Limited edition chapbook featuring: THE GOOD AND THE BAD by Jack Bantry and RUN FOR YOU LIFE NICK McCLUSKY by Nathan Robinson.
Full colour cover art by Dan Henk.
Limited edition chapbook featuring: THE GOOD AND THE BAD by Jack Bantry and RUN FOR YOU LIFE NICK McCLUSKY by Nathan Robinson.
Full colour cover art by Dan Henk.
I’m the head-editor for Deadite Press, an imprint of Eraserhead Press that focuses on cult and extreme horror. What I look for in books is the sickest and weirdest shit out there. Snuff film starring an infant? Fuck yeah! Genital grinder? We have a hit! Fucking someone in their skull via a power-drill hole? Can you make it a series?
Many of my friends, and even many other people in the horror industry, don’t understand what I get out of these kinds of stories. They don’t understand why anyone would want to read or watch something filled with rape, torture, necrophilia, mutilation, and all other sorts of vile acts.
It’s really quite simple. I find all those things horrifying.
Many seem to forget the point of horror is to horrify the audience. While I adore the fog-drenched sets of the Universal monster films and I’m a sucker for a well done haunted house flick, those things don’t actually scare me. Sorry to break it to everyone but ghosts and werewolves aren’t real. Rapists, serial killers, terrorists, sex slavery, and random acts of cruelty are real. The thought of being stalked by a vampire does not linger in the back of my brain in the same way as what could happen when walking alone on the street in the middle of the night.
I know it’s cliché to say but humans are the real monsters and our supernatural creations are just stand-ins for our own fears. I just prefer the cut-out the symbolic middle-man and get straight to the dirty shit. Watching films like NEKROMANTIK and SALO give a safe glimpse into the depravity of the human condition.
In recent years we’ve had two controversial films released that (somehow) managed to coverage in world-wide mainstream media – THE HUMAN CENTIPEDE series and A SERIBAN FILM. Apparently the idea of films revolving around forced shit eating or the production of child pornography was too much for some. Some misguided protectors of morality even managed to talk some countries into placing arrest warrants for the directors for basically obscenity (don’t worry, the cases got worked out and Tom Six and Srđan Spasojević are fine). All over fictional films featuring no real acts of violence or sex. They just went “too far.”
The idea of someone complaining that a horror film or story has “gone too far” completely mystifies me. The horror genre has always been the genre to “go too far.” It’s part of the point. Horror has always been pushing the boundaries of good taste to scare, upset, and disgust. It’s always been an integral part of the genre and it always will be.
I have to immediately question if these films did indeed go “too far” or where they instead successful horror films? They assaulted the audience with concepts and images that disturbed and sickened and lingered in the mind. Those that complained about these movies in terms of their subject matter just got something that we’re not use too – an affective horror movie. I believe those films should be praised for accomplishing what their goals of mentally fucking the audience without mercy.
I’m not one for criticizing someone’s taste in media. If you like something, good for you! But I will say if you are approaching the horror genre with a politically correct mindset, you’re going to have a bad time. The world is a violent and sick place and for many people, myself included, movies and stories that wallow in that nastiness help make the cruelty of reality make a little more sense. It’s a safe glimpse into the dark side of humanity. Complaining that a horror film disturbed or bothered you is like complaining that a comedy made you laugh. It’s just fucking stupid.
However, there is no denying how much fun it is to get together with some like-minded friends, crack some beers and spark up, and watch the GUINEA PIG series or BLOOD SUCKING FREAKS.
Maybe I am just a sick fuck? Fuck it, I don’t know but I know what I like. I think I’ll go watch CANNIBAL HOLOCAUST again…
This essay originally appeared in Splatterpunk 4
Here’s an interview I did with JF Gonzalez for Splatterpunk 4. He’s the author of some of my fave splatter novels like CLICKERS, SURVIVOR, SHAPESHIFTER, FETISH and IT DRINKS BLOOD. JF Gonzalez has also contributed fiction to Splatterpunk 3 and 4.
How did you first get interested in horror and horror fiction?
