- Interview: Leigh Whannell on Taking the INSIDIOUS Franchise Full Circle for THE LAST KEY
- Scott’s Favorites of 2017
- Interview: Director Hèctor Hernández Vicens on the Symbolism & Style of DAY OF THE DEAD: BLOODLINE
- Zombie Crosses Paths with a Piranha in New Installment of Jeff Fuller’s Living Dead Comic Strip ZOMICS
- Watch the Official Trailer for New Haunted House Movie WINCHESTER, Starring Helen Mirren
- The Miskatonic Institute of Horror Studies’ Spring 2018 Classes to Focus on the Written Works of Shirley Jackson, Richard Matheson’s I AM LEGEND, and More
- Horror Highlights: THE NIGHT SITTER, New Soska Sisters Apparel from Terror Threads, KOSHCHEI THE DEATHLESS #1
Posted: 04 Jan 2018 04:13 PM PST
He's co-starred in and written all four films in the Insidious series, and he even sat in the directorial seat for the previous sequel, but for The Last Key, Leigh Whannell is taking audiences, and franchise favorite Elise Rainier (Lin Shaye), back to the past, as we get to experience where it all started for our favorite parapsychologist, who must stop a powerful demonic force that once terrorized her as a young girl and is back to wreak more havoc.
At the recent press day for Insidious: The Last Key, Daily Dead had the chance to speak with Whannell about the inspiration behind this latest sequel, and he also discussed his enthusiasm for collaborating with Shaye, and how her involvement has helped transform the successful franchise into something very special.
This is a franchise you've been with now through all four films, in various capacities, and I really love how it all comes full circle for Elise in this film. I'm curious, for you, what was different with the process on this film versus the prior three Insidious films?
Leigh Whannell: The trick is to make it look like it was all planned, when really it's chaos behind the scenes. You're in the restaurant eating this dish, you don't know that behind that wall the kitchen is in total chaos. For me, it was a hard process to find the story for this film.
I remember when I started writing, I had a case of writer's block for a while. I remember weeks going by, and just not being able to think of anything new to say. In hindsight, it seemed so natural that I would take Lin and put her front and center in the film and go into her backstory, but it just took a while to get there. Sometimes these films do. There wasn't really any grand design or plan for it, but I'm so glad I decided to go into Lin's backstory, because now when I watch the film, it's the most interesting direction for me that we could've gone in.
Does it make it easier for you when you're working with somebody like Lin, who you know so well and you know that she can go to the places that this character needs to go in this one? Because it is probably the deepest exploration of her character that we've seen thus far.
Leigh Whannell: Absolutely. It absolutely does make it, if not easier, more fun to write for someone whose voice you know. I always think about the writers of The Simpsons. That show has been running for so long that you have to figure that some of those writers have gotten to the point where they know what Homer Simpson would say in any given situation. You know, "Oh, this is what Homer would say here."
I had that feeling a little bit with Lin. I know her so well as a human being that it was nice to write in her voice. To sit back and actually hear Lin's voice in my head, it was almost like she was there with me writing the film. That's a rare thing, and at least for me as a writer, I don't usually have that advantage of writing in someone's voice because I don't know which actor's going to be cast, or if it's an original character that I've never written before, so I'm inventing them from the ground up. Whereas with Lin, it's our fourth time around, and I really know her, so there was a real joy to that, writing for her.
With Insidious: Chapter 3, you had so many components that you were juggling on that one, because you were also directing. Was it nice to step back in this one and really be able to focus on the story, hand the reins over to a guy like Adam [Robitel], who is very capable and very confident as a storyteller, and enjoy it from a different perspective again?
Leigh Whannell: Yeah, there was something good about that, because when you're writing a film, you still have that creative hand in it. It's not as if I sat back and let somebody else do everything. Like with the Saw movies, for instance, I wrote three of them, and after the third one I was completely hands off. I didn't have anything to do with those movies. They had new writers, new directors, and so I felt very divorced from it. I felt very distant from it.
With this fourth Insidious movie, even though I didn't direct, I felt really invested emotionally, having written the script and even being on set every day as an actor. Working with Lin, there was a joy to seeing someone new, because what Adam can bring to the table is a fresh set of eyes. He had his own ideas about Insidious and how we should do it, and that's a tough thing to do.
