Of all the bands in the world, it is perhaps least surprising that KISS has found life in comics. That life continues from writer Bryan Edward Hill and artist Rodney Buchemi in “Kiss: Blood and Stardust,” a new series at Dynamite. The first issue drops on October 24th, but we’ve got a nice chat with Hill about the book, as well as three exclusive pages from the first issue.
When I think of the standard Bryan Hill comic, I tend to think of rich characterization, an inversion of the expected, and some deftly paced action. I have to be honest, I don’t really think of demons, star children, space men, or cats. How does KISS fit into your life, or is this your first real dalliance with the band?
Bryan Edward Hill: HAHAHAHA. Part of why I wanted to do this was to defy what people think about how my imagination works. I am certainly in love with character driven action-thrillers, but I’m also very much into esoteric thought, horror and the boldest end of fantasy. Recently, I just saw Panos Cosmatos’ MANDY (co-written by my friend Aaron Stewart-Ahn) and I was FLOORED by it. Beautiful, savage and mythical film with a rock and roll core.
This story is about occultism and its weave into popular culture, especially during the 1970’s in which this story is set. It’s an evil occult rock icon vs. KISS over the fate of a young singer that has a special destiny. It’s drive-in movie stuff, midnight cable stuff, the kind of story that I would have watched or read as a kid with a flashlight post my bed time.
I don’t really broadcast it, but I’m also a musician. Across genres. I used to sing lead in a rock band, played around a little in heavy metal and now I’m producing an EP that’s more similar to TheWeeknd of 6LACK in terms of feel and mood.
When Nick Barrucci came to me with this, I was elated because I NEVER get these kinds of world brought to me. I get a lot of gun, punch-face, cool car, leather jacket…but this instantly seemed like an opportunity to do a rock and roll fever dream of a project. Like what if Mike Mignola was creating HELLBOY in the back of CBGB’s in the mid-70’s.
I know I’m writing a lot of BATMAN lately, and that’s been very rewarding, but I’m a strange fella that likes the strange stuff. In many ways, KISS: BLOOD and STARDUST is more me than anything else I’ve done.
Recently, in my study of the esoteric, I’ve been fascinated with the mythology around LILITH, the first woman of the creation myth. There’s a lot of baked in misogyny around her, and I wanted to shred that a bit with this story. Something about her story compels me to want to create a more balanced mythology around her, the so-called “mother of demons” and she plays an important part in KISS: BLOOD and STARDUST. I love it when my research can find its way into a narrative.
When creating a comic based on the fictional personas of actual people, are you trying at all to connect the Starchild to Paul, or the Demon to Gene, or are these simply the launch pads for totally different characters?
BH: KISS, the band, is in the book as KISS the band. I wanted to dive in head first with them as one of the most important bands in musical history. I do take the symbolism of their makeup and add mystical power to it. In the first issue, they die and then they’re resurrected with the purpose of fighting evil. The makeup becomes symbolic of their individual powers. The way masks can evoke something in the wearer. Ancient ideas given form here.
KISS is, first and foremost, a band. How, if at all, are you bringing their music into the book?
BH: Music, as an experience, is challenging to translate to comics. I’m not referencing too many songs, but I am weaving the spirit of the band into the storytelling, the philosophy of the band. The boldness of living. The confidence. The shining iconography. All of that.
Continued belowWhat’s your favorite music-centered comic?
BH: “The Crow” by James O’Barr really affected me as a kid. It led me to Joy Division and The Cure. The operatic celebration of melancholy and the gothic grace of revenge. It’s an emotional masterwork, and if that damn book finds you at the right time, it FINDS you.
You’re paired on this project with Rodney Buchemi. What does Rodney bring to the table that you didn’t expect going in? How would you describe his art to someone who has never seen it before?
BH: Rodney’s a genius. There’s a double-page spread in I think the second issue, a moment where Lilith is revealing the world of fantasy and horror that she knows, and Rodney created a Bosch painting of brilliant composition. Rodney’s FEARLESS in his work and that’s inspiring to me as a writer.
I told Rodney I wanted this to have the feeling of a great album cover, images that you’d want airbrushed on your van, on a blacklight poster on your wall. He’s driving the story home with his work and I’m grateful.
Have you found yourself listening to KISS songs for inspiration? Do you listen to KISS songs when writing the book?
BH: I listened a playlist when I was first outlining, but I have a very specific kind of music I like for writing, music more ambient. Gene might kill me, but I listen to a LOT of Pink Floyd while writing this.
Finally, the big guns: favorite KISS song, favorite KISS member, favorite Rock City.
BH: “BETH” is one of my favorites.
Gene is probably the member I’m drawn to among the group. I remember Gene’s performance in RUNAWAY, this old Tom Selleck movie and he was amazing.
Detroit, of course.
