Exclusive Interview: Director Keith Arem Discusses His New Graphic Novel INFEX - Dread Central
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Exclusive Interview: Director Keith Arem Discusses His New Graphic Novel INFEX



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A unique new graphic novel titled INFEX is now available for iPad 2 and is scheduled to launch its next phase this month. The graphic novel blends as many storytelling genres as it does creative mediums to tell the story of Evelyn “Ivy” Kendall in a futuristic world.

Dread Central recently sat down with the creator of INFEX, video game director and producer Keith Arem, to discuss his creative new approach to the graphic novel. Read on to learn more!

AMANDA DYAR: INFEX is a unique concept that is hard to categorize solely as a book, movie, or game. Since this piece of interactive media has never really been utilized before, where in the world did you come up with the idea for both the technology and story of INFEX?

Exclusive Interview: Director Keith Arem Discusses His New Graphic Novel Infex

KEITH AREM: I’ve always been fascinated about the ability of an organism to change its surroundings from within. Similarly, that was the goal of this property – from the foundation of the story to the way it was presented as a product. INFEX was designed to be a true transmedia experience, allowing the audience to experience the story on a variety of mediums. Brandon Humphreys and I created the original story concept, and our initial effort was going to produce my next Contagion album as a conceptual album with music, dialog, and sound design. That quickly evolved into the development of the INFEX graphic novel and viral/ARG campaign, which suddenly had thousands of people following the story online through hidden websites, Facebook pages, Twitter sites, and convention appearances.

When we finally released the limited edition INFEX graphic novel and Origins comic at Comic-Con in 2009, we were restrained by traditional print publishing and distribution methods. Now, in 2012, we chose to develop the INFEX App exclusively for iPad 2 because it offers the viewer the most engaging experience, and the display and sound quality are superb. Because of my background in games, working with actors, writing music, and conceptualizing scenes, I wanted to bring these elements into the novel, without losing the tactile experience of reading a book. With the iPad’ s technology and features, the result was an immersive approach to make each panel of the graphic novel come to life, with all of these elements combined. I was finally able to incorporate my experience in games, music, animation, and film into one product.

AMANDA: INFEX‘s storyline revolves around a woman named Evelyn “Ivy” Kendall–a cancer survivor turned mutant thanks to a special cure delivered by her father. What was your thought process when creating the protagonist for your story, what type of person is Ivy, and how does the character evolve over the course of INFEX‘s phases?

KEITH: Much like the viewer in this book, I wanted Ivy’s experience to be one of discovery as she progresses though the story. Instead of a linear progression of novels (sequels, prequels, etc.), the INFEX world was built using the idea of story “threads” that would intersect at a central point in time. The book instantly opens in the middle of this intersection, throwing the reader into the story without a background or history for the events that lead to this moment.

Ivy’s story is the first “thread” that occurs 15 years after this intersection. Ivy is a strong, sensitive, compassionate person who is trying to complete a legacy left by her father. I wanted Ivy to be an innocent victim of a battle between her father and his rival, and she becomes the key to ending their conflict. Her father, Dr. Leonard Kendall, had created the cure for the world’s diseases but hid the technology inside her to protect it from his company’s sinister intentions. Throughout the book Ivy learns about her father’s tragic struggle and realizes her destiny was part of an elaborate chess game between him and his business partner, Dr. Harlan Griffin. She realizes that she is a pawn in their war, but as she unravels her father’s history, she understands she must evolve to survive and bring an end to the company that murdered him.

AMANDA: In the first phase of INFEX, we find Ivy teaming up with former IngenBio Commander Garret Thorne ironically enough. Can you tell us about Thorne’s character and how his relationship with Ivy will be affected over time? Also, who is the primary antagonist in INFEX?

Exclusive Interview: Director Keith Arem Discusses His New Graphic Novel Infex

KEITH: At the beginning of the story, Garrett Thorne is a former Gulf War soldier, working as the Head of Security for IngenBio Corporation – the largest pharmaceutical company in the world. Thorne befriends Ivy and her father, Dr. Leonard Kendall, but soon also becomes a victim of the chess game between Kendall and Griffin. Harlan Griffin is the President of IngenBio, and he uses Thorne’s relationship to manipulate Kendall. When Thorne is eventually sent in to retrieve Kendall’s technology, he becomes responsible for Kendall’s death and given the responsibility of protecting Ivy from Griffin.