It's tough to be the new kid at school, and Adam handled it very well. He's a calm guy. He's not someone that throws temper tantrums or gets stressed out on set. He takes everything in stride. To a degree, that's pretty amazing, especially for him to step into a really well-established world and throw off like that. It was pretty impressive.
It's amazing that you guys ended up building this franchise around a female protagonist that's older than we normally see in films of any genre. Did you guys realize coming into these sequels the precedent you were setting? I think it's pretty awesome.
Leigh Whannell: Well, you know, the whole thing of Lin is really a happy accident, because in that first movie, she was one of the supporting cast. The stars of the movie were Patrick Wilson and Rose Byrne, and the story really centered around them and their child.
I wouldn't say that Lin's character was an afterthought, but she was the Zelda Rubinstein. She was the quirky psychic that comes in to help save the day. There was no thought at all that we would be building films around her character later. It's a really happy accident and stroke of luck that we got Lin Shaye to do it. Imagine if we'd cast some other actor who wasn't as compelling. We wouldn't have the option of making films about her. I see it as a real gift from the movie gods that we got Lin.
And you're right, you don't see women Lin's age playing lead roles in studio films. It's a sad fact of the movie industry. Not even just women of Lin's age; it seems like the cutoff point for women has been remarkably early. I've heard women talk about the phone not ringing once they hit 40, which is not the case for men. As you know, men are able to continue playing these lead roles well past the so-called expiry date for women. It's really kind of sad.
Lin is very aware of how rare it is, and we just love it. I will tell you this, something that makes me really happy about the Insidious films, especially this last one, is knowing that Lin's the lead, and how unique that is in contrast to a lot of other films that have the young people running around in the lead roles. But it's just something that makes me really happy. A happy byproduct of these movies is giving Lin Shaye a stage, because she needs one. She should have one. She's got so much to offer, and it makes you realize how many more films could be great if they were based around characters and people of ages that don't usually get a chance. What stories are we not seeing? Anyway, I love it. I really love it.
In case you missed it, check here to catch up on Heather's other Insidious: The Last Key interviews and her review of the film.
The post Interview: Leigh Whannell on Taking the INSIDIOUS Franchise Full Circle for THE LAST KEY appeared first on Daily Dead.
Posted: 04 Jan 2018 03:15 PM PST
Hey everyone. Having written and rewritten this introduction four times, I've resigned myself to a simple fact: I can't rewrite what has been. I can't change what is done. But the future isn't set in stone, and my present is better than it's been in a very long time. I guess which is to say that I'm forever an optimist; I can't help it and frankly, I don't care to change. It's just the way I'm built. So, it was a busy year, and many of the reasons why you'll see described below with my list of favorite things from 2017. As you'll see, horror—and horror people—never let me down.
FAVORITE TV SHOWS
Okay this will be very short, so let's get it out of the way: I didn't see any horror TV this year at all. I'm SORRY, OKAY? TV always seems the one format that is the easiest to slip through my grasp—perhaps because it's always just there, waiting—but indeed it has survived and thrived, with great notices for season two of Channel Zero and The Exorcist (both which made my fave list last year). I promise I'll do better in 2018. Um, I'm almost done watching Hannibal, though, does that count?
Again, it's been a crazy year on the work and the home front; I've always loved to read, but it seems the more I write, the less I'm able to dig into a good book. There are two, however, that have (wait for it) bookended my year:
Never Sleep Again: The Elm Street Legacy: The Making of Wes Craven's A Nightmare on Elm Street: Yes, it came out in 2016, but I read it when I read it, and I'm so glad I did. Author Thommy Hutson wrote and produced the amazing doc of the (partial) same name, but instead of the whole series, here he focuses on the ground zero original, allowing it to breathe and expand beyond the allotted time given in the doc. Essential reading for any fan of the film or just great, in-depth "making of" tomes.
Monster Squad: Celebrating the Artists Behind Cinema's Most Memorable Creatures: Written by Daily Dead's very own Managing Editor and Top Critic Heather Wixson (alternate spelling: Wixon), Monster Squad delves into the stories behind some of your very favorite practical makeup effects by the people who created them. I'm nowhere near finished with this book (it packs in a ton of info and it was released late in the year), but Heather's talent and love for these creature makers oozes off of every page. This is a tremendous undertaking from a gifted, passionate writer.
