Last night (May 23rd) in Beverly Hills, the ultra-modern horror film L.A. Slasher made a splash on both the red carpet and the big screen. There were many horror fans in attendance as well as the cast and the dedicated filmmakers who saw this film through from its wobbly beginning to its strong finish.
The story is pure, biting satire: Disgusted with sensationalist culture, a killer abducts empty-headed reality TV stars and posts the captives being tortured live online, while the tabloid media and the bloodthirsty public debate whether or not society is better off without them. Filmed and edited in a lively, imaginative way, we get to see “tweets” pop up online, watch 7-second Vine-like videos play out, and hear the Slasher’s running commentary (given voice by Any Dick). No one is off-limits. In addition to reality stars, the city’s corrupt politicians (Eric Roberts plays the mayor) and drug-dealing dregs (Danny Trejo and Dave Bautista) are also taken to task.
Since L.A. Slasher is made by fans of the horror genre, there had to be a few Scream Queens thrown into the mix. One of them is played to perfection by Carlee Baker, who has known producer Sean Decker for years. “We were both deeply involved in the Bowling for Boobies cancer awareness event for years,” Baker said, “but really, he’s been my best friend for years. I was so happy to help out with this film.”
While [spoiler alert] Baker’s character is one of the lucky few who escape the L.A. Slasher’s machete of justice, she says her scene, which was shot on location in the Hollywood Hills on the grounds of a magnificent mansion, “was a lot of fun.”
There were no Dick encounters, though. “Andy wasn’t on set,” Baker explained. “He did his voiceover later,” while another actor did the actual stalking and stabbing.
One of the filmmakers, Abigail Wright, put on several hats as L.A. Slasher was in development. She plays the plum role of the investigative reporter who covers the crime spree, but she’s also a producer and one of the writers.
“Martin Owen is an incredible writer,” Wright says of the film’s director. “I just gave input on my character and wrote a few of the scenes. But it really was a group collaboration. Martin wrote the original screenplay, and I came in later on the project. The story was quite complex to begin with, so we [Owen, Decker, Elizabeth Morris, and herself] simplified it and changed some things around. A lot of that was done in the editing.”
Sean Decker was on hand to do… well, just about everything. Not only is he a producer, writer, and all-around cheerleader on this unique film, he also organized the red carpet event and, with his parents and son also in attendance, might as well have been spinning plates while walking barefoot on a tightrope. Luckily, we caught up with him for a few words!
Dread Central: How did you get involved with L.A. Slasher?
Sean Decker: Geno Tazioli called me one night in late 2010 and said, ‘There’s this British producer in town and he wants to shoot a sizzle reel for a slasher movie, and your name came up in conversation.’ For some reason, everybody thinks I know everything about slasher movies, which I don’t. But I do love that sub-genre. It’s my favorite. So, I went and met the producer the next morning. He had already assembled a thrown-together crew at that point and some actresses, and we were up and shooting at Linda Vista Hospital in a matter of hours. He didn’t really have much of a script there, more ‘moments’ really, but we shot it. And then the project grew out of that. That producer’s name was Tim Burke. Martin Owen, who is our director, then came on, and that’s how the film developed. It was a very challenging production, but our director, Martin, is just great. He made a very visual and stylish film.
DC: How much writing did you do on the screenplay?
SD: I kind of steered them in certain directions. As far as my actual writing, you’ll see it in any of the scenes that Barbara [Nedeljakova] or Carlee [Baker] or any of the cameo scream queens are involved in. A lot of the film actually was shot in sort of an improvisational way. Martin would often set up the beats of a scene and let the actors play and explore, and I think his approach really gives the film the kinetic energy it has.
DC: So, where does Andy Dick fit in? I know he’s the voice of the Slasher, but was that planned right from the start?
SD: No. The Slasher didn’t speak initially. As we moved forward into post production, though, imbuing the character with a narrative voice seemed appropriate. Given the tone of the project, and the fact that it lambasts the public’s fascination with pop culture, to have Andy do (the voiceover) seemed fitting.
