Sienkiewicz y Niles van a hacer un nuevo 30 days of night

[Epes]

En realidad esta noticia salió el sabado y estaba esperando que la publique el idolo de Azra que le pone mas onda que la que yo le puedo poner en toda mi vida.

Pero como no publicó nada me mando yo, no esperen nada parecido.

Solo decir que 30 days of night, la primera serie, me pareció uno de las aproximaciones a la tematica de vampiros más novedosa que leí en mucho tiempo, ademas la dibujó Templesmith que inmediatamente entró en mi lista de dibujantes a los que hay que prestarles atención. Despues de la primera serie un poco que se diluye la historia pero sigue siendo entretenida.

Pero ahora se sube Bill God y, como cada vez que el tio Bill publica algo nuevo, eso me pone todo excitado.

La nota:

WWLA: SIENKIEWICZ JOINS NILES ON NEW "30 DAYS OF NIGHT"
by Jonah Weiland, Executive Producer
Posted: March 17, 2007 — More From This Author
In "30 Days of Night," the sleeper hit title of 2002, the small town of Barrow, Alaska is plunged into darkness for 30 days every year and life goes on without too much excitement, except one year everything goes to hell. A group of vampires show up and what can only be classified as a massacre takes place, destroying this sleepy little town. The series was an instant hit and resulted in numerous spin off comic series, novels and a feature film to come in the fall of this year directed by David Slade and starring Josh Hartnett.
"30 Days of Night" creator Steve Niles and IDW Publishing return to Northern Alaska in a new mini-series to coincide with the release of the feature film tentatively called "30 Days of Night: Beyond Barrow." Joining Niles on this series is legendary comic artist Bill Sienkiewicz. CBR News sat down with Nile & Sienkiewicz to get the first word on what readers can expect from this title.

CBR: Steve, first off, how did you and Bill get hooked up together for "30 Days of Night: Beyond Barrow?"

