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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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[personal profile] laughing_tree


There are no pauses in the story from around page 4 to page 140, which, for me, was the challenge, because I have become a minor duke in the art of "people sitting around in rooms talking to each other for ten pages." -- Warren Ellis

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[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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[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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[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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[personal profile] history79



SPOTLIGHT: How fond are you of the old Silver Age of Marvel Comics? Is the Galactus story from Fantastic Four #48-50 a particularly revered storyline for you?

WARREN ELLIS: Like most British writers, I didn't grow up with this stuff, and it really holds no special glow for me. Of our generation, people like Mark Millar, who adore this old stuff, are more the exception than the majority. Me and Garth Ennis grew up with the British stuff, the SF weekly 2000AD and the war comics.


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