Subscribe: Warren Ellis
http://warren-ellis.livejournal.com/data/rss
Preview: Warren Ellis

Warren Ellis



Warren Ellis - LiveJournal.com



Last Build Date: Fri, 29 Jul 2011 00:05:03 GMT

 




Fri, 29 Jul 2011 00:05:03 GMT

Once again, the crossposter from warrenellis.com to this LJ account has died. It might be fallout from the DDoS attack LJ's supposedly been under this week, or from whatever unknown ballsup stopped LJ from working last week, or perhaps the internets have just given the fuck up. Who knows.

It's time for me to take LJ off the list of things I need to check once a week to see if they're working. The crossposter will be switched off for good in two weeks, and this will become a static account.

Please consider adding www.warrenellis.com to whatever feed reader you use. It's currently on low power while I focus on the novel, but it'll continue to pop every day or two.

I can also be found on Tumblr, and on Facebook, on Instagram as warrenellis, and, of course, on Twitter as @warrenellis.

My public "dump" email address is warrenellis@gmail.com, which gets checked every day, if you want to contact me.

Thanks for being around. Take care.

-- W



Sneaker Pimps

Mon, 25 Jul 2011 00:23:39 GMT

Time was, back in the Nineties, comics editors who had a writing slot to fill on a mandated company owned comic would institute something of a foot race.  They’d contact several writers at once and ask them to write detailed pitches for the book.  Sometimes it paid, sometimes it didn’t. I remember taking part in these on three occasions, back when I was a newish writer. I remember being asked to pitch for a mooted BLACK PANTHER 2099 book at Marvel.  The book actually never happened at all.  I imagine none of the pitches were up to snuff, and they just killed the idea.  I dimly remember mine being a sort of terrifying “Fear Of A Black Planet”/Huey P Newton thing, with Black Panther Cells run from Marvel’s fictional African country Wakanda destabilising corporate-run America.  I think I used some of the stuff in there for my later DOOM 2099 sequence. I wasn’t happy at doing the foot race: I got paid, and my foot hadn’t been in the door that long, and I supposed this was just the way things were done.  But I had a feeling that maybe it wasn’t the best way to do things. I also took part in a run-off for a BLADE comics series.  You didn’t always find out whom you were in competition with, but this time I’d discovered that I was running against my good friend Ian Edginton.  It was awkward, but we had a teddibly English gentlemen’s-manners thing about the whole situation, and I was delighted for him when he got the book.  Also slightly irritated, because I could have used the money, and as corporate jobs go it had some potential for fun and advancement.  But I’d obviously rather the gig go to a friend if it had to go to anyone but me.  I remember that Ian ran into problems on the book straight away.  And a few months later the editor phoned me and asked me if I’d take over the book. I was young, and arrogant, and a bit of a prick, and I said to him, “No.  You should have got it right the first time.”  Which was offensive on a number of levels, not least to poor Ian, who did not deserve the inference.  But I didn’t get anywhere without having a degree of security in my own talent.  And I was pissed off. The third foot-race I did was for HELLBLAZER.  My guts got in the way of my head.  I wanted to write that book.  I wanted a place to do British social fiction and work out a fusion of the British crime and mystery traditions, and, hell, I liked the idea of working on a property whose lineage included Alan Moore and Jamie Delano and Garth Ennis.  They are all greater than I am, by miles, and the little ego demon in my gut said “you want this.” They gave the book to Eddie Campbell.  Which led to a comedy moment of me finishing up in a Glasgow urinal and Eddie, drunk off his arse, lurching into the room, seeing me, and staggering back saying “you’re not going to hit me, are you?”  Eddie fucking Campbell.  I still recall, quite vividly, the first time I read Eddie’s work, and my entire conception of comics to that point changing in sixty seconds.  Like I was going to complain about Eddie Campbell getting a gig over me. A few months later, the editor phoned me and asked me if I’d take over the book. And I said to him – and I considered that editor a good friend – “No.  You should have got it right the first time.” Because, well, see above.  But also: what happened to the idea of thinking of a writer you like, and approaching that writer, and working things out with that writer?  If you need to put a body on a corporate-owned book, do you really want to do that in such a way that breeds several kinds of resentment at once?  Starting with the resentment born of having to knife-fight your peers for scraps in front of the landlord’s table? So I said No, and I said No in a way that people would remember.  And probably talk about, since this is comics.  I don’t recall getting invited to any more foot races.  But I’d relatively quickly worked to the point I’d wanted to get to, where I could generate my own material and su[...]



