Micro-interview with Toeken

And this week's guest in the microinterview series is Toeken, artist of “Believe Me” and “The Trident-Tailed Water Monster” in The Future Fire #76.

Art © 2026 Toeken

TFF: How did you go about illustrating “Believe Me”?

Toeken: Though it is a short tale, Christine Amsden’s splendid story is filled with such vivid imagery that it was tricky distilling ideas into the final illustration.

TFF: What was the image that really stuck with you from “The Trident-Tailed Water Monster”?

Toeken: It was probably something as deceptively simple as the “abandoned pool that had gone green from algae.”

TFF: What would be the most terrifying thing about being in outer space?

Toeken: I’d imagine it would be just trying to comprehend the sheer scale, the enormity of space itself, the awareness of the immense gulfs of space between stars and planets.

TFF: Have you ever seen a statue or a piece of art that you wished was alive?

Toeken: Bill Sienkiewicz’s rendition of the character “Warlock.” That’d be a treat to see strolling around.

TFF: What else are you working on now?

Toeken: Working with the writer Phil Emery on a scifi/noir comedy graphic novel, Hammek, which is being shopped around now; Vampyre Noir, another comic series, more paintings and a couple of book covers, one of which is for the writer Simon Bleaken’s upcoming collection of dark tales.

Art © 2026 Toeken

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2026/05/new-issue-202676.html.

Micro-interview with Leyelle M.G.

Leyelle M.G., artist of “The Visitor” and “the weight of winter” in The Future Fire #75, joins us for another of this month’s microinterviews, talking about art, creativity and artists.

Art © 2026 Leyelle M.G.

The Future Fire: What was the image that really stuck with you from “The Visitor”?

Leyelle M.G.: Body and gender dysphoria has been an ongoing battle of mine for nearly 8 years now, so when the central character of “The Visitor” described this self loathing and longing to be anything else (a bird, a tree) I immediately latched onto that concept and I knew I needed to make it the basis for the illustration. The goal was to give the whole image a kind of ghostly spirit-like imagery to give the viewer the sense that they were looking at something beyond the tangible – seeing the people we are beneath our skin.

TFF: How do you imagine early digital graphics will be seen by future art historians?

LMG: There’s no doubt in my mind that ten or so years from now, the digital art we are currently making will be considered outdated and low quality. I don’t mean that people of later generations will not value the art we created, but I expect that the way screens represent color and image clarity will have improved so much that modern digital art will seem to them like looking at a grainy polaroid.

TFF: Can you tell us about an artist whose work you're particularly enjoying at the moment?

LMG: There are so many artists I admire that I couldn’t possibly name them all, so I’ll just name 3 modern artists who have been influential in my artist life most recently. Number 1 is Channah De Luna, who is a good friend of mine, and offered a lot of encouragement and advice when I was first learning how to draw digitally. Looking at her art constantly inspires me because I am both baffled and amazed that anyone could possess so much artistic talent. Number 2 is Colombe Art, to whom I credit the fact that I have cover art credits to my name at all. It was watching her cold call a jewelry company for a collaboration, which subsequently led to her designing the “Red Thread” jewelry line, which inspired me to start cold calling magazines to pitch my services as a cover artist. I’m not sure when I would have found the confidence to try that if she hadn’t done it first. Number 3 is JL Rayne, another good friend of mine who has invested copious amounts of time and energy toward helping other artists learn to create art professionally. Her dedication to making creativity about community is reflected in her art which always feels so healing and colorful.

TFF: What else are you working on now?

LMG: Currently, I’m working on a collection of animal themed digital paintings, with a whimsical twist. Every animal painting has something unusual about it that pulls it out of the realism spectrum and plants it firmly in the wonderland of weirdness. Whether the hummingbirds are part teapot, or the giraffes have Indian Paintbrush for horns, nothing is as it should be, but that’s what I love about it. I feel like I caged myself by spending too much time creating “important, serious art” and totally forgot to make art for the fun of it. So, between this animal collection, and my webcomic Sketchy Business, I’m trying to get back into making art just because it makes me smile, even if there is no deeper meaning behind it.

Art © 2026 Leyelle M.G.

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2026/02/new-issue-202675.html.

