George C. Romero and Heavy Metal Resurrect the Zombie Genre in NFTs With ‘The Rise’
Filmmaker George C. Romero speaks on his comic book prologue to “Night of the Living Dead” and foray into NFTs.
George Romero revolutionized the zombie genre with his classic 1968 film, “Night of the Living Dead” — forever changing the way zombies would be portrayed in film, television, video games, comics and more. Now, his son George C. Romero is attempting to resurrect that spirit with “The Rise” — an introduction to what has been dubbed the “Romero Deadverse,” a collection of media in various formats based on the iconic monsters. With the help of Heavy Metal Entertainment, which publishes “The Rise” comic book series and the storied Heavy Metal Magazine, Romero is raising the dead off the page and into the metaverse in the form of an NFT drop. Just in time for Halloween, “The Rise” collection will be available on Oct. 27 — exclusively at Crypto.com/NFT.
“NFTs are one of the most exciting new spaces for me,” said Romero. “To launch ‘The Rise’ NFTs with Heavy Metal on Crypto.com is one of those next-gen moments for a brand that has endured for five decades. I love the excitement that bleeds from a Romero and Heavy Metal collaboration. Creating this with Matthew Medney has been one of the most rad-tastic projects I’ve had the honor of realizing. I’m so excited to see the future hitting both of our legacy brands with such force.”
“The Rise” is a prologue to George Romero’s “Night of the Living Dead,” written and developed by the late filmmaker’s son — who is also an accomplished producer and director in his own right, as well as a comic book writer. Born into entertainment, Romero has spent the last 30 years working in the industry — but has always stayed true to his belief that indie creators have to feed and nurture their inner creative. With almost two dozen films as well as hundreds of commercial campaigns and brand strategies under his belt, Romero has worked on more than 35 screen and streaming projects — and serves as a business consultant and mentor for new filmmakers, content creators and entrepreneurs, helping them navigate the turbulent world of entertainment.
Romero’s most recent works are the “The Rise” and “Cold Dead War” — another series of period zombie comics published by Heavy Metal — both of which had inaugural issues that went to second printings almost immediately after release. “The Rise” takes place just ahead of “Night of the Living Dead,” detailing the events leading up to those that unfold in the film.
“The Rise” NFTs, on the other hand, tell the story of the project’s formation. The documentary-style animated videos in the collection feature a voiceover by Romero, who recounts the decade-long struggle of finding “The Rise” a proper home — as well as what it was like to be raised by the godfather of the dead and the impact his father had on the zombie genre. With striking artwork by Diego Yapur, the comic’s pages were ripped straight from the magazine to create the bold animations that compliment Romero’s baritone drawl — which would be as at home narrating an outlaw Western. Heavy Metal and Romero are also developing a live-action series based on the comic, with plans for a number of other related productions.
“The Rise” is Heavy Metal’s sophomore collection on Crypto.com NFT, following an inaugural drop based on the Amazon №1 best-selling hard science fiction novel “Beyond Kuiper” by Heavy Metal CEO Matthew Medney — who recently spoke on the New York Comic Con panel, “NFTs and the Future of Collectibles” — as well as Lockheed Martin Space mechanical engineer John Connelly. Released in September, all of the drop’s 2120 “Karandu Galaxy: Planet Packs” sold out within 12 minutes. Collectibles such as the “Karandu Galaxy Map” and “Assembly of Planets” NFTs sold out nearly instantly, within minutes of their release — with all but one of the five individual collectibles selling out within 30. Romero’s collection is a highly-anticipated follow-up to the celebrated sci-fi, fantasy and horror publisher’s Crypto.com NFT debut — and the main event in the platform’s “HODLween Week” lineup, in celebration of Halloween.
Crypto.com NFT spoke with the filmmaker and comic book writer about the NFT series, getting “The Rise” made, working with Heavy Metal, the Romero legacy and the impact of “Night of the Living Dead” — which famously wound up in the public domain due to its distributor’s failure to include a copyright notice on the film’s theatrical prints, inadvertently creating the world’s first “open-source creature” and allowing generations of creators to build on Romero’s ideas.