Everyone’s At San Diego

Tue, 19 Jul 2011 12:12:05 GMT

Except me. I’ve been to the San Diego Comic-Con maybe four times in the last fourteen years, and the last time I was there for less than a full day, doing RED movie stuff.
San Diego: the comics business goes dark for a week. I used to look forward, a bit, to this week. With no-one around, I could sit and think about what was next, and it always felt like I was stealing a march on everyone else.

Now, of course, I’m barely writing any comics at all, and I have sixty thousand words of novel left to focus on getting written. (I’m behind where I wanted to be, it’s been a shitgrinder of a month.)

Eric Stephenson of Image Comics wrote this very kind little note the other month –

http://it-sparkles.blogspot.com/2011/06/missed.html

– about how I’m not really present in comics anymore. And it’s true enough. Even that bloody documentary makes me feel like I’m sitting in at my own funeral. Are they screening that at San Diego? I think I heard something about a panel on the subject, anyway. That and getting the Eagle Awards Roll Of Honour gong were clear signals that my time in the medium was done, I think. I thought only dead people got that award. I’m mostly joking.

But that post of Eric’s did put me to thinking: this is the first year in a very, very long time where I’m not using the San Diego week to think about comics. It’s a strange thing, for me, to be done with comics. Especially when there’s so much left to do, that I will probably never be able to do. And on weeks like this, I wake with frustration, that I’m leaving the field with all the things I wanted to achieve half-done.

Oh, and: if you see Templesmith at San Diego, go easy on him. He’s been down in Perth dealing with some tragic family matters, and it’s been a really rough year for him. FELL #10 will be here when it’s here. If you want to buy a comic whose greatest virtue is that it’s really on time, buy a DC comic in September.

One last thing: if your SVK torch arrived inoperative, BERG have written this post –

http://berglondon.com/blog/2011/07/19/svk-torches/

– to apologise and explain why. We did tell everyone this was an *experimental* publication…!

sent from [device: spacebook]

Posted via email from warrenellis’s posterous

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Mon, 18 Jul 2011 00:33:31 GMT

(image)

On July 9, I made my sole public post on Google+.  It reads:

Dear 1000 people who have added me to their circles apparently overnight: very kind of you to think of me, but the system is just not fine-grained enough yet to let me sort through you effectively. So I have to declare Google+ bankruptcy. Sorry.

Also none of you invoked me in the approved manner, which requires a bottle of whisky, ritual drumming, fire, two chickens, a bucket of eels and a nurse.

Neil Gaiman copied the post to his own account, and then deleted his account a couple of days later.  Totally understandable.  That little red notification button going off in Gmail every sixty seconds can get a bit maddening.  I just took a look at Google+.  Since I posted this, another 4000 people have added me to their circles.  It’s an interesting service, but it’s nigh impossible to find the people I actually know or am interested in within the flood of faces.  And the “relevancy” system is, um, not very good.  In fact, I summed my experience of that up as:

(image)

SCIENCE: I am actually probably not that good at it.  But I have the lab coat regardless.  And they cannot have it back.

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



Robots Of Brixton

Sun, 17 Jul 2011 22:45:58 GMT

Robots of Brixton from Kibwe Tavares on Vimeo.

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



Here Are Some Things

Fri, 15 Jul 2011 00:00:29 GMT

ABERRANT NECROPOLIS has been published.

(image)

A collection of the photography of Ellen Rogers.  I wrote the foreword.  You can learn more about it here. You can order it here.

Gardens and open settings feature often in Ellen’s images.  Drifting figures seemingly captured preparatory to some sky ritual or midnight mass.  Women overcome by the laudanum languor of a decadent life, drinking in the electromagnetic fields of sacred sites.  Perhaps bit players in an Aleister Crowley performance.  Seen smokily through time and space, reaching some alternate Biba moment, or a private film made in a world where Kenneth Grant could make a scene like Kenneth Anger, art direction by Austin Osman Spare…

Greg Rucka & Rick Burchett’s webcomic LADY SABRE AND THE PIRATES OF THE INEFFABLE AETHER has launched, at ineffableaether.com.

(image)

I am not attending San Diego Comic-Con this year.  People keep asking me that for some reason.

