laughing_tree: (Seaworth)
[personal profile] laughing_tree


What made you come back to WildStorm?

Warren Ellis: I was abducted. Please help. I am sending this message out through an interview in the hope that Jim Lee won't see it and therefore won't give me the hose again.


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laughing_tree: (Seaworth)
[personal profile] laughing_tree


I wanted The Wild Storm, the book, to feel completely, completely different from the Wildstorm work of Image in the early 90s because that stuff, back then, was the most technically accomplished commercial comics in the world. They were the best printed, the best colored, to the point where that is actually really hard to top on a technical production level, so I went the other way. I took it back to the simplest, earliest comics, which are gridwork, and the color work is all watercolor as opposed to CGI shade, and we're on a matte paper stock. -- Warren Ellis

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


When Jim Lee launched WildStorm, the look was best-in-class for commercial superhero comics -- computer-assisted color, pinsharp printing, great paper. We can't replicate that and, frankly, I can't think of a technological way to top it. So let's try something else. Stripped down, stark and authentic. Strongly typographic logos. -- Warren Ellis

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


What we bring to market is a new world that we always kind of suspected was there, and then show it to be even weirder and nastier than we hoped. Even as we peel more layers off it, there is a shape to it, teams to root for, mavericks to fear for, villains to hate or enjoy. New territories, new maps. -- Warren Ellis

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


It's a covert history of terrible things. There's a line from an old song that I like. "The past is steeped in shame, but tomorrow's fair game." The line through the first two years to the top of year three is into the dark and out again to something aspirational. And it does get dark. -- Warren Ellis

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


In gathering all the central Wildstorm concepts into one place, as it were, we're introducing a structured world as rich as that of Game Of Thrones. Instead of great houses, we have covert organizations, secret societies, secret space programs, ancient cults. Instead of house sigils, we have mission patches, corporate logos and mystery symbols. -- Warren Ellis

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superboyprime: (Sun)
[personal profile] superboyprime


"What is the point of a revival? What does bringing WildStorm back actually give to the world? What does it have to say about the world in 2017? We're more paranoid about secret power structures in the world than before. And we're even hungrier for big mad stories and fantasies, because our suspension of disbelief is complex -- we want the epic stories, but we want them to give us a new view of the world we're in, too." - Warren Ellis

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laughing_tree: (Seaworth)
[personal profile] laughing_tree


I keep coming back to two metaphors for all this. In one sense, it's like building out a cinematic universe. In another, I find myself making references to Game of Thrones. Both of these things seem to apply -- in the first instance, clear and linear worldbuilding that spins out new projects. In the other, a rich and complex story that creates a broad fabric of a story universe. -- Warren Ellis

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