“When we are no longer able to change a situation – we are challenged to change ourselves.”

Viktor E. Frankl

2015’s been off to a less than rosy start for me and my kin. Both my wife and I found ourselves unemployed rolling into Christmas (fa-la-la-la). Sign of the times, really – the world’s going through a rough patch of late, economically, socially, the whole she-bang. So I did what anybody else would (or should) do in these situations: dust myself off, straighten out my tie and start knocking on doors looking for work.

But here’s the problem: after five months with no response, the door-knocking becomes nothing more than an exercise – busy work one does to feel like they’re moving towards something, without any results. It’s a Toronto thing, I guess. For a city that grinds to a halt every summer with construction and repairs, there still seems to be a lot of broken shit lying around. My wife has managed to find teaching work – something she’s been working her ass off to achieve, and I’m proud of her every day for the amount of blood, sweat and tears she’s put into achieving these goals.

I, however, am back at square one. And thus, I’ve had to change course. When the same-old, tried-and-true routines prove fruitless and futile, it’s time to take the road less traveled…which is why I’m posting this from Vancouver, British Columbia.

After much discussion with my family, I made the journey two weeks ago to the west coast. And lest anyone think otherwise, this was NOT an easy decision for anyone involved. I was bitten by the west coast bug over two years ago, when I made my first trip out here working The Rue Morgue Festival of Fear. And I fell in love with it almost immediately. The differences between Vancouver and Toronto are well-documented (and often argued about between the two), and with good reason. Within days, I was introduced (and accepted) into a community that didn’t know me from Adam. Artists, writers, filmmakers and genre aficionados of every stripe and colour, many of whom became long-distance friends and colleagues. Without judgement, without having to pass some “secret club evaluation”. And it felt good. It felt right. And that was something I hadn’t felt in a very long time.

When word of my recent “non-employed” status reached the west coast, the response was immediate and simple: you need to get out here. It was a lovely sentiment, but one that felt miles away from approaching any kind of reality. But after months with zero response and/or callbacks, desperate times, etc, etc. The idea seemed more than just viable, but necessary. And so, here I am.

I’m staying with a friend who has been kind enough to put me up, while I start planting roots. I have friends who have been gracious enough to introduce me to their social circles – all of whom are filled with genuinely good people. Best of all, there are opportunities. Some immediate, some on the “wait-and-see” pile, but all with the potential to put me on track to the creative opportunities that I’ve been putting off for far too long. It’s daunting, occasionally frightening. It’s also exhilarating and life-affirming. A lot of things have been put on hold, as I gear up for the new “status quo”, and it’s fine . Reinvention leaves its share of wrecakge and reconstruction. It’s part of the process,so I’ve no choice but ride it out and see what’s waiting at the end of it all.

There’s very little I miss, right now, save for one thing: my family. I’m doing this as a solo operative, and there are days where the loneliness, the absence of my wife and daughter, are ruinous. But I’m no good back home. Plain and simple. I have no prospects, no opportunities, no future. It’ll be at least another year or two,before they can join me out here – providing everything works out. We have Skype, we have daily phonecalls and we have the strength of our tightly-knit bond to hold it all together. But it’s not easy. In the end, I just want to do what’s right for my family and for myself. And I’m now certain, more than ever, that this is where it’s going to happen.

As I was checking out and locking up the office for the very last time, I received a text from a friend. They said they were sorry that this was my last day, and ended it with this: “If you don’t walk away from a fire, God gives you a reason to run.” . Those words have stuck with me ever since and ultimately led to this. One of two things is going to happen: either I’m successful in this endeavour and can lay down the foundation for a new life and new opportunities for my family. Or it’s all for naught, and I return to Toronto, tail between my legs and licking my wounds, to get to work on a Plan “B”.

For the first time in my life, though, it feels like failure won’t be an option. I have to believe that will make all this worthwhile. There’s a quote from NIGHTBREED (which will surprise absolutely no one who knows me…at all) that’s been very apropos these past two weeks.

“You made your way back here for the same reasons I did. We belong here now.
There’s nowhere else on earth would take us in.”

I’ve found my tribe, my Midian. And I hope like hell to make this work.