Micro-interview with Ellis Bray

We’re delighted to be joined by Ellis Bray, artist of “Prata Neptunia” and “ship of living ghosts” in The Future Fire #75, for a quick microinterview about art, forms and letters.

Art © 2026 Ellis Bray

The Future Fire: How did you go about illustrating “Prata Neptunia”?

Ellis Bray: With “Prata Neptunia” I had a really intense visual of the octopus and ink and the sky, and I was trying to emulate what was in my brain. As is the case in every form of art, what you put out never matches what’s in your head. On this attempt, I used watercolor and ink, with multiple layers and gold sumi ink as a highlight. I think next time I will try it with gouache, because it is thicker. Or maybe colored pencil, because it would allow me to put in the fine details. I’ll definitely attempt it again to see if I can get closer to what I’m seeing.

TFF: What was the image that really stuck with you from “ship of living ghosts”?

EB: In “ship of living ghosts” there is the line:

we breathe/ in small dark spaces cast upon the waves/ beneath an infinite sky.

But despite “infinite”, there are “shadows” being cast, so there’s something in the dark to cast the light. And it’s also “small dark spaces”, but “small” and “infinite” don’t really match up in my mind. So what it brought up in my mind was Plato’s Cave, where the whole of existence feels like it’s close by, but it’s really just a shadowcast illusion. So what if the “infinite sky” is just the top of a cavern that is so tall you can’t see it? It feels infinite but you’re still in a tightly enclosed space. The moon casting light and creating shadows is just an illusion. It also fit the very claustrophobic feel that the poem gave to me.  

TFF: Is there an artist or an art-form from distant history that you still look at with admiration or awe?

EB: I have been focusing on letter illumination recently, and I find myself in awe of the medieval transcriptionists who spent so long creating a single letter just to do an old school copy & paste for the rest of the text. (I know it was still calligraphy and very carefully written, but the illumination was pure creativity.) My dad keeps bringing up the Book of Kells when he’s looking at my own work, but that’s like comparing a paint-by-number to the original Mona Lisa. Like, yeah, you’re going to get similar results, but one requires decades of training.

TFF: Can you tell us about an artist whose work you're particularly enjoying at the moment?

EB: There is a comic called ExoComic by Li Chen, starring a very snarky kitty and their exasperated human. The art style, though, is adorable. It’s only when I tried to replicate it for my own comic idea that I realized how much effort it takes to make art look effortless. So, I’m enjoying reading through her entire CATalogue.

TFF: What else are you working on now?

EB: ’Tis the season, so I’m doing more conventions and art markets around the Seattle area. I’ve also started working on letter illumination, using gold and silver ink. I find it very meditative, because you have a set number of shapes to play with and a definite desired outcome, so the question is “how do I get there from here?” I’m really enjoying experimenting with it.

Art © 2026 Ellis Bray

Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2026/02/new-issue-202675.html.

Micro-interview with Toeken

Please welcome Toeken, long-time collaborator and artist of “The Sons of Victor Levitak”  and “Unblooded Gospel” in The Future Fire #74, for this week’s installment of our microinterview series.

Art © 2025 Toeken

TFF: What was the image that really stuck with you from “The Sons of Victor Levitak”?

Toeken: This is kind of funny in a way; after reading and re-reading Rowley Amato’s superb tale I started getting visuals involving what I can only describe as a disgruntled bowl of stew. At one point I spent so much time painting hunks of meat, potatoes and lentils that I thought the whole piece would be just that; a painting of an angry meal glowering back at you. Amato’s story was a beautiful haunting piece that was a real education for me for me as I went about researching the visual cues I wanted.

TFF: How did you go about illustrating “Unblooded Gospel”?

Toeken: As is usual for me this started out as a much more abstract response to Justin Taroli’s fascinating text, which in turn then morphed into a series of disparate sketches and drawings that were of a multitude of images, hospital tiles, the color schemes of Mount Sinai hospital, wearable archictecture, rib cages, dirty bandages and scan codes. Was a real treat to compose and arrange, and a challenge to edit out the things that I thought might give the game away in the narrative.

TFF: What is the most “punk” thing you've ever done or made?