“The Romero zombie, in my opinion, became the first real indie film community sandbox in which so many amazingly talented people working today first started playing.”
Read the Q&A with George C. Romero below and visit the “The Rise” drop page for more information.
Did you have any interest in NFTs or cryptocurrency prior to creating the collection?
Absolutely! I’ve followed crypto for years, but really just got into it last year. Right around the time, I started becoming aware of the NFT stuff — which Matthew Medney did introduce me to. He called and said, “Hey, I want to do this NFT thing.”
Why’d you opt to go documentary-style narrative? (Side note: have you ever done any voiceovers or voice acting?)
We talked a lot about what could make these NFTs stand out a bit in the marketplace — and as with all things Heavy Metal and Romero Pictures, if we’re going to do something, we’re going to try to set a new bar.
I’ve actually done quite a bit of voiceover work and some voice acting. It’s a lot of fun!
In the NFTs, you refer to being your father’s son as a responsibility that you’ve grown into; can you elaborate on this?
It’s pretty simple, really. As soon as I realized the effect my father’s world had on people, pop culture and the film industry as a whole — with regard to indie creators — I realized that I could never just be some jerk running around trying to trade on that. It has always felt disrespectful to me to just simply trade on his name. He did what he did. I didn’t do it and neither did anyone else outside of his original crew, who made such a difference in the world of film. There’s a lot of figuring things out when you have a realization like that and I think that even though I understood it when I was younger, I didn’t really get it until I began to grow into my own career. I feel a sense of duty to carry the Romero name into the next fifty years of pop culture, a sense of honor to be his namesake and a responsibility to work hard to make sure that everything I do pays homage with love to his legacy — while building the future of the brand that is his and my name.
“When an entire industry uses phrases like ‘wow, that must be a tough shadow to live inside’ or ‘go get your dad and we’ll fund your project,’ you begin to believe those things — until you find the mettle to break out of those thoughts and realize that it’s just the business talking, not the people.”
You say that your desire to prove your own worth led you to ultimately lose perspective on a lot of things that were truly important; what kind of things do you mean?
This is a bit difficult to explain, but basically I think that I was so hellbent on not being known for just being his son that I probably pushed away some help I could have used, for one thing. I also just mean that when an entire industry uses phrases like “wow, that must be a tough shadow to live inside” or “go get your dad and we’ll fund your project,” you begin to believe those things — until you find the mettle to break out of those thoughts and realize that it’s just the business talking, not the people.
I read that you once turned down a pitch to make a “High School Musical”-style zombie series. Can you share any other ridiculous ideas they’ve tried to slap your family name on, that you had to turn down?
The list is long and kind of gross. I think that if you could name it, I’ve probably been approached about slapping the name on it for a buck. Yes, there are some things I would happily endorse, but they are pretty epic and not really items for the bargain bins like so many people want to do.
I also read that “The Crazies” is one of your favorite films your father made, and that you saw a lot of him in it; can you explain how, and would you ever consider working on something inspired by it?
There was a lot of his artist in that film. From the way he shot it to the way he depicted the chaos, it was truly unique.
I think for me, it was a great way for him to expand that fear of your neighbor or the mailman or the everyman into the hearts of the audience without going down the zombie road — which I know was important to him. To me, you could just tell how much of his heart went on the screen with that film.
I would have loved to have been the guy they called when they remade it! I think I could have put just as much heart into it as he put into the original.
Back to the NFTs, you also reference accompanying your father to Tom Savini’s workshop as somewhere you probably shouldn’t have been as a kid. What was that like? I feel like there’s gotta be a good story behind that comment.
Yeah, a quick one: Tom had an animatronic Fluffy head on a shelf and he used it to fuck with me. As a kid, that terrified me for a very long time — as the movie had not been released yet, so I had no context.
Regarding “Night of the Living Dead” being in the public domain, you speak to your father creating an “open-source creature.” What do you think that means for your father’s legacy? Do you think the modern zombie as we all know it would be as popular an archetype were it not for the film’s copyright status?