Thank you for indulging me this moment of melancholia. I promise, next time, I’ll have something more upbeat and geeky. Maybe something with monsters.

Yeah, monsters would be cool…

Originally Published  on March 28, 2014 for Biff Bam Pop

The following is an open letter to horror fans everywhere:

Hi there. How ya doin’? Surviving? Got your taxes done? Good.

Boy, sure are an awful lot of projects asking for your support via crowdfuding, aren’t there?

Kickstarter. Indiegogo. Crowdfunder. It can be a challenge finding the ones to donate your money to.
Well, I’m about to point you in the direction of one that is more than worthy of your attention.

Steven Kostanski and Jeremy Gillespie, two-fifths of the Astron-6 collective, are collaborating on the upcoming horror flick, THE VOID. It’s not a sequel, remake or reboot, but an original horror flick. And they’re reaching out for help in funding the extensive practical FX budget.

You heard me. Practical.
Rubber. Latex. Slime.
Just like Dad used to make (and if that’s true, congrats on having a way-cool dad).

We’ve heard it (and probably said it ourselves) in our little circle.
” I wish they still made monster movies with practical FX. I’m so sick of CGI. Etc, etc.”

To save time (and valuable wordspace) , I’m just going to leave this here for your perusal.

I know, right? Kinda takes the wrinkle outta your shorts, donnit?

You want a return to the glory days of THE THING, AMERICAN WEREWOLF IN LONDON, THE FLY?
You want more “body” in your “body horror”?
Well, here it is. And you can help make it happen.

As I type this, THE VOID has 10 days left in the campaign. And they’re close. So close, you can practically smell the latex from here. Take a look at a handful of the perks available for the taking.

Can’t afford the bigger donations? Got a penchant for doodles and prose?

May I present The Book Of The Void.

“THE BOOK OF THE VOID is a project to more tangibly involve all of our patrons with the world of the film. Pledge at any perk level (including a new bare-bones $10 entry-level donation) and you’ll receive a blank template upon which you’ll be encouraged to fill up with creepy sketches and disturbing prose. Send the page back to us and we’ll include the page in an on-screen film-prop diary belonging to a member of the mysterious cult that figures in THE VOID”.

You’re probably asking yourself right now, ” Ron, why the hard-sell?”

Because I am a firm believer in the art of cheerleading. I believe (when it comes to art) that it’s more important to support the things you like than to rant about the things you hate. I also believe it’s even more important to support the things you want.

Original horror. Practical FX.
You KNOW you want this. I know I do.

Scrounge up your pocket change, forego that “half-latte, non-caff frappucino” for a couple of days (but don’t skip out on the bills – that’s not doing anybody any good).

Have I stoked the flames of philanthropy yet? If so, head on over HERE and give what you can.

Thanks for your time and consideration, Horror Nation. Together, we can make a better (and slimier) world for future generations.

Sincerely,
Ron McKenzie
Writer and monster junkie

Originally Published on Biff Bam Pop: March 26th, 2014

First of all: yes, I’ve been a slackass.

I promised a weekly appreciation of 80s genre cinema, and it’s been…. well, let’s just say longer than a week. Maybe you’ve noticed. Maybe not. Either way, I won’t judge. So let’s get this train back on the tracks, shall we?

When I last posted, I promised a look at a film whose influence is still being felt today. I have since changed my mind. I can do that – it’s my column. Instead, I’ve decided to talk about a film that’s one of my “old reliables”, coincidentally celebrating its 25^th Anniversary this year. We all have them, the ones we revisit when there’s nothing else on TV and nothing in the library is jumping out at you. We could call it “cinematic junk food”, but I prefer “comfort flicks “. And for me, that film is Ron Underwood’s love letter to 50’s creature features, 1990’s TREMORS.
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I came to genre journalism the same way everyone else did: above all else, I was a fan.

I like monster movies, science-fiction, superheroes, comics. You name it, chances are I’ve read it, watched it and consumed it. I love escapism. I love to be inspired, scared and challenged by visions of other worlds and the fantastique. I’ve even been lucky enough to share my opinions and critiques on the creations found in genre entertainment, as well as talk to or interview those who make this stuff for a living.

