole lot, actually, and that's deliberate. I usually end up hanging out with friends and spending quality time with the wife.

Super Nes or Sega Genesis?
Sega friggin Genesis. Remember that Sonic and Knuckles cartridge that you could stack other cartridges on top of? BRILLIANT. I always envisioned a leaning tower of Sega cartridges, just stacked up for miles.

Your in bed, when BOOM! The nuclear reactor blows and your given super powers. What do you hope they are?
The ability to stop time, so I could take my damn time on every project. I'd literally stretch a monthly deadline to a year, and no one would know. And the ability to make people stop being losers.

When you were 10 what were you for Halloween?
Hmm. I think I was a skeleton, which was ironic since I was a FAT kid.

Favorite comic character when you were 10 and 25?
Peter Parker. Not Spiderman. Peter is infinitely more interesting than Spiderman.

If you were at the mall when the real Easter Bunny showed up would you:
A. Get in line and ask for a present.
B. Get your gun and kidnap the fat ma
C. Crap your pants because you didn't think he was real which for some odd reason the child in you is dead and you need to get your imagination back.

I would D. Ask Layman where he bought that acid from. Because it's good shit.

What could you do with a He-Man action figure, 2 scoops of chocolate ice cream and a sword fish?
Relive my childhood. Yes, my childhood friend was a swordfish. Lost in a horrible fishing accident.

Back to comic stuff for now.

Knowing that Iceman is the greatest hero of all time, why do you think he is so underused?
I would have Iceman leave the X-men and start his own business. There'd be billboards for Bobby Drake's Chilly Treats in the background of every single X-men adventure. Scott Summers would look up them and be pissed he didn't cash in on Iceman's frosty gifts earlier.

Alright your making a comic about a team of hammers who keep the safe from nails. Whats the name of the book and sell me on a quick pitch? Go!
It's called Stop Hammertime!, and it's about a world where the residents are all wooden puppets held together by crazy glue. Nails are created by this rogue puppet gone bad as a way to get even with the Wooden Overlords that rejected his Wood science. He unleashes the nails on the puppet world, causing pandemonium. So the Puppet Overlords create a crack team of Hammers, whose entire purpose is to stop the Nail Menace before every puppet gets nailed. Literally.

We all know your a great artist but what do you really want to be when you grow up?
I think I want to be Jesus. Or Cane from Kung Fu. Amazing similarities between them, now that I think about it. Except Jesus' crane kick wasn't as strong.

Where is the real money at in comic creating?
In passive income. Gotta make your artwork work for you. Original art sales, foreign translations, digital distribution and backend residuals. I'm so pimp with CHEW-ness that I'm drinking champagne out of a CHEW sippy cup right now. And it's 11am.

When your making comics whats going on around you? Music, what kind? Silence? TV on?
I alternate. Sometimes music. Sometimes Adam Carolla's podcast. Sometimes just the lonely sounds of whalesong.

10 years from now. Where do you see yourself?
Ideally, I'll be Mike Mignola. Making only comics that I love and care about. Also, I'll be old, white and slightly bald. (I'm black, by the way.)
Alright we can finish up with a quick word association game. I will say a word, you give me a quick one sentence response.

The project I've been waiting for to break me into this industry.

Image Comics?
Could change the face of what people think comics are supposed to be.

Horror Comics?
I like them when they're fun.

Will no doubt appear in a future issue of CHEW.

Allodoxaphobia- Fear of opinions?
I have a fear of stupid opinions.

Time Sheets?

I'm never working for The Man again.

My childhood in dry pastry shell.

Decapitated Dan?
Asks fun questions.

Rob Guillory?
Young nobody that wants to fit into the mold of great storytellers of the past.

Thanks so much Rob.

To see what Rob is up to please check out

Thursday, March 18, 2010

Deep Discussions with Decapitated Dan: Giovanni Rigano

Welcome back kiddies. This time I have lured Giovanni Rigano into the depths to pick his brain about all things Daffodil and his other books. So sit back and relax as we find out why we should all be reading his stuff and what the future holds for this great Italian artist.

Decapitated Dan: Alright lets start off simple who is Giovanni Rigano?

Giovanni Rigano: It’s hard to say. Let’s try like this: when I was a child, ten years old or so, I’ve been on holiday with my father in Florence. It was summer and the town was all around me with its beauty. We had a walk in the center, I was reading a comic book. At one point my father told me to stop for a while. He had to enter in a bar to go to the toilette. I said "Yes Dad, sure" while I kept on reading the comic book. After 30 seconds I raised my head up and I didn’t remember anything. So I came back to the car which was quite far away. Waiting for my father to pick me up I finished my comic book.

DD: How did you get your start in comics?

GR: Professionally I finished The Disney Academy of Milan and I started working for them. In Scholastic terms when I chose to do, at 18 years old, the School of Comics. Personally when I told my parents I wanted to be a comic book artist. I was 15 years old and just started scientific studies. But I can see my start even before, when I was too young to read and my mother used to read comics for me. I’m not saying it’s destiny, just that now I can see a line that lead me where I am now, and it’s hard to say when it get started.