I greased up my ear holes with many a podcast this year; most of them horror-based, all of them terrific in their own way: engaging hosts, interesting topics, and a passion for film that's contagious. In no particular order, this is what I fed my auditory canals:
I'm sure many of the above are already on your listening lists, and if not, give each and every one a go—I promise there's something for everyone.
This was another very good year for feature film horror, not only for content, but for the box office; it seems whenever real life gets to be too much (and 2017 had way too much 2017 in it, for everyone), audiences turn to escapism to possibly overcome their fears in a safe environment. (Pop psychology to be sure, but I think it holds some truth, and us horror lovers would be there regardless of our environs. That's just how we roll.) These are my top picks for the year:
IT: My first Stephen King adaptation on the list, and I believe the best. Confession: I still haven't read the book, so my only previous knowledge is the 1990 miniseries, which is still beloved by some and derided by many. (Personally, I think it's a mixed bag with some great moments. Not that you asked.) Andy Muschietti (Mama) has crafted a rare beast: a studio-made horror film with an emphasis on winning, fully developed characters over cheap scares (although it has more than its share of shivery terror). I eagerly await his 2019 follow-up to see what's in store for the grown ups. It should end well for everyone, right?
Gerald's Game: Hell, I might as well throw another King on the pile, as Mike Flanagan (Hush) solidifies his standing as a modern master of horror with an adaptation of a seemingly un-filmable book. Again, another King that works because of a belief that character is enough to drive a film. Plus, THAT SCENE. Plus plus, Carla Gugino should be noticed for her heroic performance. Oh and plus plus plus, can I have the number of Bruce Greenwood's trainer?
Dearest Sister: The power of film is such that I first saw this back in January on Shudder and it has never left my thoughts. Laotian director Mattie Do has crafted a ghost story that projects that country's social and economic disparity in a haunting, delicate light; when a poor village girl travels to the city to help her recently blinded and wealthy cousin, she finds that the cousin can communicate with the dead, which she uses to her financial benefit. There's an eerie sadness to the villager's plight, and to the film itself.
Get Out: Call it "horror," call it a "social thriller," call it whatever you want, but never forget how groundbreaking it is for the genre. Saturated with commentary on (sadly) still hot button issues of racism, cultural appropriation, and fear of assimilation, comedian Jordan Peele's directorial debut is direct and fierce in its message while still managing to be a cracking love letter to the genre. Judging by the success of this film, Peele will be able to make whatever movies he wants, and I'll be first in line.
The "IT'S NOT OUT YET, BUT YOU'RE GOING TO LOVE IT WHEN IT IS" Award Goes To:
Tragedy Girls: From the makers of the hilarious Patchwork, this breezy romp manages to make many cunning observations about the disconnect of social media in a warm, disarming, and winning way. Well-rounded characterizations, good laughs, and solid kills (will) make it a delight for horror lovers, mark my words.
The "IT'S CLOSE ENOUGH TO HORROR FOR ME" Award Goes To:
Mayhem: Joe Lynch knows horror inside and out; even better, he has the talent to back up the talk—in a similar vein to his previous action extravaganza, Everly (2014), Mayhem simply pops off the screen with sly humor and hyperkinetic moves. It's Office Space meets Lord of the Flies, laced throughout with splatter-ific fun that is becoming Lynch's specialty. At least I hope so. Nobody does it better.
So, there you have it, some oases in a continually burning desert. We all have our own; and I hope that whatever you take pleasure in, it helps get you from one day to the next, and maybe even inspire you to help make a better tomorrow. Never forget that in the horror world, we're all in this together. That should always count for something. And to anyone who has ever read my blathering here or listened to me prattle on Daily Dead's very own Corpse Club podcast (what, you thought I wouldn't mention it?), my most sincere and humble thanks. I hope to keep doing it until they change the locks. Wishing you all the light and love in 2018.
Want to what other members of the Daily Dead team enjoyed in 2017? Catch up on all of our favorites coverage here.
Posted: 04 Jan 2018 02:20 PM PST
He took us into the morgue with The Corpse of Anna Fritz, and for his second feature film, Hèctor Hernández Vicens aims a morbid lens at a world gone mad in Day of the Dead: Bloodline. With the reimagining of George A. Romero's Day of the Dead coming out to theaters, VOD, and Digital HD beginning January 5th from Saban Films, Daily Dead recently spoke with lead actress Sophie Skelton, and we also had the pleasure of talking with Hèctor about the movie's twisted love story, paying homage to Romero's work while still telling a different tale, and incorporating symbolism into the living dead narrative.