I feel this needs to be said before going any further: I’m not a critic by nature. I can find and analyze the good and bad in a film or book for professional purposes, but my guiding instinct is very simple: it either works for me or it doesn’t. Pacific Rim is still the best movie about robots punching monsters in the face, because – really – that was its goal. Taking it to task for not being what you anticipated is on you, not the artist.

It doesn’t take much to satisfy me.  If something succeeds at being what it is, then I’m perfectly satisfied.  There’s a time to put on the critic pants and do my job but, above all else, I want to be entertained.

That principle keeps me going as a fan. We can talk up all the high-faluting aspirations we want but in the end, we’re still talking about monsters and superheroes and slasher movies. It’s meant to be fun. So when did being a fan become such a grim and dour chore?

Something’s changed in circles of fandom, a tidal shift in the culture, and it’s not necessarily for the better. Knee-jerk cynicism, hostility, exclusionary elitism and an inflated sense of self-entitlement have become standard procedure for much of fan discourse. Look at any message board or social media outlet and it appears everyone has an opinion (And yes, I’m aware of the irony as I type this out for my blog).

As someone who’s found himself on both sides of the velvet rope ( as a fan, as a writer and as a convention organizer), I’d like to think I have a decent, semi-informed perspective on the scene. Or maybe I’m talking out of my ass. Either way, I’ve been thinking about things we can do, as a subculture, to make this an enjoyable thing again. And I’m going to be blunt about this, because dammit, it’s time for a little tough love. I only do this because I care, kids.

• Hardcores: no one cares but you. Hey, I said I was going to be blunt. Look, your dedication to *fill-in-the-blank* is admirable, but it doesn’t make you any more or less important than a “casual” fan of the same ( I deplore the “casual” label. As if we need to start grading levels here). Not everyone is going to have your encyclopedic knowledge of Italian Giallo cinema or your Audobon-like grasp of the entire Pokemon menagerie. And that’s okay. Hardcore is fine, and it has its place, but stop lording over the rest of the herd as if you have something to prove. You don’t. Just enjoy it like everyone else is.

• It’s not a Members-Only Club: This kind of ties into #1. Not every horror fan listens to The Misfits. Not every comic fan likes superheroes. And as shocking as this is to some, not every sci-fi fan has seen every iteration of Star Trek. There’s no checklist for admittance, nor should there be. For a culture born of outsiders, there are a lot of people quick to throw up the gates around the pool for fear of contamination, aren’t there?

• You Don’t Get Final Cut: Didn’t like the ending to the Mass Effect series? Upset that Ben Affleck has been cast as Batman? Feel like George Lucas “raped your childhood”? Guess what? Too bad. You’re allowed to be upset. You’re allowed to voice your disapproval. And that is all. Demanding that the creators create what YOU want is wrong, on more levels than I can possibly illustrate here, but it boils down to this: the creator creates, the fan consumes. Sometimes you’ll like it. Other times, you won’t.  Criticism and disappointment are normal reactions. Creating petitions, orchestrating boycotts and demanding that things be done your way? Nu-uh. You ever seen a kid throw a tantrum in Wal-Mart because Mommy won’t buy them that really expensive Transformers toy?  Same deal. Not acceptable for a kid, sure as hell not acceptable for an adult.

• Girls: I’m going to make this one REALLY simple. Women and girls have and always will be a part of the scene. They are not rare and magical unicorns to be puzzled over, nor are they interlopers who want to ruin all the fun for the boys. Girls read comics. Girls like horror. Girls play video games. And they don’t do it for YOU, lads.
  Not gonna sugar-coat this one, boys: 

It’s the 21st Century. Fer chrissakes, grow up.

• We’re All In The Same Boat: I’ve heard this time and again working conventions. The horror kids can’t stand the anime kids. The sci-fi fans think the horror kids are weird. And nobody likes the Bronies. Well, I call bullshit on this. If you are attending a convention, either as a guest, a vendor or someone working the floor, you have zero right to criticize anyone for their interests. It’s all part of the bigger mosaic, which your particular interests are but one portion of. Your nerdy shit may come in different packaging, but it’s all nerdy shit. So get over yourself. And fast.

