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"Ah, the ‘90s, our strange yet dynamic link between the excess of the ‘80s and the pretentiousness of the aughts. A time when heroes were born, died and were reborn (again). Amidst all that creative chaos, the form of comics was torn between the muscle bound proliferation of All Things Pouch and the heady brew offered up by the British Comics Invasion. Now, in the long-ago year of 1992, VAMPIRELLA finds herself a vampire trapped between not just two worlds but two genres!" - Issue solicitation

"It’s just as scary as imagining Alan Moore slow-dancing sexily with Rob Liefeld." - Max Bemis

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[personal profile] history79



"Well, the idea for the book is that the hero of the story, Jared, is this incredibly pretentious comics fan who, you know, I’m sure a lot of readers can relate to because he’s incredibly passionate about comics, but he’s also overly critical of them, and he’s super discerning about what he reads. So he finds out that there’s an issue of a comic that he has from his childhood that is very rare and he can eBay it for a bunch of money. The comic itself is one of those superhero comics from the 90’s, like very, very 90s, and he goes to his house that he grew up in to find it, to sell it, and Killstrike, the lead character of the comic, comes to life and they embark on this buddy comedy trip together to find Jared’s absentee father. The whole thing is kinda based on the dynamic of this guy who looks down so much on this era of comics, as so many of us do, versus this character, who’s a classically 90s stereotype comic hero come to life. It’s kinda the opposite ends of the spectrum because Jared’s ashamed to be seen with Killstrike, he’s ashamed that he ever read the comic. And Killstrike’s just, you know, a total character. He’s a huge hulking behemoth guy with face tattoos, and pouches, and knives and is very single minded. And now, Jared’s kinda gotta teach him to exist in modern society. It’s a very classic buddy/fish out of water thing. A lot of it is a sort of a love letter to my own experience being a comic reader and my own relationship with the comics I grew up reading."

- Max Bemis


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"The first story we’re telling, I’m hoping to create the ultimate nemesis for Moon Knight. I know he has one a little bit, but I still feel, like when we were talking about it initially, if he’s Batman, he doesn’t really have a Joker — yet. What I’m doing is, rather than focusing on his inner struggles so much, this is about him coming up against really intense, life-changing scenarios, and the main one being facing the ultimate bad guy who’s his polar opposite in pretty much every way (without giving away too much)."

- Max Bemis


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"In a way, it’s kind of a “Dexter”-y plot set-up — you have an antihero who’s a vigilante, who enjoys getting into the minds of these people that, on face value, he would just shoot in the face. That’s the basic plot set-up. It’s really a fun set-up, and I get to do a lot with it. I think the main underlying sentiment that makes it a fun book to write is, besides Deadpool, a lot of these Punisher-type characters are very un-self-conscious and very serious. Greg is kind of affable at this point, because he gets this new lease on life. The whole premise is, he never really enjoyed it — he had a pretty horrible existence as the Foolkiller — so he’s offered a chance, in a way I won’t detail too much, to have this job as a shrink, and to have a sort of normal life. He wants that.

If anyone read my “X-Men: Worst X-Man Ever” miniseries, that was about being an outsider in the mutant community. For Greg, he’s kind of an outsider in the normal person community, because he was a friggin’ vigilante and he’s actually a lunatic. I think all of my work will probably have that theme. If you read any of my creator-owned stuff, there’s always some kind of fish out of water-ish scenario, because that’s my neurotic thing."

- Max Bemis


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