(image)

Met with the excellent Alex Garcia of Legendary Pictures to talk about GRAVEL.  Also other interesting people.  Also saw Ewan McGregor tied up a lot, doubtless fueling future gigabytes of fantasy fapfiction on the last two remaining LiveJournal accounts in existence.

Just proofed the first issue of SECRET AVENGERS, with art by Jamie McKelvie.

I am mostly off Twitter, not using Google+, in my Zone Of Seclusion and writing and planning and writing and writing and writing.

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Tue, 12 Jul 2011 15:49:46 GMT

(image)

Further details will follow on her facebook page.

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Mon, 11 Jul 2011 14:10:51 GMT

(image)

Work completed last week:

First draft of film treatment job codename INVISIBLE ZATOICHI: written and filed

SVK released in first print run of 3500: sold out

(people whose SVK unit didn’t work? email shop@berglondon.com)

Locked artist for fifth episode of SECRET AVENGERS run: done

Returning to work and remaining mostly offline: going

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Fri, 08 Jul 2011 17:58:32 GMT

(image)

HERE: when there is “NEWS” or “CONTENT”

TUMBLR: the gathering of “THINGS”

FACEBOOK: “NOTES” and "QUERIES” and also “TUMBLR”

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Thu, 07 Jul 2011 19:34:40 GMT

sent from [device: spacebook]

Posted via email from warrenellis’s posterous

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Thu, 07 Jul 2011 16:12:47 GMT

SVK is sold out.


Please get on the mailing list at getSVK.com for further announcements.

 

#SVKcomic

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



Cafe Kaput 3: Summer Gathering Sequence

Thu, 07 Jul 2011 15:53:59 GMT

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Tue, 05 Jul 2011 19:30:04 GMT


My robot-building daughter has just described #SVKcomic as “very, very cool.” This is a first. I can quit comics now.Tue Jul 05 18:20:49 via Seesmic

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Tue, 05 Jul 2011 17:23:29 GMT

For posterity: the BERG crew watching the SVK sales counter.

 

(image)

(…watching the SVK sales counter… through electronic devices.  Because they are BERG.)

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



SVK Is On Sale

Tue, 05 Jul 2011 12:12:43 GMT

SVK is now on sale at http://www.getsvk.com .

(Am sending this from iPad – if that link doesn’t work, the one in this page’s top bar will.)

SVK is a 40-page comic book available via mail order only.

SVK is an experimental publication, conceived of and produced by the design and invention group BERG.

They came to me with the idea and asked me to help them make it work. I drafted in my old friend Matt Brooker, better known to a legion of comics readers as the artist D’Israeli, to illustrate it and help me solve it.

SVK comes packaged with a UV torch. Because a lot of it is printed in invisible UV ink, and therefore elements of the book can only be seen by shining the torch on the pages.

Why is it only mail order? Because BERG wanted to solve their own supply chain. They want to make more things and sell them themselves. SVK is a test article for that process. They’re publishing it: they decide how to distribute it.

Why is it expensive? It’s a short print run, printed in UV ink that they had to pass security tests in order to get their hands on, enclosed with a UV torch with custom printing, and wrapped in custom packaging. This isn’t a standard comic.

SVK comes with a foreword by William Gibson, and articles by futures expert Jamais Cascio and comics historian Paul Gravett.

SVK was the hardest thing I’ve written in years. I think it’s also the best thing I’ve written in a few years. And, without offense to my other collaborators, I’ve known and worked with Matt for twenty years, and that means that not only does stuff appear on the page exactly as I imagined it would, but that it’ll also be better than I imagined it.

At some point, once the book’s circulated a bit, I’ll talk about the horrible technical difficulties Matt solved without breaking step. Suffice it to say that this book very probably would not have happened at all if Matt Brooker had not been onboard.

And, finally, I need to thank the whole BERG team, who have worked like demons on SVK. The book itself is only the iceberg tip of the machine they’ve had to build to make this work.

sent from [device: spacebook]

Posted via email from warrenellis’s posterous

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



It Lives

Tue, 05 Jul 2011 11:27:56 GMT

Just arrived here. Just got up, full post in a bit.

sent from [device: spacephone]

Posted via email from warrenellis’s posterous

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Mon, 04 Jul 2011 20:40:51 GMT

#SVKcomic

Today is Independence Day in the US.  Tomorrow is Surveillance Day in the UK.

SVK is imminent.