DD: What have you done so far in the comic book industry?

GR: Quite a lot, I guess. I’ve been working for many years with Disney, making comic books and graphic novels with most of their properties, starting from The The Incredibles to Pirates of the Caribbean and Lilo & Stitch. I visualized the amazing universe of Artemis Fowl series with two Graphic Novels, adapted by Eoin Colfer, the Series’ Author, and Andrew Donkin. I did two personal comic book series in France, teamed up with great writers such as Frederic Brémaud and Bruno Enna, and I also made illustrations for a book of Gothic Poetry entitled Il Teatrino delle Bambole Morte, written by Davide Barzi, of which I’m really proud.

DD: Was working in comic books something you always wanted to do?

GR: As I may remember, yes. But I do also remember that when I was a child I wanted to be a scientist, an astronaut and a documentary maker too. By the years then I discovered I was not so good in math, I suffer slightly of dizziness and I’m allergic to pollen. So, how do I know I’m a comicbook artist just because I wasn’t good at anything else?

DD: Lets just dive right in. What is Daffodil?

GR: It’s my first personal experience in french comics, my first try to do something other than Disney and my first book where I completely invented the overall style and character designs. The story was written by Frederic Brémaud and it’s about the coexistence between vampires and humans. If vampires kill too many humans, it means lack of food. So there are some agents and a vampire government who take care that this won’t happen.

The first two issues are about Nosferatu moving his army to a town called Addio-Colonnello and killing everybody at his passage. He’s breaking the rules, so he has to be stopped. But why he’s doing that? Is Is there a secret plan or it’s just lust for blood?

The third issue is about an ancient vampire gone crazy and some mysterious deaths in a wood around a small village. The hunt begins. But who is the real monster?

DD: Who are the main characters?

GR: They’re three vampires agents. A sort of Charlie’s Angels in a evil way. Their job is seeking and , if necessary, kill other vampires who disobey to the rules of their Clan. But in fact they also represent three different ways for a vampire to approach his thirst of blood. Daffodil, the teams leader, is the only one who feels compassion for her human victims. Globuline, is only for greed, she doesn’t make questions. She’s nice but a bit naive, so she’s able to do anything. Achilles, is simply evil. She knows exactly how it goes and feels good with death, pain and misery. She’s Goth. The real vampire among the two others.

DD: How did you come up with the character designs?

GR: Making lot of sketches and never being satisfied. When you approach for the first time a project where you can do nearly whatever you want, while you are used instead to work with several references and somebody else's characters, you start wondering, "What I’m doing, does this really represent me?" The answer is usually yes, because it’s a mix of your previous experiences, your sensibility and your culture. Just the fact of making some questions leads you to evolve more and more.

DD: Your artwork in the book is an amazing mix of cartoon fun and bloody images. Do you have as much fun drawing this book as I have looking at it?

GR: Wish you had much more! When I work on a project I’m totally focused on it, so I’m not having fun, not properly at least. Maybe later, at the end of the project, looking back at it I can say I had fun. But it’s a bit different.

DD: I read that you had a different approach to each issue. Why was that?

GR: Basically I needed to find my way of making comics, not so influenced by my previous Disney experience. So in each issue I carried on asking myself "Okay, this is what I’ve done. How can I do it differently?"

DD: In regards to the previous question. While I noticed it in issues #3 (Marvel printing) I did not notice the style change from issues #1 and #2. Was the story divided up differently for us?

GR: No, it’s divided up exactly the same way. It’s just that the first two issues compose one story, so I didn’t want to cut up completely with the first part while making the second. There are some small changes – more details in the backgrounds, characters and narration a bit more adult – but nothing impressive. The third issue instead is a one shot, not connected with the previous two. So I felt free to make it more different.

DD: How did you get brought in to work on Daffodil?

GR: During a festival in France a friend introduced me Frederic at the stand of Soleil Productions. He looked at some sketches I had with me, and he spoke about a new project with vampires he wanted to develop. So we started working on it. After a couple of years he confessed that I reminded him a bit Nosferatu at that time because I was skinny, pale and with a short haircut. So he had the idea. It's funny!

DD: Was the book a big success in Europe?

GR: Not a big one in terms of selling. Just a good one. But it gave me much more visibility than I ever thought. It’s four or five years now the latest issue has been released in France and still there are lots of people at festivals asking me for a signature or a sketch for that series. I can say that it didn’t sell so much but most of the readers really loved it!

DD: What were your thoughts when you found out that it would be published in North America?

GR: I said "Wow! Daffodil will be published by Marvel!" I never expected that, so I was really happy. I found a bit ironic when Disney bought Marvel.

DD: Do you think that the American audience has responded well to the book?

GR: Guess it’s too early now to tell. Many people were interested about the US release and we received good critics. We’ll see!

