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Changed line(s) 36,37 (click to see context) from:
-->--'''Warren Ellis''', discussing the difference between ''ComicBook/CivilWar206'' and ''ComicBook/BlackSummer''
to:
-->--'''Warren Ellis''', discussing the difference between ''ComicBook/CivilWar206'' ''ComicBook/{{Civil War|2006}}'' and ''ComicBook/BlackSummer''
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Changed line(s) 36,37 (click to see context) from:
-->--'''Warren Ellis''', discussing the difference between ''Comicbook/CivilWar'' and ''ComicBook/BlackSummer''
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-->--'''Warren Ellis''', discussing the difference between ''Comicbook/CivilWar'' ''ComicBook/CivilWar206'' and ''ComicBook/BlackSummer''
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->''This thing we do is not in the nature of a service industry. As a creator, please yourself first. An audience will show up or they won't. That's their call. It's on you to produce the kind of work you want to see in the world.''
-->--''Orbital Operations'' newsletter, August 26, 2018
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Changed line(s) 2 (click to see context) from:
->''I said, "I've never seen a GI JOE cartoon in my life. The closest I got to a GI JOE comic was drinking with LarryHama. I've never even seen a GI JOE. Couldn't tell you what they look like if you paid me. I know nothing about GI JOE. It is meaningless in my world."''
to:
->''I said, "I've never seen a GI JOE cartoon in my life. The closest I got to a GI JOE comic was drinking with LarryHama.Creator/LarryHama. I've never even seen a GI JOE. Couldn't tell you what they look like if you paid me. I know nothing about GI JOE. It is meaningless in my world."''
Changed line(s) 16 (click to see context) from:
->''"[[Creator/AvatarPress William Christensen]] is a betting man, and a while back he made me three bets. He bet me I couldn't get a [[ComicBook/BlackGas new spin out of the zombie story]]. He bet me I couldn't write a [[{{Wolfskin}} fantasy story]]. And he bet me I couldn't get a [[ComicBook/BlackSummer new angle on the superhero story]].[...] And now I own several of William Christensen's internal organs."''
to:
->''"[[Creator/AvatarPress William Christensen]] is a betting man, and a while back he made me three bets. He bet me I couldn't get a [[ComicBook/BlackGas new spin out of the zombie story]]. He bet me I couldn't write a [[{{Wolfskin}} [[ComicBook/{{Wolfskin}} fantasy story]]. And he bet me I couldn't get a [[ComicBook/BlackSummer new angle on the superhero story]].[...] And now I own several of William Christensen's internal organs."''
Changed line(s) 20,21 (click to see context) from:
-->--'''Creator/WarrenEllis''' about the sucess of ''ComicBook/{{Fell}}''
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-->--'''Creator/WarrenEllis''' about the sucess success of ''ComicBook/{{Fell}}''
Changed line(s) 55 (click to see context) from:
->''You learn to write from reading books, and living your life, and investigating the inside of your own head. Next, you learn how to write comics by pulling them apart and studying their innards to see how they work. This is how you end up as a 24/7 comics writer and also a terrifying shut-in who will eventually go nuts in a very public way and conclude your career as a figure in a newspaper photo captioned FOREST CREATURE SUBDUED BY POLICE TASERS. But I'm serious. You are going to learn how to do this – learn your own way to manage the difference in pacing between eight pages and twenty-two pages and one hundred and twenty pages, learn how to achieve effects in timing and drama and emotional nuance, learn when to talk and when to shut up – by studying the best comics you can find, and tearing them apart and seeing how they do things and then stealing the tools you can use and adapting them into your own style. You are going to want to read broadly. Make yourself read things you wouldn't ordinarily look at. If superheroes are your favourite, then make yourself read Carla Speed McNeil or Dan Clowes or Marjane Satrapi. If you only read science fiction comics, then force yourself to look at Hugo Pratt and Eddie Campbell and Svetlana Chmakova.\\
to:
->''You learn to write from reading books, and living your life, and investigating the inside of your own head. Next, you learn how to write comics by pulling them apart and studying their innards to see how they work. This is how you end up as a 24/7 comics writer and also a terrifying shut-in who will eventually go nuts in a very public way and conclude your career as a figure in a newspaper photo captioned FOREST CREATURE SUBDUED BY POLICE TASERS. But I'm serious. You are going to learn how to do this – learn your own way to manage the difference in pacing between eight pages and twenty-two pages and one hundred and twenty pages, learn how to achieve effects in timing and drama and emotional nuance, learn when to talk and when to shut up – by studying the best comics you can find, and tearing them apart and seeing how they do things and then stealing the tools you can use and adapting them into your own style. You are going to want to read broadly. Make yourself read things you wouldn't ordinarily look at. If superheroes are your favourite, then make yourself read Carla Speed McNeil [=McNeil=] or Dan Clowes or Marjane Satrapi. If you only read science fiction comics, then force yourself to look at Hugo Pratt and Eddie Campbell and Svetlana Chmakova.\\
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->'''''Q.''' What made you come back to [=WildStorm=]?''