Niles: I've known Bill since I first started in comics. As a matter of fact, he did the cover for "Fly in my Eye," the second book and first major book I ever published. We've been friends ever since. We ran into each other recently at the New York Comic-Con. Bill and I started talking and he said he was looking to do some new kinds of stuff and I mentioned to him that I had a "30 Days" pitch that wasn't, how should I put this, milking the idea. I really think I came up with a new, cool, original "30 Days." A new take on things. Bill got really excited about it and here we are.
CBR: Bill, do you remember doing that "Fly in my Eye" cover all these many years ago?
Sienkiewicz: Absolutely! I've known Steve since he was 19. Back then he'd call me up and we'd have these long conversations back when he lived in Washington D.C. It's weird how life has turned out with us working together again.
CBR: So, the two of you working on this project together was really as simple as you two running into each other at a convention.
Niles: It really was that easy. Right time, right place.
CBR: Bill, what was it that attracted you to a project like "30 Days of Night?"
Sienkiewicz: I thought the ideas Steve came up with are just great. I grew up on "Creepy" and "Eerie" and "Vampirella" and stuff like that. I just love horror stuff, but in my career there hasn't been much horror done lately that I felt was done well. The projects I'd be offered would have horror elements in it, but it was usually more super hero stuff. Or it would be gore for gores sake and you wouldn't ever get to know the characters. This story is something different.
To find stuff being done now in comics that really has a sense of horror to it, well, Steve's the guy who I felt was really doing it.
Niles: Plus, this isn't part of some established continuity, which allows you a lot more freedom. It's a finite story and plus – and you said this was one of the things that excited you about the project – it's a chance for Bill to illustrate a horror story. Talk about a person who can do some frightening imagery. He's very capable of that.
CBR: Through the history of the "30 Days" projects, primarily you've worked with either unknown or relatively unknown artists, so this is an interesting change of events where you're collaborating with a well known name in Bill Sienkiewicz on a "30 Days" series.
Niles: Yeah, it's nice. We've switched the way we're approaching the book for a little bit. And this very well may be one of the last "30 Days" comics series I write.
I am definitely a huge Bill Sienkiewicz fan. He's had a huge affect on my whole career. Bill, Alan Moore and Frank Miller single handedly drew me back into comics in the '80s. I probably wouldn't be reading comics if not for these guys. I remember when Bill was doing the art on "New Mutants" and I heard other kids in the comic shop saying, "Ewwww, the art's too weird" and I went right over to it and thought, "Well, maybe now I'll check out a super hero book!" And as soon as I saw his art I fell in love. From day one I've been a giant fan of Bill's work, so, wow, I can't tell you how excited I am. And, just to tease a little bit, this has led to Bill and I wanting to do another project, completely creator-owned, that we'll hopefully be announcing some time soon.
CBR: Steve, what can you tell us about the actual story in "Beyond Barrow?"
Niles: What I like about this story is that while it does take place in Northern Alaska near Barrow, it's a whole new story with new characters, a new angle and a completely fresh take, which is why I can't really give away too many details without completely blowing it, but basically it builds upon the whole idea that these attacks have been happening around the Arctic Circle for hundreds, if not thousands of years. The Barrow "30 Days of Night" attack, the massacre, was a mistake, basically. A big, stupid mistake on the part of the vampires. Leading up to that, in a place where people disappear anyway, it's sort of establishing that maybe there was something more sinister other than just the Arctic conditions contributing to these people going missing for all these centuries.
CBR: What's interesting is you said earlier that this might be your last "30 Days" story, yet what you've got planned for this book sounds like you're dramatically enlarging the history and mythology of the "30 Days" universe.
Niles: Yeah, you're right. So, once again, I'll probably be eating my words. I remember saying after the first three issues of "30 Days of Night" that "I will not milk this series!" [laughs] And now, here we are, six comic series and two novels later … [laughs] So, put that under famous last words. Who knows where some of these ideas could wind up. Some could wind up on the screen, they could wind up in the third "30 Days of Night" novel.
CBR: And, of course, depending on the success of the film to come out later, it might inspire you once again. And you've always said to me that as long as you don't feel like you're milking the concept, you'll do it.
Niles: That's just it. What's really inspired me through "Dark Days," "Return to Barrow" and now "Beyond Barrow" – I feel like those are the core series – every single time it was the idea or concept that drove me. So, yeah, I'm well aware I could be putting my foot in my mouth saying this could be my last "30 Days" story, but that's sort of where my mental state is. A lot of times – and I realize every writer out there is probably going to attack me for this – when you know you've got to write something for a really long time, you don't always throw you’re A game into it. For me, I feel like this is going to be my last attempt at doing a really scary Barrow story and I want to throw everything in with all the good ideas and not worry about what I might do in the future.
CBR: Bill, what will your approach be artistically with "30 Days of Night: Beyond Barrow?"
Sienkiewicz: I've always felt the mind will fill in the more horrifying images than you can just simply show the audience. The way horror has been handled for the most part is there's always a lot of darkness, but just for darkness's sake. What I'd like to see is a little bit more contrast and beauty and set-up in terms of the landscape being a character. Let the environment play a role. So, when things go horribly wrong, you're suddenly plunged into a horrific world, made ever so much more so when compared to the beauty you were just looking at. Or, have something very dark happen out in the sunshine. True horror can happen unexpectedly and it doesn't necessarily have to happen in a dark room that's been dirtied up a bit.
CBR: In "30 Days of Night: Beyond Barrow" with the environment you'll be working in – Northern Alaska, the arctic circle, mountainous region and all that snow – there's an inherent beauty in that environment and to introduce horror into it allows for that contrast you spoke about.
Sienkiewicz: Look at John Carpenter's "The Thing." The first shot has a brilliant blue sky with a helicopter shooting at the wolfhound. It's not your typical setting for something like that. It doesn't necessarily have to have all the trappings of your typical horror film. The challenge I'm setting up for myself is the palette of doing something beautiful and seeing if it'll work when we go to the darker aspects of life. I don't want to telegraph anything and want to set up a level of normalcy, so that when things happen, it really catches you by surprise.
CBR: Bill, looking at your art you're certainly capable of graphic and horrific imagery, yet really haven't done a lot of horror in your career – why is that? Have you shied away from it or have you just not been that impressed with the projects presented to you?
Sienkiewicz: Well, a lot of it is because of the obviousness I found in much of the horror I was presented. I want it to be more subtle and let the reader's mind fill in those aspects of what is horror. Your audience can imagine things ten times worse than you can draw them. Now, I won't be shying away from the gore, but I might stylize it more. I definitely plan on being more graphic, but at the same time I don't plan on doing gore just for gores sake. Chopping someone's head off just for the image and no other reason is sort of cheap. It's always what isn't shown that's more horrifying to me. Things that are implied. The mystery of horror. Think about the most horrific moments in horror films and much of the best horror happens off screen. That's the kind of horror I'm really attracted to and I think what Steve and I plan on doing is going to up the ante a bit. For me it's going to present a challenge because I firmly want their to be a certain beauty in what I'm doing, have it happen in a beautiful environment, whether it be a snow storm or the isolation of a couple of figures off in the distance in the snow, and at the same time when the rubber hits the road I want people to really be chilled by this imagery.