DD: What countries has Daffodil been releases in so far and which has the strongest following?

GR: Daffodil can be found in France, Belgium, Canada, Italy and Spain so far. But for sure in France and Belgium we had the best result!

DD: Do you think that the book translates well into the other languages? Are some things lost?

GR: In Italy there were two different editions and translation in the second one was a mess, unfortunately. The US edition is really well done and the humor in dialogues was well kept.

DD: Can we expect to see more of the Daffodil universe in the future? There is a great big universe to discover after all and I know I want to read more.

GR: It’s not planned yet. Maybe in the future. There are some ideas about it and I must confess I’m quite curious about how it could be a fourth issue after all these years. But at the moment I’m so busy in many other projects that I wouldn’t really find the time to work on it.

DD: Other than Daffodil what other books are you working on? Can you give us descriptions.

GR: In January has been published in France, for the Métamorphose Collection by Soleil Editions, the first issue of a new series entitled Coeur de Papier. It’s a Graphic Novel in three issues, an absolutely dark fairy tale. Bruno Enna, one of the best Italian comic book writers, did the script and we’re receiving a lot of great critics for it! The story is about a child, Kriss Bottomwine, who arrives in a very weird orphanage after he received an operation to his heart. There he will discover that breaking the rules could be much more dangerous than it seems.

These days I’ve just finished the first half of Gothic Lolita, another Graphic Novel in two issues planned to be published in France at the end of this year. The Novel will lead the reader in a future not much far away, where experiments with human brains will take the world into chaos and violence.

And finally I’m going to start a new adaptation from another book, but it’s too early now to speak about.

DD: Can we expect to see versions of them to be printed in North America?

GR: Both books, Coeur de Papier and Gothic Lolita, are planned to be published in US soon, but I can’t tell now exactly when and for which publisher.

DD: How hard is it as a European creator to get your work to be seen in North America?

GR: I don’t really know how many European comic books are translated in the US. Not many, I guess. But there are lots of Italian, Spanish and French artists, who work for Marvel, DC comics and other US publishers. This is another good way to discover their art.

DD: What do you find are the main differences between an American and European comic scene?

GR: Well, I don’t know much the US comic scene. I can say that in Europe there is not only one comic scene but many, and every country has its own way to relate with comics.

DD: Are you a horror comic fan? If so what titles inspire you?

GR: The only one I follow since I was a child is Dylan Dog, an Italian horror comic series very well done. But I always read many horror books, from Edgar Allan Poe to H. P. Lovecraft - and Stephen King, of course -, and watched many movies. I’ve found this really weird because they make me scary a lot. Doing horror comics must be a sort of exorcism!

DD: What comic books are you currently reading? Are there any American ones?

GR: Not many, at the moment. Just a lot of books. The latest I’ve started is Shutter Island by Dennis Lehane. A great writer!

DD: Alright we can wrap it up with two questions. First what do you want people to know about your work?

GR: This is one of the few jobs where anything left to say about your work is in the work in itself!

DD: Second why should we all read Daffodil?

GR: I don’t think you all should read it. But probably somebody should.

DD: Thank you so much Giovanni. I appreciate it and hope everyone can read this great series and that we can get a chance to see more of your work here in North America.

GR: Many Thanks to you too Dan. I’m happy you enjoyed the book and gave me the opportunity to speak of it.

To learn more about Giovanni please go to You can currently get issues of Daffodil through your local comic shops.

Monday, March 15, 2010

Deep Discussions with Decapitated Dan: Gregg Hurwitz

Welcome back kiddies. I have lured Gregg Hurwitz into the depths to pick his brain about life and everything in between. So sit back and relax as he tells us about who he is, what he does, and what we can expect from him in the future. Trust me, you will like what you read!

Alright lets start out with a short answer section and get the usual out of the way.

Gregg Hurwitz



Simba The Destroyer. My 120 pound Rhodesian Ridgeback

Highest Education Level:
Studied English and Psych at Harvard, Master's in Shakespearean Tragedy at Trinity College, Oxford.

High School Mascot:
The Bellarmine Bell. I know: A Bell. I give up.

First Job:
Knocking down fire house with a sledgehammer.

Favorite place to hangout with friends:

Staying with short answers lets talk about what you do:

Comic(s) you created:
Foolkiller, Punisher, Wolverine, Moon Knight

Alright all that stuff aside lets get to the meat of the interview:

What do you do when not making comics?
Writing novels, most recently Trust No One. I also write feature films and TV pilots. Right now I'm a consulting producer on ABC's V.

Favorite sports teams to watch?
Red Sox. SF Giants.
You take a trip to the top of Mt. Everest and get stranded for 1 week. What do you do to pass the time?
Rest. Stretch. Drink Gatorade.

When you were 15 what were you for Halloween?
Badly behaved.

Favorite comic character when you were 10, 12 and now?
Punisher, Punisher, Punisher.

