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Essays Interview

Magnificent Maleficarum: Severin’s All the Haunts Be Ours and Howard David Ingham Interview

Severin Films are known for various versions of their DVD and Blu-ray releases, ranging from slipcases to ornate boxsets with exclusive features and small doodads while always delivering on content proper: best prints possible, commentaries, and other supplements.

Perhaps their most ambitious release yet, Severin released a boxset of folk horror films called All the Haunts Be Ours: A Compendium of Folk Horror. The standard edition of this boxset houses fifteen discs along with a book and a soundtrack. Of course, for a few pennies more, one could have ordered The Witches’ Bundle of the release which contains a treasure trove of additional goodies. 

Original advert for The Witches’ Bundle version

What follows is an unboxing of The Witches’ Bundle edition of All the Haunts Be Ours interspersed with interview segments with Howard David Ingham, a folk horror expert that has material in the release. 

The parcel that The Witches’ Bundle came in was huge. Wide and unwieldy, but at least not super heavy. The exterior was printed with the All The Haunts Be Ours artwork in gold. Very classy.

Algernon (tabby) and Cecily (tortie). Cats also show scale.

Of course, my kitty familiars are intrigued by the parcel and what treasure lie within.

When opened the contents are covered a healthy amount of packing peanuts. This is good for shipping, but it will be a nightmare to get them all back in the box and be able to close the lid.

The first object pulled forth from the parcel was a grimoire entitled Of Mud & Flame. A thick book, this tome will make for great reading later.

Next up are a set of three stickers with some fantastic art. It’s a shame that special editions like these only come with one set of stickers as folks need at least two: one set to keep pristine and the other to put on things. The top right sticker is a Hand of Glory (as seen in The Wicker Man). The one on the left with the sickle makes me think of the song “The Sickle and the Setting Sun” by Awen.

There was a wrapped packet that felt incredibly heavy.

This image doesn’t do the pendant justice at just how big it was.

Carefully unwrapping it one comes across a replica of the pendant from Alison’s Birthday. This pendant was heavy and quite large. 

And The Owl Service Melamine Plate! A bonafide plate! It’s a wee bit different than the advert (which shows a bumpy circumference while this one is a pure circle). 

Served on the plate none-the-less!

Next up is a completely impractical keychain modeled from The Witchhhammer. This would not fare well to one’s leg if put into a front pocket.

A rolled scroll of incantations protected inside this tube perhaps?

Stunning.

Even better, a full sized movie poster of the documentary Woodlands Dark and Days Bewitched: A History of Folk Horror. The art used on this poster (and subsequent packaging) is simply stunning. It will need to be kept safe inside its tube until a suitable frame can be procured.

Finally, the meat-and-potatoes of the whole package: the boxset of All Haunts Be Ours proper.

The boxset is housed in a sturdy box which allows the Blu-ray set and booklet to slip out easily.

The Blu-rays proper stored in an accordion-style package. Each page in the booklet houses a movie with corresponding artwork. 

One of the films in this set is the aforementioned Woodlands Dark and Days Bewitched documentary (which Severin sells by itself). One of the experts interviewed in the documentary is Howard David Ingham, author of the Bram Stoker nominated book We Don’t Go Back: A Watcher’s Guide to Folk Horror.

How did you come to be involved in the Woodlands Dark and Days Bewitched documentary? 

Back in 2018, Kier-La Janisse contacted me to ask if I’d be interviewed for a documentary about folk horror, and a very nice man named Neil Edwards came to ask me some questions. At the time the plan was to have it as a Blu-ray extra, but Kier-La’s project, unknown to me at the time, expanded in scope and became something bigger and more important. I thought no more about it until I saw my name on the Woodlands Dark and Days Bewitched press release a couple of years later, and then suddenly I’m in a spectacular, award-winning documentary, which is pretty-mind-blowing, really. 

What are your impressions of the documentary and what do you think it uniquely accomplishes?

I think the film is stunning, beautifully put together, exhaustive and it taught me stuff. I think the very best and most groundbreaking parts are in the sections about American and international folk horror – parts I’m not in, I might add, but I don’t think they’re the best bits because of that – which stake a very solid claim to be the first real authoritative document on what folk horror means outside of the UK. 

Of all the movies presented in the All the Haunts Be Ours boxset, which is your personal favourite?

That’s a hard one to answer, because there are several I haven’t seen yet (and I don’t have my boxset yet!). Of the ones I have seen, I cannot recommend VIY enough. It’s a glorious, magical film and everyone should see it. 

