Mar. 19th, 2017

laughing_tree: (Seaworth)
[personal profile] laughing_tree


'It was Andy Khouri, my editor on “Omega Men,” who asked if I knew his origin. I was like, “Yeah, he was raised in a prison.” And he was like, “No. Do you know his origin?” And I said, no, I guess I don’t remember. And he told me that not only was Bane raised in a prison, but he was stuck in a cell for 17 years that flooded every night. And he had to tread water while eating fish that were biting at him and leeches that were sucking off of him and then the water would go down. He’d almost die every night. It reminded me of Conan pushing the lever around. The will to have gone through something like that is the only thing that could challenge Batman. And then I became obsessed with him.' -- Tom King

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


"I think that anthologies and especially black and white ones are probably vital if we wish to retain – or, God forbid, improve upon – the basic values and standards upon which this entire art-form, let alone this entire industry, are founded. The anthology title is of tremendous value, simply because it will contain a number of strips that vary in length from a half-page to perhaps six or eight pages. The importance of this necessary limitation, to fledgling comic writers and to the writing standards of the field as a whole, cannot be overestimated. For one thing, anthology titles were once the near-universal proving ground for new writers entering the industry, based on the sound commercial logic that if you give somebody a trial shot at writing a four page story and the results are less than riveting then it will be no great disaster and no great loss. And of course someone who has learned their craft through the vehicle of the short story (where you have to establish the characters, world, premise and structure before resolving all of these satisfyingly in a handful of pages) will certainly possess all of the skills and discipline necessary to scale up their narrative into a tautly-written 24-page book, or an ongoing series, or a ‘graphic novel’ as the occasion demands. The same is not true the other way about, however, and writers who have entered the field via a monthly book with a potentially endless continuing story seem to find the short form unimaginably difficult and restrictive. For a lot of comic book writers it seems like the idea of resolving a storyline ever is an anathema, let alone resolving it within eight pages or less. Simply put, while mastering the short anthology story is certainly harder work for the creator, the rewards to the individual concerned and to the field as a whole are immeasurable." -- Alan Moore

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icon_uk: Sad Nightwing (Sad Nightwing)
[personal profile] icon_uk
So I go to bed last night hearing the news of Chuck Berry's passing at age 90, which is deeply sad, and wake up this morning to read that Bernie Wrightson has passed away at 68, from brain cancer, which is heartbreaking.
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He hadn't been well of late, and had cancelled all future convention appearances, but I don't think we'd expected to lose him so soon.

I'm sure I speak for the Mod Team, and indeed everyone on scans_daily, when we send our condolences to his wife, family and many, many friends.

And of course, if you would care to share your favourite Bernie Wrightson story as a tribute, that would be much appreciated.
cyberghostface: (Mr. Vengeance)
[personal profile] cyberghostface


"It was almost like a dry run for me. I had Frankenstein in mind and I wanted to do it. I had an idea what I wanted the drawings to look like; and 'The Muck Monster'—and a few other things I did for Warren—were the embryonic version of the penwork that finally showed up in Frankenstein." - Bernie Wrightson

Very sad to hear about the passing of Bernie Wrightson. In his memory, this was a story he wrote and illustrated for Eerie #68 that would serve as the groundswell for what would arguably be his magnum opus, the illustrated version of Frankenstein.

Story under the cut... )

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