If you had to listen to one song for the rest of the week, what would it be?
Dominos by The Big Pink.

If I told you Bigfoot was real because he was me, would you believe me?
Bigfoot doesn't talk. Duh.

What can you do with a zipper, a turbine and a turtle?
Make a killer stew.

Back to comic stuff for now.

Knowing that Iceman is the greatest hero of all time, why do you think he is so underused?
It's been all downhill after Top Gun.

Alright your making a comic about a little monkey who got lost on his way to pick up a hooker, what would the name of the book be and sell me on a quick pitch? Go! Monkey Business. The Monkey has a heart of gold. He's a closet drinker, abused as a baby. The hooker is actually a dude in drag. They get married in Vegas and live happily ever after as Elvis impersonators.

We all know you are a master with the words, so where did it all begin and how can I be more like you when I decide to grow up? My mom says I used to sleep with a dictionary as a kid. Which probably explains why the other kids threw rocks at me. If you want to be more like me, you'd have to NOT grow up.

Where is the real money at in comic creating?
Comics is really more for the love of the game. You can make some good coin, but if you're looking to get tycoon rich, go into commercial real estate.

When your making comics whats going on around you? Music, what kind? Silence? TV on?

10 years from now. Where do you see yourself?
In this chair, continuing to do what I ####ing love.

If I sent my ninja to your house to steal scripts how would you stop him?
If he got by the ninja net, my ninja alarm would go off. Then home boy'd be screwed!

Alright we can finish up with a quick word association game. I will say a word, you give me a quick one sentence response.

Moon Knight?

Marvel Comics?
Yes, please.

Horror Comics?
Sure. Them too.

Street Thugs?
Ass beating.


Rob Zombie?



Decapitated Dan?
Cool website.

Gregg Hurwitz?

Thanks so much Gregg.

If you want to know more about Gregg please check out his site

Friday, March 12, 2010

Deep Discussions with Decapitated Dan: Gary Reed

Welcome back kiddies. This time I have lured Gary Reed into the depths to pick his brain about all things Deadworld. So sit back and relax we find out why we should all read be reading and what the future holds for this long running series.

Decapitated Dan: Lets start off simple who is
Gary Reed?

Gary Reed: Wow, that’s a tough one. Right now, I’m a college professor in Biology and a free lance writer but am also publisher of Transfuzion Publishing which launched to do primarily collections of previously published material but now heading into doing all new material as well.

In the comics field, I had a chain of comic stores in the Detroit area and used to put on comic conventions and had a radio show on comics for a few years. I started up Caliber Comics and that ran through the 90’s and put up some 1,300 comics and over 70 graphic novels. Caliber gave an opportunity for a lot of young talent to show what they can do and although all of these names didn’t necessarily get their start at Caliber, it was at Caliber that they showed what they could do. Names like Guy Davis, Vince Locke, Michael Allred, Michael Lark, Patrick Zircher, Laurence Campbell, Jim Calafiore, Phil Hester, Paul Tobin, Brian Bendis, David Mack, Michael Avon Oeming, Jim O’Barr, Thomas Sniegoski, Mike Carey, Michael Gaydos, Ed Brubaker, Dean Haspiel, Mark Andreyko, Stuart Immomen, Mark Ricketts, Galen Showman, and many more but these are the ones off the top of my head. We also worked with a lot of already established folks such as Alan Moore, Brian Bolland, Dave Dorman, Warren Ellis, Mike Deodoto, Ian Edginton, Garth Ennis, John McCrae, Paul Jenkins, and many, many others.

Outside of Caliber, I was also Vice President of McFarlane Toys when that company first started and remained there for the first three years.

On a personal level, well, I’ll just keep that personal.

DD: Tell me what your journey through comics has been like so far.

GR: Well, to just keep it in a timeline fashion…started off as retailer in the 1980’s, got involved in publishing in the 90’s, and then closed up everything at the end of the millennium. I was brought in as a writer to adapt some classic novels fro Penguin Books in 2003 and when Desperado launched, the publisher, Joe Pruett discussed bringing back Deadworld so I re-entered the comics market as a freelance writer and creator. In 2007, I started Transfuzion Publishing to reprint some of my earlier material.

Overall, I’ve done well in comics, albeit with some major ups and downs, and I think it is a vastly untapped and creative market. I may not like many of the comics---I don’t read any superhero comics, for example, but I love the medium and I think today’s creators are doing some fantastic titles that may not get the sales and attention but they’re putting comics on the road to becoming a respectable form of storytelling.

DD: What was it that made you want to get into this industry?

GR: I never had a strong desire to get into the industry and in fact, was not a comic reader. I read them when I was a kid and amassed quite a large collection but by the time I hit my teens, I sold them all. I really never looked at them again until I started up my book stores which morphed into comic stores. So, my entry into the comics world, while not accidental, wasn’t expected nor was it desired. But once I did get involved, I gained a great appreciation for the medium and what it could be. Remember that in the 1980’s, comics were evolving into a much more sophisticated form and showed incredible promise that was wiped out in the 90’s but has made a comeback the last decade or so as far as content goes.