http://www.comicbookresources.com/ne...m.cgi?id=10017

[orson]

igual, para comics macabros, prefiero a templesmith....

[Azraelito]

ohhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh...

pasa q los tps de idw son tan caros!!!!voy a ver como hago para arreglar mi economia comiqera...

templesmith...para mi tiene un problema es q despues de verlo un rato,es siempre igual...en 30 days,fell y gentleman corpse es siempre lo mismo...NO INNOVA UN CARAJO...

[Epes]

Reportaje a Bill y dibujos:

IDWEEK: BILL SIENKIEWICZ TALKS 30 DAYS
by Chris Ryall

There’s really no way for me to describe artist Bill Sienkiewicz as anything but “legendary,” as much as that expression can make a guy feel old. But I thought the same thing when I first saw his art, too, on an early Moon Knight cover. It was one thing when Bill was doing his thing and being inked by guys like Bob McLeod, but when he started inking himself… and especially when he took over New Mutants and opened an entire generation’s eyes as to the potential of the comics medium, there was no better word that fit what he brought to this industry.

He’s also one of a short list of names that I just assumed, for one reason or another, I’d never have a chance to work with on an IDW book. Well, scratch this name from that list, because Bill’s joining Steve Niles on an all-new 30 Days of Night title that debuts this September: 30 Days of Night: Beyond Barrow. The story itself takes what’s come before and advances it in horrific new ways, so it only makes sense that Bill’s art would do the same.

Newsarama: Before we talk to you, let’s just all sit back and really think about how great it is that you’re doing this book. Everyone caught their breath? Good—let’s go. I’ll try not to let the awe I feel work its way into the questions to come.

Your style has evolved so much from project to project. Are you trying anything differently on this 30 Days book than what you’ve done before?

Bill Sienkiewicz: “Evolved” is a great descriptive choice for the process. Nearly 99.9% of the time, the particular piece I'm working on will decide the medium and method, in, or by, which it should be done, not vice-versa. Meaning it will do the courtesy, (so to speak), of letting me know what it needs to convey—emotionally, if not technically—what it's trying to say to the reader and the best way to convey it. I'm really more of the conduit, a collaborator, in the production. Any time I've tried to do it the other way around, to decide how I'm going to do any particular piece, to try to force a piece to be something it's not, it ends up in a fight with the piece with the piece usually winning—thereby showing me how little I ultimately know. That said, I do know that the art is at the service of the story, and works with it, occasionally as reinforcement, occasionally as a counterpoint. In the end, it comes down to the piece knowing what its needs are to do just that, and it knows it far better than I. That much, I do know. So that's the answer to your question: to continue to allow that “evolution” you mentioned to continue. To get out of the way in terms of trying to force a result. one can't force oak to be pine. It's a zen thing.

