Long thought to be lost, and originally conceived as a public service announcement, THE AMUSEMENT PARK is a surreal, haunting commentary on ageism and society’s treatment of the elderly, wrapped in Romero’s signature horror style. The George A. Romero Foundation, which is dedicated to honoring the life and preserving Romero’s work, restored the film as one of its first projects, and discovered the result met with widespread critical acclaim.

As critics and audiences pored through the myriad of images and meanings found in THE AMUSEMENT PARK, the Foundation and its artist-in-residence, illustrator Ryan Carr, began working on adapting the film in a novel way—a graphic novel way. Along with writer Jeff Whitehead, a visually stunning interpretation of the film came to life on the page.

Seeking distribution for the project, the George A. Romero Foundation turned to another icon of cinematic horror: John Carpenter. Storm King Comics, founded by Sandy King, seemed the perfect publisher to help bring this version of THE AMUSEMENT PARK to readers. Storm King Comics has become the premiere publisher of horror graphic novels, and King felt THE AMUSEMENT PARK would make a fascinating pairing of the two names.

“George A. Romero’s films are legendary. They already were legendary when I was just a student, and The Amusement Parkhas a fascinating history. This is a project that’s so important to his legacy as a filmmaker, so I’m glad to lend my name to it,” said John Carpenter.

“John and George often talked about ways they might collaborate, and this project felt like a fantastic opportunity,” King explained. “We’re really happy to come together for this project, which represents George Romero’s vision through and through, filtered through the artistic lens of Ryan and Jeff.”

More than a simple adaptation, John Carpenter Presents George A. Romero’s THE AMUSEMENT PARK is also a tribute to Romero’s enduring influence on horror, as Whitehead and Carr have reconsidered the nearly 50-year-old film in ways that will resonate with new generations.

“The Amusement Park holds a special place in George’s body of work because it tackles such a deeply human issue—ageism—through the lens of horror. Adapting it into a graphic novel allows us to bring his unique vision to a whole new audience. We are thrilled to collaborate with John Carpenter and Storm King Comics on this project, which honors George’s legacy in such a meaningful way,” said Suzanne Desrocher-Romero, founder and president of The GARF.

In John Carpenter Presents George A. Romero’s THE AMUSEMENT PARK, an impatient businessman in his 20s meets an elderly man who spins a fantastic tale about a long-gone amusement park. As the conversation continues, the younger man is disturbed to learn the story of an elderly man eager to recapture the memories of youth. Instead of pleasant memories, however, this trip to the amusement park becomes a surreal microcosm of aging and its inherent challenges as bodies and minds begin to break down. The old man finds himself abused, pushed into a horrifying series of attractions that mimic the later stages of life. Increasingly battered both mentally and physically, the man realizes he is trapped in a loop, force to relive the harrowing experience over and over. And the young man, William Lincoln, soon discovers that he and the old man have much more in common than they suspect.

John Carpenter Presents George A. Romero’s THE AMUSEMENT PARK will make its debut online and in comic stores 7th May 2025, followed by availability through all booksellers 20th May 2025.

About Storm King Comics

Storm King Comics, formed in 2012 as a division of Storm King Productions, is headed by writer/producer and editor Sandy King. Along with her husband, director John Carpenter, King focuses on bringing the best writers from the worlds of comics, movies and novels together to bring their special brand of horror and sci-fi entertainment to comics. Their flagship comic book title John Carpenter’s Asylum has become a global fan favorite, followed by the award-winning annual anthology, John Carpenter’s Tales for a HalloweeNight, and the monthly anthology series, John Carpenter’s Tales of Science Fiction. More recent additions to the Storm King brand are Storm King Comics Dark & Twisted, John Carpenter’s Night Terrors, and John Carpenter Presents Storm Kids, introducing horror and sci-fi to younger audiences.

About the George A. Romero Foundation

The George A. Romero Foundation, established in 2018 by Suzanne Desrocher-Romero in Pittsburgh, is a global nonprofit dedicated to preserving and promoting George A. Romero’s legacy. The foundation supports emerging independent filmmakers, artists, and creators, while also documenting, restoring, and preserving Romero’s archives. Learn more at www.georgearomerofoundation.org.

Peter 'Witchfinder' Hopkins

horrorscreamsvideovault.co.uk

The post Horror Icons Come Together for New Graphic Novel THE AMUSEMENT PARK appeared first on Horror Asylum.

He’s facing down a group of hostile men in black suits and sunglasses.

They behave like police, but have shown no badges, or offered their names to Corman.

