First introduced to comic book readers in 2007 for his work on The Official Handbook of the Marvel Universe and World War Hulk: Gamma Files from Marvel Comics, writer Brandon Seifert has made a name for himself in recent years. Brought to my attention for his issues of IDW’s Doctor Who and co-writing Boom! Studios’ Hellraiser: The Dark Watch with Clive Barker, Seifert has also garnered a dedicated following for Witch Doctor. A kind of House, M.D. meets H.P. Lovecraft, this original medical/horror series from Image Comics is illustrated by Lukas Ketner and employs an interesting blend of horror, fantasy and comedy. Known for his due diligence as a researcher, his use of fascinating imagery, and his keen attention to detail, Seifert has amassed a unique body of work, receiving its rightful share of critical praise.
With the recent announcement of his upcoming title from Marvel Comics, Disney Kingdoms: Seekers of the Weird, there’s a lot of buzz surrounding this high profile book. Created in partnership with Walt Disney Imagineering, Seekers of the Weird will serve as the launch for a series of books under the Disney Kingdoms brand, exploring the characters, worlds and attractions of Walt Disney Parks and Resorts. What else is coming from this Marvel-Imagineer partnership is still unknown at the moment, but the topic is certainly stirring a lot of interest from eager fans. All of that said, I recently got a chance to catch up with Seifert, to talk about his new project, horror comics, and his plans for future books.
Q. At New York Comic Con, Marvel announced the release of your upcoming five-part series, Disney Kingdoms: Seekers of the Weird. How did you get involved in this project, and can you tell us a little bit about it?
A. I got involved in Disney Kingdoms: Seekers of the Weird because Marvel editor Bill Rosemann hit me up and asked if I wanted to be involved!
Seekers of the Weird is about two teenagers named Maxwell and Melody Keep. Their parents get kidnapped by a dark supernatural force — which leads the kids to discover that their family’s involved with something call the Museum of the Weird, a repository for the world’s most dangerous magical artifacts. The kids have seven days to find one artifact in particular in the Museum… or they’ll never see their parents again! Seekers has a bit of an Indiana Jones vibe, but also a pretty strong Harry Potter influence too. The whole project is based on the actual Museum of the Weird, which was originally going to be part of the Haunted Mansion at Disneyland but got shelved when Walt Disney passed away.
Q. What has been your favorite part of working on this title so far?
A. The series artist is Karl Moline. I’ve been a fan of Karl’s work since he did Fray with Joss Whedon at Dark Horse, so I was super excited to work with him. But as good as I expected Karl’s work to be — it’s turned out to be way better! His stuff is so good that I’ve been working on “leveling up” the ideas I bring to the table, because I know if I bring an amazing idea for something like a monster or weapon to Karl, he’ll make it even more amazing when he draws it!
Q. Will this title be family-friendly, as the Disney association might imply, or did you write with a more mature audience in mind? Does this title appeal to Marvel’s action-oriented readers and Disney fans alike?
A. It’s designed to be “all-ages” in the same way as something like Doctor Who, Star Wars or the Pirates of the Caribbean movies. Fun for kids — but fun for adults, too!
It’s definitely going to have a broad appeal. The project started with the Disney Imagineers. They’re very involved, and very interested in making sure we live up to the history that the project is based on. But Marvel’s also making sure it’s very much got a Marvel kind of vibe to it. I don’t know what people are expecting from this series — but I think they’re going to be really blown away when it comes out!
Q. You’re known to many readers for your issues of Doctor Who and Hellraiser: The Dark Watch, as well as your own original project Witch Doctor. As a writer, is it difficult to switch gears from genre to genre, or is Seekers of the Weird in the same thematic wheelhouse as some of your other work?
A. I dunno, I sort of think the idea of “genre” lumps together a bunch of things that don’t really go together. Some genres are all about the kinds of tropes you use — science fiction needs some kind of fictional science thing in it, whereas, like, “urban fantasy” needs magic in a city setting — a kind of trope in a specific setting. Then on the other hand, you have genres like “comedy” or “horror.” And those aren’t about the setting you use or the trappings you play with as much as they are about evoking a specific emotional response from an audience. In comedy, you’re trying to make the audience laugh. In horror, you’re trying to scare them, or disturb them. So, when you have “science fiction” — stories about fictional science — and “comedy” — stories that make you laugh — and you call them both “genres”… I dunno. That doesn’t make a huge amount of sense to me.
