Tuesday, August 18, 2015

TATSULOK: A VISION OF DUST TPB ANNOUNCEMENT

I was informed yesterday that a delivery has been made of the Tatsulok: A Vision of Dust TPB to Comic Odyssey. So it should be hitting their shelves soon.

Picking up a copy isn’t just a show of support for my writing and Xerx’s art, it’s also, fundamentally, a show of support for choice. For choosing to support titles that, for one reason or another, can’t find shelf space in the major bookstore chains.

If Comic Odyssey is one of your regular haunts, or if you happen to be in a mall with a Comic Odyssey branch, then we’d like to invite you to check the Tatsulok TPB out.

Honestly, I’m not sure which branches of Comic Odyssey will receive copies, so I guess the best thing to do is just ask after it.
Tatsulok: A Vision of Dust.

Once again, thanx to all you mighty fine folk for the enthusiasm and support.
Please feel free to spread the word and the love…

And remember: choice.


you can't drink just six,

Dave

Sunday, August 16, 2015

POST-INDIEKET 2015 'VERSE POST

Firstly, allow me to thank all you mighty fine folk who came out to yesterday’s Indieket.
To everyone who stopped by the table to pick up some comics, shoot the sh!t about your thoughts and reactions to The ‘Verse and Seroks, or to get your hands on the Tatsulok compilation (art by the mighty fine Xerx Javier), your presence and support was awesome and greatly appreciated.


Now, we’re hoping to make an announcement soon regarding availability of the Tatsulok compilation out in the real world, beyond the borders of the comic convention circuit.
In the meantime though, please allow me to share with you these little bits.
For anyone who’s been following any of The ‘Verse titles, you’ll well be aware of the books’ backmatter (the supplementary text pieces in the comics).
Below, you’ll find a couple of bits excerpted from what I like to think of as “The Septet Musings.”

Anyone who followed the Tatsulok singles, or picked up the compilation yesterday at Indieket, will hopefully be familiar with The Septet, and will have at least seen one of them in that book, as well as the “personal assistant” of another. (Who, yes, is the same Alice that makes a brief appearance in Dakila: Lumilim 1, with art by the mighty fine Elmer Cantada, which also debuted yesterday at Indieket.)


Truthfully though, The Septet are an active force in The ‘Verse due principally to Ian Sta. Maria answering my question about the Big Bad he wanted Kadasig to face.
So The Septet have a dominant role throughout the first 4 volumes of Kadasig. (Yes, there are 3 volumes meant to follow The Skeleton at the Feast. Their titles are, for the record: The Unraveling, A Kind of Praise, and His Darling Sin. And yes, all the scripts for all 4 volumes are complete; they were all done before Ian even started drawing the first page of The Skeleton at the Feast.)
So what you see below isn’t just for anyone who might have bought the Tatsulok compilation yesterday, but also to anyone who’s following Kadasig, or any of the other ‘Verse titles, for that matter (because The Septet pop up in some of the other books as well).

To the guy who asked about Kadasig yesterday (and to everyone else out there who’ve been waiting on it), profuse apologies for the delay.
This isn’t a new Kadasig issue, but it’s what I can do for now.
Any good karma you can send our way to help us grease the wheels and get that particular engine moving, will be greatly appreciated.

In the meantime, please accept a sneak peek at these text pieces (which should worm their way into the backmatter of one of the upcoming ‘Verse issues that have something to do with The Septet).



And again, thanx to all you mighty fine folk for the enthusiasm and support.
Please feel free to spread the word and the love…

you can’t drink just six,

Dave

Monday, July 27, 2015

INDIEKET 2015 'VERSE RELEASES

This year’s Indieket will be held on August 15 at the Bayanihan Center on Pioneer.
The ‘Verse will be attending, and, given the marked absence of a Summer Komikon this year, we sure hope to see all you mighty fine folk there…

Debuting at this year’s Indieket:

DAKILA: Lumilim
Issue 1 (of 3)
By David Hontiveros and Elmer Cantada


Your name is Brandon Ramirez and you’ve been a geek your whole life: comics, movies, RPGs, cosplay.

