Set for release next year from BOOM! Studios, “Curse” is a new 4-issue mini-series from the team of Tim Daniel (“Enormous”), Michael Moreci (“Hoax Hunters), Colin Lorimer (“UXB”) and Riley Rossmo (“Drumhellar”). Taking the popularized werewolf trope that’s been dominated by attractive young teen boys and putting it back into the horrible violent world it grew out of, “Curse” is the story Laney, a man who is forced to push his luck as far as it will stretch, and someone who finds himself wrapped up in the ancient werewolf mythology. Of course, it’s then up to the reader to decide which is worse: the werewolf’s curse, or Laney’s actual real life predicaments?
Read on as we chat with series writers Daniel and Moreci about the creation of the series, werewolves, Breaking Bad and more.
So, if my knowledge is correct, Curse is a book that has been in the works for quite some time now, right? How did you two originally get together to work on the book?
Tim Daniel: Your knowledge is correct, Deputy Sheriff Meylikhov. We’ve been at work on Curse since late Spring, early Summer of this year. The origins of this project can be traced back to Mike and I meeting at SDCC in 2012 where Enormous and Hoax Hunters debuted. We shared a panel with a host of new talents like Sina Grace, Ed Brisson, Ales Kot, and Kurtis Wiebe. We agreed then to try something, someday.
And how did you bring in Colin and Riley to work with you?
TD: Riley was onboard from the get-go and suggested a werewolf story. By coincidence we’d had something in the works and it fit together instantly. The catch was Riley was knee-deep in Drumhellar and he did not want anything to jeopardize what he clearly considers to be a very personal project. We had to respect that commitment and then Mike had a stroke of pure genius…
Michael Moreci: Colin and I had been in talks for a different project for awhile. I had seen his work on Harvest and was blown away. His work is so effortless, so natural, and so visceral. For the type of book Curse is, which blends horror with emotional gut punches, I knew he’d be perfect. Mixing him with Riley’s kinetic art, the fever dream he creates to perfection, makes for one unique book. These guys are tremendous.
Can you talk a bit about what it is that Colin and Riley bring to their individual sections of the book, and how you think they mesh as well?
TD: Colin is the primary artist on the book carrying the bulk of pages in each issue, roughly 16 out of every 22. His story responsibility is grounded in present time, while Riley’s very select contribution is tailored to Anton, our werewolf, his origin and glimpses of his history after he’s afflicted by the Curse.
MM: There’s an old saying that “you make plans and God laughs.” Now, stay with me, because I’m actually going somewhere with this. A lot of Curse, thematically, is about control. That’s why I say the book is less of a survival story and more of a story of protection—protecting what you feel is yours. Anton and Laney are both trying, desperately, to hold on to the lives they know. They want to exert their will unto the universe and maintain control (this is especially salient as both of their current predicaments stem from situations they couldn’t control). Colin and Riley represents two sides of this coin—Colin gives us the controlled, understated, effortless art; Riley delivers the kinetic pace, the wild lines, and all that. On the page, you see that battle of control versus chaos, which is something Laney is very much trying to reconcile. Can you devise a plan to see your will take form? Maybe. Or maybe God is just laughing at you, tugging the strings attached to your limbs.
It’s not every day that I hear of a book with two artists and two writers. How does the delineation of work breakdown between the four of you? What’s the creative process like?
TD: Workload circumstances might have made this creative team’s composition unusual, but it turned out to be pretty extraordinary in terms of process and collaboration. Ultimately, I think for all of us it did not matter who’s name went where or how many of us shared the cover dress or the IP, it came down to having an opportunity to make comics. The story’s outline, once completed, validated our approach and we were in agreement that we just had to tell this father-son tale set in a genre that feels like home to each of us.
Continued belowMM: It’s funny, but, from a scripting standpoint, I don’t even remember what Tim wrote and what I wrote. I really don’t. I think that’s indicative of the commitment Tim and I share, that all of us share, to curbing our egos and setting our sights on one thing: making a great comic. I can’t speak for anyone else, but I know I’m walking away from this book a better writer. I learned a lot and am really, really proud of what we’ve created. Tim and I got the opportunity to spend so much time digging into this story, digging deep, and that’s something you can’t do alone. Everything you see in the book is stronger because of the collaboration.
So the book, in so many words, is about a man on the hunt for a werewolf. A popular horror icon certainly seeing popularity in recent years, what is it about the werewolf that spoke to you as a concept?