The interest has been with me as long as I can remember. The first movie I recall seeing was Them!, which ran as a Creature-Feature on Saturday afternoon. I must have been four years old when I first saw it. And I recall being hooked on the original run of Dark Shadows at that age as well as watching reruns of The Outer Limits, The Twilight Zone, and Thriller in the years that followed. I remember watching those great Richard Curtis made-for-TV movies in the early seventies – The Night Stalker, The Night Strangler, Dracula – as well as Duel, which, I later learned, were scripted by Richard Matheson. Shortly around this time I got hooked on comics – House of Mystery, Werewolf by Night, Man-Thing, House of Secrets, Ghost Stories, Weird War Tales. The interest in horror was always there. It was only natural that I would seek out horror fiction in prose form, which I did very early on with the first anthology I remember reading which was called TEN TALES CALCULATED TO GIVE YOU SHUDDERS. Don’t recall who edited it, but I remember who was in it – Robert Bloch, Frank Belknap Long, A. M. Burrage, H. R. Wakefield, William Hope Hodgeson and others from the Edwardian and early pulp era.
When I was eleven I read Jaws by Peter Benchley, probably due to the movie being out that summer. And even though I was a kid and had normal kid interests outside of books – running around with my friends, skateboarding, going to the beach, and later, music, reading and movies were always a part of my life during those formative years and horror fiction, specifically fantasy fiction in general, was a big part of my interest when it came to books.
What inspired you to become a writer?
Niaevete. I’ve written stories for as long as I can remember and I thought all writers made a lot of money. My dad always complained about having to go out and go to work everyday and I thought, “I don’t want to grow up and be like that. I’ll just be a paperback writer, like in The Beatles song and do something fun for a living.” I was really foolish to think that, but you have to understand that back then I had no other way of knowing that novelists really didn’t make a lot of money. I just automatically assumed that if you wrote novels and had them published, you made a living at it. I was shocked when I later learned that a lot of the writers I admired while growing up actually struggled financially.
Yeah, that really fucked me up. To think Robert Bloch wasn’t a fucking millionaire because of that great stuff he wrote is just fucking wrong. But that’s how it is in this biz – so many great and talented people are unable to make a living at this. I understand the economics behind it now. Back then, though, I didn’t.
Can you remember your first published story?
My first published story was this terrible piece of dreck called “Notches” that appeared in this stapled and mimeographed fanzine called Festering Brainsore back in late 1988 or so. I may have the only copy in existence. The story is so bad that I will never allow it to be reprinted. In fact, I am tempted to destroy my remaining copy of Festering Brainsore so my executors don’t come across it after I shuffle off this mortal coil.
Do you write full time?
Yes. But I don’t write fiction full-time. I divide my time between the IT field as a technical writer where I write reams of material that is later packaged as technical manuals that nobody reads because they think they can just go in willy-nilly and attempt to do this highly technical computer stuff by themselves, and working in the entertainment industry, primarily as a novelist. I’ve also made money as a screenwriter, mostly rewriting scripts for low budget films that have never been made, and I’ve also ghostwritten novels for other people. I’m lucky enough that I work from home.
So I write a lot. Most of my output, though, never gets seen by the general public. Am I okay with that? Absolutely. The checks clear and I make a living. And the stuff that matters to me – the novels and short stories and articles I publish under my own name – gets out there and is read by lots of folks who like what I do.
What’s a typical day in the life…?
Up at 6:15, make coffee, feed the dog, drink coffee and read a few pages of a novel to wake up the brain. I’m usually in my office by 7:30 to start the day. I tend to work in sections throughout the day due to the fact that my daughter attends cyberschool and is home during the day, so when I’m needed to help out in school, I’m there for her. Plus I do all the household chores. Between doing domestic chores, helping my daughter with school, and my work, it’s usually a ten-hour day, sometimes eleven. When I’m deep into writing a novel sometimes I’ll put in a few hours on the weekend too.
Do you prefer to write solo, or collaborate? Why?
I’m okay with either. Collaborations are different. I’ve collaborated with Wrath James White and Brian Keene on novels. Both experiences have been extremely positive. I’ve had collaborators on screenplays and that can be an entirely different game depending on the project.
How do you generally work when collaborating? Do you stick to your own chapters or characters? THE KILLINGS with Wrath James White is set in the past and present. How did you both write it? [I interviewed Jack Ketchum and asked him about collaborating with Ed Lee. One would send a story they were unhappy with to the other to work on and that’s how they collaborated].
