superboyprime: (Sun)
[personal profile] superboyprime

"I spent about 10 minutes in the pub last night obsessed with the opening of THE WILD STORM by Ellis/Davis-Hunt. The main cover. Lots to unpack, but the element I most admire is the explicit 1-24, showing the length of series. Immediately we have context, meaning, shape and all linking to the cool formalism - as in, chilled. The Watchmen of it.

"And then the first page, which is instant classic as far as I'm concerned. Once again, this is a novel opening, about control and confidence. 9 panel is murderously hard, and - if I had to generalise - artists generally hate it. Davis-Hunt is making it sing here. Tom King with his various collaborators have been bringing it back to centre stage in comics, recently. THE WILD STORM is a similar response to the present over-tired elements in the super-hero mainstream. Let us try control. Let us try comics.

"[...] Generally speaking, the problem facing any writer of superhero comics is finding a way to make this genre feel novel in 2017. I think The Wild Storm nails in." - Kieron Gillen

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lordultimus: (Default)
[personal profile] lordultimus

Warren Ellis: STORMWATCH was an episodic procedural in a lot of ways, and AUTHORITY was a pure action comic, so I wanted to find a different way in, this time, and this is what I decided on. Every six issues is a short book, and The Wild Storm is a four-book series -- 24 issues/chapters.

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laughing_tree: (Seaworth)
[personal profile] laughing_tree

"I love both horror and science fiction, and Warren [Ellis] has managed to combine both of them into something that is both disturbing and rewarding in a far-ranging way. My goal is to present the images he calls for, while at the same time finding visual themes and stylistic flourishes that can underpin and echo the story's intent. As for what it's about, I've been telling people it has the flavor of The Prisoner, but with much heavier horror elements. Maybe Jacob's Ladder by way of Solaris?" -- Phil Hester

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laughing_tree: (Seaworth)
[personal profile] laughing_tree

"Yes, the Bond of the books was casually sexist, racist, homophobic and a dozen other unpleasant things, including, let's not forget, a murderer. In my Bond story, he is clearly a man who respects competent colleagues regardless of any other value, because, yes, it's the 21st Century -- but I would also suggest that someone can be a misanthrope without being a bigot." -- Warren Ellis

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[personal profile] history79

"I lifted that classic kind of American horror film structure, where two attractive young people go somewhere to have sex and are punished for it by their world turning to shit. Patton Oswalt said it best: ‘There’s nothing in the woods! Gimme some of that pussy! CHOP!’ Simple structure, simple goal– get through the town full of zombies to jump in the boat and escape– and the fun is in what happens to them along the way."

- Warren Ellis

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laughing_tree: (Default)
[personal profile] laughing_tree

"Honestly, I think the set-up is so simple, but the character runs so deep and strange, that I just hope other people are as fascinated by the weird little bastard as I am. He does incredibly altruistic things for really kind of screwed-up deeply personal reasons, and does them in such a violent and misanthropic way that he might actually be the villain of the piece." -- Warren Ellis

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laughing_tree: (Default)
[personal profile] laughing_tree

'I landed on this while reading Umberto Eco’s last book, “Numero Zero,” which reminded me of Gladio and the ‘stay-behind’ forces embedded in Italy after World War II. I’d been looking for a way to introduce asymmetrical warfare and modern combat conditions into Bond without being too clunky about it — AQ, Daesh, the movement of money, all the stuff that didn’t necessarily pertain when Fleming was writing. Just as “Vargr” was about drugs, a subject Fleming barely grazed.' -- Warren Ellis

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Scans Daily


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