Fifteen years later we discover Thorne has been captured and genetically modified by Griffin. When he discovers Ivy has been captured, he escapes and uses his new abilities to guide Ivy and protect her from Griffin. As his name implies, Thorne is a polar opposite of Ivy, both in his abilities and physical attributes. Their combination of unique abilities and opposing strengths make them a powerful rival to Griffin’s army.

AMANDA: The voice acting in INFEX contains an all-star cast of talented actors including Lance Henriksen (Aliens and Terminator), Michael Wincott (The Crow), William Fichtner (The Dark Knight and Date Night), and even video game veterans such as Will Yun Lee (Sleeping Dogs) and Troy Baker (The Last of Us and Bioshock: Infinite). How did you assemble such an amazing cast for INFEX, and how much has the talent contributed to the success of the project?

KEITH: I have been very fortunate to work with such an amazing group of actors over the past several years. My work in games has fostered amazing relationships with some of the most talented people in the industry, and we love working together. Not only do I have a strong respect for their work and abilities, but I am drawn towards people who love their craft. I love what I do and collaborate best with people who are more excited about a concept and story than just a paycheck. The cast of INFEX has brought the story to life in a way no other book has done before. I wanted the viewer to experience each panel of the graphic novel as if it was a scene from a movie, and their performances deliver this and more. I was extremely impressed with everyone’s contribution, and I can’t wait to do more.

AMANDA: INFEX is definitely an exciting title that we can’t wait to complete. What do you hope the lasting impact of INFEX will be on the entertainment industry, when will the remaining phases of the story be released, and will INFEX ever move to another platform or possibly produce a full fledged spin-off video game or other project?

KEITH: We are submitting Phase 2 with Apple this week and hope to release the successive phases each month through October. Our goal is to develop INFEX into a true transmedia franchise and expand the other story threads in a variety of mediums. I plan to develop a series, game franchise, and film around the INFEX universe and utilize a range of new technologies to tell these stories. My hope is that INFEX will create a new breed of entertainment, allowing graphic novelists, actors, game developers, writers, musicians, artists, and creators to play in a new medium of storytelling.

You can learn more at the rather spooky INFEX website or download the first phase on iTunes.

Exclusive Interview: Director Keith Arem Discusses His New Graphic Novel Infex

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Check Out the Opening 2 Minutes of Another WolfCop



It was just earlier today that we brought you guys The Dude Design’s the newest poster for writer-director Lowell Dean’s horror-comedy sequel Another WolfCop.

And now we have the movie’s opening 2 minutes!

The clip showcases the new flick’s villain trying to sell us on his “Chicken Milk Beer” before losing his cool and taking it out the commercial’s crew. We then cut to a ragtag group of criminals, dressed as homeless Santas trying to outrun the cops.

A fun two-minutes if you ask me!

You can check out Another WolfCop‘s opening scene below and then make sure to hit us up and let us know what you think in the comments below or on social media!

The film is written and directed by Lowell Dean, produced by Bernie Hernando, Deborah Marks, and Hugh Patterson, and distributed worldwide by Cineplex.

Another WolfCop co-stars Amy Matysio, Jonathan Cherry, and Serena Miller. The film also features special appearances from Canadian music icon Gowan and legendary filmmaker Kevin Smith. It was executive produced by Sean Buckley, J. Joly, Bill Marks, Brian Wideen, Michael Kennedy, and Michael Hirsch.

The film is slated for a wide Cineplex theatrical release on Friday, December 8, 2017, with the film seeing a Blu-ray/DVD/Digital home entertainment release through A71 and Black Fawn in 2018.


A month has passed since the eclipse transformed hard-drinking Officer Lou Garou into the crime-fighting hellion WolfCop. Although the Shape Shifters controlling the town have been extinguished, Woodhaven is far from returning to normal. Lou’s liquor-fueled antics and full moon outbursts are seriously testing his relationship with Officer Tina Walsh – the new Chief of Police. An old friend has mysteriously reappeared with a truly bizarre secret to share, and a homicidal new villain has emerged from the shadows looking to finish what the Shape Shifters started. To defeat this lethal adversary, it will take more than a lone wolf packing a pistol.

Prepare for the next chapter of WolfCop that will be more dirty and hairy than the original! Consider yourself warned.

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AHS: Cult Review – Clowns, Cults, Politics, and Peters



Starring Evan Peters, Sarah Paulson, Billie Lourd, Cheyenne Jackson, Frances Conroy, Mare Winningham, and Allison Pill

Created by Ryan Murphy and Brad Falchuk


It’s here. We’ve reached the end. The newest season of “American Horror Story” has ended and now we are here to provide you guys with our season review of AHS: Cult.

Spoiler free.