For someone new to folk horror, what film in the set do you think they should start with to ease into the genre.

That’s a hard one. But if you want a grounding in British folk horror, Robin Redbreast, the original Pagan Village Conspiracy film, is essential. For Americans, I would suggest starting with Eyes of Fire. But again it’s hard, because there’s a bunch of rarities I haven’t seen yet! Honestly, it might be just as good for you to dive right in and pick whatever film looks the most exciting to you! 

If one needs assistance at grounding many of the folk horror films in the real world, The Witches’ Bundle comes with a map of folk horror!

The map is housed in a beautiful envelope depicting a sacrifice of a rabbit.

Housed inside is also a postcard with a floral stag. This reminds me of the song “The Wounded Stag” by Lux Interna.

Asking for directions.

The map proper is two sided. The front side shows Europe depicting where each folk horror film takes place. 

The front and the back also contain a description of each locale.

An example of the entry for The Wicker Man.

And finally, the last object in the whole bundle is a set of tarot cards. The exterior box is thick and sturdy.

Inside one will find a set of tarot cards with unique art and names along with a guide book with a hypnotic cover.

The tarot guide book was written by none other than Ingham!

You wrote the booklet for the Woodlands Dark and Days Bewitched tarot card set. What was that experience like and how did you go about writing the interpretations for each card?

I’d done some work on Tarot and alternative Tarot interpretations before, so I had a familiarity with the Tarot as a thing, and in particular Tarot writing. It was a lot of fun to take those folk horror classics and draw fortunes from them, full of dread and poetry. 

Which card resonates the strongest with you?

Bagpuss, because I am saggy and loose at the seams, but I am nonetheless loved.

The Witches’ Bundle is an impressive and immersive release. Between the films, documentary, soundtrack, books, and other material, there’s literally weeks worth of subversive content to explore. Though The Witches’ Bundle has long sold out, the boxset of films proper is still available at the Severin website. For those who have only seen The Wicker Man or Midsommar, this release acts as a primer to get into the folk horror genre.


Sincere thank you to Howard David Ingham for his answers. You can find him at his Room 207 Press website. 

If you liked this coverage of The Witches’ Bundle, check out my other Severin write ups: The Blood Island boxset in Exotica Moderne #3 and Horrors of Spider Island in Exotica Moderne #9. Next month Severin releases the Eurosleaze pepla films Caligula The Untold Story and Caligula and Messalina. I am extremely excited for both as I can put my sword and sandal scholarship to test! 


If you enjoyed this unboxing article, check out these other ones:

And also these DVD/Blu-ray write ups:

Categories
News

News Roundup W/E 2021-03-21

Personal / Website News

Cover reveals galore!

There is a cover reveal and a product page for The Many Lives of The Twilight Zone: Essays on the Television and Film Franchise over at McFarland now! There’s no publishing date yet, but I am imagining it will be out late spring/early summer. To refresh, I have an essay in this book titled “Strange Realities: Twilight Zone-sploitation in Encounter with the Unknown” which does a deep dive into the 70s horror anthology film Encounter with the Unknown that Rod Serling narrated.

Issue 11 of Exotica Moderne has a cover reveal as well! In this issue I conduct an interview with Miss Pinup Miami.

Podcast News

Michele and I recorded a brand new episode of the H. P. Lovecast Podcast. In this episode we discuss William Eubank’s 2020 film, Underwater. Check it out on Buzzsprout or on your podcast platform of preference. Side note: we are finally on Pandora now!

General Neo-Peplum News

Sword and Sorcery Sketchbooks

Sword and Sorcery artist Gilead is selling sketchbooks of his fantasy art. If you’re in the US you can purchase them via PayPal for $12.00 at gilead@cox.net. More info in Gilead can be found at his Patreon.

Art copyright by Gilead.

Imperial Age to Debut New Song

Russian symphonic metal band Imperial Age, whose modus operandi is a melding of lots of different aspects of antiquity/mythology, has released a statement they will be debuting a new song on 2021-04-09 across all streaming platforms along with a music video on YouTube. The band is not doing preorders, and releasing the song’s title or cover art, though other things are being revealed via the band’s Facebook page and emails: screenshots seems to show the music video being vampire themed and Jane sings 100% of the vocals on the song.

Screencap of the new music video, promotional image made available on the band’s Facebook page.