They have an intense interest in Corman’s creative habits.

That character in his comic book?

Where did he get the idea for it?

Who is he aiming that rifle at?

Corman says it’s a product of his imagination, but they’re not satisfied.

The Plot is a mind-bending sci-fi thriller that evokes the paranoid novels of Philip K. Dick with the visual punch of Matt Kindt’s comics.

The Plot is the graphic novel Ed Snowden called, “The greatest conspiracy ever.”

Features

The Plot is a horror comic book that uses as source material conspiracy theories, with films like The Manchurian Candidate, The Parallax View, and urban legends like Men in black, and sleeper agents.

While I am a fan of older sources of horror, in telling a horror story, I wanted to explore what are both subjects I am fascinated with, and what I feel is underused horror fodder: unexplained phenomena and the domain of conspiracy theories. These are treated as separate fields by the people who study and catalog them, but when
you look deep enough they intermingle and overlap. The Plot is interested in exploring this gray area.

I am a big fan of the science fiction of Philip K. Dick, and while I don’t think he was into conspiracy theories, there was an underlying paranoia to his work.

Another big source of inspiration in creating The Plot is the work of cartoonist Matt Kindt. In particular Revolver and Mind Mngmt. Great comic book that explore similar subject matter as The Plot as mysteries.

Visual aesthetics of The Plot came from the book Scary Stories to Tell in the Dark (1981.) I never liked the stories, but the art by Stephen Gammell made a deep impression on me. I remember seeing it from across the aisle in a bookstore. It was far too good for the stories it supported. I feel a big failing of the film adaptation was to film live action, instead of using animation modeled after the art Stephen Gammell for the book.

Another visual inspiration for The Plot was the spaghetti westerns of Sergio Leone. Leone was a master of cinema who used striking compositions to tell you about the characters and to move a narrative without relying on dialogue. I wanted to use that to scare you.

If you’re a fan of John Carpenter, and The Body Snatcher (1978), The Conspiracy (2012), Burnt Offerings (1976), They Live (1988), and Prince of Darkness (1987), then The Plot is for you.

Here are some of the great things people are saying about The Plot:

From 3 Million Years:

https://comics.3millionyears.co.uk/p/spotlight-the-plot?utm_source=cross-post&publication_id=933389&post_id=74917827&utm_campaign=933389&i
sFreemail=true&r=u2uyb&triedRedirect=true&utm_medium=email

Here are the first 10 pages as a free watch:

https://globalcomix.com/c/the-plot/chapters/en/1/1

And you can buy the full graphic novel as a Kindle download here:

https://jaycorso.gumroad.com/l/dhlpc?_gl=1*pwnug7*_ga*MTIxNzM2MzgwOC4
xNzE2NDIxMjUx*_ga_6LJN6D94N6*MTcxODM4NzMxOS42LjAuMTcxODM4NzMxOS4wLjAu
MA

Visit my site. My social media links are there:

https://robopulppress.carrd.co/

Peter 'Witchfinder' Hopkins

horrorscreamsvideovault.co.uk

The post Horror Graphic Novel THE PLOT comes to Kindle appeared first on Horror Asylum.

So even if you have the original released 4 part series you WILL want to get your hands on this release for all the new content included inside its gory pages.

Hellbound Media’s hugely popular grindhouse seventies-inspired slasher comic is being released as a brand new COLLECTED TRADE edition, featuring the entire story, plus at least TEN pages of brand new ‘deleted scenes’, restored with the help of Atlantisvampir. This book runs for over 130-pages of extreme carnage!

“Slaughterhouse Farm” sees a group of troubled teenagers taken by their social workers for a team building exercise in North Wales. However, they breakdown and encounter the monstrous farmer known as Pigfu***r, and soon they find themselves fighting for their lives. “Slaughterhouse Farm” is Wales’ very own slasher horror, written by Matt Warner & AJ Ballard, with Art by Arfon Jones.

The new book will be available first on Kickstarter to allow people to not only pre-order and grab the first copies, but also get a range of exciting bonus rewards and extras. These include a series of original Art Prints, Pin Badges, Zombie Pig Plushies, Original and Unique Art, T-Shirts, and more!

Hellbound Media is an independent British-based comic company founded and run by Mark Adams and Matt Warner. Mark and Matt Adams are the editors and creative partners behind Hellbound Media, a company that continues to build its reputation for dark fantasy and horror comics.