DC: With “slasher” in the title, is it very gory?
SD: No. I don’t feel that it is. There are a couple of moments of gore, but we were really just trying to make a satire for all intents and purposes. We wanted to stay away from the torture-porn aspects. I would compare it to God Bless America meets Drive, to an extent. Within tone and in the visual sense, that’s kind of the approach. It’s got a crazy ‘80s soundtrack, too. We really went all out when we were putting that together. We have ABC’s “The Look of Love” in it, for instance, and “Scream Queens” and “American Horror Story’s” Mac Quayle delivered an amazing score.
DC: What’s the upshot?
SD: The film is intended to be fun, ultimately. It’s been kind of a hard thing to talk about before the release because people hear “L.A. Slasher,” and they immediately assume it’s going to be like Elijah Wood’s Maniac. I love that movie, but that is not our movie. L.A. Slasher itself is intended to be a satirical take on what many people I think feel is the cultural erosion of culture – reality TV.
L.A. Slasher premiered during the 2015 IFS (Independent Filmmakers Showcase) Film Festival at Laemmle’s Music Hall in Los Angeles. Check out our gallery of red carpet photos by Aaron Kai below.
L.A. Slasher‘s North American theatrical release starts June 12th in select AMC theaters. The film has a brand new website as well; be sure to visit LASlasherMovie.com.
With an all-star cast that includes Mischa Barton, Dave Bautista, Danny Trejo, Drake Bell, Eric Roberts, Brooke Hogan, Abigail Wright, Elizabeth Morris, Marisa Lauren, Tim Burke, and Andy Dick (in his comeback vehicle), L.A. Slasher is a social satire about reality TV and the glorification of people who are famous for simply being famous.
Exploring why it has become acceptable to become an influential star based on no merit or talent, the story follows the titular Slasher character as he systematically abducts these “stars,” much to the joy of the online public, who view his exploits via social media and who subsequently and enthusiastically support his mantra of “Death to Reality TV.”
Exclusive FredHeads Clip Shows How Horror Can Help Those Who Are Bullied
I’ve never hidden the fact that I was terribly bullied throughout elementary, middle, and much of high school. For some reason, I was “the kid” that was easy to pick on, to belittle, to break down day after day after day with words and violence. To this day, the effects of that bullying are still felt and I’ll never know why me or what I did to deserve it.
As with so many others that I’ve spoken with in our community, horror became a refuge, a safe place where I could watch the tormented become the tormentors, where I could see characters like myself become strong and fight back against those who delighted in terrorizing them. It was certainly cathartic but, perhaps all the more important, it was inspiring.
That’s why I believe the below clip from the upcoming documentary FredHeads, which follows the fanbase of the Wes Craven-created A Nightmare on Elm Street franchise, so important. It’s a story that not only speaks to me but one that I hope will speak with you. I only ask that you watch it with an open heart.
Written and directed by Paige Troxell, FredHeads features interviews with stars of the series Miko Hughes, Lisa Wilcox, Kelly Jo Minter, Tuesday Knight, Ricky Dean Logan, Andras Jones, and more.
FredHeads’ central theme analyzes how being a fan can change your life. The filmmakers have been traveling the country to speak with enthusiasts of all types: passionate fanatics, lifelong aficionados, cosplayers, creators, artists, filmmakers, kids, and more.
The documentary also features insight from the stars and creatives of the Elm Street franchise, exploring the enduring legacy, cultural impact, and fan community. Interview subjects include Lisa Wilcox, Robert Kurtzman, Tuesday Night, Miko Hughes, Danny Hassel, Andras Jones, Toy Newkirk, Kelly Jo Minter, Ricky Dean Logan, and Mick Strawn, among others.