Along with all of this, the band is working on a brand new album as well called New World.

The Midnight’s Horror Show Releases

Horror Show, the newest release from synthwave act The Midnight, was released this past Friday. The physical versions will be released later, but for now fans can enjoy digital incarnations at the project’s Bandcamp page. The release contains the track “Neon Medusa” which contains shades of mythology. Hope to dive into that track for a possible article.

Categories
Interview Peplum

Unlocking the Secrets of Secret Rites: Interview with Sammy Ward

Secret Rites is a neo-peplum, mythological comic by Sammy Ward. The one-shot comic was successfully Kickstarted and subsequently published in late 2020. The comic provides an alternate viewpoint of the myth of Persephone and Hades by being told from the point of view of her mother, Demeter. Simultaneously, the comic also not only depicts, but acts as an extension and interpretation of the Eleusinian Mysteries. This places the comic in the same canon as other artifacts of antiquity and paintings that depict the mysterious rituals.

Sincere thanks to Sammy Ward for allowing the following interview about her comic.

Secret Rites cover

Tell us a bit about your background and how you got into art and comics.

I’ve always been creative and enjoyed drawing. My first interest in comics came when I discovered Kabuki by David Mack. I was really interested in how he used different media and how it didn’t follow the typical conventions of a comic book. It opened up the medium to me and I realised it wasn’t all just super heroes.

Tell us more about the catalyst that started this comic, that is when you happened across the Eleusinian Mysteries? What was the big “A-ha! I want to make  comic from this!”

The first spark for me was when I did an illustration of Persephone for a drawing challenge back in 2018. I wasn’t following the usual prompt list but drawing deities from different cultures. Persephone is so fascinating as a symbol of life and death as well as being presented as powerful and a victim. When I was researching Persephone I read about the Eleusinian Mysteries. It just captured my imagination in that it was a real mystery so it opened up all these possibilities that I played around with for a while before writing what is now Secret Rites.

What texts did you use to draw inspiration from?

I’ve read Circe by Madeline Miller which explores Circe’s defiance as a witch and a mother against the Olympians. That defiance was definitely a theme I wanted to use in Secret Rites. I also enjoy listening to a lot of soundtracks whilst working and I find it can be inspiring. The God of War OST has probably been the main one but I also discovered the Hadestown the musical by Anaïs Mitchell whilst creating Secret Rites. It’s a different Greek Tragedy with a modern take but I still found it inspirational in creating the characters for Secret Rites where each one has a selfish agenda.

What texts and resources did you use for research materials?

I found articles by Mark Cartwright and Joshua J. Mark very helpful which led me to discover The Myth of Er by Plato (said to be an initiate himself) which describes the character Er joining the afterlife and then returning to reality. I also came across a talk from Terence Mckenna who was an ethnobotanist and mystic. He discusses the use of Ergot, a deadly black fungus found on wheat and barley with psychotropic properties which was a component in a drink consumed during the ritual. I found the link of this and Demeter being the goddess of the harvest very alluring.

Interior page depicting a scene of the Eleusinian Mysteries

What is your relationship with Greek mythology?

I think my interest in Greek mythology started when I was at school studying Greek playwrights in drama class. It’s not something I’ve devoted loads of time throughout my life but mythology and folklore have always fascinated me. I love reading different stories from all over the world whether it’s the Poetic Edda or Russian fairy tales. That’s my constant go to for books and comics.

Are you into any sword and sandal media?

I do enjoy the 1963 Jason and The Argonauts and [the] 1981 Clash of the Titans. I have a big appreciation for the Ray Harryhausen era of stop motion animation that really captures those stories. I also really enjoy reading Wonder Woman comics, I especially enjoyed the 2011 relaunch written by Brian Azzarello and illustrated by Cliff Chiangs and Tony Akins. Again, women defying the power and will of the Gods seems to be a favourite theme of mine.

What were some of the biggest challenges you encountered while realizing Secret Rites?

Whilst the actual concept and story came pretty naturally, the script process was challenging as it would change whilst I was creating the art. There are good and bad aspects of being both writer and illustrator. I started illustrating the book in 2019 but my art has changed/improved a fair bit since then so I went back and changed a few pieces I had previously completed. My first comic, Scavengers, is a silent comic so I managed to create a story without having to do any lettering other than the intros which I hand lettered. Learning to letter Secret Rites has been a really fun journey for me though a slow one. Lettering is it’s own art form.