Wrath approached me about THE KILLINGS. He had a friend who was starting up a small press (Shane McKenzie) who wanted to commission a short novel from us. I had this idea based on the 1911 Atlanta Ripper serial murders (which was a little-known true crime case here in the U.S. – from 1911-1912 an unknown serial killer dispatched 20 African American and Mulatto women in Atlanta, much of them in the same manner as London’s Jack killed prostitutes; like the London killer, the Atlanta ripper was never caught). I ran the idea by Wrath and he saw the potential. He actually came up with the idea of tying in the Atlanta Child Murderer case with this due to a voodoo curse hatched by a former slave that had gotten out of control. Once we had the idea, we ran with it.
As what usually happens we would alternate chapters – I’d start it, send it to Wrath, he would revise, continue the story, then send it to me and we’d go back and forth on it. It was a great experience and I’m really pleased with the way it came out.
You’ve just done a book with about 8 other horror writers for Tom Piccirilli. Can you tell us about it?
Sixty-Five Stirrup Iron Road is a round-robin novel with Edward Lee, Jack Ketchum, Brian Keene, Nate Southard, Wrath James White, Shane McKenzie and Ryan Harding. It’s a nasty, sick, perverted, shocking piece of fiction. Plot-wise, I don’t know how much I can reveal. Let’s just say it involves a haunted house, murder, possession, some pretty extreme and off-the-fucking wall sexual situations, and vomiting. Lots of vomiting.
How did it come about?
During Tom’s cancer treatment, it became apparent that he and his wife would face enormous financial difficulty in the years ahead. Unfortunately, Tom and his wife lack medical insurance, which can be a death sentence in the U.S. if you face a catastrophic illness. Thankfully, Tom was treated – they didn’t turn him away, which does happen in this country if you can’t afford to pay or lack insurance. Despite that, we knew the road would be rough, so Lee and Brian came up with the idea of writing a novel for Tom in which we would waive all compensation and direct the entirety of it to Tom to help him. The earning potential of a novel penned by some of the bigger names in so-called extreme horror would supply a steady stream of income. It won’t completely wipe out his medical debt, but it will certainly lessen it.
Edward Lee, Jack Ketchum, Brian Keene, Wrath James White, Nate Southard, Shane McKenzie, Ryan Harding, and myself.
Was there a brief? Did you have a rough idea what was going to happen?
No. It was pretty much, here’s the first few chapters, now keep the story going. When we got to a certain length a synopsis was written up so we wouldn’t have to read through 60,000 words just to see what had happened.
Who’s publishing it and when’s it coming out?
Limited edition signed by all of us, with an introduction by Tom Piccirilli, will be published by Sinister Grin Press. Trade paperback and ebook from Deadite Press. Not sure when it’s coming out.
There hasn’t been many “horror writers” break into the mainstream. It’s even hard to find a “horror section” in small bookstores. Yet Stephen King is as popular as ever and there is a constant flow of horror movies at the cinema. Why is this?
People won’t admit it, but they love to be scared. They do love horror. They just won’t admit to it. People always tell me that they can’t read my stuff because they don’t like horror, but then they’ll say that they love all of Stephen King’s work. When I tell them my stuff is like King’s, they’re confused. Too many people equate horror with movies like Friday the Thirteenth or the Saw movies. Horror is that, of course, but it is also so much more than that.
What’s happened to horror fiction?
Nothing has happened to it. It’s still being published by mainstream publishers. It just isn’t being advertised as horror. It’s being promoted as suspense fiction, or thrillers.
In a way, we are back to where things were in the 1960’s before the so-called horror boom in publishing. Before the mass success of Stephen King, horror fiction could be found everywhere. It was just published as mainstream fiction. Surprisingly, you could find it quite easily too. Once horror was categorized by publishers it became a marketing gimmick. Horror novels had to be packaged a certain way and placed in a certain section of the bookstore. Yes there as good stuff published during the boom, but there was also a lot of crap published too.
Like I said, horror fiction is still being published. Witness Laird Barron, Joe Hill, Robert Jackson Bennet, Michael Marshall Smith, Joe R. Lansdale, Sarah Langan and Gillian Flynn.
What’s the last book you couldn’t put down?
NOS4A2 by Joe Hill.
Fiction: Adam Cesare, Shane McKenzie, Monica J. O’Rourke, John Boden. Art: Dan Henk, Jim Agpalza, Daniele Serra, Frank Walls. Interview: Jeff Burk. Non-Fiction: Nathan Robinson, Shane McKenzie, Jack Bantry. Reviews: Gabino Iglesias, Robert Essig, Nathan Robinson, Jack Bantry.