So if you’re doing a “genre” like “science fiction,” it’s easy to mix other genres in. Most of my favorite fiction is stuff that mixes different genres. Doctor Who is science fiction, but also action, adventure, horror, mystery, comedy, drama… it varies from episode to episode. With Witch Doctor we were doing horror and medical drama… but also comedy, action, drama, urban fantasy, lots of stuff. So doing a series like Seekers of the Weird, which also has a bunch of genres mixed into it, is a pretty easy transition. I find it a lot harder to do a book like Hellraiser, which is supposed to be pretty straight-up supernatural horror with some urban fantasy/dark fantasy stuff mixed in. I can’t do a lot of comedy in that book, or even a lot of “action genre” stuff, because it’s antithetical to what the series is supposed to be about. And since I’m someone who doesn’t like sticking to one tone in a story, that’s much harder for me.
Q. As mentioned above, you’ve had success both with franchise titles as well as your own original series. Do you find yourself looking to create more original works in the future?
A. Oh, yeah! Doing franchise work definitely has a lot of benefits you don’t get when originating a new project. For one thing, franchises like Doctor Who and Hellraiser have been big, important parts of my life, so working on them is much more of a “dream come true” thing than working on something like Witch Doctor, which I originated myself. But working on franchises has pointed out to me that I’m definitely happiest and most creatively fulfilled when I’m working on projects I made up myself. And I really do my best work on projects that I came up with. So going forward with my career, original projects are going to be more and more my focus.
Q. You’re known for your distinctive way of approaching the horror genre in your work. Do you find yourself drawn to horror in particular? If so, is that an aesthetic choice, as vehicle for other narratives, or do you feel that horror comics can be elevated?
A. Honestly, I think part of what people are finding distinctive about my work in horror is that most of my influences come from outside horror. Look at Witch Doctor, #1, that’s a good example. WD #1 is an exorcism/demonic possession story. But it’s not inspired by stuff like The Exorcist, let alone other exorcism movies. It’s inspired, on the one hand, by a whole bunch of research I did into actual exorcism and possession beliefs, especially stuff in the Vatican. I read several books about Vatican exorcists, the things they believe and the training they go through to become exorcists. So that was one side of it. The other side was, it was inspired by the whole biology metaphor we use in Witch Doctor, where we cross classic monsters with really disturbing stuff from medicine and biology. So in Witch Doctor, “demonic possession” is actually infection by the parasitic larval stage of the demon life cycle. So I did a whole bunch of research into parasitic insects, especially stuff like botflies and applied that to demons.
Really, I think horror can be “elevated” by bringing in influences from outside of horror. But that’s the same thing that’s true of every genre. Star Wars elevated science fiction at the time because it pulled in all this stuff that wasn’t being used in science fiction. Action/adventure tropes, World War 2 dogfighting movies, samurai movies, metaphysics, Joseph Campbell, Kurosawa. I’d never say I’m trying to “elevate” horror, because that implies that I think horror needs to be “elevated,” like there’s something wrong with that. And I don’t think there’s anything wrong with the horror genre. But I do think my approach to horror interests people because I’m not looking at horror for my inspiration — I’m looking at all kinds of other stuff.
Q. Are there any other franchises/genres you’d like to tackle someday, if given the chance?
A. Oh, lots of them! I haven’t gotten to do much science fiction, and that’s always been my big love. I also want to be doing superhero comics. They’re what got me into the medium in the first place. Besides those, there’s a bunch of other genres I’d like to do. Westerns are one. And Wuxia is another — the whole Crouching Tiger, Hidden Dragon strain of martial arts movies from China.
As for other franchise I’d like to do… I’m a huge fan of Marvel Comics, so there’s lots more stuff I’d like to do there. I’m also a big fan of Ghostbusters, and Aliens, and Buffy. All those are things I’d love to try writing someday.
Thanks so much to Brandon for taking the time to talk. Be on the lookout for Disney Kingdoms: Seekers of the Weird coming out in January. We hope to hear from him again soon.