Toeken: Not sure if it qualifies as “punk,” but I can recall quite clearly a Sunday afternoon dog rescue back in 2011. A little mutt owned by some neighbours had disappeared down an uncovered bolt hole while they were out walking near the mountains. Had a few drinks in me and thought “Why not?” With help from some friends I roped up and went down after the little fellow. What I thought was a ten meter vertical shaft turned out to be close to forty meters. After hooking up the dog (a miracle the poor animal was still alive given the depth he’d bounced down) to the ropes I had to wait a good fifteen minutes before being hoisted back out. I’m claustrophobic. That was one of the longest waits I’ve ever experienced and for years afterwards I would wake up in the night sweating and panicking about the whole thing. Dog was a-okay though!

TFF: What's the most unusual or challenging medium you can imagine working with?

Toeken: I’d like to try screwing up an ice sculpture or two.

TFF: Can you tell us about an artist whose work you're particularly enjoying at the moment?

Toeken: The sculpting duo of Liquette-Gorbach, Sarah Ross-Thompson’s prints and the photography of Phil Penman. All fantastic, inspiring stuff.

TFF: What else are you working on now?

Toeken: I’m working with Gavin Chappell on the late Gregory H.Bryant’s Caves of Mars books, David Blalock on a ParAbnormal Magazine project and finishing up the first issue of Phil Emery’s Hammek graphic novel project.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2025/09/new-issue-202574.html.

Microinterview with Sebastian Timpe

Sebastian Timpe, artist of “Deep Sea Baby” and cover artist of The Future Fire #71, joins us for this week’s microinterview.

Art © Sebastian Timpe 2024

TFF: How did you go about illustrating “Deep Sea Baby”?

Sebastian Timpe: This was a very interesting piece to approach from a visual perspective, it had two stories going in it and one of them is a conversation with no visual elements attached. After reading it once I knew the first illustration had to be the white flowers in the lungs. It was such a striking visual. For the second illustration I decided to do a travel poster because the vacation aspect of the location seemed very important to the story.

TFF: How do you go about visualizing the truly alien?

ST: I use a lot of reference material in my work so visualizing something outside our world is very difficult. I prefer to play with strange versions of our reality, like the jellied mushrooms or the indigo sky.

TFF: Is there a difference for you between creating artwork to order, and composing purely from your own imagination?

ST: For me the deadline is the largest difference. Working on my own projects I'll often pick them up and put them down on a whim/when the inspiration strikes. Creating artwork to order means I have to actually finish it!

TFF: What or who would you most like to draw, paint, sculpt or photograph?

ST: I've just gotten into Dragon Age so I will probably be doing some fan art in the future.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/10/new-issue-202471.html.

Microinterview with L.E. Badillo

Today our old friend L.E. Badillo, artist of “In the Field” in The Future Fire #71, dropped by for the next installment in our microinterview series.

Art © 2024 L.E. Badillo

TFF: How did you go about illustrating “In the Field”?

L.E. Badillo: “In the Field” had some nuclear fallout vibes and I tried to portray a toxic atmosphere humans could not directly interact with. I tried representing this with a yellowish background and smokey textures.

TFF: What else are you working on now?

LEB: Besides my artwork, I'm exploring interactive fiction with programs like Inky and Twine. Hopefully, I can join a team and make a game or at least release some small games in the near future.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/10/new-issue-202471.html.

Micro-interview with Cécile Matthey

Cécile Matthey, artist of “Whiskey Mud” in The Future Fire #71 and TFF’s in-house artist, joins us for a micro-interview.

Art © 2024 Cécile Matthey

TFF: How did you go about illustrating “Whiskey Mud”?

Cécile Matthey: Another story involving elephants ! Of course, I couldn't resist drawing them. I found a lovely photo of two elephants lying in the water, seemingly having a conversation. I used it as a model for one of the illustrations. The second illustration was more complicated… I wanted to show Chalt as a brain, in his pool of nutrient fluid. But I wanted it to look pretty… As I often do, I turned to the natural world. Given the shape of the elephant's brain, the idea of a sort of seashell came quite naturally. As for the cables, they were suggested to me by the water lilies, whose very long stems plunge deep into the water. The two fish are a wink: they are called ‘brain fish.’

TFF: Can you tell us about an artist whose work you're particularly enjoying at the moment?