The Kickstarter campaign is live now and the team have a goal set at £2,000 with plenty of perks up for grabs including signed copies of Slaughterhouse Farm and a handmade Zombie Pig Plushie.

You can get involved with the SLAUGHTERHOUSE FARM Kickstarter campaign here:

https://www.kickstarter.com/projects/hellboundmedia/slaughterhousefarm

Remember if you can’t support via funding then a simple share with your friends and family goes a long way to getting this project in front of many eyes.

Check out Hellbound Media website here:

https://www.hellboundmedia.co.uk/

and Etsy store at:

https://www.etsy.com/shop/hellboundmediastore

Follow Hellbound Media on social media:

Facebook: https://www.facebook.com/hellboundmedia

Instagram: https://www.instagram.com/hellboundmedia/

Twitter: https://twitter.com/hellboundmedia

Peter 'Witchfinder' Hopkins

horrorscreamsvideovault.co.uk

The post “Slaughterhouse Farm” Grindhouse Slasher Comic Kickstarter Launched appeared first on Horror Asylum.

Rose Black is part of a wave of strong female characters from the fantasy genre on the screen recently?
Our amazing producer Victoria (Watson) and I talked about this during the shoot – how wonderful and exciting it is to see this long overdue strong female comic-book characters sweeping across our screens of late. In many ways, writers Ed (Murphy) and Tom (Campbell) created the first Rose Black comic-book before its time and Rose is exactly the kind of screen female the world is hungry for today. Her qualities are timeless, in part owing to her immortality and the life experience to adapt to any time period. It is fantastic to see a certain shift in balance in a world that has for the most part been dominated by testosterone fuelled leads. We love and need the men, but we need and love these women too. It’s all about striking a balance and fair representation isn’t it?

How do you think Rose Black compares in other counterparts?
Rose differs in that she isn’t a typical ‘heroine’ in the classic sense. She is violent, unpredictable and butchers many a man along the way. To those who do not know her, Rose comes across as a blood thirsty killer and source of evil rather than a force of good. Yet she has a pious nature, a deep moral compass and a sense of justice. Rose is something of an anti-hero who seeks to atone and strives to do the right thing all the while taking lives and wrecking carnage along the way. It was this contradiction that first drew me to her and made her real and relatable. Much of what makes Rose so captivating, I think, lies not in her strength or supernatural abilities, but in her mortal capacity to love and feel empathy – allowing for that kind of vulnerability is in its own way a super-power. Most of us are prone to some kind of self-sabotage and it’s nice to see that represented here. You have the heroes, the villains and the anti-heroes like Rose that sit in between.

Did you have a firm idea of how you wanted to bring her from the comic-book pages on to the screen when you got the part?
I suppose the most important aspect was doing the original comic books justice and bringing her to life with as much authenticity as possible. There is, of course, a slight added pressure when adapting any character from literature that happens to have a following and you have to consider that many dedicated Rose Black fans will have specific ideas about what they expect to see on screen – you don’t want to disappoint anyone, least of all people who adore her. All you can really do is aim to truthfully capture and express their essence. Ed, Jeremy (Freeston, the director) and I all agreed that Rose’s humanity was and should remain the heart of the piece – we didn’t want to shy away from her inner conflicts and struggles and fall into the stereotype of the powerful, hypersexualised female with little depth. We wanted to bring her imperfections and weaknesses to light. The complex bond she forms with her agency partner Naylor, played by the brilliant Jon Coleman, serves to highlight the cracks in her armour and makes for an interesting dynamic. Another great quality Rose possesses is her cracking sense of humour. She maintains her wit and dignity in the face of misogyny and doesn’t resort to exploiting her looks and gender to get what she wants.

Where there any other cinematic or literary characters you channelled in your interpretation?
Jeremy and I discussed the original comic books at length, and he gave me a couple of references of to peruse. For Ed, Marvel’s Black Widow and Atomic Blonde’s Lorraine Broughton came to mind as loose inspiration for the world we find ourselves in. We figured with the live-action series adaptation would feel more like True Blood meets Homeland. None of this was prescriptive, but merely came in handy as a first talking point to make sure we were all on the same page.