Fast Five Q&A with S. Craig Zahler – Hug Chickenpenny: The Panegyric of an Anomalous Child
Earlier this month we posted an excerpt from writer-director S. Craig Zahler new novel, Hug Chickenpenny: The Panegyric of an Anomalous Child; and now, to make sure you’re keeping the project on your radar prior to its release tomorrow, we have a “fast five” Q&A with Zahler to share, in which he discusses the book, his vision for bringing it to the big screen, his partners on the project, and lots more… so strap in, and read on!
Dread Central: Thanks for taking time out of your busy schedule to chat with us, Craig. People may not be aware of how versatile your career has been. In addition to being an award-winning screenwriter, director, cinematographer, AND musician, you’re also a published author with several novels under your belt and a new one, Hug Chickenpenny: The Panegyric of an Anomalous Child, heading our way in early 2018. What’s it like wearing so many different hats? Exhausting at times, I would imagine! But is there one that you connect with more than the others? Or one that you turn to as a respite when you need some breathing space?
S. Craig Zahler: I came into an interest in moviemaking really early, at about 13. At the same time, I got really into reading H.P. Lovecraft, Robert E. Howard, and a lot of that sort of stuff. Those interests developed concurrently. And my interest in music probably developed a couple years later, though already at that time I was a big fan of Pink Floyd and a couple of other bands. For me, there’s always been two facets of stuff I’m interested in: One is learning a lot about it, be it a heavy metal band or an independent gore filmmaker or a pulp author or a painter or a jazz musician or whomever. The other facet is then trying to make my own version of whatever art I’m interested in. From a pretty early age I was writing fiction, I was roping my friends into being in my home movies, and I was drawing, as animation is probably my most consistent interest throughout my whole life. And, you know, I went to film school with the thought of working as a director and then focusing more on animation and cinematography. And after I got out of film school and shot a bunch of movies I didn’t really like, I realized that it wasn’t that satisfying for me to just make somebody else’s stories come to life, and I focused more and more on writing. And I think one of the reasons I’ve done more writing than anything else is this was something I could refine and get better at on my own. At this point in my life I’ve written 50 screenplays and eight novels; and that’s something where, if you have the discipline and are critical and apply that criticism to your own work, you can improve. At least I think so.
The music thing is an ongoing interest. I’m self-taught as a drummer. I’m a pretty terrible guitarist, but good enough I can write riffs, and I am a below average singer who was once a terrible singer, but I can sing well enough that I can come up with melodies and basic ideas to apply to the guitar parts or the basslines or whatever else I’m writing. And the musical aspect of my career is certainly aided in large part by one of my closest friends for more than 30 years, Jeff Herriott, who is a professor of music in addition to being a great friend of mine and a co-collaborator in most of my metal bands and the scores for all three of my movies.
In terms of it being exhausting, right now I’ve been burning pretty hot since 2013, when I was writing Mean Business on North Ganson Street and prepping for the Utah version of Bone Tomahawk that had a kind of different cast and didn’t happen and just kind of rolling from project to project. I’d like a little bit of a break before I get into movie number four or book number nine, but I’m happy that I now have a way to create a lot of different things and get them out into the world. I’m seizing those opportunities, but also, I look at pictures of myself in pre-production on Bone Tomahawk, and that was four years ago, and now I look ten years older. So I also need to slow it down for that reason. I don’t need to age ten years for every four I live.
DC: I would imagine screenwriting and penning a book are similar, but in what ways do they differ? And especially with Hug Chickenpenny, which you’re also going to be directing, what’s the process been like to now turn a 264-page tale into a tight, screen-ready story? And since you’re a musician also, do you already have the soundtrack for it worked out in advance?
SCZ: My intentions at this point are to do this story in full; this book is the script. I will reformat it, but we’re doing all of it. So I want the movie to be the entire book and for the movie to be black and white. And none of these are making the movie any easier to get made, and it will not be a short movie, either. But this idea has existed for me for 21 years, and now it’s coming out into the world in the form of a book, as my single favorite piece of the eight novels, 50 scripts, and two movies I’ve done, Hug Chickenpenny sits at the top. So if it takes awhile to get the movie made, and made properly, I’m okay with that. There’s no rush.