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



Zero Hour

Mon, 04 Jul 2011 00:21:27 GMT

Oh, this is interesting. A preview of something being made by Hannah Nicklin and Steve Kilpatrick. Turn the sound up.

Preview… from Hannah Nicklin on Vimeo.

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



Corey Lewis Is Up To Something

Sun, 03 Jul 2011 22:46:00 GMT

Corey Lewis, creator of graphic novels SHARKNIFE and the forthcoming SHARKNIFE DOUBLE Z (which I seem to remember writing a back cover blurb for) is up to something again.  Look at these:

(image)
(image)

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Sun, 03 Jul 2011 19:19:00 GMT

(image)

I do actually leave the house on occasion.

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)




Sat, 02 Jul 2011 15:09:22 GMT

(image)

 

Digital devices are great work tools.  But always keep a notebook and pen or pencil handy.  They don’t use batteries, are as instant as use gets, and can help you think in different ways.  And then store them somewhere convenient so that you can sort through them when necessary.

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



Garth Ennis Finally Gets To Make A Film

Fri, 01 Jul 2011 15:43:34 GMT

And I am fucking delighted.  DETAILS.

(image)

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



Katie West Summer Print Sale

Fri, 01 Jul 2011 14:15:26 GMT

(image)

Details are here

 

A wide selection of Katie’s photography available as quality prints for a limited time.

 

(image)

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)



A Few Notes On Marvel Comics’ Digital Strategy

Thu, 30 Jun 2011 13:32:06 GMT

Marvel Comics’ digital-comics strategy is that… they don’t seem to have one, really. Full disclosure — I’m on work-for-hire exclusive to them until the end of the year. But they’re all used to me moaning at them anyway. Marvel may now be owned by Disney, but you can be damned sure attention is still paid to their quarterly reports. And it’s hard to keep your lines buoyant when everything else in your business is a constant fight against diminishing returns. I personally believe that taking much of the print line to a sales point of $3.99 will defeat growth in the print sector. I know they’re doing it to protect themselves, but I think it’s going to hurt in the long run. Are they then, like DC, looking to digital as a way to increase reach? Well… not yet. I believe they have done some original digital comics. (By which I mean company-owned Marvel comics created for digital-first release.) But I’m not sure there was any great plan to their release. One of the things I like about Marvel is that they move pretty fast and are capable of an entirely random “hey, let’s do this thing for five minutes” move. The whole Marvel Architects cascade-of-events structure they do these days are frankly as organised as Marvel’s ever been on the macro-scale. Their digital store, then, is a big back-issue bin, with the occasional experiment in day-and-date simultaneous release in print and digital. They’re unlikely to go line-wide day-and-date like DC unless DC’s numbers are explosively successful and stay that way for six months — in digital AND print. Right now, Marvel own the comics stores in terms of dollar sales and market share, and probably see no compelling reason to risk a dilution of those figures. Those figures look good on quarterly reports. And that’s not a knock against Marvel, just an observation of the reality of their business life. All that said: I can conceive of a point where there’s pressure on them to do something more with their digital store. And also, pressure to do less. I recently noted that if I, say, wanted to buy the first part of Walt Simonson’s THOR run (in my case, because I wanted to remind myself of some of Simonson’s tricks in page design), I couldn’t buy a digital edition of the collection in question. I had to buy it as single issues in digital form. Which suggests to me that, somewhere, someone decided they didn’t want Marvel Digital to be seen as affecting bookstore sales. That would seem to me to be a cautious shuffle too far, and possibly indicative of conflicts ahead. I am looking to Marvel to do more original material for digital. They’ve done it before, there’s obviously a system in place to make it happen, they can reprint in trade paperback, and it’ll make a good business narrative. It’s the march they can steal on DC, it doesn’t screw with their print market share, and it fits Marvel’s profile better. It could make for interesting times in the commercial medium. sent from [device: spacebook] Posted via email from warrenellis’s posterous Related articles DC And Digital Comics Strategies (warrenellis.com) A Collection Of Rambling On The Subject Of Digital Comics (warrenellis.com) American Comics Reader Facing Criminal Charges In Canada (warrenellis.com) (Automatically crossposted from warrene[...]




Wed, 29 Jun 2011 23:17:25 GMT

(image)

Ellen Rogers


more

(Automatically crossposted from warrenellis.com. Feel free to comment here or at my message board Whitechapel. If anything in this post looks weird, it's because LJ is run on steampipes and rubber bands -- please click through to the main site.)