CM: It's a writer: I fell in love with Pierre Pevel's book Les enchantements d'Ambremer. The story takes place in a refreshing Parisian steampunk universe, packed with classic references, reminiscent of Maurice Leblanc (Arsène Lupin), Jules Verne, and of the finest adventure films. There is a whole trilogy, called Le Paris des Merveilles. I have seen it has even been "translated" into comic books. I'm definitely going to read one!

TFF: What else are you working on now?

CM: I am working hard on my collages. I have the opportunity to exhibit them next year in a local bookshop. It's quite a challenge! (Some examples can be seen here: https://www.flickr.com/photos/caeciliana/53155901622/in/photostream/.)

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/10/new-issue-202471.html.

Micro-interview with Joel Bisaillon

Joel Bisaillon, artist of “Transmogrification” in The Future Fire #70, is with us for the next in this season of micro-interviews.

Art © 2024 Joel Bisaillon

TFF: How did you go about illustrating “Transmogrification”?

Joel Bisaillon: I have to be honest. It wasn’t easy. Like any piece you try to do the author justice by honoring their work with the best of your understanding. Having chosen most of my labels as a goth/punk kid, I’ve understood the labelling others cast out towards me, but I know that mine was personally elected. This isn’t that whatsoever. This is part of the character's core being and to get that right without falling into a caricature of what a straight white male might project isn’t the easiest. I want to ensure the protagonist is respected, and the story is honoured. So, in short with more hearty and thinky than arty.

TFF: What is the thing you lost and wish you could find again?

JB: Focus.

TFF: How do you imagine early digital graphics will be seen by future art historians?

JB: Unfortunately, I don’t think that digital art will be that significant to future artists or historians. I know it’s a bleak outlook but with the advent of generative AI instilling the acceptance of demanding unearned rewards without learning the skills to do so, and the fact that one can simply copy/paste digital art we have lost the ability to be enamoured by its uniqueness. Art Historians (should they recover from this) will see a “dark ages” loom over this time saturated with big-breasted inbred anime girls corrupted by the generation loss of AI feeding upon its product like Goya’s Saturn Devouring His Son.

TFF: Have you ever seen a piece of art that you wished was alive?

JB: I know I’m an odd duck for this but Diane Arbus’ photograph – Child with Toy Hand Grenade. That kid has seen some shit and needs to unleash it.

TFF: Can you tell us about an artist whose work you're particularly enjoying at the moment?

JB: Recently I’ve been enjoying the old pulp horror/sci-fi art of weird tales and one of my favorites is Lee Brown Coye. Amazing macabre black and white ink works yet whimsical.

TFF: What else are you working on now?

JB: Besides my own webcomic Eirgsmoth, I’ve a few projects due for Roses & Wildflowers Magazine. Oh and still trying to quit my day job.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/07/new-issue-202470.html.

Micro-interview with Katharine A. Viola

We’re delighted to be joined today by Katharine A. Viola, artist of “Matryoshka City” in The Future Fire #70, for a very quick chat.

Art © 2024, Katharine A. Viola

TFF: How did you go about illustrating “Matryoshka City”?

Katharine A. Viola: This was such an intriguing story with great details, so it wasn't too hard to find something I wanted to paint. The macabre imagery of bodies in boxes really stood out to me.

TFF: Would you like to visit another planet?

KAV: Yes! Supposedly it rains diamonds on Neptune, so I'd like to go there with a couple of large bags!

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/07/new-issue-202470.html.

Micro-interview with Toeken

This week we’re joined by Toeken, artist of “The Ships That Sang” in The Future Fire #70, for our series of micro-interviews.

Art © 2024 Toeken

TFF: How did you go about illustrating “The Ships That Sang”?

Toeken: Gorgeous piece of work by Joss Cho. I began sketching after reading the piece about a dozen times, designing and painting about twenty-something screwheads (chucking most of them away ~ less is more, right?) and then painting/assembling the portholes so they don't look quite so 'obvious.'

TFF: How do you imagine early digital graphics will be seen by future art historians?

T: Any art of real value, creatively speaking, is born of effort and, to some extent, torment. Hopefully the 'art historians' of the future will still be able to recognize this.

TFF: What is under your bed?

T: I'm looking after two dogs right now. And they are both under my bed. They don't like the heat… or each other, it seems.

TFF: Can you tell us about an artist whose work you're particularly enjoying at the moment?