As was the case for Bone Tomahawk, which had very little score, and Brawl in Cell Block 99, which had far less—maybe only three minutes of score and all of it is transitional material—the musical aspect for Hug Chickenpenny is going to be sparse and interstitial stuff at the most. This is a story that I think has a lot of horror elements and pretty heavy drama as well as all of the weird stuff and comedic stuff that goes on. My aesthetic has always been to “make the scene work without music” and don’t use that as a crutch. And while there have been great movies that did use music to enhance the emotional reaction, it’s unlikely that I am going to go that route on Hug Chickenpenny. It’s unlikely that I would have a horror sequence or a sad sequence and put horror music or sad music to try and enhance it. I’m just going to try to make the best version of it with the images and the characters and the concept of the piece and see what it brings out honestly with what I was able to get on the set and assemble in the editing room.
DC: We’ve heard that Hug Chickenpenny is a really unique book, and while it’s not strictly horror, it does have a lot of genre elements. What do you think horror fans will enjoy about it? And can you elaborate a bit on its Gothic nature, especially with regard to the work you’re doing with The Jim Henson Company, which has come on board to produce and create/build the animatronic puppet versions of the titular character, “Hug.”
SCZ: I am very aware that there are people who like Bone Tomahawk and Brawl in Cell Block 99 who would read Hug Chickenpenny: The Panegyric of an Anomalous Child and say, “What the hell is this?” or spend the whole time waiting for a dude to get cut in half. So some of those people may say, “Well, this didn’t deliver what I like most in Zahler’s work.” And that’s okay. There are also many people who would enjoy Hug Chickenpenny who would be turned off by the violence in Bone Tomahawk or Brawl in Cell Block 99. It’s a different piece… But whereas Bone and Brawl really go off the deep end with graphic violence, and Dragged Across Concrete gets pretty rough but isn’t as violent as these other two pieces, Hug Chickenpenny doesn’t go there at all. So if what was most appealing about my first two movies was the carnage, then Hug Chickenpenny won’t be that. But at the same time, the horror crowd in particular responded really strongly to both of those movies, even though Bone Tomahawk to me is a western that has elements of horror, and Brawl similarly was a crime piece that had elements of horror. Hug Chickenpenny has probably more elements of horror, with intimations of supernatural and wondering about Hug’s parentage and some longer horror sequences, even if the end result isn’t incredibly violent in any spot.
I’ve already had a few meetings with the designers at Jim Henson’s Creature Shop, and recently we closed our deal with the Jim Henson Company, which is going to come on board and co-produce the movie with us. And I couldn’t be more thrilled about that. They are the—it isn’t even that they are the best partners; they are the only partners… Sometimes when I talk about his anatomy, I’m going to want to show interior shots of his anatomy and I want the animatronic of Hug to be extremely detailed and at the edge of how this technology can work, but also flexible so we can have a puppeteer in there and it’s not the fully posable, slightly robotic, animatronic creation where everything is done that way. That’s where we’re at now in having that discussion.
DC: You had a pretty incredible 2017 – congratulations on the success of Brawl in Cell Block 99! It has revived Vince Vaughn’s career in a big way, and the film showed up on a lot of end-of-the-year “best of” lists. You’re so adept at interweaving genres – western, action, thriller/drama, and always a tinge of horror. Is that something you consciously strive for, or is it just organic in your development of a project? What films, particularly horror movies, have influenced your work the most?
SCZ: You know, I’m aware that when I say this it sounds dismissive to the audience, but it shouldn’t, so try and let me phrase it carefully. This is the story I wanted to tell. And I want people to like it. But I’m not thinking about what audience it’s going to grab. My writing process is—I surprise myself. So in the case of writing Hug Chickenpenny, it was initially the idea of doing something different than what I’d done before. But it mainly came from wanting to tell this tale and see how I would deal with something where there wasn’t a lot of violence. I’m just as interested in the character moments as I am in the violent ones and as I am in the humorous moments. So in the case of Hug Chickenpenny, it gave me a lot of room to really explore the character stuff.