->'''''A.''' I was abducted. Please help. [[HelpHelpTrappedInTitleFactory I'm sending this message out through an advertisement]] in the hope that Jim Lee won't see it and therefore won't give me the hose again.''
->''I'm in a bunker under a building in Burbank. '''Please help me.'''''
-->--DC house advertisement for the 2017 Creator/{{WildStorm}} relaunch
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->''I left angry, intolerant atheism back in my teens. (This didn’t stop me from writing certain angry, intolerant atheism characters, of course. Nothing wrong with letting your id out in your work, even if that id is a juvenile screaming arsehole.) Atheism should be characterised, I believe, by a generally relaxed position of tolerance, and the peace that comes with knowing that it’s just us here and that this is not a rehearsal. I won’t be judged by a god or some mysterious universal machinery for being a shrieking hateful prick who doesn’t know how to choose a fight or operate an ethos: I’ll be judged by myself and other humans. That’s probably worse.''
-->--''Morning Computer'' writing, [[http://morning.computer/2016/02/the-taxonomy-of-sin/?utm_content=buffer9be76&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer February 22, 2016]]
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->''I don’t think I could reasonably be accused of over-intellectualising anything. I once wrote a story where a robot kills a giant mutant lizard by jumping inside the lizard and crawling out through the lizard’s arsehole. ‘Intellectual’ is something I failed at long ago.''
-->--''The Big Issue'' interview, April 21, 2016
-->--''The Big Issue'' interview, April 21, 2016
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Changed line(s) 55,56 (click to see context) from:
->''You learn to write from reading books, and living your life, and investigating the inside of your own head. Next, you learn how to write comics by pulling them apart and studying their innards to see how they work. This is how you end up as a 24/7 comics writer and also a terrifying shut-in who will eventually go nuts in a very public way and conclude your career as a figure in a newspaper photo captioned FOREST CREATURE SUBDUED BY POLICE TASERS. But I'm serious. You are going to learn how to do this – learn your own way to manage the difference in pacing between eight pages and twenty-two pages and one hundred and twenty pages, learn how to achieve effects in timing and drama and emotional nuance, learn when to talk and when to shut up – by studying the best comics you can find, and tearing them apart and seeing how they do things and then stealing the tools you can use and adapting them into your own style. You are going to want to read broadly. Make yourself read things you wouldn't ordinarily look at. If superheroes are your favourite, then make yourself read Carla Speed McNeil or Dan Clowes or Marjane Satrapi. If you only read science fiction comics, then force yourself to look at Hugo Pratt and Eddie Campbell and Svetlana Chmakova.//
Growing up, my favourite comics writer was Alan Moore. But I learned just as much, if not more, from studying Eddie Campbell, Philippe Druillet, Bryan Talbot, Glenn Dakin, Carol Swain, Will Eisner and a hundred other people.//
Growing up, my favourite comics writer was Alan Moore. But I learned just as much, if not more, from studying Eddie Campbell, Philippe Druillet, Bryan Talbot, Glenn Dakin, Carol Swain, Will Eisner and a hundred other people.//
to:
->''You learn to write from reading books, and living your life, and investigating the inside of your own head. Next, you learn how to write comics by pulling them apart and studying their innards to see how they work. This is how you end up as a 24/7 comics writer and also a terrifying shut-in who will eventually go nuts in a very public way and conclude your career as a figure in a newspaper photo captioned FOREST CREATURE SUBDUED BY POLICE TASERS. But I'm serious. You are going to learn how to do this – learn your own way to manage the difference in pacing between eight pages and twenty-two pages and one hundred and twenty pages, learn how to achieve effects in timing and drama and emotional nuance, learn when to talk and when to shut up – by studying the best comics you can find, and tearing them apart and seeing how they do things and then stealing the tools you can use and adapting them into your own style. You are going to want to read broadly. Make yourself read things you wouldn't ordinarily look at. If superheroes are your favourite, then make yourself read Carla Speed McNeil or Dan Clowes or Marjane Satrapi. If you only read science fiction comics, then force yourself to look at Hugo Pratt and Eddie Campbell and Svetlana Chmakova.//
\\
Growing up, my favourite comics writer was Alan Moore. But I learned just as much, if not more, from studying Eddie Campbell, Philippe Druillet, Bryan Talbot, Glenn Dakin, Carol Swain, Will Eisner and a hundred other people.//\\
Growing up, my favourite comics writer was Alan Moore. But I learned just as much, if not more, from studying Eddie Campbell, Philippe Druillet, Bryan Talbot, Glenn Dakin, Carol Swain, Will Eisner and a hundred other people.