T: Again, there's a whole bunch but the works I've been digging into lately by Christophe Jacrot, Laura Rich, Eric Brenner, Ikkō Narahara and Juan Ruiz are extraordinary.

TFF: What else are you working on now?

T: I've just finished a few pieces for Shoreline of Infinity, The Future Fire (obviously), Lovecraftiana Magazine and working on a cover with the author Simon Bleaken. There's also a short graphic novella that I'm trying to finish that's based on Phil Emery's excellent tale, 'Hammek', who I've worked with in the past on the graphic novel Razor's Edge. There's an illustrated spec fiction/horror anthology that I've been wanting to finish for years on the way too.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/07/new-issue-202470.html.

Micro-interview with Joyce Chng

Joyce Chng, artist of “The End of Rain” in The Future Fire #70, joins us today for this month's micro-interview series.

Art © 2024 Joyce Chng

TFF: How did you go about illustrating “The End of Rain”?

Joyce Chng: What I did was to let the images come to me while I read the story. It was lyrical and beautiful, immediately inspiring some visual imagery. The first was the mandala of water/droplets, followed by two people embracing.

TFF: Have you ever had a close affinity with a piece of land or other geographical feature?

JC: Interestingly enough, I have had close affinity to… the sea. I feel calm when I touch sea water. As for land or geographical feature, I love mountains, hills and cliffs.

TFF: Have you ever seen a piece of art that you wished was alive?

JC: Mona Lisa, by Leonardo Da Vinci. I am intrigued by her and her backstory. Her eyes seem to indicate a warm personality who loves to laugh.

TFF: What else are you working on now?

JC: A YA duology (Sapphic, swords, friendship, coming-of-age) and a collection of my own SFF stories.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/07/new-issue-202470.html

Micro-interview with Katharine A. Viola

Katharine A. Viola, artist of “Sunrise over Neo-Tokyo” in TFF #69, joins us for today’s micro-interview on her work in this issue and other art.

TFF: How did you go about illustrating “Sunrise over Neo-Tokyo”?

Katharine A. Viola: The author made great use of imagery when describing the city’s relationship with nature. I really enjoyed how the two concepts meshed together and the picture I painted represents the image I had in my head while reading the story.

TFF: If you were able to draw a map of a real or imaginary place, what would that be?

KAV: Map of the universe!

TFF: What would be the most important thing for you to hold onto if civilization started to break down in your city?

KAV: Morals and integrity, though I would imagine it would be difficult as very little is ever black and white.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/04/new-issue-202469.html.

Micro-interview with L.E. Badillo

Please welcome L.E. Badillo, artist of “Space Gardens” in The Future Fire #69 (and cover artist) for today’s brief chat about illustrating and artistic medium.

 

TFF: How did you go about illustrating “Space Gardens”?

L.E. Badillo: L. J. Lacey wrote a great story that was easy to work from. The feeling of loneliness and a repressed need to fill that place in one’s life played a huge part in my approach. A feeling of desolation, duty, and the perseverance of age.

TFF: What's the most unusual or challenging medium you can imagine working with?

LEB: I’d love to fully commit to working in oils. That’s an area I’ve never been able to put real time in. I find the amazing works of Bram and Patrick J. Jones equally intimidating and inspiring.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/04/new-issue-202469.html.

Micro-interview with Ellis Bray

Ellis Bray, artist of “Sun-Dappled Sheets of Methane Rain” in The Future Fire #69, joins us for today’s micro-interview celebrating the release of the hopeful SF issue.

TFF: How did you go about illustrating “Sun-Dappled Sheets of Methane Rain”?

Ellis Bray: I actually created a couple of pieces for this one. The first one was a view of Saturn through a rain-streaked visor but I felt like it didn’t get the full feel of the story, which had a sense of longing to me. So I found a reference photo of someone staring off into the distance in a field, and used a combination of Procreate and NASA’s free images to build up the painting, using the reference to add our main character to the scene.

TFF: What famous work of art would you like to hang over your bed?

EB: It’s probably cliche, but I’m in love with Van Gogh’s “Starry Night.”

TFF: What's the most unusual or challenging medium you can imagine working with?

EB: Marble. Bernini’s ability to create flesh from hard rock is witchcraft, I’m pretty sure.

TFF: Can you tell us about an artist whose work you're particularly enjoying at the moment?