Thank you for taking the time to talk about Day of the Dead: Bloodline, Hèctor. This movie is based on a beloved film by George A. Romero. Coming off your previous film, The Corpse of Anna Fritz, which I think a lot of horror fans really enjoyed, what interested you about doing a new version of Romero's story?
Hèctor Hernández Vicens: Well, I love Romero's Dead movies. I think they are really great movies. One day I received a script from the producer with the title Day of the Dead: Bloodline, based on Romero's movie. I read the script and I saw that it's completely another movie, but with some similar events: the bunker, the military, and the zombie apocalypse. I thought that I could create a style knowing that it's a low budget, but I could enjoy creating the characters and their emotions, and making the movie was something that is great to me.
Yeah, it must have been really fun as a director to play in that world. You spent some time in the morgue with The Corpse of Anna Fritz and in this one, you go back to the morgue, but then you're also dialing up the story to this really intense apocalypse on a bigger scale. It was really exciting to see you go from a smaller, intimate film like Anna Fritz and then expand from there.
Hèctor Hernández Vicens: I love movies that happen in a single space. In Anna Fritz, it was all in a morgue. In this case, practically the whole movie is in a bunker. So, a lot of things I made in Anna Fritz, I put in this movie, too.
Of course, Anna Fritz is my style because I was one of the writers and producers. In this case, it's the producer's movie, so my role was to make the movie that the producers wanted me to do. But, like in Anna Fritz, I had to create an atmosphere that involves the entire movie and to play with emotions of the characters.
I enjoyed the approach that you took to the zombies. They have these herky-jerky movements and they move quickly. When you were looking at it from that perspective, how did you want to portray the zombies? They turned out to be really creepy.
Hèctor Hernández Vicens: Well, the producers wanted fast zombies. I like both: fast and slow. You can create different kinds of actions and horror using a lot of zombies that walk slowly or a few zombies that run fast as hell. In this case, I had a zombie coach. When I was casting for the movie, we had the casting for the actors and the casting for the zombies, I liked one of the people that came in a lot and I gave him the role of zombie coach. In this case, I didn't want zombies running like sports players. In some movies, zombies run, but I wanted zombies to be fast, but at the same time be zombies. I created only one [style of] zombie with the zombie coach and from that moment, the zombie coach worked with all the zombies and created zombies that way.
That's a great title to have on your résumé: zombie coach [laughs].
Hèctor Hernández Vicens: Yeah, "zombie coach" [laughs].
It was really interesting to see what you and Jonathan [Schaech] created with the zombie-human hybrid Max, because that's your version of Bub, the zombie from Romero's movie that everyone really loves. Max was intriguing on his own, too, and really creepy because he's so human-like and that smile that he has is so nightmarish. I thought that was really interesting how you guys collaborated on that.
Hèctor Hernández Vicens: Yes, I love to work with Jonathan. Jonathan has a great imagination and portrayed the character as hating the other zombies. He has to eat flesh, he has to kill people. And really, his life situation is bad luck. At the same time, though, he needs love.
I didn't want too much zombie movement with Max. He's [Schaech] an actor that, without talking, gives you a lot. He gives a lot to the screen. And after talking about his humanity, after a very few hours of talking about the movie, [Schaech] could work alone, and was always giving great suggestions.
Yeah, that was really nice to see, especially those scenes that he has with Sophie [Skelton], because Max had already loved her character, Zoe, before turning into a zombie, so it added that extra creepy factor and became a romance gone bad.
Hèctor Hernández Vicens: He's like a ghost. A ghost is somebody who is dead. Some elements like hate and frustration are still here. A ghost is a part of somebody. I think Max is the same. He's love, hate, frustration, and happiness, and Zoe, of course, hates him because he was a motherfu**er when he was alive. And when Zoe sees him, Zoe remembers the past. And the past is that her family is dead, everybody is dead. All her friends in the university: dead. So, when Zoe hurts Max in the lab, Max is dead, Max is the past, and Zoe hates him for this reason. Zoe represents the life, she wants to save humankind and Max represents death. He wants to destroy everybody because he hates everybody.