• When it’s no longer fun, time to move on: I can’t stress this one enough. If you spend more time complaining about everything wrong with the scene, if your first reaction to any kind of genre-related news is to take to your Facebook page or Twitter feed and start typing out your moral outrage…. maybe it’s time to find a new hobby. And that’s what all of this should be – a fun hobby. When all of this – the conventions, the books, the movies – becomes a source of irritation and anger, then for the sake of your health and sanity…move on. Better yet, make your own art. Write, draw, cross-stitch, finger paint. Make the art you want to see.

Again, these are suggestions, things that we can do to return fandom to its rightful origins: enjoyment and entertainment. More importantly, maybe we can start having fun with all of this again.

Until next time, nerd nation.

The first installment of my new weekly column is up and running at Biff Bam Pop.

Livin’ In The 80s. Kinda speaks for itself, donnit? So strap yourself into your nearest WayBack Machine and click the link.

Now if you’ll excuse me, I have to sit down with my library and watch a slew of genre films.
Y’know. For journalism’s sake. 😉

Hope you enjoy it.

It’s taken me a little longer to put this out then expected. With something as polarizing as WOMEN IN HORROR MONTH, it’s very easy to pick your side and stay there. No quarter given, none taken. When I started writing this, I had a very clear and specific view on the matter. But, as anything in life, nothing’s ever cut-and-dried.

Now in its sixth year, WiHM puts the spotlight on female contributions to the genre – filmmakers, actresses, writers – with coverage in magazines, social media, blogs and podcasts. The mission statement reads, “ Women in Horror Month (WiHM) assists female genre artists in gaining opportunities, exposure, and education through altruistic events, printed material, articles, interviews, and online support. The vision is a world wherein all individuals are equally given the opportunity to create, share, and exploit their concept of life, pain, and freedom of expression.” .  At its heart, It’s a positive movement, one dedicated to celebrating and spotlighting some of the best and brightest the horror field has to offer.

Yet every year, the question comes up, like clockwork: do we REALLY need it? Is Women In Horror Month really necessary?

The movement has had its detractors from the beginning, from the obvious misogynistic mouthpieces of the fan community to many women working in the field who feel that their comrades in the genre have treated them fair-and-square. While many of the statements go no further than the internet-standard “shut up, bitch” school of thought, there have been some compelling arguments dispelling any notion of gender bias in the horror community. Case in point:  the archetypal “final girl” in all its incarnations, from Ellen Ripley to HELLRAISER’s Kirsty Cotton to BUFFY THE VAMPIRE SLAYER, first took form in horror. The genre has  proven to be the go-to source for strong, resourceful and intelligent female protagonists. The only real male counterpart to the final girl?  Evil Dead’s Ash – a bumbling, arrogant clown with more luck than skill on his side. The “final girl” is so ingrained in the horror lexicon that many feel it’s actually become a cliche, but I digress.

But while female empowerment is well represented in the genre’s works, it’s outside the films and books and TV series where the real struggle occurs. I’m talking specifically about fan-culture itself ( a term I despise and a topic for another posting) where misogynistic outbursts and irrational hatred are just a keystroke away.

Now, I feel the need for some disclosure here: I am not, in fact, a woman. ( I’ll let that settle in for a bit).

I have no personal or political stake in this, nor do I have any of the experiences that WiHM are addressing in their promotion of equality. All I have are the stories I’ve heard from female friends and colleagues in the industry (and those are THEIR stories to share, not mine) and the evidence that presents itself every day in my online browsing routine. And that’s more than enough for me. So let’s do a little social recon, shall we?

Gamergate: women working in (and critiquing) the video game industry, and the inherent sexism represented by both designers and the gamer community. In retaliation for these views, an anonymous and amorphous group, uniting under the hastag #gamergate, Their stated mission: ” improve the ethical standards of video game journalism by opposing progressive social criticism in video game reviews, which they see as being the result of an unethical collusion among their ideological opponents—particularly feminism and the social justice movement.” Their means of engagement? ” the revealing of targeted womens’ private information, rape and death threats, including a threat of a mass shooting at a public speaking event.”

