She's never known a time without 50 TV channels. She's never known a time without the internet. It works perfectly well, and they look fine on the web, too.ĭo you believe there's any sort of sanctity about either the written word in its physical form, or comics in their physical form?
#Youtube god gave rock and roll to you full#
They actually fit the tablet screen almost perfectly, but it's still a full page with all the information or activity that a full page has.
It will be small, but if you look at the smaller formats like the digest format that Manga appears in, or Scott Pilgrim, or actually Darwyn Cooke's Parker books, they're also a good example. A comics page would display just as well on a tablet. The web does still work, they didn't actually switch it off when Apple invented the iPad. I think, honestly, people are focusing too much on tablets.
In a comic the entire page is information reactive.ĭo you think there are ways around that we just haven't discovered? So although it's kind of looking dull and homogenous, you don't get a sense of what the entire page can do. It looks like a Sunday special, like the old Calvin and Hobbes or Doonesbury, where they had the Sunday edition where it was two strips instead of one.Įverything is looking like that, and then they're going to go back and assemble those into a full comics page. So you get half the screen, half the page on a screen at a time, but it's forcing people into two-tier storytelling. What's happening is that people are looking at the tablet and starting to focus on it in landscape form, but what they're doing is cutting a regular comics page in half. Nine panel comics are more of a rarity in the American field than you think. Do you think with new touch screen technologies and tablets we're going to see more experimentation, a move away from nine panel comics into something else? FreakAngels was published first as a web comic, and then by Avatar in paperback. You mentioned that comic publishers en masse are not yet using the internet properly. It's considered experimental, but it shouldn't be, because what he's doing is actually '60s and '70s European science fiction in 2012 American comics. I’m really liking what Brandon Graham is doing on Prophet. So you're not really finding, at least in the commercial comics industry, a lot of experimentation or people trying to kick out new ground.Įd Brubaker is doing some interesting crime stuff. People in comics are still trying to work out what the internet is for, and it's leading to a lot of close-minded thinking. The American comics industry is in trouble. Mostly, I’m finding that the field is going through one of its fallow phases. You famously dislike superheroes and superhero comics, but what comics are you reading at the moment?Īt the moment? God, people always ask me this, and I'm not reading a hell of a lot of comics right now. It was the first prose both of us found that sounded like music, sounded like contemporary music. Jack Kerouac wrote like BeBop, and I wanted to write like the things I was listening to in the '80s and '90s. In those days it was plain old rock and roll. So where do you draw inspiration from?īill and I come from a similar thing in that we wanted to read stuff that sounded like the music we liked. On the association with Kerouac, I know William Gibson, who is also obviously a massive science fiction figure, names Kerouac in "the Beats" as his main inspiration. That's what science fiction is for, and that's when I learned it and what I learned from it. Science fiction is social fiction, using the tools of science fiction as a scalpel with which to examine the present day. But I didn't really get a sense of what science fiction was supposed to be until my early teens, where in quick succession I discovered Michael Moorcock, William Burroughs, J.G. Warren Ellis: I was a voracious reader as a kid. What sort of things did you read when you were younger, and how did this inspire your adult work? Vassili Christodoulou : Let’s kick off with science fiction. His first nonfiction book, Spirit Tracks, is due out this year (published by Farrar, Straus & Giroux), and looks at the “future of the city, the ghosts that haunt it and the science-fiction condition we live in.” He has won numerous Eagle Awards for best comics writer. Warren Ellis is an English author of comics, novels and television scripts well known for their exploration of transhumanist themes, particularly cryonics, nanotechnology and human enhancement.
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