DD: How did you get into the comic book business?

GR: I actually got into comics indirectly. I opened a book store and added comics because people came in looking for them. Comics was the growth part of the business and eventually, I had four comic stores while I was going to college. That gave me options and even after earning my Master’s in Biology, the comic side appealed to me more and so that’s the direction I went in.

The publishing started as an offshoot of the retail operation. When Arrow Comics folded because of the crash of the distributors in the black and white glut, Vince Locke with Deadworld and Guy Davis with the Realm came to me to find a publisher for their books. At that time, I had my stores, a radio and TV show, had put on conventions, and was now out of school so I figured I’d publish them myself. How hard could it be? I was talking with some customers who were involved with a movie in the area called Moontrap staring Bruce Campbell and Walter Koening of Star Trek fame and so I did an adaptation of that. Guy and I created Baker Street, Jim O’Barr was a customer of mine who heard about the publishing company and came to me with his project which was The Crow. I added an anthology series to showcase short stories with Caliber Presents, and I had my initial publishing line.

DD: So lets start with your days at Caliber, what was the idea behind doing a book like Caliber Presents?

GR: I wanted the opportunity to do shorter pieces and have a venue where people could do different things. I think Caliber Presents was really successful in that way. We had original short comic stories plus it was an opportunity for regular series to do a short segment. I added an Artist Sketchbook feature and we would run a preview of an upcoming series. I also created a couple of recurring settings and sort of let other people play with them. The serials included Gideon’s about a mystical pawn shop that exists at any time and any place and Street Shadows about the activities that go on in a normal city. Caliber Presents ran 24 issues and then became a series of one shots. Towards the end, another anthology from Joe Pruett, Negative Burn, was rolling along so the emphasis shifted to that which ran for 50 issues.

DD: Moving from that to more of your books, what made you want to give your own take on Jack the Ripper?

GR: I’ve always been fascinated by Jack the Ripper. It wasn’t so much the crimes but even as a kid, I was struck by the enormous social changes that Jack caused. When the East End was being investigated, the people of London, and of the world, were exposed to the horrendous living conditions that were going on there. As a consequence, there was a huge social movement that changed the nature of government in the areas of living and working conditions, education, health, and the treatment of immigrants. That’s why Jack became so infamous as he was the catalyst for exposing the underbelly of London. My take of Jack was pretty much limited to just dealing with the facts and the impact it had.

I’ve always been interested in history and when I started up Tome Press which was a line of comics dealing with history and biographies, well, Jack just fit in perfectly.

DD: Have you always been a fan of horror comics?

GR: Actually, no. I mean as a kid, I read all kinds of comics and horror was part of it. I’m not a big horror fan in the sense that I read horror novels or watch horror flicks. I’m not a monster guy…I’m more drawn to the horrific things that the human psyche is capable of and the rationalizations behind that. So, not so much of a horror fan but rather of how horror can impact people and events.

I really never feel constrained by labels or genres. My favorite movies are dramas as I like interactions of people so no matter what style of fiction that I read, as long as you have great characters, I’m in for it. A lot of horror, especially from writers like King and Matheson, the horror is interlaced with the characters.

DD: Do you feel it is what has lead into some of your titles?

GR: Certainly. Besides Deadworld, I have a number of titles that deal with horror aspects. Some are obviously based on the horror genre such as Helsing or the horrific scenes in Sin Eternal which was released as Sinergy and is an updating of Dante’s Inferno. That allowed me to play with Hell and the horrors for sinners for all eternity. But even in other titles such as Saint Germaine, it was an examination of evil committed by people. I think that Deadworld which seems to be a blatant zombie book is actually more about the horror aspects that people do in response to that situation.

DD: So when you were the head of Caliber how did you hear about Deadworld while it was still with Arrow?

GR: Arrow was a local company as were all the creators. With my stores and my radio and TV shows, we got to know most of the Arrow people and many of them shopped at my main store. As a retailer, I ordered quite heavily on the Arrow titles and was actually buying huge quantities to resell to retailers across the country. It was a completely different market back then.

DD: Could you tell there was something special to be told with this story??

GR: Even at the beginning of the series which was very much influenced by the Romero films, the human characters were developed and it was more than just a zombie chase. With the intelligent zombies, it put a whole different spin on the series and that’s what I found most interesting.

DD: So what made you decide to start writing the series instead of just overseeing it?

GR: As Deadworld was continuing with Caliber from the Arrow issues, Vince was being offered a lot of other work and he wanted to move on from Deadworld. He came on board initially just to draw it and the idea of taking over the writing of it when he assumed sole ownership of it didn’t really appeal to him. We discussed where it should go and as I got more involved in the editing, I guess I got more specific about the direction and it was easier to write it than to explain it to other writers.

