I always loved, most of all with doing comics, the fact that I knew I was in the gutter. I kind of miss that, even these days, whenever people come up and inform me, oh, you do graphic novels. No. I wrote comic books, for heaven’s sake. They’re creepy and I was down in the gutter and you despised me. “No, no, we love you! We want to give you awards! You write graphic novels!” We like it here in the gutter.

-Neil Gaiman, as quoted in a NPR article.

Standard

Twenty Books I Mean to Read (Or Reread)

  1. Frankenstein by Mary Shelley
  2. Between the World and Me by Ta-Nehisi Coates
  3. The Blood Between Us by Zachary Brewer
  4. Metamorphoses by Ovid
  5. Good Omens by Neil Gaiman and Terry Pratchett
  6. Coraline by Neil Gaiman
  7. The Chronicles of Vladimir Todd series by Zachary Brewer (as Heather Brewer)
  8. Valhalla by Ari Bach
  9. Iliad by Homer
  10. Huntress by Melinda Lo
  11. The Description of a New World, Called the Blazing World by Margret Cavendish
  12. Paradise Lost by John Milton
  13. Vamped by Lucienne Diver
  14. Gothic Charm School by Jillian Venture
  15. Discworld by Terry Pratchett
  16. Word and Void series by Terry Brooks
  17. Suck It Up by Brian Meehl
  18. Vampire Chronicles by Anne Rice
  19. Princeless by Jeremy Whitley
  20.  Umbrella Academy by Gerard Way
Standard

My lines are still pointy and angular, and the monsters still look monstrous, because I know most kids can handle creepy stuff, and do seem to enjoy it. I don’t try to frighten anyone with my work – on the contrary. I like to show a lighter side to a dark subject, but I grew up on monster movies and books like “Scary Stories to Tell in the Dark” (which had some wonderfully horrifying illustrations by the inimitable Stephen Gammell) so I know that while my work certainly isn’t right for everyone, it might be just right for those who look at the world a little differently, and, like me, root for the monsters

– Abigail Larson on illustrating for adults versus children

Standard

The first step is honoring everything that came before it — and then completely fucking it all up. That’s the idea! When you’re writing “Doom Patrol,” I think it’s your job to go in and do your take, and completely throw it in a blender and fuck it up in the best possible way. That book is weirdness and chaos, and all that stuff.

– Gerard Way, in an interview about the Young Animal Imprint

Standard