And when Zoe faces her past when they capture Max, she is taking control of her own demons.
Hèctor Hernández Vicens: Yes, I think everything symbolizes something in this movie and in lots of zombie movies. In this movie, I like the character situations. For me, everything that happens in the bunker, it's life, it's our world. In the bunker, there is hate, love, people hating other people, people with hope, people without any hope—like in the world. So, we have very few main characters, but each one represents something. For me, the movie is a rendition of who humans are in our cities, towns, and wherever.
It's very diverse, and it's really cool that you got to film in Bulgaria, which is a type of environment that you don't typically see in a zombie movie.
Hèctor Hernández Vicens: Yes, it was shot in the American studios in Sofia, Bulgaria. There are really great, big studios with great people there, and a lot of American movies are shot in Bulgaria. All the zombies are Bulgarian people.
So, you got to zombify the locals, that's cool. When you're making a movie that is re-imagining a preexisting film like Day of the Dead, were you always thinking of giving little nods to Romero's film, or were you more concentrated on making this its own thing, or a little bit of both?
Hèctor Hernández Vicens: Well, this movie isn't like Romero's movies. I think the director usually never has to try to imitate another director, but at the same, the title is nearly the same title of Romero's movie. So, when I went to the studio, my first idea was to create the stage, to create the walls, to do the color of the walls of the rooms, and the color of the costumes and the color of the lighting of the movie, with a little bit of this Romero style. But only this, because then the characters are different and the script is different. But, at the same time, in Romero's movie, the characters have very strong emotions, and I tried to do the same in the remake.
With Day of the Dead: Bloodline coming out on January 5th, are there any other projects coming up that you can talk about?
Hèctor Hernández Vicens: Well, with Anna Fritz, I wrote and produced the movie. Now, I am preparing another movie that is also written by me. I love to write and to shoot. With Day of the Dead, it was an experience to work with a script written by other people, and I loved it. But, after Day of the Dead, after one year with zombies and blood—I love zombies, but I need to write again and to make another movie written by me. I am working on that right now.
Red band trailer:
The post Interview: Director Hèctor Hernández Vicens on the Symbolism & Style of DAY OF THE DEAD: BLOODLINE appeared first on Daily Dead.
Posted: 04 Jan 2018 12:34 PM PST
Zombies aren't the only ones who will eat flesh in the apocalypse, especially when you take underwater critters into account... Since the first panels premiered on Daily Dead during Comic-Con, we've been excited to showcase artist Jeff Fuller's living dead comic strip Zomics, which finds the macabre humor in the everyday horrors of a zombie apocalypse. We release a new installment of Zomics every Thursday, and we're excited to share another panel with Daily Dead readers today!
This week's Zomics is a reminder that even when you're a zombie in the living dead apocalypse, you're not completely safe from something taking a bite out of you, especially when you cross paths with a piranha.
In case you missed Fuller's previous Zomics panels, you can check out all of them in the gallery below, and stay tuned to Daily Dead next Thursday for another installment!
Influenced by Dr. Seuss and The Addams Family creator Charles Addams, Fuller has worked as an award-winning art director for nearly a quarter of a century, garnering multiple Emmy and BDA awards. He turned his artistic talents to zombies when he started thinking about the comedic qualities that would live on in a zombified world:
"The origin of Zomics: While camping with my wife and kids we stared discussing what life would be like if there really were zombies. We decided that it would be a little scary, a little gross and a lot of funny. This was the birth of the single panel zombie comic strip, or ZOMICS for short."
The post Zombie Crosses Paths with a Piranha in New Installment of Jeff Fuller’s Living Dead Comic Strip ZOMICS appeared first on Daily Dead.
Posted: 04 Jan 2018 10:23 AM PST
Do you believe in ghosts? Sarah Winchester sure did, and her resolve to protect her family from sinister spirits is the main focus of the new horror film Winchester. Starring Helen Mirren, Jason Clarke, and Sarah Snook, Winchester will haunt theaters this February, and CBS Films has opened the door to the official trailer for those who dare to step through its threshold.
You can watch the new trailer below, and in case you missed it, read our own Heather Wixson's impressions from her visit to the real-life Winchester Mystery House.