In case that needs a simpler clarification: a woman received death threats for her opinions. On video games.

The Ghostbusters Reboot: the announcement that the new reboot of the beloved franchise was to feature an all-female cast. The reaction was generally positive, but there was still enough hysterical man-rage to go around.

Colleen McCullough: A celebrated Australian writer, McCullough’s bibliography includes over twenty books ranging from historical epics to murder mysteries (as well as the best-selling novel, THE THORN BIRDS ). It’s an extensive and widely diverse list which made her one of her country’s most esteemed citizens. McCullough passed away on just days ago. Here’s how she was memorialized in the national newspaper, The Australian:

I will bet you even money that Stephen King’s obituary will contain no such snark or bitchery.

These are not horror-related stories. I get that. But it’s a part of the bigger landscape, of which Women In Horror is one facet. Not only is sexism alive and well, it’s become a casual part of everyday discourse. The times are a-changing, and the last bastions of “the way things ought to be” are fighting tooth-and-nail to keep that progress at bay. So the attacks have become more visceral and blatant, no longer concealed under the veneer of civility. Because it bares repeating: very-public death threats are now fair game in the battle of the sexes. So if someone working in the horror genre claims they have been harassed or are being discriminated against, I’m going to be pretty damned inclined to believe it.

But there’s more than just anecdotes and soundbites taken from the internet. I’ve seen the need for WiHM myself. I posted the following pic to my Facebook page, because, well.. I just thought this was cool.

Mick Garris, one-on-one with some of the biggest luminaries in the field. Then, a friend (who will remain nameless here) posted the following comments:

“Well damn, that is a whole bunch of men right there and not one woman.”

“I’m not up on the horror genre but there must be women in there somewhere?”

Let me make this clear:  this is not to assert that the above-stated interviews (or Mr. Garris himself) are intentionally misogynist or exclusionary in any way. But it does point to an absence of focus on women in the genre, accidental or otherwise. More importantly,it points to the impression that outside of the genre’s circle of influence, women in horror are seen as an anomaly at best, non-existent at worst.

So as we start another February, and another annual Women In Horror Month, the question remains: why do we need it? I think the following by Joss Whedon puts it best::

“So, why do you always write these strong women characters?”

“Because you’re still asking me that question.”

So in the end, until the day comes when that question is irrelevant… yeah, I’m in.

* originally published for Biff Bam Pop ( Jan. 2015 )

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So I started a blog. I really had no intention of starting one, as it was merely a step for another gig. But, I figure, I have the real estate now, might as well build something on it.

So, now what? What do I fill this new home with? More importantly, why would anybody be interested in anything I would post here? All valid questions, so a little background on who the hell I am.

I’m a contributing writer for Rue Morgue Magazine, a fine and hallowed institution where I served a three-year tour of duty as office manager and events coordinator. I’ve also recently joined the team at Biff Bam Pop as a contributor. Aside from that, I’m also a writer , with a couple of graphic novels and screenplays in various stages of near-completion. I also draw. Nothing pro, mostly for amusement, but with aspirations (and delusions of grandeur) to take it to that next level. Above all that, I’m a fan of comics, video games & horror in general. I’d like to think I’ve had a unique perspective on the genre – or I could just be talking out of my ass. Either way, in this age of social media, I have things I want to share with anyone within earshot and this seems as good a venue as any.

So here’s the plan: I will post stuff – hopefully with some semblance of regularity and consistency as time goes on – and you will read it. Hopefully, you’ll like it.

“But what if you suck at this, Ron? What if reading your stuff is a waste of my time and bandwidth, and I learn to resent you for it?” No harm, no foul. It won’t get weird if it doesn’t work out. I swear. We can still be friends.

At the very least, I’ll do my best to keep things fresh, active and entertaining here. I want this to be a positive place, a cozy little den to talk about the shit we think is cool. I’m looking at bringing in some beanbag chairs, Maybe one little chair for one of you, and a bigger chair for two to curl up in, and for someone who likes to rock, a rocking chair in the middle.

So what am i doing here? I guess we’ll figure that out as we go along.

Welcome to my humble little online abode. I hope you like it.

RMc