Also, one thing that I did in this piece that I haven’t done as much in my others is deal with a different scale of time. And so whereas Bone Tomahawk and Brawl in Cell Block 99 both take place in a fairly short period of time, in Hug events are going quickly, and there’s this feeling of dread as bad things are getting worse and worse. Things are becoming terrible. This is a really different kind of piece. And you go with this character on a much longer journey; even though it is not an especially long book, you get a sense of the complete life of this character. And so that is a very interesting thing for me; instead of having something necessarily plot-driven—though I am inclined towards simpler plots in most cases anyways—instead of having something that’s plot-driven, all of my pieces—almost all of my pieces—are character-driven.
Gremlins was a game changer for me. I was, I think, 11 when it came out, and I saw it multiple times in the theater. I had a Gizmo stuffed animal, and I had the movie book that came with it and Gremlins shrinky-dinks and a lot of stuff. And at that time I wasn’t really into horror; and, clearly, that is a horror movie, and… wow, did they get away with a lot in a PG movie! I guess that movie and Temple of Doom are the reasons we have PG-13. So that was a big door opener for me, realizing I enjoyed the nastier side of the dramatic experience. It has a lot of other things, too; and the creatures in particular were something I really responded to and appreciated the craft of making them and how lifelike they seemed. There’s just some really great animatronics and some really nice puppeteering. So that’s something you’ll see, a direct connection between that and Hug Chickenpenny, where Hug will be created in a similar manner and will be a puppet and an animatronic and a tangible entity that performers are acting with in all of the scenes, not a CG creation after the fact.
Re-Animator was big, and I think I saw that in seventh grade, so let’s say I was twelve. And that was a big one for me to see because I saw the unrated version. I saw a lot of things I hadn’t seen before and was initially horrified and repulsed by the violence and, you know, the intestine strangling, all of that. And then I realized I liked it. So that was more or less the movie that turned me around the corner into a kid who, within a year, had posters from Fangoria on his wall and was a gore hound with a VCR, who would bike to the video store every week and would just rent anything that looked like it was a horror film.
So those were the big ones for me. Certainly David Lynch’s material has interest for me. Around that time I discovered Eraserhead, which I think is particularly striking. There’ve been a lot of different pieces over the years. Night of the Living Dead, Rosemary’s Baby, Texas Chain Saw Massacre—those are three long-standing favorites of mine, all of which I’ve seen multiple times. There’re a lot of different pieces. But definitely Gremlins and Re-Animator were the big stepping stones into the larger world. And Gremlins still remains a top favorite of mine to this day.
DC: Our typical last question is: What’s coming up next? But no doubt you’ll have your hands full with the Hug Chickenpenny adaptation. Is there anything else you have cooking for the near future that might be of interest to the horror crowd?
SCZ: I intend Hug Chickenpenny to be my fourth movie, and it’s obviously very different from the first three, which are sort of this collection of men being mean to each other. We can call it “The Mean Men Trilogy.” And then after that I have interest in a few different pieces. One of them is a horror piece that would be quite extreme called Flesh Beneath the Concrete. One is a western feature that I will be writing imminently. And the third is possibly doing a limited series from my western novel, A Congregation of Jackals. So those are the three most likely candidates.
And something else that I have a lot of interest in—but it would be going on more concurrently with other projects—is doing an animated, adult fantasy piece. That’s the kind of piece that I would probably like to co-direct with somebody who has far more experience than I do in animation, though I was trained and have a background in it. And I’d like that to either be hand-drawn in a kind of older style and fluidly done in the style of masters like Richard Williams. That’s a project I hope to get going, but that’s gonna be a tough sell because adult animation in the United States is seriously rare, if not totally nonexistent. But I can’t think what a comparable piece would be that’s in existence anywhere at this point.