To start things off let me say I’m not the world’s biggest fan of “American Horror Story”. It breaks down like this: I enjoyed the absolute hell out of the first season of the series (“Murder House”), couldn’t get through “Asylum” (I know, I know, I’ve tried), dug “Coven” for what it was, really enjoyed “Freak Show”, and again I couldn’t get into “Hotel” or “Roanoke”.

That’s the story of me and “American Horror Story”. Plain And simple. But what did I think of the new seventh season of the notorious horror anthology series? Let’s find out.

Back when the seventh season of AHS was first announced (then going by the title “AHS: Election”) I was immediately intrigued by the new season because I heard it would not include any supernatural elements. Like the fourth season, “Freak Show”.

Now I’m a fan of ghosts and weird creature-men with drills for d*cks, don’t get me wrong. But the series has thus far relied almost exclusively on horrors of the supernatural variety (other than “Freak Show”) so this major change of pace was again welcomed by this guy.

Instead of vampires, aliens, and witches this season relied on terrors of the mind. Psychological fears and anxieties. The horrors man does to man. Deep issues.

Oh, and clowns. Like a lot of clowns.

But just because this new season didn’t include anything supernatural, that doesn’t mean the 11-episode season wasn’t filled with twisted visuals and horrifically disturbing acts. No, sir. This season boasted some showstoppers including S&M, gimps, and a house of horrors that wouldn’t be out of place in a Rob Zombie flick. It was all good.

But let’s backtrack a bit here.

Allow me to rundown the season’s plot for those who may be unaware. “AHS: Cult” tells the tale of a world post-election night. The literal dawn of Trump’s America. In one corner we have Sarah Paulson’s soccer mom, trying to fight through life with a series of crippling phobias (including clowns, holes, blood, and being a good person).

And in the other corner, we have Evan Peter’s angry, white (blue-haired) male, looking to seize Trump’s new position of power to bring about the end of… Actually, I want this to be a spoiler-free season review, so I’m just going to say the dude’s got big plans.

Like Manson-size plans. Let’s leave it at that.

With these two characters established, the new season then proceeds to send them spiraling into a collision course of political sabotage, intrigue, and clown-based nope, nope, nope-ing that can only end with one – or both – of them dead as Dillinger.

Overall “AHS: Cult” belonged end-to-end to Mr. Evan Peters. The young actor has continued to show his striking range from season to season of Ryan Murphy’s horror show and this season was no different. Peters’ turn as not only Kai, the blue-haired leader of the titular cult, but as infamous leaders such as David Koresh, Jim Jones, and Charles Manson – to name a few – owed this season.

I can only hope he doesn’t pull a Jessica Lange and opt-out of more AHS next year.

Speaking of top performances, “AHS: Cult ” showcases some other chilling and memorable turns with Alison Pill’s strangely vulnerable, put-upon wife character being the best next to Peters in my eyes. This actress needs to be in more films/TV!

Along with Pill, actress Billie Lourd killed it time and time again. The “Scream Queens” breakout star and Carrie Fisher spawn was yet again a highlight in her second Ryan Murphy series. Bet she has the starring role in next season. Mark my words.

Add to that, the season also boasts a handful of fun cameos, including John Carroll Lynch’s return as Twisty the Clown, Emma Roberts as a bitchy reporter that will do anything to end up on top, and Lena Dunham as SCUM Manifesto writer Valerie Solanas. The cameo cast killed it and I wish they would have been present for more episodes. What are you gonna do?

On the sour side of the season, I didn’t dig Sarah Paulson’s character. At all. But I’m sure that was the point. Right? I’m still not sure. But, boy, I wouldn’t even want to be stuck in line behind her at a Starbucks for three minutes, let alone spend the better part of this season’s 11-hours with her and her whiny bullshite. Urgh.

That said, she pulled it out by the finale. That’s all I’ll say.

In the end, I enjoyed this season as much as – if not more – than any other of the series. “Murder House” will still no doubt go on as my favorite season of the series, but “AHS: Cult” will rank third after season one and “Freak Show”.

While I was on the fence about the season after three episodes, the show ended up ditching Paulson’s character (and/or shifting her arch) after a lull so the episodes picked up quickly. Whenever the season turned its focus back towards Peters (in whichever incarnation he was playing at the time) the show got better and better. Every time.

Not a bad way to spend my Tuesday night for the past 11 weeks.

Bring on season 12.

  • American Horror Story: Cult (2018)


The seventh season of Ryan Murphy’s American Horror Story was Evan Peters’ show all the way through. The young actor pulled out all the stops time and time again to make what may have been a lackluster supernatural-free season a winner.