Secret Rites and pin-up art from a Kickstarter package. Photo by Nicholas Diak.

Do you any any successor plans to Secret Rites?

Secret Rites is a one shot so there are no sequels planned. Not to say I wouldn’t be interested in exploring the mythos a little more. I’m very interested in exploring more deities from the Greek pantheon and from many different cultures and religions. I would also like to collaborate more in the future especially with those writing mythology and folktales.

Do you have any upcoming projects on the horizon that you’d like to share?

I worked on some original pieces illustrating winter and Christmas deities which are available from my Etsy store along with my comics. I’m currently working on a comic/zine hybrid which will involve deities but I can’t say much more at this stage, it will include more mixed media in terms of art and will be a lot more experimental.

Links for Sammy Ward

Artwork provided courtesy of Sammy Ward unless otherwise noted.

Categories
News

News Roundup W/E 2021-01-24

Personal / Website News

Call for Papers

The Call for Abstracts for my collection of essays on neo-medievalism is live. The CFP can be found here.

Podcast News

The preliminary ballot for the Bram Stoker Awards was just announced a few days ago. Some of the books on the ballot have been the subject of a few interviews/episodes of the H. P. Lovecast Podcast. In case you missed it, here they are and I strongly encourage a listen to the episodes, checking out the work, and if you’re a voting member of the Horror Writer’s Association, consider voting for these works:

Jasaon Parent’s Eight Cylinders is on the prelim ballot under the Superior Achievement in Long Fiction category:
My text review of Eight Cylinders
H. P. Lovecast Podcast discussion of Eight Cylinders
H. P. Lovecast Interview with Parent about Eight Cylinders

Robert P. Ottone’s Her Infernal Name & Other Nightmares is on the preliminary ballot under the Superior Achievement in a Fiction Collection category:
H. P. Lovecast Podcast interview with Ottone about Her Infernal Name

Now, because of the Stoker preliminary ballot being announced, Michele and I are going to be shifting our February schedule somewhat to better promote/leverage/accommodate our guest that month, Lee Murry. The initial schedule was that we were going to discuss Cthulhu Deep Down Under Volume 2 on the first weekend of the month and interview Murray on the third. However, Murray is on the preliminary ballot for two publications: Grotesque: Monster Stories under the Superior Achievement in a Fiction Collection category and Black Cranes: Tales of Unquiet Women under the Superior Achievement in an Anthology category. Because of this, we are going to flip and publish the interview the first week of the month and the discussion the third.

Outside of H. P. Lovecast Podcast news, I have two appearances on the Voice of Olympus program this week, one on Tuesday and another on Friday where Michele and I will be interviewing S. Alessandro Martinez. Also, a big heads up, it looks like I will be a guest on the Scaredy Cats podcast in April to discuss the film Slumber Party Massacre. Stay tuned for more details as we get closer to April and a date is solidified.

General Neo-Peplum News

Neo-Peplum Metal Release

Italian death/black/adventure metal band Gates of Doom released a new album earlier this month called Aquileia Mater Aeterna. Per the album’s description on the band’s Bandcamp page, Aquileia Mater Aeterna is

[a] concept album [that] focuses on the Friulian city of Aquileia, from its foundation by the Romans in 181 B.C. to its destruction in 452 A.D. at the hands of Attila. Historically, the city has been a crossroads of peoples and cultures crucial for the birth of our homeland Friûl and its identity, and it’s a great inspiration for our band.

Gates of Doom at Bandcamp

Sword and Sandal Peanut Butter Commercial

Peanut butter brand Jif has a new add that spoofs Gladiator. The commercial can be watched at Adweek.

Screenshot from the Jif commerical

Academic Panels

Dr. Ross Clare was recently on a panel called “Tolkien and the Classical World: Book Discussion.” An audio recording of that panel can be found on YouTube.

Categories
Interview Peplum

Building Mythologies: Samuel George London on Band of Warriors

Band of Warriors is a neo-peplum comic that is currently in the stages of being crowdfunded on Kickstarter. Written by Samuel George London (The S Factor, Milford Green, and Project Hoax), with art by Federico Avila Corsini (Treble, Remitente, and Maranatá) and editing by Nicole D’Andria (Miraculous), the story begins with King Minos at the height of his reign and leads to an epic, adventurous tale that incorporates both Grecian and Celtic mythologies.

Tell us a little bit about yourself and what got you into comics.

