Emmy and Ringo Award-winning comic creator Dean Haspiel is perpetually a busy man. Haspiel consistently has a comic project in process or in the hands of readers, producing compelling work forged from years in the field. And this month isn’t any different, with not just one, but two crowdfunding campaigns in the works. First up, he’s contributing to the BackerKit campaign for the graphic novel revival of the legendary radio play program Lights Out, from the folks at Rocketship Entertainment and Black Eye Entertainment. And if that wasn’t enough, he has his own campaign through Kickstarter, from his one-of-a-kind, engaging pulp-noir comic Chest Face. In addition to quality, the one thing you can say about Haspiel is that his work is always thought-provoking and with a hook that continually captivates.

I recently spoke with Dean Haspiel about both his contribution to the Lights Out revival graphic novel and Chest Face, the creative processes that go into both projects, and his love of pulp storytelling.

 

From “To Have and to Hold,” Dean Haspiel’s story in the LIGHTS OUT graphic novel

 

FreakSugar: How did you become involved in the Lights Out graphic novel BackerKit campaign?

Dean Haspiel: Rocketship Entertainment publisher Tom Akel, who was my original editor on The Red Hook, invited me to contribute to Lights Out. I’d been working on a horror story for a few years and didn’t crack it until I formerly pitched it to Tom. He loved it and I had to figure out what an omniscient executioner looked like! I still can’t look at the design of that character without shuddering.

FS: What was your familiarity with Lights Out prior to the campaign?

DH: I wasn’t aware of the Lights Out radio show until Tom illuminated me. What an awesome treasure trove from the 1930s! I grew up listening to radio plays and I admired the way actors and sound designers brought imaginary worlds to life. I remember hearing about the legend of Orson Welles’ The War of the Worlds (1938 radio drama) scaring most of America into believing earth was being invaded by aliens from outer space. I recently enjoyed Warren Ellis’ The Department of Midnight audio drama whose mind-bending ideas and ace production values made me tremble. I’ve written four produced plays, thus far, and I think some of them would make great radio plays (and graphic novels). I’ve even lent my own voice to a character called “The Weasel” in Gemini CollisionWorks’ Life with Althaar.

 

From “To Have and to Hold,” Dean Haspiel’s story in the LIGHTS OUT graphic novel

 

FS: What can you tell us about your story “To Have and To Hold”?

DH: “To Have and To Hold” is a violent tale of antiquated ideals, stifled dreams, reinvention, and the balance of sacrifice. It’s brutal.

FS: What creative avenues does a project like this allow you to explore?

DH: I mostly truck in superhero, romance and memoir. With the exception of comics master, Junji Ito (look no further than his terrifying tale, UZUMAKI – The Spiral Horror), it’s rare that a horror comic book scares me. Takes my breath away. But I’d always wanted to figure out something that legit caused me to pause. Present an idea that spooked me and, I think, I achieved that with my harrowing Lights Out story, “To Have and To Hold.”

FS: On to ChestFace: The idea behind Chest Face hooked me right away. What can you tell us about the conceit of the story?

DH: Thanks! Chest Face is a pulp noir parody about a stand-up comedian workshopping his first comedy special while being hunted by the evil corporation that put his face on his chest.

 

CHEST FACE sticker

 

FS: The story is described as pulp noir and the preview pages certainly hint at that. What draws you to that type of storytelling?

DH: The comics medium naturally lends itself to pulp noir because it was. Early Marvel Comics brandished two-to-three twist-ending morality tales per anthology title the likes of Journey Into Mystery, Tales of Suspense, Tales to Astonish, and Amazing Fantasy which, little by small, started to get populated with superheroes when the market started to turn. But even superhero stories are essentially crime and sci-fi monster romance mysteries.

FS: Following up on that, I definitely get a vibe from the pages that remind me of the 1950s and 1960s era of comics, in addition to the light Cronenberg body horror you suggested on the Kickstarter page. Am I reading that correctly? If so, what do you find appealing about that aesthetic?

DH: Bingo! I think most of my personal comix are modern homages of 1950s and 1960s sensibilities told with an empathetic yet sentimental heart. The graphic aesthetics of Chest Face is a cross between Where Monsters Dwell, Bugs Bunny, and Frank Miller’s Sin City.

 

CHEST FACE sticker

 

FS: On to the Kickstarter itself: What rewards can backers expect from the campaign?

DH: Most all of the rewards come with both a digital and a signed print copy of Chest Face. Other rewards feature an exclusive sticker. A signed print. Limited editions of my “Deep Cut” quartet: Chest Face, The Red Hook x Dean Haspiel, Billy Dogma + Jane Legit, and Covid Cop. A one-on-one virtual comix consultation. A group Zoom party. Or an original art commission.

FS: If you had a final pitch for Chest Face, what would it be?

DH: At its root, Chest Face is a body horror satire about revenge and redemption. At its heart, Chest Face is a neo-noir about chasing the purity of that first laugh while taking stock in everything your mother ever taught you and how tragedy and trauma can galvanize your dreams.

As of press time, the BackerKit campaign for Lights Out has exceeded its funding goal, with 27 days still left in the campaign. The Kickstarter for Chest Face has also exceeded its funding goal, with just over two weeks left to pledge. Be sure to check out both of these phenomenal projects by experts in their field!