1. You are both successful in the horror field. You’re living the dream? Is this what you wanted to do when you were growing up, in your teens, leaving school, etc? (SM) –Man, I really appreciate you saying I’m successful, because in my eyes, I have a long way to go. That being said, yes, I’m definitely living the dream. Living the dream in the sense that I get to tell a story and there are people out there who give a shit enough to want to read it. Having fans is definitely something I’m still trying to get used to. It’s a trip! It took me a long time to figure out what I wanted to do. All I knew for certain was that I wanted to be involved in the horror genre in some way. I went to the Art Institute of Dallas, graduated with a degree in computer animation. I thought it would be fun to make horror themed video games. Yeah…it’s not. It’s just too technical for me, and I realized I just wasn’t really a great artist. I’ll admit something…I didn’t even start reading books for pleasure until college. It was always horror movies for me. But once I read some Bentley Little, Jack Ketchum, Edward Lee, Brian Keene, Richard Laymon, and yes, John Skipp, it was like an alarm going off in my head. This was what I wanted to do. I spent the rest of the time learning how, and still consider myself to be learning. (JS) — You gotta know, there was no horror scene when I came up. Horror was a subset of weird fantasy, getting its first toeholds thanks to the commercial success of ROSEMARY’S BABY, THE EXORCIST, and Brian DePalma launching Stephen King with CARRIE. My first convention was a World Fantasy Convention. World Horror was nearly a decade away. But I always knew I wanted to fuck with people, and make them think. So am I living the dream? Absolutely.
2. What attracted you to horror fiction in the first place? (SM) – I never really know how to answer this question. It’s not a conscious thing. I just love horror. There’s something in my brain that when it sees monsters or over-the-top gore or masked serial killers, it says, “Yay!” (JS) — I came into this world scared, and got really tired of living in terror at an early age. (See Shock Totem # 1 for elaborate details on my first hallucinatory JACOB’S LADDER-style initiation, at the age of two.) So as a tiny kid, I’d force myself to watch monster movies, then graduated to Creepy Magazine and Edgar Allan Poe. By the time I hit Rod Serling, Ray Bradbury, Alfred Hitchcock, and Robert Bloch, I was a confirmed confronter of my own worst fears.
3. John, you are obviously associated with “splatterpunk”. People still talk about the sub-genre now. It was a revolution in horror literature, memorable because it was shocking, more graphic than the horror fiction before it, more visual and visceral. Shane, you’ve come straight in, writing badass splatter fiction and bizarro. Now graphic horror is the norm, sex and violence are to be expected. So now, when you’re writing a horror novel, how do you shock people? (SM) – Different things shock different people. There have been times when I’m sure I just wrote the sickest piece of fiction ever, only to read a review by someone saying they expected more gore. I’ve also written stories that I didn’t think were all that bad as far as extreme horror goes, only to have someone tell me it was the most disgusting thing they had ever read. So I just focus on shocking myself. If I’m smirking and chuckling as I write a certain scene, that usually means I’m onto something.
4. John was a “splatterpunk” main player, and it’s also the name of my zine, so is “splatterpunk” still relevant today, or because the violence is so common and the shock value is no longer there, is splatterpunk a thing of the past? (JS) — I gotta be honest, man. What splatterpunk means to me, and what it means to everyone else, seem to be very different things. To me, splatterpunk was a very specific and completely spontaneous eruption in the arts that took place in the mid-80s. Horror as a revolutionary act, bridling against the restrictions of the era, and throwing a wicked party in the process. Clive Barker’s BOOKS OF BLOOD, the amazing short stories of David J. Schow and Joe R. Lansdale, and the books Craig and I were doing all hit at the same time, and people were trying to figure out what to call it. Schow threw out the s-word as a joke at the World Fantasy Convention bar, and the next thing we knew, that was what we were. The word stuck because it’s a really fun word. But — and I mean no offense here — the “extreme horror” phenomenon that followed was not what I was hoping for, nor a reflection of what I was trying to do. People seized on the splat, but forgot the punk. Which is to say, the subversive element. The part that challenges society with shocking ideas, as opposed to just rubbing its face in the nearest open wound, then raping its ass till jizz squirts out its eyeballs as it drowns in the bowels of the previous victim. I don’t wanna sound like a prudish, doddering granny here, clutching her pearls as her blue hair bursts into flames. But I just gotta say: I think a lot of people missed the fucking point entirely. It’s not just about how horrible you can make things. It’s about what it means. Why it matters. And what it says about us as a species.