I only got into comics in 2015 after finding out that the TV show, The Walking Dead, was based on a comic. I bought all the compendiums up to that point and was hooked. After that I discovered Image’s back catalogue and went down a rabbit hole of indie comics. After a year or so, I was inspired enough to give writing a go and luckily an idea came to me in the form of Milford Green, which is best described as a Victorian space adventure. I Kickstarted that in 2018 and have since successfully funded five other comics as well as having a four issue mini-series titled The S Factor published by Action Lab – Danger Zone, which is about the dark underbelly of a superhero dating reality TV show.

What was the genesis of Band of Warriors (BoW)?

My mother has a house on the island of Crete and when I visited there for the first time in 2016 I was enthralled by the history it had, both fairly recently (WW2) and even further in the past, especially the bronze age (3,000-1200 BC). That same year, I visited my wife’s family in Brittany, France. Of course, I had visited them before but this time we visited a megalith which was next to an old tin mine. For those of you not in the know, bronze is made up of copper and tin.

When investigating all of this further it turned out that bronze age tin from France and Britain (my own homeland) had been found among bronze age artefacts on and around Crete. This trading relationship between France, Britain and Crete during the bronze age got my imagination fired up and the idea of Band of Warriors began.

BoW was actually the first idea that came to me but I thought the scope of the story was far too big for me to take on as a first time writer. But now that I’ve got a few books under my belt, I thought it was high time I got it out to the world. Honestly, it hasn’t been easy trawling through all the history and mythology surrounding all of those regions to create a coherent story but I think (if I don’t say so myself) I’ve created a rather epic story.

What were your other sources of inspiration for this comic?

To name but a few; 300 (both comic and movie), Kill the Minotaur and Vikings (both comics and TV show) have all inspired BoW. The mixture of mythology, history and action really helped me see that it’s possible.

What texts did you use for research for BoW?

One that really stands out is 1077 B.C. by Professor Eric Cline. The book is an outstanding insight into the era and as an added bonus you watch a lot of his lectures online, which are also massively useful.

What was some of the most interesting things you learned while researching?

One of the most interesting things to me was just how international that time was. There were full on trading relationships from France and Britain to Crete and even to Egypt, Turkey and Afghanistan. It’s incredible to me that over 3,500 years ago this was going on.

There’s a few other comics out there that merge different mythologies: what would you say sets yours apart?

My USP, so to speak, is that I’ve grounded the mythology in actual historical events. Using actual history to try and connect the dots of mythology is time consuming as a writer but I think that it will help the comic shine for the readers.

Do you have any favourite sword and sandal texts?

This might seem vacuous but I really enjoyed the 2014 movie with Dwayne Johnson, Hercules. I thought they did a superb job of merging mythology, history, reality and action. Sure the character development wasn’t great but man was the action awesome.

What is your general thoughts/impressions of the current state of the sword and sandal genre?

I think the sword and sandal genre can be quite one-dimensional and predictable, so I think it’s important that for those of us who are passionate about it think outside the box. Dwayne Johnson’s Hercules was a great example of subverting my expectations from everything being about magic and what not when in reality it was all tricks of the eye and playing into the reputation Hercules and his team had created.

How did you go about meeting/recruiting your artist Federico Avila Corsini and editor Nicole D’Andria?

I met Nicole a couple of years ago through Kickstarter and it turned out she did freelance editing. I then hired her to work on the Milford Green series and she’s been my trusted editor ever since. Federico on the other hand, was through Reddit. A few months ago I put a call out on Twitter and Reddit for an artist to work on a story that involved both Celtic and Greek mythology and after sifting through about thirty artists, Federico stood out. Both his style and work ethic are fantastic, so he’s the ideal artist for BoW.

What were some of the biggest challenges or obstacles you encountered while creating BoW?

My biggest challenge was connecting all the dots and making the story consistent. I actually have one of those cork boards that allows me to see all the storylines side by side in chronological order. I feel like I’m trying to catch a serial killer but it really does help.

Having successfully Kickstarted other projects, what advice do you have for other folks looking to use the medium?

First and foremost, get involved with the community. Secondly, research successful campaigns. Lastly, make sure you triple check your reward and postage costs.

What is the biggest thing you want to accomplish with BoW?

Great question! We’ve got an initial six issue arc sorted but I’d love for BoW to become an on-going series that would be released every three months, direct to the people via crowdfunding. However, that’s only possible if we get the right level of support, so we’ll have to wait and see.