So there’s the fantasy-animation piece that I want to do and then the western feature, the western limited series, and the horror piece… I’m going to kinda see what opportunities are there and how long the experience of making Hug Chickenpenny lasts and see where my life is at after going through another big production experience.
DC: BONUS QUESTION: Since we’re just coming off the holiday season, what are your favorite films to watch during that time of year? Anything you can recommend to our readers that they might keep in mind for next year?
SCZ: Well, let me go back to Gremlins again, and say that’s a really nice one to see in the Christmas season. I’m a purist, as much as I can be when it comes to movie watching, so with movies that were shot on 35mm, I want to see them projected on 35mm, so I tend to see what’s running in revival houses. So it’s a little more dependent on what’s out there. But Gremlins is certainly a really good movie for this time of year. I also think Fargo is particularly good, with all that snow, to put you in that sort of experience; and, perhaps most people aren’t choosing Death Wish as their Christmas movie, but it was pretty enjoyable to check out this year. And I make an effort to watch holiday specials. So I’ll always watch something that looks like it’s going to be fun. There are one or two good Muppet specials, like “Letters to Santa,” that I enjoy; and then there’s a Pee-wee Herman Christmas special that’s particularly funny. So I enjoy watching a bunch of that stuff even though I’m not religious and not Christian if I were. So I do get into the spirit with that and have a nice time watching all that sort of stuff.
Cinestate releases the trade paperback original Hug Chickenpenny: The Panegyric of an Anomalous Child on January 23, 2018.
Hug Chickenpenny is an anomalous child. Born from tragedy and unknown paternity, this asymmetrical and white-haired baby inspires both ire and pity at the orphanage, until the day that an elderly eccentric adopts him as a pet. The upbeat boy’s spirit is challenged in his new home and as he is exposed to prejudiced members of society in various encounters. Will Hug and his astronautical dreams survive our cruel and judgmental world?
Superheroes You Never Realized Battled Xenomorphs
Though horror movie fans haven’t gotten an outstanding franchise crossover battle since 2003’s Freddy vs. Jason, superhero movies have been at the forefront of bringing disparate characters together for some serious carnage. Upcoming films like The New Mutants and Spawn are courting horror fans by promising suspense and violence (refusing to shy away from previously taboo R ratings), but many don’t realize comics have been delivering terrifying crossovers featuring some of our favorite villains for years.
With the pending sale of 20th Century Fox to Disney, the future of the Alien franchise has been called into question. Though we may never learn the fates of characters introduced in 2017’s Alien: Covenant, horror and sci-fi fans might want to explore the vast universe unfurled in numerous comics and graphic novels. Not only do they delve into the lives of characters only briefly seen in films, you can find some unexpected crossovers that make Alien vs. Predator seem uninspired.
Superman and Batman are just the two most famous superheroes who have gone toe-to-toe with Xenomorphs in comics. Keep reading for a detailed summary of Alien franchise crossovers in comics.
The Man of Steel first crossed paths with Alien’s titular extraterrestrials in a 3-episode series from Dark Horse Comics. Written and illustrated by Dan Jurgens, Superman vs. Aliens ran from July through September 1995. The story found Superman lamenting his isolation when a signal from deep space renewed hopes that there may be other survivors of Krypton’s apocalypse.
His hopes are dashed, however, when he arrives at the decimated city of Argo, where a Xenomorph infestation has wiped out the once-thriving community. Deprived of the powers he receives from Earth’s yellow Sun, Superman must face the Alien Queen while seeking a cure for the Xenomorph embryo growing inside him!
The Kryptonian would battle these fearsome foes again in Superman vs. Aliens II: God War in 2002; the 4-episode series from Dark Horse was written by Chuck Dixon and illustrated Jon Bogdanove. This time, Superman comes to the rescue when a renegade ship full of Xenomorphs crashes into the homeworld of The New Gods. In this series, Superman’s commitment to protecting all life is challenged, as he contemplates finding a suitable planet for the Alien Queen.