5. Are horror films still shocking? (SM) – Yes. I’m pretty sure my jaw hung through the entire length of A Serbian Film. But beyond just extreme horror movies, one of the most memorable shocking scenes this year was The Red Wedding in A Game of Thrones. Purely a fantasy show. But after that scene, it was all anyone could talk about. They had YouTube videos of people’s reactions as they watched it. The reason why? We had come to love these characters. We couldn’t believe, didn’t want to believe, that these horrible things were happening to them because we had grown to know them, had spent so much time with them. In order to really shock anyone, you have to have a solid story and believable characters. That way, when the shit hits the fan, your readers will feel it on a much deeper level. (JS) — Shane, I LOVE YOU! And love the fuck out of your answer. Because that cuts straight to the heart of it. While I am stunned by the brute animal audacity of films like THE HUMAN CENTIPEDE 2, I think a lot of the best, most well-dialed horror moments are currently showing up in other genres, where they’ve stolen our licks and intensity but haven’t forgotten the people or the point. There are a couple of scenes in last year’s snappy sf film LOOPER that shook, awed, and rocked me harder than most horror fiction or film.
6. Horror blew up in the 70’s and 80’s, now it’s the norm, with TV shows like The Walking Dead, Dexter, True Blood and American Horror Story being as popular as ever. So why is it, when you go into a book store there are hardly any horror novels and they’re hidden away, out of sight? (Yet at the same time Stephen King is bigger than ever). (SM) – I’ll never understand this. People love to be scared, have always loved the thrill of being safely afraid. Yet the term horror is being shunned. I’ve heard it called the H word, for fuck’s sake. We can call it a thriller or a mystery, and then it’s all good. But not horror. Anything but horror. I just don’t get it. (JS) — The great cartoonist/author Gahan Wilson defined horror as the geek tent at the end of the carnival midway. It’s a disreputable genre, appealing to our basest impulses: the things nice, normal people pretend to have no interest in, but are secretly dying to see. You know what’s hilarious? The majority of the trillions of people who read and love Stephen King don’t think of him as part of the genre at all. They think of him as a great writer. And they think of him as their friend. Somebody who really understands them, and is willing to go to the dark place with them. That is really the heart of his appeal. He connects. That is the secret of his power. Now let’s take those TV shows case-by-case. THE WALKING DEAD is a soap opera played in the zombie apocalypse, making use of that incredibly powerful metaphor to imbue the struggle to survive and remain human with massive meaning. Totally an idea whose time has come. That’s why it fucking works. DEXTER does the same thing with the serial killer template. And when you consider that CSI and all those shows stole their riffs from Dario Argento, it all makes sense. Horror has infiltrated crime stories better than almost anywhere. BREAKING BAD. The fucking SOPRANOS. You know what it is? It’s horror plus. TRUE BLOOD is where paranormal romance gets to fuck and shred onscreen. Nuff said. And AMERICAN HORROR STORY is, to me, the most amazing of the batch, because it takes a kitchen-sink approach to the genre, throwing every single weird, amazing, alarming and shocking thing the genre and beyond ever had to offer right in our faces, one after the other, till we don’t even know where we are. And then it hits us again. I personally think it’s genius, and the best of the shows under discussion. To sum up: horror is an emotion. It’s an ingredient, not an end in itself. And it feels like everybody’s figuring that out but us. That’s the problem.