EB: I really love watching the adventures of Lisa Snellings’ poppets, which are handmade ceramic tiny dolls that she then professionally photographs in unusual situations. It’s so creative, and the poppets are eerie and gorgeous.

TFF: What else are you working on now?

EB: I’m in the early stages of a tattoo career, so I’m finishing up the last parts of the training before I can start taking clients. It’s a huge leap in mediums but everything else (color theory, composition, style) is roughly the same, which helps a lot.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/04/new-issue-202469.html.

Micro-interview with Melkorka

Melkorka, artist of “Terranueva” in The Future Fire #69, joins us for today’s mini-interview on the subject of antiquity, materials and art.

TFF: To which famous wedding (in any period of history) would have you liked to be invited?

Melkorka: Cleopatra and Mark Anthony’s! I am obsessed with Egypt, and hope to visit one day.

TFF: What's the most unusual or challenging medium you can imagine working with?

M: Old cassettes—I have found the tape to be quite unwieldy. Though as the fantastic work of Erika Iris Simmons demonstrates, it's worth persevering.

TFF: Can you tell us about an artist whose work you're particularly enjoying at the moment?

M: Henry Meynell Rheam. I am particularly enchanted by his work ‘The Fairy Woods.’

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/04/new-issue-202469.html.

Micro-interview with Fluffgar

We’re chatting again with regular TFF illustrator Fluffgar, artist of “The Rose Sisterhood” in The Future Fire #68, about this issue, castles and fairytales.

TFF: How did you go about illustrating “The Rose Sisterhood”?

Fluffgar: Castles. Everyone knows Scotland has castles. That's where I began with these illustrations. In particular pink castles. The colour is down to a very old tradition of lime washing the exterior of such buildings. The pinkish result is known to has inspired the fairytale pink castles of Disney among others.

TFF: What was your favourite fairy tale when you were a child?

Fluffgar: I have a vague recollection of a fairytale about a person who is reborn over and over as different things. I think it could have been an animation of part of “The Tale of Taliesin.” But the emphasis seemed to be more on the cycles of life. So it may have been a different tale.

My current favourite is a tale about The Cailleach. Don't let the title fool you, it’s about her. “Bride and Angus” as told by David Campbell.

There's also Scàthach. Which is an interesting one.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/01/new-issue-202468.html.

Micro-interview with Toeken

We’re pleased to have over for a chat our friend Toeken, artist of “Bone Planet” in The Future Fire #68.

TFF: How did you go about illustrating “Bone Planet”?

Toeken: I read Petra Kupper’s fascinating poem quite a few times, making sure I could get a handle on it, then left it alone for a couple of days before firing up the digital tablet. Aside from a few pencilled layers the piece is a combination of photographs and digital art. For example, the initial background template is a shot I took of a sunset outside my home and then digitally painted over.

TFF: Tell us about an artist whose work you're particularly enjoying at the moment?

Tk: There’s always a bunch but right now it’s Rahul Chakraborty, Rachael Mia Allen and Andrea Sorrentino.

TFF: What is your favourite example of hopeful, cosy or low-stakes SFF or horror?

Tk: I just finished with Carlos Ruiz Zafón’s The Shadow of the Wind. Fantastic, creepy stuff.

TFF: What else are you working on now?

Tk: I just finished some stuff for Shoreline of Infinity magazine, a couple of private commissions while working with the writer Phil Emery on a science fiction/noir project.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/01/new-issue-202468.html.

Micro-interview with Melkorka

Melkorka, artist of “Humunculi of Creation” in The Future Fire #68, joins us for a brief chat about her work in this issue.

TFF: How did you go about illustrating “Humunculi of Creation”?

Melkorka: Before an illustration project like this, I plan a close reading of the text, and then create a mind map featuring words or phrases that stand out to me.

TFF: Who or what is the Sheela na gig, in origin?

M: Sheela Na Gigs are stone carvings found in on Norman churches, and some secular buildings. They depict an old woman squatting and pulling apart her vulva. The carvings are old and often do not seem to be part of the church but have been taken from an older building. There is much controversy as to their age—historians claim they are no earlier than the 11th century but many people believe they are older. Even though the image is overtly sexual the representation is always grotesque, sometimes even comical. They can be found all over Britain, Ireland, France and Spain. The symbolism of Sheela is a mystery; neo-pagans call her a portal of transformation and fertility idol, while some historians argue she was a figure created by the Church to warn congregations of the dangers of lust.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/01/new-issue-202468.html.