User Rating 4 (3 votes)
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The Axiom Review – A Stylish and Clever Slice of Independent Horror




Starring Hattie Smith, Zac Titus, Nicole Dambro

Directed by Nicholas Woods

The Axiom is an ambitious, well directed, impressively acted and stunningly shot independent horror film that has just a few, teensy little flaws holding it back from greatness (and therefore will have to settle for just being really, really good, instead).

The first thing you realize when watching The Axiom is that this is a beautiful film. Everything is framed and shot in a lush and stylish manner, but one which is always tonally appropriate for the scene.

The second thing you’ll notice, and keep noticing as the film plays out, is that the movie really struck gold with this cast. Not only is there a total lack of the sort of stilted and unnatural acting seen in countless other microbudget horror affairs, but the performances are genuinely fantastic across the board. The main characters are believably chill and relatably normal in the early scenes, and the acting remains just as impressive once things start getting a bit more… intense. It’s not often that an independent horror film has so many good performances that it makes it hard to pick the movie’s acting VIP, but that is undeniably the case here. Taylor Flowers delivers what is probably the showiest performance (and does it very well, indeed), but the entire cast really is quite good.

The central premise of the film is both interesting and original, and touches upon the real life fact (given some recent attention in the ‘Missing 411’ books and documentary) that a lot more people sure seem to go missing out in the woods than seems reasonable, while simultaneously weaving all sorts of folklore, fairy tales and urban legends into the mix. It’s also clever in the way that it very naturally reveals aspects to the relationships between characters that serve to later – or sometimes retroactively – explain some of the more questionable decisions they make or attitudes they display. While that may sound like screenwriting 101, it’s surprising how many films fail to do this. The Axiom rewards the viewer’s attention in other ways as well, with many aspects of the movie that initially feel odd or unnatural receiving reasonable explanations (within the context of the movie) by the end. It’s not quite as challenging (or as rewarding) in this regard as, say, something like Session 9, but it does add a nice layer of complexity to the storytelling.

The film’s score, by Leo Kaliski, is also quite good. There may be a moment here or there where the music hits an overly familiar beat, but overall it not only fits the movie’s tone, but does quite a bit to help set that tone as well.

The only thing that I don’t feel the movie quite pulls off – and I’m trying to be vague here, because I feel like the less you know going into this film, the better – is some of the makeup effects work. The gore stuff is very well executed, but some of the other stuff feels like it was crafted with the intention of shooting it in a more… stylized manner. Instead, filmed as it is here, the result is sometimes less than impressive and can fail to make the impact that the movie seems to be implying that it should. And while some of what the makeup effects lack in execution is made up for with the ingenuity and creativity of their design, it’s still a bit of a shame when they don’t quite pull them off because, aside from a few niggles that I have with the writing, the effects are the only aspect of the film that occasionally fails to live up to the high level of technical proficiency that The Axiom otherwise demonstrates.


  • Man, the acting in this movie is really good. The dialogue may stumble once or twice, but these actors always sell it anyway.
  • Give back Mia Sara’s DNA, Hattie Smith!
  • If you’re going to put your female lead in shorts this small, I hope you’re not sensitive to viewers unleashing a nonstop parade of “Has anyone seen my pants / OH GOD WHERE ARE MY PANTS!” jokes.
  • “You just pop this here ‘Blair Witch Stick Person / Anarchy sign’ sticker up on that there windshield of yours, and them park rangers? Well – heh heh – they won’t bother you none, no sir.” Hmmmmm…
  • The film really is shot amazingly well – better than a lot of mainstream releases. Cinematographer Sten Olson has a real future ahead of him.
  • As does writer / director Nicholas Woods, for that matter. Any director who can get this level of quality out of their cast and crew on their first ever film is someone to keep an eye on.
  • “I’ll make a run for it and get help,” says the female lead, and I’m like “Yeah, let her go – she has no pants to weigh her down.”
  • The gore effects in the movie are both realized and utilized very well.
  • Welcome back to horror movies, “I’ll be right back” dialogue spoken unironically by and/or to ill-fated characters.
  • The Axiom


In the end, The Axiom is a solid and entertaining flick that manages to wring a level of quality and originality out of the somewhat tired “Don’t Go in the Woods” horror subgenre not seen since 2012’s Cabin in the Woods. The cinematography and acting are hugely impressive, it features a nice, unnerving score, the premise is original and captivating, and the whole thing moves at a nice pace that helps keep the film’s flaws from dragging it down.

User Rating 3.9 (10 votes)
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