These types of questions are really hard to answer because it’s 2021. Ha! There’s no telling, really. I think there was a perfect storm in 1968 that made “Night” what it became, for sure. And honestly, I don’t think zombies would be what they are today if it hadn’t gone into the [public domain]. There were plenty of kids playing Dracula or Frankenstein back then — but as they grew up and wanted to go into the film industry, they just couldn’t have done it with those copyrighted monsters like they did with zombies.
The Romero zombie, in my opinion, became the first real indie film community sandbox in which so many amazingly talented people working today first started playing — when they got to that point in their own creative journeys.
I heard “The Rise” was originally intended to be a film; why did you decide to do it as a comic book instead?
“The Rise” was always intended to be done as a comic first, from day one. Years of the wrong meetings that tried to move the goalposts or fit the project into their model just kind of dragged it out and that’s OK. I tell new filmmakers, all the time, that you can’t fault anyone for wanting to fit your project into their model. That’s how money is made and business is done. And frankly, it turns out that everything that happened during those years was necessary to get me and “The Rise” to its best possible home team with Heavy Metal.
“A movie exists within the reality of human actors, cameras, a crew, editors, etc. — and those things limit you to the laws of physics and reality. Those little blank panels in a comic book are each bigger than any universe a writer rooted in reality and the laws of physics can ever imagine.”
What were some of the ways you would’ve had to sacrifice your vision to get the film made, and why?
It was much less about sacrificing vision; everyone who saw the pitch loved the vision! I’ve been doing this for far too long to be what some in the industry call “precious.” It was more about sacrificing that sense of honor and responsibility I spoke about a few minutes ago. This project is the most personally meaningful project I’ve ever put together and the last thing I wanted, when my dad was alive, was to put anything out to be presented without the love and true respect I have always had for him, his work and the millions of fans who have come to love the Romero legacy.
What attracted you to Heavy Metal?
I’ve been a Heavy Metal fan since I was too young to be a Heavy Metal fan, like most kids in the ’70s and ’80s. I even tried to get my dad to approach them decades ago. I’ve always loved comics and have always wanted to create them. When Matthew and I met, there was just an instant vibe and everything simply made sense. The Heavy Metal and Romero brands are perfect for each other.
What were some of your favorite Heavy Metal stories as a kid?
My all-time favorite Heavy Metal story is the “B-17” segment from the movie. That’s why it was such an honor to be asked to write “Cold Dead War” for the new generation of Heavy Metal!
What was the process of adapting “The Rise” screenplay into comic form? I’d imagine it was pretty smooth, since both are ultimately dialogue driven.
Negative! That shit was hard! If it hadn’t been for my amazing mentor, Joseph Illidge, I’m not sure I would have known which way to head! Even though I originally wanted to do “The Rise” as a comic, at the time of conception, I had zero clue what to do or how to actually write a comic; I knew movies and screenplays. That’s why I wrote it as a screenplay first and I alway assumed the adaptation would be relatively easy. I have never been more wrong about anything in my life. But once Illidge put me on the right track, it started to make sense.
The biggest challenge was realizing that, when I wrote the screenplay, I thought about it like a movie — which makes sense. But a movie exists within the reality of human actors, cameras, a crew, editors, etc. — and those things limit you to the laws of physics and reality. Those little blank panels in a comic book are each bigger than any universe a writer rooted in reality and the laws of physics can ever imagine. Each panel is like its very own construct from “The Matrix.” It’s really deceiving until you realize how freeing each panel is to your creative mind.
Were there any significant changes to the story that adapting it in a new medium and format made possible? Did you build on the original story from the screenplay, or is it relatively the same?
The story is the same root story, but doing the comic series has allowed me to dive deeper into the world and the story than even an episodic will allow. But to directly answer your question, the goalposts of the story have never moved.
What was it like working with the team? How much input did you have on the artwork?
So much! One of the greatest things about the teams Heavy Metal puts together is the truly collaborative nature of how we all work! Diego is a monster and Illidge gave me the best advice with regard to writing the comics. He told me that when you write a comic book script, you aren’t writing for the readers of the finished comic book. You are writing it for your artist. This is basically an audience of one, really. It allowed me the amazing opportunity to develop a truly world class relationship with Diego — and after the first couple issues, we have developed a way of communicating the story and sketches that feels truly symbiotic.