TD: For me, the appeal of werewolves comes directly from film, because there’s a lack of novels available. Glen Duncan’s The Last Werewolf is superb, best werewolf novel I’ve read, but outside of that, I felt like there was very little available to me as a reader. Most likely, that’s ignorance on my part and I’m not assuming Curse is some form of landmark, but using that personal longing for something werewolf-based in comics form that did not involve a werewolf in spandex or as part of a secret society, paranormal covert-ops team, paramilitary fighting force, teen-romance, or soft core porn thing was the impetus to think about werewolf tropes and how to utilize them in a very contemporary way while staying true to the mythology. Nothing wrong with those other types of tales, they’re just not what I was personally longing for and let’s face it, they’ve all been done in one form or another.
MM: Let’s be clear: Tim’s “nothing wrong with those tales” is code for “I like Twilight.” Just so we’re all on the same page.
Besides that, I echo Tim’s sentiment. I feel like there’s been no good werewolf story in however many years because, quite simply, no one has, seemingly, known what to do with a werewolf. And maybe, to a degree, neither did we. We sort of reverse engineered the process, because our goal was never to make a werewolf book. It just so happened that the idea of what a werewolf is, as we know it, fit into our story.
The book itself isn’t what you would traditionally call a “horror” series, though. Did you find it challenging to take a monster like this out of its “natural habitat” (so to say)?
TD: Curse is indeed horror, truly horrific if you happen to be a parent that’s ever entertained the thought of some deadly affliction striking your child. We were all moved by Miles ‘Batkid’ Scott, now for a moment, imagine he was not strong enough to have survived his treatment…wait, no one wants to ponder that thought, because it’s horrific. Thankfully, as we all witnessed, Miles is doing wonderfully and we don’t have to imagine the alternative. We’re moved by his story because the horror of the alternative outcome is simply too much to bear. The boy’s spirit moved me to tears that day.
So, while we don’t have foggy moors or gypsies and silver bullets, our brand of horror is one that anyone can identify with because at the heart of this tale is a parent who will do anything to stop his child from suffering or even dying. Curse’s horror, emanates from a very real and very frightening place.
MM: I think there are horrific elements but, no, it’s not really horror, per say. Looking at it on a story level, I think it’s more of a crime story with a werewolf in it. The template is more in line with that tradition—Laney could have the same scenario, that of an ailing son and not enough insurance/money to keep him well. Instead of him capturing a werewolf for a bounty, he could decide to rob a bank, or pull of some sort of heist, all in the name of his son. Then things go wrong and we see Laney tumble further and further down the morality rabbit hole. That’s a tried and true crime template right there—we just switched it up with a werewolf. It makes for an interesting scenario—don’t get me wrong, it’s a as cavalier of a swap as I make it out to be—and one that is really unique.
Continued belowGiven that the werewolf trope has so many clichés attached to it, how do you strive to separate yourself from the established notions and do something different with the concept?
TD: List them, break them or embrace them. One thing we did not want to do is stray into the more recent territory visited upon other horror icons such as vampires. No one involved wanted to make Curse a werewolf tale that ravaged the mythology so thoroughly that it should no longer be considered an actual werewolf tale. Ironically, if we separated ourselves in any way it was by honoring tradition instead of embracing current trends or chasing after fleetingly fashionable notions. A good example of a fresh and contemporary tale utilizing a horror icon without gutting the mythology is Gagnon, Nelson & Steelfreeze’s, Daymen. Their title uses the role of the Familiar and makes them frontline protectors and foot-soldiers in mob-style family warfare. Similarly in Curse, we utilize several crucial elements of Werewolf mythology in a very contemporary manner without cheapening the Werewolf’s rich tradition.
MM: My perspective is that, being honest, I didn’t know much about the werewolf mythology. I know enough, I think, but I didn’t go back and check countless sources. I feel like that’s where so many reimaginings or reboots or whatever you want to call it get stuck—they are get caught up with checking certain boxes. Vampires do this and Frankenstein does that, etc. We kept it simple and true to the type of story we wanted to tell.
Tell me about Laney, the hero of the book. Where does Laney and his struggle come from, for you guys?
TD: Laney is everyman in that every man, woman and child in this country it seems is a health-related catastrophe away from potential financial ruin. Laney’s struggles are our own; paying the bills, keeping the mortgage mill turning, being an emotional and moral compass for his son, Jaren. All of these very real demands require a determined, resolute courage. I had to look this up, and I hope it does not make me a pompous ass for tossing it out here, but Thoreau’s line, “Most men lead lives of quiet desperation and go to the grave with the song still in them,” came to mind in answering this because I know that line been true for many of us at one time or another in our lives no matter our socio-economic station. The loss of our dreams in the face reality’s relentless and unforgiving demands is something we all cope with at some point.