DD: When the 6 issue Deadworld series was put out by Desperado/Image, were you trying to start over and have it be an ongoing?

GR: That was the plan. The Image series was geared to be a reboot of Deadworld since it had been so long since the original series came out and those issues were not available in print, even as collections. But once again, the Deadworld curse hit. It’s jokingly called the curse in that it seems almost every artist involved gets hired away. Vince, of course. Mark Bloodworth came on board after Vince and then was tabbed to do Clive Barker’s Hellraiser. Dan and David Day, along with Phil Hester, stepped in but almost immediately got full time gigs at the majors. Galen Showman and Troy Nixey came in for the second volume but again, both went on to bigger and better things. Even with the Desperado and Image series, Dalibor and Federico went onto the majors during their runs on Deadworld. Keeping a regular artist on Deadworld has been nearly impossible. I figured it was best to do mini-series and at least maintain some kind of artistic consistency within that and not deal with the problems on an ongoing series.

DD: What would you say have been the high's for the Deadworld Series so far?

GR: That’s really hard to say because I always feel that Deadworld isn’t living up to its potential. It always seemed to be scrambling on the production end, again, mainly because of the artists. I liked what was being done in the transition between Vince and Mark Bloodworth but that didn’t last long. I was happy with how the Deadworld: Requiem for the World mini-series from Desperado and Image came out overall even though Dalibor had to come in on the third issue because Vince was in such demand because of A History of Violence. Since he was the artist, when the movie came out, Vince was doing galleries around the country. And of course, I was very pleased with Slaughterhouse even though I would’ve liked to have extended it but Sami Makkon was already pegged for the New York Time’s best selling series, The Looking Glass Wars, so I had to settle just for the four issues.

DD: And the lows?

GR: Again, mainly due to the artist situation, the sporadic scheduling and the mish-mash that occurred at the end of the first volume. I decided to try and get the book out on a regular schedule and knowing that the artists could only be around a short time, I developed different story arcs by different artists so we could move from one to the next. Because they were story arcs, we could deal with the different artists but then none of the artists could complete even their parts so I had three unfinished story arcs developing and so I tried to squeeze them into one coherent saga but in hindsight, probably not the best idea I had. But it is what it is even though I don’t like to look at it. In the second volume, I brought in two young guys and I think I pushed them too hard. They weren’t ready and it showed. Both of them aren’t doing comics now and I feel that maybe I burned them out and I regret that but that’s part of the medium. I certainly don’t blame them, they just weren’t’ ready and I should have done a better job of recognizing that. I think that because there was always enormous pressure to get the book out, I probably didn’t do some proper evaluations.

DD: Deadworld has had it's fair share of one-shots and mini series since the original 2 runs. Do you ever see it going back to an ongoing?

GR: The one shots were mainly to keep the presence of Deadworld going. The mini-series such as To Kill a King was because the art was so radically different from the regular series, I wanted to keep it separate. Some fans loved it, some hated it…they wanted the traditional style of art so that’s why some things were done as one shots and minis. Whether it goes back to being an ongoing, I don’t know. There has to be a certain level of sales to keep a book going as obviously the artist has to make enough money to get involved with that. If I had enough revenues to ensure an artist could make a good wage on it, hell, I’d take Deadworld to a bi-weekly. But that’s not the case so Deadworld at this time, looks to be a series of mini-series and one shots that can be stand alones yet move the overall story along.

DD: With the Slaughterhouse Hardcover out now, and the Frozen Over mini wrapped up, will we see a big break before the next story?

GR: For 2010, it sort of continues the confirmation of what Deadworld is. Slaughterhouse came out in January and Frozen Over concluded in February so now everything is wrapped up as far as the current storyline goes. By wrapped up, I mean that the storylines are complete but they certainly are not resolved. In the spring there will be a massive collection of the original Deadworld saga featuring all the Vince Locke issues so that’s the first 16 issues. In the fall there will be another large collection that basically deals with the rebooted Deadworld as the Image series, Slaughterhouse, and Frozen Over will all be collected into an Omnibus. Right after that will be an all new Deadworld graphic novel called The Last Siesta which is a self contained story with art by Mark Bloodworth. From there, it’s not decided yet and some of that has to do with what’s going on with the movie. But I’m already working on the next story arc and I’d like to do it as a mini-series with an eye on continuing if it does well.

DD: Touching on what has gone in Slaughterhouse, can the humans ever really win? I mean I hope not but I am a King Zombie-Head.

GR: Sure they can win. I’m a big believer in the human race. They maybe capable of foolishness and mass destruction but also capable of incredible achievements. I always find it amazing what humans are able to do. Since I’m so involved in science, reading of the things going on in genetics and cell biology, if something like Deadworld were to really occur, I have no doubt that the humans would eventually win. Well, I guess that is if the right ones survive.

DD: I want to do a quick kind of word association with you on what has already come out. Please give us a quick recap of the Deadworld Universe:

Deadworld Vol. 1:
The original series which was very good up until the end then the interweaving storylines muddled things up.

