By Anthony Bain
I step into an apartment building entranceway deep in the heart of central Barcelona, the décor instantly grabs my attention, created when the city experienced a metamorphosis of modernism architecture; intricate multicolored murals look down at me from high ceilings, it’s an awe inspiring sight, designed to disarm any visitor.
For a second I cannot believe that I have the right place. Nothing indicates that some kind of social event is in full swing. No lights, no muffled conversations and no smell of fresh cooking odors seeping out into the stone corridor; Only silence, flickering lights and the musty humid smell of the apartment foyer.
I follow a winding staircase up to the first floor and I knock on a large paneled wooden door and hear the knocking reverberate beyond the door and into the next space, which seems vast and expansive.
I stand for moment reading from a crumpled paper in my hand, just to make sure that I haven´t stumbled across the wrong address.
Joston Theney is the director and writer of the new horror film Axeman as well as the thriller, Adam K, which is currently in production. A native of Atlanta, he became a fan of horror when he discovered a relative’s collection of 80s horror flicks.
In this interview, novelist Sidney Williams and Joston talk about the chance meeting that led to Axeman, the process of creating a homage to 80s slashers, and why axes are so terrifying.
An audio version of this interview can be found in Episode 14 of Sidney’s horror podcast Fear on Demand.
SW: Joston, from the trailer at least, it looks as if you’ve crafted a slasher film with just a little bit more to the story. Can you give us just a brief synopsis of what the tale is about?
JT: Sure, sure, sure. … Axeman—you’re right there’s just a little bit more to it than just being a straightforward slasher. It’s number one an homage to 80s slashers. In and of itself it has all of the prerequisite stereotypes that are typically found in 80s slasher films, but what we tried to do also is make all of those stereotypes very, very human and very familiar, not just in a sense of things you’ve seen on the surface but make it more familiar to you in terms of making the characters more real and more grounded and giving them more gravitas.
We also have the prerequisite group of friends who show up in a cabin in the middle of nowhere. They sit around and they discuss these urban legends, and one of them turns out to be very, very true, which is the tale of the Axeman of Cutter’s Creek, which is part of the folklore of the Big Bear community. We also have a group of bank robbers who’ve descended on the cabin as their getaway from the heat of the cops as well as people they double crossed to steal the money. We use that money as a backdrop to talk about humanity and how money changes people and it changes people’s motivations. And so you have all of that swirling together as people are being hacked to pieces. Continue reading
By Christine Stark
Crisco was delicious. My mom always had a huge blue can on hand. The first few years I ate it, beginning when I was seven, I had to get up on a chair to pull it down off the second shelf. The can had greasy marks on the outside, which made it slippery on top of being big and round without handles. My hands didn’t fit around it and I had to be careful not to drop it onto the counter below, potentially scarring the counter with the metal edge of the can and splattering Crisco across the kitchen like an errant shotgun blast where inevitably some would lodge under the refrigerator or in the nook of a cupboard. I worried I wouldn’t see to clean it, and my mother would find on a later date and inquire why there was Crisco splatter.
Mike Keener is a cartoonist, originally from Erie, PA, but now a resident of Kansas City, MO. He’s a graduate of the University of Missouri (BFA, Graphic Design, 2007), and started professionally as a web designer (something he still does from time to time). He’s married to a really good schoolteacher and is thankful to work in the comics field.
In this interview with Paper Tape editor Kristy Harding we talk about Mike’s forthcoming graphic novel White Worm.
PT: What is White Worm?
MK: White Worm takes some characters and situations from Bram Stoker’s last (and hurriedly finished) novel Lair of the White Worm, and mixes them in with the larger Cthulhu mythos. Continue reading
Boat on Fire by Jessica Jones
Jessica Jones is Paper Tape’s art editor. Artist, dancer, musician, and singer. Art is one of Jessica’s life long passions. She took a break to explore other avenues, but found she thrives on it. Creativity, nature, and orginality attract Jessica. She loves exploring and adventuring literally and figuratively. She enjoys being surrounded by nature, breathing in the freshness as the breeze blows by. Books are her constant companion traveling alongside in her purse. She rocks at logic games, driving in reverse, and scratching on the eight ball in pool.
Natural History: Bobcat
Natural History: Bear
Female Nude Reclining
Eloise Bacher is a visual artist based in Portland, OR. She is endlessly fascinated by the natural world, and particularly loves to draw skulls and sea creatures. More of her artwork can be found at Wrenegade Studio.
By Kathleen J. Woods
I have not seen my husband yet. Each night, I await his footsteps, the rustle of feathers outside my door. I lie with my eyes closed against the dark. I am not allowed to look.
They say my husband is a monster. A winged serpent the length of a river. A lion with the snout of a boar. A death’s head, death’s face, the stink of rot. So said Apollo to my father, my father to me. My sisters wept. He will split my throat and take my hair to bed his den. He will lick the muscle from my bone. My sisters wailed and placed a diadem of leaves upon my head. They draped me in white robes and the plainest jewelry. On my neck, a golden seed on a string.