I’ve heard you guys compare the book to Breaking Bad, in a manner of speaking – at least in terms of the book’s central question, “How far would you go to save the one you love?” What do you find are the challenges in writing a character that wants to be the protagonist but slips up morally and ethically?
TD: Whoa. Didn’t you warn me about this, the comparison thing? So this is a trap, Meylikhov? Here’s the truth. Mike actually brought up Breaking Bad to me about the time we were wrapping the script for Issue 3. I had never seen the show, could not bring myself to watch it because I was turned off by the subject matter, that is, until I read a very astute and impassioned post by Mike on facebook examining the themes of the show and deconstructing Walter White’s character. I think your intent Mike in bringing the show to my attention, was to make me aware of how we were entering a similar thematic space. For the record, I devoured the entire series as we wrapped our story. Breaking Bad is indeed a masterpiece on every possible level. In writing Laney, the challenge rests in having the same level of courage as he does to make the decisions he must make based upon the conditions he faces. If we cheated those choices in any way, the reader would recognize what we’d done. We could not put Laney or our readers through this tale and then flinch.
MM: I love what we’ve done with Laney—not that we’re sadists, but we really put him through more than one person should endure. But that happens, it happens to all of us in real life. And like Tim says, we don’t flinch, and I think that’s rewarding to see in a comic. Our medium often confuses relentlessly bleak/angsty as hell with emotional maturity. But, you know, what’s at stake? Someone dies, they come back. Something bad happens, just wait for the next reboot.
Continued belowI think both Tim and I wanted to create a story and a protagonist that not only had to make tough choices, but have those choices mean something.
I also understand that you guys have developed an interesting set of additional characters in the book. Can you tell me about some of the other people we’ll be seeing in the series?
TD: Pffft! You mean like Deputy Sheriff’s Meylikhov, Harper, Salvatore, Ostrowski and LeBas? Or are you referring to Les Phillips, Anton Chavoy, Evelyn Griffin, or Shay Callahan? I’m not clear on the question (wink). Yes! We name check as much of the Multiversity Comics crew as possible in recognition of one of comic’s absolute best news and analysis websites.
In addition to something like Breaking Bad and traditional horror, what do you find influences you two when working on the series?
TD: Let’s reiterate Breaking Bad and The Last Werewolf but toss in Curse of the Werewolf, Hammer Horror Films in general, John Landis, Lon Chaney Jr., Riley Rossmo’s art from Green Wake and Proof, Colin Lorimer’s art from Harvest. David Porter and Jon Hopkins’s musical scores from Breaking Bad and Monsters definitely factored as an influence — and over the course of this project, I discovered the benefits of Mike’s process.
MM: Again, I looked more at crime stuff. Kubrick’s The Killing is a superb example of the protagonist’s descent into hell by everything around him coming undone. Far less at stake, of course, but a similar trajectory. Breaking Bad is a no-brainer, you know that.
Usually, I’m a research rat when it comes to developing a book. I consume so much as I go through the initial process—I’m in the middle of that process right now (wink wink). But Curse really broke the mold, it really did. There’s not much out there like it and, thus, no much to reference.
So right now Curse (to my understanding) is a stand-alone mini-series, but is the story something you’d like to revisit if able? Is this a bigger world you want to explore, or does Curse say pretty much everything you want to say on the subject?
TD: Curse can only be what readers want it to be, as is the case with any book. My creative dreams came true on this project. I’m proud to have been a part of this incredible creative team and the resulting story. I’m totally thrilled with the Boom experience and the professionalism of their entire editorial and administrative staff right on up to Ross Richie and Matt Gagnon. I can quit comics right now with no regrets, no kidding. My ultimate goal is to write Enormous for the next 5 years, but if that does not materialize for whatever reason, Curse encompassed everything I’d hoped for when I made writing for comics a goal several years ago. I just hope readers are rewarded in the same way that I’ve been throughout the experience when they pick up the book.
MM: I echo Tim, again. Though I could never quit. I have compulsion issues that won’t allow that, likely to the detriment of my own sanity. But this has been the experience of a lifetime, and I sincerely mean that. It was different than anything I’ve done, and I don’t think we could re-create this magic if we tried. Curse is something special. Everyone says that about their book—you always love whatever you’re currently working on most. But it’s different with Curse, and I think this is a book that will not only resonate with people, but is going to have lasting power. The Boom staff is the standard for professionalism and enabling the right creative choices. I’d work with them again in a heartbeat.
As for the future of Curse, the best I can say is “we’ll see.” Tim and I have ideas for more—especially Tim. But we’ll see. It would have to be the perfect story because, without a doubt, we’d have to at least match, if not top, what we’ve done in these four issues. And that would be a damn hard task.
“Curse” #1 goes on sale January15th, 2014