Batman vs. Aliens
Dark Horse released Batman/Aliens as a 2-part series in 1997; it was written by Ron Marz and illustrated and inked by Bernie Wrightson. The Caped Crusader uncovers a Xenomorph threat while investigating Mayan ruins, leading to a confrontation unlike anything Batman’s ever faced before. The clash continued in 2002’s Batman/Aliens II, a 3-part series written by Ian Edginton and illustrated by Staz Johnson.
This time, the Xenomorph plague hits Gotham, when a sealed vault reveals unsettling artifacts from a doomed mission to the South Pole. Mayhem reigns when face-huggers invade Arkham Asylum, where Batman must contend with a shadowy black-ops agency in addition to the relentless decimation caused by the Aliens.
Green Lantern vs. Aliens
Green Lantern versus Aliens (2000) is actually a continuation of a series that saw several iconic superheroes battling Predator’s intergalactic bounty hunters—but that’s a story for another article! This 4-issues series (also from Dark Horse and written by Ron Marz and illustrated by Rick Leonardi) kicks off with a never-before-told chapter in the story of Hal Jordan, widely considered the greatest of those to have carried the Green Lantern mantle.
Jordan’s decision to contain rather than destroy the Xenomorph threat will haunt his predecessor, Kyle Rayner, who joins a group of former Green Lantern Corps members to rescue residents of a planet overrun by Aliens. Ultimately, he must face the Alien Queen while struggling with the ethical consequences of annihilating an entire species, no matter how insidious it is—the same conundrum that tortured Jordan.
Judge Dredd vs. Aliens
In 2003, the Xenomorph plague hit Mega-One City hard in the 4-issue series Judge Dredd versus Aliens: Incubus, a collaboration between Dark Horse and Rebellion Developments; it was written by John Wagner and Andy Diggle and illustrated and inked by Henry Flint.
When the Alien threat emerges, Dredd first suspects there’s a connection to an underground fighting circuit, but this case will force him to seek the very origins of the nefarious species. In addition to protecting the residents of Mega-One, Dredd must also contend with an embryo growing inside him.
Others vs. Aliens
Other unexpected Alien crossovers that took place in comics worth mentioning include Buffy the Vampire Slayer: In Space No One Can Hear You Slay! Courtesy of (you guessed it) Dark Horse and released in 2012, an ill-advised “spacecation” finds Sunnydale’s savior facing off against the galaxy’s greatest scourge. The species’ acid-blood makes Buffy’s usual method of dispatch uniquely problematic!
Back in 1998, the WildC.A.T.s crossed paths with horror fans’ favorite E.T.’s after an outer space escape pod crash lands in New York City. With StormWatch out of commission, the remaining team must rally all their resources to defeat an unprecedented threat in WildC.A.T.s/Aliens, a one-off first published by Image Comics, and later picked up by Dark Horse.
Perhaps the most bizarre matchup occurred in 2012 when Vampirella battled Xenomorphs in a whopping 6-episode series published simultaneously in digital format by Comixology, Dynamite Digital, iVerse and (of course) Dark Horse Digital. Aliens/Vampirella takes place on Mars and also includes an ancient race of Martian warriors.
As creative minds and artists continue to collaborate, we can expect many more unexpected crossovers in the years to come. Whether any of these comic book match-ups featuring Xenomorphs ever come to fruition in the form of feature films, however, remains to be seen (though it seems unlikely).
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Exclusive FredHeads Clip Shows How Horror Can Help Those Who Are Bullied
Fast Five Q&A with S. Craig Zahler – Hug Chickenpenny: The Panegyric of an Anomalous Child
Superheroes You Never Realized Battled Xenomorphs
Jesper Kyd Returning to Score Vermintide 2
Like Me – Will You Like This Dystopian Thriller?
Gender Bashing: The Exorcist Series and the Male Body in Possession Horror
Zak Bagans’ Paranormal-Themed Documentary Demon House Acquired: Aiming For March Release
Julie, Sweet Julie: Why Return of the Living Dead 3 Is One of the Most Inventive Sequels Ever
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