Did you have your own ideas of how she would be played?
I find it useful to use real people as a foundation for creating characters and I honed-in on one woman in particular – an incredible British Polish intelligence agent who went by the name of Christine Granville. Her life and trajectory are fascinating and contextually works for Rose in terms of the time and place during which the pilot is set. Ultimately though, there was no one person to channel because Rose is unique in that she is unlike any other cinematic or literary character before her. I have endless respect and admiration for Rose – her heart is in the right place and her sense of duty and courage which knows no bounds. The most important thing was to prepare as much as possible starting with the comic books themselves, reading and studying them in depth. I had a pragmatic approach to draw out her timeline by working my way from the Dark Ages through to medieval folklore from the depths of Romania to tales of Victorian horror, the origins of vampirism and landing at the centre of the inner workings of British Intelligence – jotting down anything useful that resonated in my little black book along the way. Rose is world savvy and has been around for a few more centuries than I so this kept me happily occupied for weeks – a real treat for a history nerd like me.

You look physically fit in the role. What was your regime for preparing to play Rose?
I have very little workout related discipline on the best of days. I am a lazy exerciser and adore food. I am definitely a French woman in that respect. We steer well clear of gyms and much prefer walks or cycles in the great outdoors. I’ve always been on the tall, slim and lanky side of things and comic book Rose is somewhat more voluptuous. So, I aimed to get some curves and muscle definition going on in the right places and do the original Rose artwork justice. This involved no crazy dieting or relentless sessions of working out, but two high intensity weight and strength training workouts a week over a couple of months with a top notch trainer called Tim Jones at my local park in North West London. He got us through the hard times thanks to his sense of humour and generous helping of breaks to huff and moan accordingly. He recommended eating certain amounts of protein/carb/veg ratios at specific times pre and post workout – the art of bulking up as it turns out is quite the scientific affair. I became hooked on kick-boxing around the time Rose Black was being cast and I kept that up alongside the occasional Yoga and Tai Chi class. I have little patience for either. So, it was good for developing my near non-existent sports discipline and I definitely felt physically and mentally better for it.

The fight sequences are fantastic – really fast-moving and dynamic. Was that a difficult process for you during production?
Our fight co-ordinator Kiran (Pande) did an amazing job. Ed, Victoria, Jeremy and our talented stunts guys all made sure we knew exactly what we were doing and that we had heaps of rehearsal time to drill in and perfect our moves. Anna (Sawyer, who plays one of the ‘Killer Nuns’) and I had plenty of shits and giggles along the way especially during our first rehearsal at The Umbrella Rooms studio in London’s Soho. But having watched Jeremy’s Medieval Dead series, along with some of his other previous work featuring epic battles, and many a conversation with Ed about exactly what he had in mind for these scenes, I knew I was in safe hands. And I kept up all the body combat and kick-boxing I could muster on my side. Although the environment couldn’t have been more supportive and relaxed, we did the fight sequences as continuous takes, so you don’t want to be the one to mess it up. Especially when obstacles arise, for instance with the second fight sequence, due to unforeseen time constraints of shooting that day we only had one take to get it right. Having said this, in many ways the added pressure can often give you that extra edge you need to make it look as gritty and real as possible.

Are you a fan of horror movies or literature and, if so, what are your own favourites?
I am a huge horror fan and was raised on the stuff. Where to begin? The Blair Witch Project and The Exorcist are two of the greatest in my books. And the Hannibal Lecter franchise … has anyone ever been as creepy and endearing as Anthony Hopkins? And Jack Nicholson in The Shining of course – a similarly captivating yet repugnant kind of madness. I developed a slightly morbid fascination with horror and gore at an early age in spite of my mum’s best attempts to shelter me. I remember being about eight and setting an alarm clock to sneak up to the attic in the dead of night to watch a pilfered copy of Hideo Nakata’s Ringu – the Japanese original franchise of The Ring – safe to say I didn’t sleep for weeks after that. I recently watched a fantastic Korean feature called The Wailing by Na Hong-Jin, which I highly recommend if you are partial to a bit of horror yourself. In terms of horror literature most of my favourites are Victorian classics, Bram Stoker’s Dracula, Shelley’s Frankenstein and The Picture of Dorian Grey.

We get the impression from the pilot episode; we’re only seeing Rose instigate a low-level of violence. Do you know if we’re going to see her tear people apart like she does in the comic-books?
I think the danger with pilot episodes is attempting to cram in too much of the plot and action. The idea behind the lower level of violence in the pilot was to keep it simple and effective – delivering a taste of what’s to come and hopefully leaving the viewer wanting more. Although we refrained from the absolute savagery, she is oft prone to. I think it is safe to say, without giving too much away, that the violence will be ramped accordingly when necessary. The brains behind the operations know what they are doing and I’ve no doubt the die-hard fans will be satisfied by what’s to come next. And so, I’ll look forward to kicking some more ass, tearing off a limb or two, and ventilating a few jugulars in the near future.