Thank you your time for this interview, any final words?

I’d just like to say thanks to you for taking the time to do this interview and to your readers who have read this interview. I hope you’ve enjoyed it and that you’ll check out Band of Warriors to potentially help support it.

Links

Samuel George London

Federico Avila Corsini

Nicole D’Andria

Artwork for this interview provided courtesy by Samuel George London.

Categories
Interview

“Lion” A New Wizard of Oz Story From Candace Robinson and Amber R. Duell

“Lion” is prequel short story to Candace Robinson (Lyrics & Curses) and Amber R. Duell’s (Forgotten Gods series) Faeries of Oz series, their own successor take on L. Frank Baum’s The Wonderful Wizard of Oz (1900). The first novel in the series, Tin, is slated to be released on December 9, 2020, with book 2, Crow, and book 3, Ozma, scheduled for 2021. “Lion” acts as an entry point to Robinson and Duell’s Faeries of Oz series, with the short story’s blurb stating:

Langwidere has an obsessive habit—collecting heads. She wears a new one each day, changing them out like she does her ivory dresses. But Landwidere doesn’t have the one thing she truly wants: complete power over the territories in Oz. When Lion—the once cowardly fae—shows up at her doorstep, he offers her an opportunity to achieve her desires. Will he use the courage the Wizard gave him to help her succeed, or will he betray her in the process?

Both Robinson and Duell have been gracious to commit to a few questions about working together and creating their Oz series.

What was the catalyst of this prequel story?

Duell: Lion was given his courage a decade ago but never had a purpose for it. When someone finally puts their faith in him, it twists that courage into something wicked and kicks off the events that happen in Tin.

What got y’all into writing your own successor stories in the Oz universe?

Robinson: For one, we love the uniqueness of the Oz world in general and we wanted to play off of that but make it darker and romantic! Oh, and we love fae!

How did y’all get to collaborating with each other?

Duell: We connected due to our other books and became friends. One day, I mentioned wanting to write a Wizard of Oz retelling and she brought up fae and an idea was born. It took a little convincing on Candace’s part because I’d never co-written before but I’m so glad we did it!

What process or methods do you have in place when jointly writing a book together? Advice for other authors looking to do co-writings?

Robinson: Basically, we do a super brief outline. About a line per chapter, but that usually gets shuffled around the farther we get. So, if I write a chapter first, I wait for Amber to edit it, then pass it back to me. While I’m doing her changes, she starts the next chapter. And that process repeats! If you’re going to co-write with someone, just make sure they have similar writing styles and vision!

Any challenges you faced while trying to write a prequel story?

Duell: Not challenges, really. We did have to fill in a couple plot holes we weren’t aware of.

What aspect are you most proud of in this story? And in your Faeries of Oz series?

Robinson: The characters we created! I think because I’m a very character driven person in general so I’m a big fan of their personalities. Next would be the dark aspects in each book. If only I could get Guillermo del Toro to direct these movies and bring these creatures to life!

What is the major thing you want to accomplish with this story?

Duell: We hope that “Lion” draws readers into our dark version of Oz. It sets up the villain for the first novel, Tin, while giving a hint of the cruelty and romance they can expect from the trilogy.

“Lion” was digitally released on Amazon on October 13th.

See below for biographical and social media details on how to stay informed on Robinson and Duell’s writing projects and when Tin, Crow, and Ozma will be published.

Candace Robinson

Candace Robinson spends her days consumed by words and hoping to one day find her own DeLorean time machine. Her life consists of avoiding migraines, admiring Bonsai trees, watching classic movies, and living with her husband and daughter in Texas where it can be forty degrees one day and eighty the next.

Website
Twitter
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Goodreads
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Amber R. Duell

Amber R. Duell was born and raised in a small town in Central New York. While it will always be home, she’s constantly moving with her husband and two sons as a military wife. When not reading or writing, she enjoys snowboarding, embroidering, and snuggling with her cats.

Website
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Categories
Interview Peplum

Entering the Arena: Elysian Fields #0

Elysian Fields #0 is a neo-peplum comic, the first in a series, written by Michael Oden with artwork by Marcelo Oliveira Costa, lettering by Luke Stone, cover art by Jim O’Riley, and published via Oden’s own 9 Realms Publishing imprint.