7. One for the Skipp… Joss Whedon of Buffy is said to have based his character Spike on Rudy from The Light At The End. This must have been a huge compliment? Have you ever thought of asking Joss to make a film version of The Light At The End? Have you ever had any interest from film makers? Have you ever thought of writing a script yourself? I can see it making a great film? (A film by John Skipp, based on his novel, produced by Joss Whedon). (JS) — I think ol’ Joss has his hands full of AVENGERS right now, and probably got all his punk-vampire jollies out with Spike. But it was really fun to find out that Rudy Pasko’s influence extended that far, and that Joss was a fan. The feeling is mutual. You gotta know that LIGHT was optioned for film a year-anna-half before the book even came out, and got picked up repeatedly over the next 10-12 years. It just never got made, for one reason or another. We came very close a couple of times. But no dice. I never wrote a script for LIGHT, but Craig and I did screenplays for THE CLEANUP, DEADLINES, and ANIMALS. The last of those was finally made into a truly pathetic film a couple years back. But it wasn’t my script, and I had no personal involvement whatsoever, aside from a hilariously small check for my half of the novel. In the end, my time as a Hollywood screenwriter-for-hire was so completely horrible that I determined I’d have to become a filmmaker myself. So I spent years studying directing, producing, and pretty much every aspect of the art and business. Now I’m co-directing films with the gifted and wonderful Andrew Kasch, who I met when he interviewed me for NEVER SLEEP AGAIN: THE ELM ST. LEGACY. We’ve got a whole stack of projects in development, all based on my original scripts. And we just shot a crazed music video that’s in post right now, featuring shitloads of amazing stop-motion animation by Michael Granberry (ROBOT CHICKEN). I also appear as the bongo player. Can’t wait for this thing to come out!
8. Shane, have you ever thought of writing a screenplay? What type of horror film would you go for? Muerte Con Carne would be one hell of a movie. (SM) – I’ve considered it, and I definitely think I’ll give it a try one of these days. I like the idea of writing a screenplay based on one of my novels. I’m so addicted to writing horror fiction that it’s hard for me to think beyond that right now. I’m currently writing a cartoon show, and it’s kicking my ass. I have a tendency to make things dark, even when I’m trying not to. I imagine if I do ever write a screenplay, it will be very similar to my novels. It’s funny you mention Muerte Con Carne…hint hint.
9. Shane, you’ve have taken a year out to write full time. How has it gone? I know you have a young daughter and having to pay bills must bring with it some pressure? (SM) — Man, I wish I could take a year off of work to write full time. Can’t do it, at least not right now. I’m still new, still finding a readership. It will probably be a while before I can justify taking time off of work. Things have been harder than ever, actually, but that’s okay. That’s just life. It keeps me motivated to keep writing, to keep aiming high and thinking outside of the box. One day, writing will be my only job. It’s weird to even imagine that.
10. John, was it easier writing in the 80’s when every publisher wanted horror titles? (JS) — It wasn’t any easier to write — writing is writing, which is to say hard work — but it was waaaaaay easier to make a living doing so. That said, it’s still every bit as fun as it always was. I’m very lucky, in that I totally love the actual writing process itself.
11. What was the last book you couldn’t put down? (SM) – I read a lot, but I don’t have a lot of time anymore to just sit and read for a long stretch. However, I read Joe R. Lansdale’s Savage Season and Mucho Mojo both in a couple of days. His Hap and Leonard books are just fucking amazing. So good. I still have more of them to read, but I don’t want to burn through them too fast. (JS) — Shane’s ADDICTED TO THE DEAD. He had my nuts in a wringer pretty much all the way. And if there is such a thing as 21st century splatterpunk — where hardcore excess meets genuine human emotion and social critique — he and Adam Cesare are my current poster boys of choice. But I’d also like to point at Cody Goodfellow, Violet LeVoit, Amelia Beamer, Sarah Langan, and Jeremy Robert Johnson as some of the hardest-punchingest smart motherfuckers on the planet, breaking the rules the way I hoped they’d be broken. Brian Keene, at the top of his game. And Carlton Mellick III. Have you read APESHIT? Oh my fucking god.
12. What would be your epitaph? (SM) – I tried my best and regret nothing. (JS) — (laughs) Mine is definitely gonna be, “Well, it seemed like a good idea at the time!”
Illustration by Dan Henk.
Shirt design by Sam McCanna.
Splatterpunk 4 is out now, but be quick, there is a new Christmas story by JEFF STRAND, starring Andrew Mayhem! Plus more new fiction by J.F. GONZALEZ, SHANE MCKENZIE, ROBERT ESSIG and JACK BANTRY. Art by DAN HENK, DANIELE SERRA, JIM AGPALZA and GLENN CHADBOURNE. Non-fiction: You Sick Fuck or Why I Love Extreme Horror by JEFF BURK. Interviews with JOHN SKIPP, SHANE MCKENZIE and J.F. GONZALEZ. Plus the usual…