A huge thank you to Lily for taking part in this interview.
And we wish her the very best of luck in the future.

The Rose Black series pilot episode – Exodus – is available to stream at https://vimeo.com/ondemand/roseblack

Horror Asylum

For over 20 years the Horror Asylum has continued to bring you the very best genre news, reviews, giveaways and interviews in the horror world.

www.horror-asylum.com

The post An Interview with Lily Catalifo appeared first on Horror Asylum.

French actress Lily Catalifo plays the mysterious being who has lived for six centuries but has no idea who or what she is until she finds herself pursued by a sinister cabal based within the Vatican. The big reveal at the heart of the graphic novels’ mystery has been described an original re-imagining of vampire mythology.

The planned eight-part series adapts the first graphic novel and is styled in fast-moving 20 minutes instalments.

Production was completed on the pilot episode – designed as a special prologue to the first book – just before the Covid-19 lockdown. The pilot teleplay is penned by the book’s creators Ed Murphy and Tom Campbell and directed by Jeremy Freeston (The Viking Dead, The Medieval Dead).

“Tom and I always meant to write a comic-book prequel about how and why Rose flung herself into exile at the beginning of the first book,” explained Murphy, who also penned the comic-book sequel to Brian Yuzna’s Society. “We knew about her life as an agent in WWII and during the sixties, but we didn’t know the events which led up to her walking away from that life.”

“This opportunity gave us a chance to fill in that gap and to set the drama in West Berlin during the seventies. We’re also going to flashback in time a lot more in the series and take a view on how Rose integrated into the thirteenth century and during various war-torn backdrops throughout history.”

The fight sequences have been co-ordinated by Kiran Pande and Dante Hung Dong, the latter working on Marvel’s Doctor Strange. Title star Lily recently featured in the Idris Elba Showtime drama Guerrilla, written and directed by Academy Award-winner John Ridley.

To see the trailer – and stream the pilot of Rose Black – check out https://vimeo.com/ondemand/roseblack

Horror Asylum

For over 20 years the Horror Asylum has continued to bring you the very best genre news, reviews, giveaways and interviews in the horror world.

www.horror-asylum.com

The post Live-Action Vampiric Super-Spy Rose Black Arrives on VOD appeared first on Horror Asylum.

V for Vendetta is an electrifying story of an everyday woman in futuristic Britain who becomes the unlikely accomplice of a mysterious freedom fighter in his radical effort to rid the country of oppression. Based on the powerful graphic novel, V for Vendetta stars Academy-Award winner Natalie Portman (Black Swan, Thor, Star Wars films), Hugo Weaving (Transformers film series, The Lord of the Rings trilogy, The Matrix trilogy), Stephen Rea (The Crying Game), Stephen Fry (Wilde, The Hobbit film series), John Hurt (Nineteen Eight-Four, the Harry Potter film series), and Tim Pigott-Smith (Alexander, Quantum of Solace).

Set against the futuristic landscape of totalitarian Britain, V for Vendetta tells the story of a mild-mannered young woman named Evey (Portman) who is rescued from a dire situation by a masked vigilante (Weaving) known only as “V.” Incomparably charismatic and ferociously skilled in the art of combat and deception, V ignites a revolution when he detonates two London landmarks and takes over the government-controlled airwaves, urging his fellow citizens to rise up against tyranny and oppression. As Evey uncovers the truth about V’s mysterious background, she also discovers the truth about herself – and emerges as his unlikely ally in the culmination of his plot to bring freedom and justice back to a society fraught with fear, cruelty and corruption.

The V for Vendetta Ultra HD Blu-ray Combo Pack features an Ultra HD Blu-ray disc with the feature film in 4K with HDR and three new special features, a Blu-ray disc with the film in high definition and the previously released special features in high definition, and a Digital version of the movie.

To be in with a chance of winning this prize just answer the following question and fill-in your details below:

Who plays the character V in V for Vendetta?

A). Bill Murray
B). Jackie Chan
C). Hugo Weaving

Giveaway Terms:
1 winner will receive a V For Vendetta 4K Ultra HD Blu-ray.
Open worldwide and entrants must be aged 18 or above.
Ends at midnight GMT on 26 November 2020.

Horror Asylum

For over 20 years the Horror Asylum has continued to bring you the very best genre news, reviews, giveaways and interviews in the horror world.

www.horror-asylum.com

The post WIN V For Vendetta 4K Ultra HD Blu-Ray appeared first on Horror Asylum.