“Each panel is like its very own construct from ‘The Matrix.’ It’s really deceiving until you realize how freeing each panel is to your creative mind.”
Was the limited color palette in ode to the black and white of the film?
Yes, but it was also a pretty hard creative choice to make. In the end, it just made sense because the story is so complex that the limited palette seemed to starkly contrast the world to a point that almost makes the complexities pop off the pages even more than the full color concepts we tried.
You prefer to describe it as a prologue instead of a prequel. Can you explain the distinction and why it’s important to you?
Well, it’s just simply not a prequel. “The Rise” is an origin story, plain and simple. It’s an epic tale that spans years during the 1960s. The love and passion I have for this project and for putting this into the world can’t be covered with a prequel. This is truly a prologue.
Do you consider “Night of the Living Dead” a political film?
“Night” touched on so many sociopolitical issues and political issues of the time, that it’s hard for anyone to not see the political aspect of the film.
You certainly weren’t afraid to go political with “The Rise”; was this a conscious decision, considering the theories — or perhaps any insider knowledge you may have — about “Night’s” true meaning?
I don’t view “The Rise” as political at all. I view it more as sociological. I think sociological angles repeat themselves more than politics, so I’m hoping that readers will pick up on that. Just because something is set against a political backdrop doesn’t mean it has to be political in nature.
Duane Jones was one of the first Black actors to star in a film that didn’t specifically call for a Black lead, and I believe the first-ever to lead a horror flick — which was somewhat controversial at the time, and certainly significant in the history of film and the genre. Having only had access to the first four parts of “The Rise,” is this a legacy you were conscious of in its creation or perhaps tap into later in the series?
Duane Jones broke down walls with his role in “Night,” for sure, and I think my dad helped to open a previously unopened platform in 1968. Like I said earlier, this is 2021 and society looks different today than [it] did 50-plus years ago. While this is an important piece of the legacy, I think a modern commentary looks a bit different and I hope that readers enjoy the commentary that I’m working hard to set in a turbulent time — but to also make them relatable to today.
Let’s talk paranoia; at a time of generally heightened paranoia, in your line of work, is that a motivator? Did you find yourself more or less inspired during the pandemic?
The paranoia of the times was, immediately, the underlying tone I wanted to use as a backdrop for “The Rise” — but when I conceived this project, there was nothing in our current timeline to which I could draw any comparisons. Honestly, the pandemic is a piece of what I hope could be another perfect storm to make “The Rise” hit home with a modern audience.
One of the things I love about zombie stories is that zombies aren’t inherently evil. They’re really just mindless drones out to fulfill an innate need, which happens to be eating human flesh, but it’s not like they relish in the hunt or anything sadistic like that. And they were once human. The “real monsters” in zombie films are often conscious, living people, which is why I find the genre to be so nuanced. Would you say that’s true of “The Rise,” and that Dr. Cartwright kind of mirrors that descent into depravity?
“The Rise” is the story of exactly what you reference in your question. Zombies are not inherently evil. They tend to bring out the worst in people’s instincts, behavior and judgement — and in most zombie scenarios, there’s always someone willing to throw their best friend to the horde, if it gives them a chance to escape. “The Rise” dives deep into the parts of humanity that are so willingly shed when faced with a zombie apocalypse, and Dr. Cartwright is the poster child for just how willing some can be to go to that place.
On the flip side, would you say that zombies kind of represent what you get if you don’t kill that part of you?
Not really. I think zombies are what we get when consumerism becomes the new religion.
Do you still intend to make the film at some point, or tell the story in any other medium?
Yes, absolutely. In fact, there are several things currently in development surrounding this project that I can’t mention just yet, but that are happening — and it’s a dream come true to be working to bring this whole thing to the public!
On your website, it states that “The Rise” is only the tip of the Romero Deadverse; besides NFTs, can you share any future plans for the Deadverse and where you want to take it?
Well, I’m not really sure how much I can talk about — but as of now, there is active development for the feature film, some animation, an original series or two and a video game.
Browse “The Rise” collection by Heavy Metal.
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Editor’s Note (Sept. 29, 2022): an earlier version of this article was originally published on Oct. 21, 2021 and has since been edited and/or updated.