Deadworld Vol. 2:
An attempt to right the ship which started off good but again got waylaid. However, when Troy Nixey returned for the last two issues, I thought he did a great job of bringing it all together.

Deadworld To Kill a King:
A satisfying and complete story. I was happy with it and Ron McCain did a good, albeit stylized, rendition.

Deadworld Archives:
Simply a means to get the original series back in print. I think we only did the first three issues.

Realm of the Dead:
I liked the concept and story but the art suffered. I’d like to redo it but sometimes its just best to move on.

Roadkill A Chronicle of the Deadworld:
A prose story by Del Stone set in the Deadworld with spot illustrations by Dave Dorman. What’s not to like?

Deadworld Chronicles The Plague:
Kevin Thomas was a promising artist and he did this one shot became an analogy for the AIDS epidemic. Kevin was the original artist for Slaughterhouse many, many years ago but he got too experimental in the book so it never, and never will, was printed.

Deadworld Chronicles Dire Wolves:
One shot by Chuck Yates which was just an episode set in Deadworld. It served the purpose of the Chronicles to be one shots of Deadworld.

Deadworld Necropolis:
Mitch Waxman having fun with Deadworld and he moved the action to New York City.

Deadworld: King Zombie:
This was to be a mini-series and perhaps ongoing that was written by Tom Sniegoski and drawn by Jacen Burrows. However, after two issues, Jacen got hired away and the sales were disappointing as this was coming out towards the end of the crash in the late 1990’s.

Deadworld Vol. 3:
This is the Requiem for the World series put out by Image. A reboot of the Deadworld series and is the starting point for all things Deadworld from now on.

Deadworld Dead Killer:
This was a one shot that collected the serial that ran in the first volume of Deadworld. Introduced the Dead-Killer and led into the To Kill a King mini-series. All of that was collected into the Dead Killer trade paperback. Dead Killer became one of my favorite characters.

Deadworld Daemonstorm:
Simply a tie into the Daemonstorm saga which was a way of bringing all the various Caliber titles into a shared, although loosely, universe. More of a Daemonstorm story than a Deadworld story.

Deadworld Frozen Over:
Michael Raicht came in to do this story which was to have a mini-series that was part of the continuity yet stand alone. As usual, artistic delays because the artist got hired away by Wildstorm before finishing.

Deadworld Slaughterhouse:
Here I wanted to show the scientific side of things and what extremes people will go in order to preserve the human race.

Crap that's a lot! I need to start reading more.

DD: So after over 20+ years how much of Deadworld is there left to be told?

GR: It’s much like anything else that has a long history…there is always a lot to tell. I think so many aspects haven’t been fully developed that we haven’t even scratched the surface yet.

DD: Do you find that this universe has a strong following?

GR: Deadworld is a title that has had many people coming and going over the years. It had a incredible impact when Arrow first released the series but in recent years has been joined by an enormous number of zombie titles. But yeah, it seems to have a great following, stronger than the sales would indicate.

DD: What’s going on with the movie?

GR: Not much I can really talk about at this time. David Hayter who wrote Watchmen and the first two X-Men films wrote the script. Reading the script, there are some changes but I think he captures the flavor of it very well and some of the scenes he puts into it really help to cement the whole storyline together. I talked with the producers and we’ve discussed directors and stars but Hollywood works at its own pace so I can’t give any kind of idea at this time of what’s going on exactly…but it is moving ahead at least.

DD: What keeps you motivated to make more?

GR: Again, there’s a lot of directions I’d like to take the story. Most of it deals on the human level and how they respond to a holocaust such as what spawned the Deadworld.

DD: So what doe the future hold in store for Deadworld?

GR: Hard to say. With so much going on in my life, I can’t say for certain that I will continue with Deadworld in some kind of future projections but I think that even if I decide to move on, I’d turn it over to someone else. Everything depends on market conditions, the film, and my personal motivation so it’s hard to project. I’ll deal with the situation that is present and continue to do so in the future.

DD: Can you share any great fan experiences you have had over the years?

GR: Probably the more memorable experiences are from my daughters in high school and college talking to people and when a Deadworld fan makes the connection that the Reed girl they’re talking to is the daughter of Gary Reed, the writer of Deadworld. My daughters don’t see my presence outside of the house so that’s always a nice revelation for me to witness.

DD: Alright I will let you out of here after this last question. Why should we all read Deadworld stories?

GR: One reviewer called it the grand-daddy of all zombie comics and I think for that, it deserves attention. I think with the books coming out from IDW this year and the new material coming out at the end of the year, it’s a great foundation to be introduced to a fully fleshed out world of horror that goes beyond the traditional zombie tales.

DD: Thanks Gary. From a huge fan like me I want to thank you for keeping this series going for so long. I grew up in the 90's so I was not familiar with Deadworld until almost 2 years ago when I got back into comics. But when I saw the Tame cover for Deadworld Vol. 1 issue #5 I knew this was a series I had to know more about. And in doing so I have met some great people along the way and I can honestly say that they all agree this series has helped shape and build on the modern horror comics we see today. It's just that powerful of a zombie series, that has proven it can stand the test of time.