Elysian Fields #0 poster

Taking its cues from mythological pepla, Elysian Fields follows somewhat in the footsteps of Marvel’s attempts at historic epic adaptations that appeared in the late 2000s on the short lived Marvel Illustrated imprint. These releases include comic book (and collected editions) adaptations of The Iliad (2008), The Odyssey (2009), and The Trojan War (2009). Elysian Fields is a continuation of The Iliad, albeit in a slightly unexpected fashion. The comic begins during the siege of Troy with Achilles locked in battle with King Memnon. While Achilles bests the warrior king (as per the Aethiopis), he himself is slain by an arrow shot by Paris (the prince of Troy) though his heel. From here Elysian Fields splits from the epics and follows Achilles into the afterlife where Charon (ferryman on the river Styx) takes the legendary warrior to Hades’ arena where he is to do battle with other iconic warriors of history and mythology. Elysian Fields #0 concludes on a cliffhanger with Achilles teaming up with King Theseus (founder of Athens) to battle Enkidu (bull-man from the Epic of Gilgamesh) and Gilgamesh proper (hero of ancient Sumer), setting up the events that will transpire in Elysian Fields: The Pyramid Gambit.

The underlying premise of Elysian Fields seems to be setting up a series that will see Achilles and other heroes through the ages, from various other civilizations and time periods, duking it out in Hades’ arena. This Mortal Kombat approach to the sword and sandal genre has promise, and in fact, perhaps echoes an earlier attempt at the same concept: the collectable card game Anachronism. A short lived affair in the mid-2000s, well past the collectable card game boom of the 90s, Anachronism was The History Channel’s attempt at a CCG, which involved players pitting mythological and historical figures (such as Genghis Khan, Vlad Tepes, Achilles, Spartacus, and so on) against each other. The second issue of Elysian Fields, called The Pyramid Gambit, hints that Achilles (and others) will be in combat with figures of Egyptian antiquity.

Elysian Fields’ approach to this old school subject matter is equally old school. While the plot is a love letter to mythology, the cover and artwork looks to homage 90s comic book aesthetics and practices. There is a definite post-McFarlane/Spawn vibe in the artwork, with a color pallet and action sequences that evoke the likes of Witchblade, Blood Hunter, Gen 13, and other titles of the decade. The foil cover of issue #0 also recalls the various experimentations and gimmicks done to comics during that period. The nostalgia factor in strong in Elysian Fields #0, but it is competently executed (the foil cover is pretty slick), and if anything, underscores the efforts of the comic to take readers back into the past; not just in subject matter, but in the reading experience as well.

The Indiegogo campaign for issue #0 has long since ended and copies posted to backers during the summer. However, copies of the comic can be still procured during the current running Indiegogo campaign for The Pyramid Gambit.

Writer and creator of Elysian Fields, Michael Oden, provides some additional insight into his comic in the following interview.

Tell us something about yourself, a bit of your personal background.

Well, I have done a lot of things in my life. I served six years as an Infantryman in the Army National Guard, and I have done freelance journalism for the creative industry for years now. I have written my own industry blogs as well as have worked for sites like Moviepilot, Heroic Hollywood, and currently Up Your Geek.

I have always been a big history fan. My dad used to read me the Iliad as a bedtime story which started my love for history and mythology from an early age. This love has persisted my entire life and so getting a chance to use it in this way, to create a story like this [Elysian Fields comic] has been super surreal and cathartic in no small way.

What was the genesis of the Elysian Fields comic, how did this come about?

Honestly, it started as a game growing up. As I said, I grew up loving mythology and history, and so, big shock, I surrounded myself with friends with similar interests and it was always one of those big debates. Normal nerdy kids were arguing between Superman and Batman, Kirk or Picard, and for sure we had those discussions too, but I remember really chatting up my friends about which of our mythic heroes was better and who would win in a fight. This concept never left me and while it has continued to evolve, even as a write it now, it’s something that had always stirred in the back of my mind, knowing the potential it could have.

What is the primary goal you want to accomplish with the Elysian Fields series?

I mean the primary thing I want to accomplish is honestly to make a great book. There is also a measure of financial success I would like to have as well, anyone who dismisses the financial aspect is either lying or stupid. Doing books is expensive, it’s not just some hobby to bankroll, especially for me as a single father. However, the chief thing is of course to make a book that people really enjoy and that establishes myself, and additionally get people interested in these characters and their stories. No matter how well Elysian Fields has been received, the stories where these characters drew their routes have stood the test of time for a reason.

What would you say distinguishes Elysian Fields from other mythological comics out there?