Directed by The Spierig Brothers, Winchester stars Helen Mirren, Jason Clarke, Sarah Snook, Angus Sampson, and Finn Scicluna-O'Prey. Lionsgate and CBS Films will release the supernatural thriller in theaters on February 2nd, 2018.
The post Watch the Official Trailer for New Haunted House Movie WINCHESTER, Starring Helen Mirren appeared first on Daily Dead.
Posted: 04 Jan 2018 09:06 AM PST
While in high school or college, did you ever wish that your curriculum was focused solely on the horror genre? That dream becomes a reality at the Miskatonic Institute of Horror Studies. Since 2010, this organization has held lectures around the world that dig deeper into great works of horror, and this spring is no exception, as the institute will once again have horror-themed classes in New York and London.
At its New York branch this spring, the Miskatonic Institute of Horror Studies will focus on the works of Shirley Jackson, the history of black horror, and much more, while its London branch will host several intriguing classes as well, including one on Richard Matheson's seminal novel I Am Legend. You can view the full schedule for both branches below, and visit Miskatonic New York and Miskatonic London online for more information.
Posted: 04 Jan 2018 08:35 AM PST
"There's something trying to get me... three of them, actually." The atmospheric trailer for The Night Sitter headlines today's Horror Highlights, which also includes a look at Terror Threads' new apparel featuring filmmakers Jen and Sylvia Soska, as well as preview pages from the first issue of Mike Mignola's new Hellboy comic book miniseries, Koshchei the Deathless.
The Night Sitter Trailer: "A scheming con artist (Elyse DuFour, AMC's The Walking Dead) poses as innocent babysitter "Amber" to steal from Ted Hooper, a wealthy occult enthusiast with a reclusive son named Kevin. Her crew arrives to clean out the house just as Kevin stumbles upon one of his father's most prized artifacts and unwittingly summons a trio of witches known as The Three Mothers. As the playful, sadistic witches start picking people off, Amber and Kevin form an unlikely bond and try to survive the night together."
Written and directed by Abiel Bruhn and John Rocco, and executive produced by Jeffrey Reddick, The Night Sitter stars Elyse DuFour, Jack Champion, and Jermaine Rivers.
Soska Sisters Terror Threads Apparel: Press Release: "Jen and Sylvia Soska - the horror filmmakers collectively known as the Soska Sisters - are behind such cult movies as American Mary, Dead Hooker in a Trunk, and See No Evil 2, as well as the hosts of GSN's Hellevator.
Terror Threads has launched a pair of exclusive designs featuring the twisted twins, which are on sale now at TerrorThreads.com.
The first design, by renowned horror artist Joel Robinson (Scream Factory, Synapse Films), depicts the sisters stitched together into a Frankenstein-like monster. It's black-light reactive and comes on T-shirts, tank tops, baseball tees, hoodies, mugs, phone cases, and turntable slipmats.
The second design, from Terror Threads' own Toto6 and Ama Lea, features the Soskas parodying another pair of famous twins: the Gradys from The Shining. It's available on T-shirts, tank tops, baseball tees, and hoodies.
TerrorThreads.com will carry an exclusive The Houses October Built 2 combo. Limited to 31, it includes the new film on Blu-ray, autographed by director-writer-star Bobby Roe and writer-star Zack Andrews, and a black light-reactive shirt designed by Sam Coyne. The design will also be available separately on T-shirts, tank tops, baseball tees, and mugs."
Mike Mignola's Koshchei the Deathless #1 Preview Pages: Press Release: "MILWAUKIE, Ore., (January 2, 2018)—Legendary Hellboy creator Mike Mignola is returning to Hell, along with acclaimed artist Ben Stenbeck and award-winning colorist Dave Stewart, for Koshchei the Deathless, a new six issue mini-series from Dark Horse Comics. Sent to kill Hellboy by the Baba Yaga in Darkness Calls, Koshchei the Deathless hinted at a long and tragic life before being enslaved to the Russian witch. Now Koshchei relives every horrible act on his road to immortality and beyond, with none other than Hellboy himself—in Hell. Here Mignola returns to Hell and to the bizarre folklore that's filled some of his greatest books, reuniting with one of his favorite collaborators, Ben Stenbeck (Frankenstein Underground, Witchfinder: In The Service of Angels, Baltimore) and Dave Stewart. The debut issue of Koshchei the Deathless is on sale on January 3, 2018.
Koshchei the Deathless #1 (of 6)
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