Micro-interview with Sebastian Timpe

Today we’re chatting with Sebastian Timpe, artist of “The Ensanguined Shore” in The Future Fire #68.

TFF: How did you go about illustrating “The Ensanguined Shore”?

Sebastian Timpe: While reading through “The Ensanguined Shore” I was gripped by the image of Patty’s best photograph. I knew that had to be one of the illustrations for this story. I scoured the story for all descriptions of the sirens, I love the way Jennifer Donohue gives us just enough detail to imagine them but not confine the audiences imagination. For the second illustration I had never created anything with a mech suit in it and I wanted a challenge.

TFF: Do you have a superstition or quirk you insist on while working/painting?

ST: Given my most recent experience with extreme wind and rain storms knocking out the power to my house for a week, my new superstition is any time the wind blows make sure my computer is charged!

TFF: Would you rather be on a ship that is about to leave or that is bringing you home?

ST: Headed home; home is where the cat is.

TFF: Tell us about an artist whose work you’re particularly enjoying at the moment?

ST: Andrew Salgado is a painter I’ve admired since high school. I just adore his expressive portraits and use of color.

TFF: What is your favourite example of hopeful, cosy or low-stakes SFF or horror?

ST: While Star Trek is my go to for the coziest of vibes, fan fiction always has something to warm my heart.

TFF: What else are you working on now?

ST: In December I finally got my hands on the Time Warp Puzzle: Rock the Cats Paw which I created in collaboration with Da Vinci’s Room games. It was the first puzzle I have ever put together and it was a blast. Now I am on a mission to create art for puzzles—it’s such an exiting genre because you can create really detailed works meant for a large format.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/01/new-issue-202468.html.

Micro-interview with Sarah Salcedo

Welcome, Sarah Salcedo, artist of “A Witch, a Wakening” in The Future Fire #68, to our micro-interviews series!

TFF: How did you go about illustrating “A Witch, a Wakening”?

Sarah Salcedo: I read the story and thought about the kind of cabins I tend to see while hiking: the type of forgotten home that seems always on the verge of being reclaimed by the woods. I dream about those from time to time, and it seemed a fitting image for the piece.

TFF: Have you ever tried to paint or write one of your own dreams?

SS: I haven’t ever tried to draw a dream, but I have written many of them down. Especially the surreal ones. They're fun to chase, to try and stay creatively in that liminal space between a critical waking mind and the abstract freedom that dreams afford.

TFF: If you could shut down the power so we all just have to stare at the night, would you?

SS: Probably not, but I’d definitely like to write a story about someone who would and the consequences that would follow, but for better and worse.

TFF: Tell us about an artist whose work you're particularly enjoying at the moment?

SS: A visual artist I love, not only in the moment but for always, is Anselm Kiefer. His work has been amongst my favorite since I was really young and I'm excited to see the newest documentary featuring his work by Wim Wenders. I've also been revisiting Jean Giraud aka Mœbius’s The World of Edena lately, another artist I find constantly inspiring.

Aside from those two, a new artist I’m absolutely in love with is Dianna Settles. Her work is vibrant not only with color but collectivism. Her work makes me feel deeply about community, and finding joy in these uncertain times. I cannot state how big a fan I am of hers.

TFF: What is your favourite example of hopeful, cosy or low-stakes SFF or horror?

SS: I haven't read anything cosy or low-stakes in a while, but a friend just lent me Legends & Lattes by Travis Baldree and pitched to me as exactly that.

TFF: What else are you working on now?

SS: I am currently in the midst of two documentaries, a screenplay, and preparing to send my novel out to friends and colleagues for one final revision pass before it goes on submission. I miss short fiction, though (the work that initially brought me to the digital pages of The Future Fire) and hope that this year I get to focus more on that. The last year has just been devoted to lengthy works, and there isn’t an end to that, but I'm eager to carve out some time for the more dreamlike prose you get to play with when you're working in shorter forms.

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Reminder: You can comment on any of the writing or art in this issue at http://press.futurefire.net/2024/01/new-issue-202468.html.