Honestly, I would like to think the big distinguishing factor is trying to be as authentic as possible. That’s not to say that the other mythological books I have read don’t do that in their own way, but I feel like a lot of books I see in relation to mythology take inspiration from the myth, but that’s where the line stops. They want to make the characters theirs. And while I am sure that there are some that will see my versions of characters and it won’t be how they see them, my goal has been to look at the characters I choose and create as authentic a picture as I can from what I have read.

What was the biggest hurdle or challenge you faced while creating issue 0?

Oof… that’s a tough one, I don’t know if I’d be able to narrow it down to just one. Creating a book is a multi-pronged process, so I feel there is a challenge that I had that was equal with each phase. However, with the actual writing aspect of it, it was writing a script. I remember being very frustrated because all the script writing classes I found were effectively an introduction to creative writing class, and that’s not what I needed. I needed to learn about structuring and format, but instead I was being lectured about “what is a protagonist.” This was beyond frustrating. I then ended up picking up the deluxe edition of Marv Wolfman’s Man and Superman and was pleasantly surprised to find that what made it so deluxe was that the comic legend included a copy of the first draft of his script for the first issues of the book. I was ecstatic, if it works for Marv Wolfman then it has to be good. I used that script as a template for how to write my own and taught myself how to write a comic script as I was writing: teaching myself panel set up and perspective, familiarizing myself with the terminology, you name it.

Where did you draw some of your influence from, be it for this comic or other projects? Films like Gladiator, comics like 300, television like Spartacus, actual mythology, something else?

[A]ctual mythology played a massive role in how I wrote this book. However, there was a series that played an instrumental role in how I came about the overarching idea of what is now called The Abyssal Tournament of Champions. The series I am speaking of is none other than the Fate anime series, specifically Fate/Zero and Fate/ Apocrypha.

What has been the feedback so far on your comic?

Very positive. We have had constructive criticisms for sure, but the overall consensus is that our book is a book worth having and to me that means the world. However, all the criticisms we have had have played a massive role as well. No comic is perfect, no story is either. So I have used this feedback to grow the book and really make it the best it can be, and that’s what I aim to do moving forward.

What is 9 Realms Publishing and what do you hope to accomplish with this endeavor?

9 Realms Publishing is my own publishing imprint and it is continuing to grow. We have two other projects outside of Elysian Fields attached to that imprint written by myself, however, I don’t want people to think that this is a vanity project. It is an equal hope that, at some point, we are able to bring on and sign other creators and help build their IPs and promote them. It is my genuine belief that one of the greatest problems with the mainline industry is that they have cut themselves off from outside ideas. 9 Realms’ mission is to bring aspiring creators to the forefront and give them the chance to make books. It’s not a guarantee, but it’s a shot and frankly, that’s more than a lot of people get.

Can you give a preview of what folks can expect with the second Elysian Fields comic, The Pyramid Gambit?

The second comic is all about bringing Team Hades together. Honestly it’s a bumpy ride for these guys. Theseus and Herakles have been fighting in this tournament for a long time, and as an added bonus, they knew each other in life. However, enter this arrogant kid Achilles who is running his mouth off at everyone, god included. So there are growing pains for all of these characters, and you add on the stress of going against Imhotep, a champion who has never been directly beaten in the arena, there are a lot of mixed emotions we see from our champions.

Elysian Fields: The Pyramid Gambit

What is your general thoughts or impressions on the depiction of mythology and antiquity in pop culture today? Where do you think it is headed?

The answer to that is simple: it’s headed nowhere. Sadly there hasn’t been a solid sword and sandals movie since Gladiator, and there hasn’t been a solid sword and sandals show since Spartacus, and while I love both of those projects, they are the farthest thing from portraying the period with any sort of authenticity. That’s not to say they are bad, just that Hollywood has no faith in the classical time period. I think it is a damn shame because with the success of superhero films as a genre, you’d think they’d realize “hey, why don’t we push movies that accurately depict the ORIGINAL superheroes.” Heroes of myth are the archetypes that inspired the modern superhero, they are the blueprint. But I haven’t seen Hollywood show reverence to that in a long time. Hopefully the success of things like Elysian Fields can inspire other people to bring myth to the forefront in the entertainment industry.

Addendums / Connections

2020-11-29 – Michele and I conducted an interview with Michael Oden on the Scholars from the Edge of Time podcast where we talked in detail about Elysian Fields. That episode can be streamed/downloaded here.