And now you’re officially the world’s first superhero, as evidenced by the cape, the mask, the totally ripped physique, and those crazy-awesome powers.

Higher agencies seem to have conspired to steer you right into that skintight outfit.

We have only one question: How’s that working out for you?

It’s been almost 3 months since 18-year old Brandon Ramirez first became Dakila.
And right now, he just wants to cosplay.
But a day at ManilaCon with his barkada turns super weird (and super dangerous!) when creepy urban legend Mr. Alikabok--actually one of Mangilala’s many guises (dude’s a cosplayer too! Who knew?)--shows up with some, err… “friends,” to spoil everybody’s geekery.
Boo! Hiss!

Dakila. 18 years old. Cosmic champion.
All of a sudden, acne and getting a driver’s license are so not a big deal anymore.

URIEL: Hekhalot
Issue 3A (of 4)
By David Hontiveros and Michael Urbano


Uriel is a mighty arel, held in reverence and awe by his fellow arelim, feared and despised by the shedim hordes.
And right now, his fate and existence lie in the hands of his seven-year-old mortal charge, Maleck de los Santos.

Uriel believes the only way he can vacate Maleck’s body without hurting the boy is by facing Malael head on…
But first, he needs to say “Goodbye” to Maleck, in case his plan doesn’t work out.
Meanwhile, Caim pulls the good Doctor further down into the rabbit hole…

TATSULOK: A Vision of Dust Compilation
By David Hontiveros and Xerx Javier


In the many rooms of the House that is the World, there are arelim and shedim. Most men know them as angels and demons.

Three individuals, each related to one race or the other, converge on the stage of Holy Week, 2009, for their own collective Passion Play of transformation and acceptance.

Collecting issues 1 to 4, self-published by Xerx himself, this is essentially a remastered TATSULOK: AVoD.
The page size is bigger than the previously released singles, which means, more art, because:

A)    You’ll get to see the art at a larger size; and
B)    With the captions and word balloons staying the same size, less of the art is now covered by those pesky, pesky words

So, yeah! Remastered!

And there you go.
Hopefully, another title may get a new issue in in time for Indieket, in which case, there’ll be another update here soon. (Send some good karma our way to help with that!)

Hope to see all you mighty fine folk at the Indieket!

you can’t drink just six,

Dave

Saturday, July 4, 2015


¡Qué horror! 2015
Candidate #13

THE HARVEST
(October 2013)


Don't let the less-than-stellar one sheet fool you.

The Harvest is John McNaughton’s welcome (and rather overdue) return to the feature world. Working off a deliberately paced and neatly constructed script by Stephen Lancellotti (apparently his first), McNaughton delivers a chilling portrait of just how far parents will go for their children.
This one takes its time to really kick in, but audience patience will reap dividends.
Plus, there’s a pair of crackerjack names here: Michael Shannon and, in a brilliant Mother. Of. The. Year. performance, Samantha Morton.
The younger set is ably represented by Charlie Tahan, currently on Fox’s Wayward Pines, and The Possession’s Natasha Calis.
Plus, Peter Fonda in a supporting role!

So, yes, some may not actually think of The Harvest as “horror,” but really, the onscreen situation is by turns horrific, tragic, and disturbing.
So, ¡Q horror! stamp of approval right there…

(The Harvest OS courtesy of impawards.com.)

Wednesday, June 24, 2015


¡Qué horror! 2015
Candidate #12

CREEP
(March 2014)


The set-up: Aaron (feature debut director Patrick Brice) is a videographer-for-hire, who goes to work for Josef (Mark Duplass), without initially knowing any pertinent details other than how much the job’s worth, and that “discretion is appreciated.”

That’s really all you need to know too, and I’ll leave Mr. Brice himself to say why.

“I wholeheartedly agree that Creep is a better, more full experience the less you know going into it. We were really trying to make something that a large part of the enjoyment would be the discovery of the film itself.”

