Buffy The Vampire Slayer

IDW IS DOOMED IN OCTOBER

Appropriately in October, IDW debuts the first issue of its new bi-monthly black & white anthology title Doomed, and unless you have a very unusual outlook on life, you’re probably already figured out by now that it’s a horror anthology, adapting classic horror short stories and published works from established authors in newsprint format, all presided over and narrated by the magazine’s eyepatch-wearing Ms. Doom.

Ms. Doom had a meeting with the Head of Development at Dreamworks today, so we settled for a chat about the series with IDW’s own Editor-in-Chief and writer-in-his-own-right, Chris Ryall.

Doomed is our version of, and nod to the old illustrated horror magazines and good short horror stories from year’s past ... the IDW version of the EC comics and Warren’s Creepy or Eerie of old, to even the good horror anthologies that ‘80s publishers like Pacific Comics put out," Ryall explained right off the bat. "The horror anthology is just something I always loved and would like to see more of. And luckily, I’m in a position where I can help make that happen."

"In each issue, people will find four illustrated horror stories, 15 pages each, as well as some editorial bits. The first issue features an extended interview/retrospective of writer David J. Schow (one of the four writers whose work is being adapted in the mag)."

Ryall explained the project got rolling largely due to creator Ashley Wood’s hankering to dip into the horror waters for some time. Wood not only had the initial idea, but decided he wanted a very involved role on project. As such, he’ll serve as the series art director, assembling the entire project as well as illustrating one of the stories and covers each issue.

"Ash brings the same things to Doomed that he brings to everything with us, an amazing design sense, a tireless ability to handle all these projects, and art and art direction that will really give this book life," said Ryall. "I’d be happy to have him just illustrate one of the stories, but I’m ecstatic to have him involved to the degree that he is."

Ryall explained why IDW decided to go with adaptations of classic horror stories and works from established writers rather than tell brand new stories in each issue...

“Primarily because these classic horror writers, whether older names like Richard Matheson and Robert Bloch, or more contemporary writers like F. Paul Wilson and Schow, have such a great body of work,” he said. “Basically, they’re people who’re masters at the short horror story, and I wanted to use this chance to expose people to their work. People might know Robert Bloch from things like Psycho, but too few people know what an amazing short story writer he was, too.

“Also, too often, new stories are informed by new sensibilities; we wanted stories that felt timeless and weren’t necessarily influenced by the same types of horror movies or stories that we’ve all grown up with.

“And from two other points-of-view: as a fan of these guys’ work, it was great for me to be able to have a chance to adapt their stories. Also, from a commercial standpoint, it doesn’t hurt to have names like Matheson or the others associated with the magazine. As much as everyone likes anthologies, I think we all also know they can be very hit-or-miss, content-wise. And they’re always a tough sell. This way, we have good stories from known writers and also give the magazine hopefully its best chance at succeeding so we can do more. If the magazine flourishes, at some point, I’d consider doing new stories in the issues, too.”

As previously mentioned, each issue will feature four, 15-page tales, and issue #1 features Wood and Ryall adapting a story by Matheson, F. Paul Wilson adapting his own story (the first of four adaptations of his own stories in the first four issues) with Ted McKeever on art, Ryall (him again) and Kristian Donaldson doing their version of Robert Bloch story, and finally Eduardo Barreto helps Ryall adapt a David J. Schow story.

Ryall (as Editor-in-Chief) says he has one simple criterion when choosing artists for the project.

“I’m looking for art that pleases Ash, basically,” he said. “As the art director, he has approval over everyone who appears in the magazine. And everyone knows that Ash is an artist’s artist. He knows good from bad, and can pretty much look at any panel and tell you what went right or wrong with it. So he’s a tough critic, which ultimately benefits any project he’s involved with. So anyone appearing here is Ash-approved, which means it’s going to be solid as hell.

”I just looked for, and asked, artists to do their best to emulate the old b&w horror stories from the past. Everyone involved with this issue is very different from each other, and yet all are so good. I love the mix of veteran artists like Eduardo and Ted with new guys like Kristian.”

Asked what makes “Ms. Doom” - a throwback to the traditional EC/Warren narrator - stand out among her colleagues like the Cryptkeeper, Ryall had a simple response.

”She’s hotter, even with one eye,” he said. “And her other distinction is that she absolutely loathes me, you, and all men. And this only makes men love her more.”

And as to what makes a story a good fit for Doomed?

“They just have to live up to the title of the magazine, that’s all,” Ryall said. “Much like my wife tells me when I go to get a massage, ‘no happy endings’.”

Trying not to let that image invade our heads, we also asked whom IDW is targeting with this project, including what distribution channels it’s being shopped through?

“Since horror mags with violence and nudity (and we’ve got both in the first issue!) would have to be polybagged, therefore making it a tough sell on newsstands, yeah, the direct comic market is our home,” he said. “The magazine is bigger than comics (because it’s a magazine), and is b&w and printed on newsprint, but I really think it’s something special and hope comic fans and horror fans alike give it a look this October.”

As to upcoming issues of Doomed, Ryall promises upcoming adaptations from Scott Tipton (also doing a Spike one-shot for IDW in January) of Matheson, along with a story by Tony Salmons and Mike Hoffman in issue #2.

”I was this close to getting Klaus Janson involved, too, before he signed his Marvel exclusive,” Ryall lamented. “Man, I would’ve loved that.

”But there are other great people I’ve got working, too. There’s definitely more to come...”