To learn more about Gary and the Deadworld series please check out

Tuesday, March 9, 2010

Deep Discussions with Decapitated Dan: Ben Templesmith

Welcome back kiddies. I have lured Ben Templesmith into the depths to pick his brain about life and everything in between. So sit back and relax as he tells us about who he is, what he does, and what we can expect from him in the future. Trust me, you will like what you read!

Alright le
ts start out with a short answer section and get the usual out of the way.

Ben Templesmith

Old enough. That's what my mum always used to say.

Currently pursuing a relationship with a Space Squid type entity after a near death experience.

Some cats & a couple humans. Pretty sure the cats are smarter. No names, national security reasons.

Highest Education Level:
I learned to write my name in 1991 ( The year Australia first got electricity ) and basically went from there. Eventually culminating in a fancy, doily dressed university degree in Design.

High School Mascot:
We don't actually do such things down there much. They rejected my idea for it to be "Sherman the Sex Offender" when I proposed one though.

First Job:
Making sure "Clan of the Cave Bear" was playing endlessly at the vid store I worked at because Daryl Hannah was quite attractive with subtitles.

Favorite place to vacation:
I travel a lot but rarely vacation. Toss up between Hawaii and Thailand for actual attempts at relaxation though but would like to live in neither places for long.

Staying with short answers lets talk about what you do:

Comic(s) Before the day after tomorrow:
I have no real idea when most of the stuff I worked on was really. Suffice to say 30 Days of Night and Hellspawn were started in 2002-2003 and after that it's a bit of a blur. I worked (and still do) on more than one thing at a time usually so I never keep track. Apparently there's a list on my wiki page of everything with dates but I never wrote it!

Alright all that stuff aside lets get to the meat of the interview:

What do you do when not making comics?
Sleep. Abuse twitter. Try to travel a bit. Read books on history as much as possible.

Favorite TV Shows past and present?
Rome, Venture Brothers, BSG before I saw the ending...Doctor Who and Breaking Bad.

Favorite comic character when you were 8, 18 and 28?
Err..Grey Hulk...Spider Jerusalem...Shaolin Cowboy.

Sports Fan? Who ya rooting for?
The West Coast Eagles Football club. That's AFL. Not the American one either, but proper football. No padding. More blood and played on a field larger than a soccer pitch.

Before the age of 16 what was your favorite Halloween Costume? After 16?
Australia doesn't do American traditions too much. Only time I dressed up was last year for a party as Dr Who.

Bigfoot and Dracula get in a fight. Who do you think started it and why?
Bigfoot, clearly is a hippy eco friendly progressive. Dracula has all the attributes to make him a perfect Dick Cheney style Republican. They'd probably argue over the laughable state of health care in the US, compared to most other western nations. I mean think about it, Dracula doesn't die. What does he need to care about affordable medicine for all for?

Your on a tour of the Mount Rushmore when you lose the rest of the group. Left in Washington's nose for 4 days what do you do to pass the time?
Call for help on my iphone then spend the waiting time surfing for porn.

Back to comic stuff for now.

Knowing that Iceman is the greatest hero of all time, why do you think he is so underused?
Global warming?

If you were to make a comic about the Killer Rabbits of New Guinea what would it be called and sell me on a quick pitch. GO!
I think I'll leave that stuff to the hollywood types.

I guess we can all agree that your art style isn't too shabby but what did you really want to be when you grew up?
Older. Art isn't something you choose really, it chooses you. I've been a slave to my passions since I was a kid and lucky for me, can earn a living at it so far.That's really all there is to know.

Where is the real money at in comic creating?
Creator owned comics. Well, if you mean for actual creators. If they succeed not only should you make money from a book for literally decades, but the other media stuff can be successful to.

When your making comics whats going on around you? Music, what kind? Silence? TV on?
Movie soundtrack music mostly. Or silence sometimes too.

10 years from now. Where do you see yourself?
The UK or Canada, looking out at some green landscape with mist and rain and stuff from my studio as I paint what I want for an exhibit and an art book. And then the five Russian hookers in the other room call out to me and tell me the cocaine has arrived and it's pretty good.

No wait, wait...that last bit is Tiger Woods I think, not me.

Alright we can finish up with a quick word association game. I will say a word, you give me a quick one sentence response.

28 Days Later?
That time of the month?

American Health Insurance.

11:57 a.m.?

Proper name for "flip flops" where I'm from.
My pet monster?

Schoolgirl panty shots. ( Apparently it's an entire genre? )

Coloring books?
Republican policy documents.

Decapitated Dan?
Jeffery Dalmer?

Ben Templesmith?
Obviously a fake name.
Thanks so much Ben.

To see what Ben is up to and check out his works please go to