Suffice it to say that Creep is pretty much a two-man op. Or, at least, a two-man op with some invaluable help from Blumhouse maestro, Jason Blum.
Working from a rough treatment, Brice and Duplass went off to shoot a majority of the film, which, under the guiding hand of Blum (whose input was, in Brice’s words, meant “to make [Creep] marketable as a horror film”), has resulted in a piece that’s both disturbingly intimate, and intimately disturbing.

“If you want to see a movie like Creep it's because you have two very relationship-oriented filmmakers, guided by Jason Blum, so what you're going to get is a movie that does not follow all of those rules of what a horror movie is. When Jason saw this, he told us, I've seen every piece of shit found footage horror movie, because I'm the guy they came to, but he liked we were not horror filmmakers, that we got the performances right, the relationship dynamics right.”
--Mark Duplass

Parting Shot: As much as Creep impressed (and disturbed) me, I honestly don’t know how to feel about hearing there are plans for sequels…

(Creep OS courtesy of impawards.com.)

Thursday, May 7, 2015


¡Qué horror! 2015
Candidate #11

IT FOLLOWS
(May 2014)


I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
--T.S. Eliot

Premiering at last year’s Cannes Film Festival, It Follows utilizes the blasted zones and landscapes of economy-ravaged Detroit as the backdrop for a tale shrouded heavily under a veil of dread and unease.
While I will refrain from revealing the film’s premise (best to come into this one as cold and unknowing as possible), I will say that it’s the kind of cinematic experience that gets underneath the skin, that leaves the audience, post-viewing, acutely aware of anyone and everyone you see out on the streets, and the unnerving threat potential they represent.

Things of note that I choose to speak of, in lieu of What the Film is About:

1)      Along with the excellent thriller The Guest (from the director-writer tandem of Adam Wingard and Simon Barrett*), It Follows is part of lead actress Maika Monroe’s resounding one-two punch on the face of the genre landscape. Keep an eye on this girl… Aside from appearing in The 5th Wave (J Blakeson’s long-awaited follow-up to The Disappearance of Alice Creed), she’s also going Big Time Hollywood in Independence Day 2!
2)     Though I have yet to see writer/director David Robert Mitchell’s feature debut, The Myth of the American Sleepover, based on what he displayed in It Follows, I’ve now become more curious to check it out.
3)     I particularly appreciated the Creepy Classroom Scene orchestrated to a reading of T.S. Eliot’s “The Love Song of J. Alfred Prufrock” (along with some help from Richard Vreeland, AKA Disasterpeace). And speaking of Disasterpeace? The soundtrack for It Follows… Creeptastic awesome sauce!
4)     One of the most potent takeaways from It Follows: it's not so much that these kids have no future. Perhaps even more tragically, while they do have a future, it's a future that's going to be constantly weighed down by the dread and unease I mentioned earlier...

We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
--T.S. Eliot


* Whose names should be familiar 'round these parts for their work on A Horrible Way To Die and V/H/S.

(It Follows UK quad & French OS courtesy of impawards.com)

Monday, March 2, 2015


¡Qué horror! 2015
Candidate #10

CLOWN
(November 2014)


"I loved how ballsy they were, issuing a trailer that said, ‘From the Master of Horror, Eli Roth.’”
--Eli Roth

Beginning its life cycle as one of those fake trailers that seem to be strewn all over YouTube, Jon Watts’ Clown is a nasty piece of work.
Helped along in its evolution into full-fledged feature by Eli Roth--who was billed as the film’s director in the initial fake trailer, and was suitably impressed, not just by the conceit, but by the makers’ cojones--Clown wastes no times before plunging into its simple but brutally effective premise: loving father turns into scary, evil supernatural creature thanks to a demonic clown costume.

There’s some solid cinematic storytelling here by Watts (in his feature debut), ably assisted by a cast that includes Awake’s Laura Allen and familiar genre face Peter Stormare.
It should also be noted that just beneath the onscreen horrors--right underneath the clown make-up, if you will--is the insidious and despicable real life horror of child predators, of the horrendous urges some individuals have, and their choice whether to struggle against them, or succumb.
So yeah, there’s some disturbing child endangerment (and fatalities) in this one, so be advised accordingly.

(Italian Clown OS courtesy of impawards.com.)