NRAMA: Now, you’ve done a lot of things in your career, but other than the Marvel version of Dracula, vampires seem to be a new subject for you to tackle. Do you look at what’s gone on before in the 30 Days books or just work out in your head how you’d like the characters to appear?

BS: Well, I actually did two portfolios of vampires years ago, published through Grafitti Designs, Bob Chapman's company. I don't think we did a large print run of either portfolio, so they're pretty rare. Also, I have around 40 sketchbooks I've filled since I first started art school in Newark, and over the years, vampires have appeared as a topic in the books in one form or another, from comedic, to sick, to just plain disturbing. Also, if you really think about it, a vampire is anything that drinks blood. Female mosquitoes are vampiric, as of course is the ubiquitous bat breed of infamy. Then there's the tick, the leech, just on and on and on. Nature is chockablock with vampires. So I'm just letting the vampires that I'm going to be doing, to “evolve” as well. It's a Darwinian thing.

I'm not going in the direction of any of the artwork in previous 30 Days books. This will very much be my own thing, whatever that turns out to be.

I have some pretty creepy ideas, though, that keep me awake at night. Not from fear, but from that adrenaline-based rush of discovery of a new breed. It's a great Rorschach test for Self-examination, at the very least. I'm definitely a bit “quirky.”

NRAMA: This is your first collaboration with Steve, yet so far, you both seem very much in synch. Is there more to come from the two of you after this series is done?

BS: Oh, we are definitely in synch. Steve is just so great, just so talented. He's a terrific person and a wonderful collaborator. He jazzes me up, encourages risk and the sheer enjoyment in creativity—and we've wanted to work together for a long time, since his "fly in my eye" days. This is just the beginning of what you'll be seeing from Steve and me, plus his fiancée, Sarah, besides being an absolute sweetheart, is also an incredibly talented artist. It's creative "one-stop shopping.”

NRAMA: What else is going on in the world of Bill Sienkiewicz right now? The desired shark-cage vacation will wait until after this book is done, right?

BS: God, I'm a busy little beaver, with all the endeavors and projects I've got on the board right now, either in film or comics, or in development, or in discussions, sketch form, or as ideas or glimmers of ideas.

In keeping with the topic of a previous question you asked, but beavers, to the best of my knowledge, are not vampiric, though the thought of them being so is alternately both silly and horrifying. What I mean, for all you claustrophobes out there, is imagine being knocked unconscious by a tree that's been gnawed through with pinpoint accuracy so as to perfectly determine the angle and trajectory of its fall, and then you're dragged, nearly drowned, for yards and yards underwater, and pulled up into hollow of the beaver's dam where you can't move, and are continually attacked, growing weaker by the day, desanguinated drop by drop and then left to rot once you're empty or dead, whichever comes first. They'd never find your body. The silly part is that it's a ____ing beaver. That's why most people don't take Monty Python's killer rabbit for what it really is: a cautionary tale of nature's true violence.

But I digress. Yes, my great white shark cage vacation will have to wait. Other sets of razor-sharp teeth have assumed a higher priority.

[orson]

ok, retiro lo dicho, me encanta sienkiwdsadiasdasdlfhnas

[walterkovacs]

La verdad que esta vez no compro, 30 Days of Night bajó muchísimo la calidad. Solamente las dos primeras partes (la 2da es Return to Barrow donde la Templesmith sigue dando cátedra) y el primer Annual tienen buena calidad, el resto ya empieza a flaquear.

Y ni en pedo le compro algo a Chienquegüiks, ladri mundial.

[Epes]

La verdad que esta vez no compro, 30 Days of Night bajó muchísimo la calidad. Solamente las dos primeras partes (la 2da es Return to Barrow donde la Templesmith sigue dando cátedra) y el primer Annual tienen buena calidad, el resto ya empieza a flaquear.

Y ni en pedo le compro algo a Chienquegüiks, ladri mundial.

¿No vas a comprar nada nuevo de 30 days...? ¿Ni siquiera 30 days: Red Snow (Templesmith haciendo el solo los guiones y dibujos en una historia post WWII y pre 30 days)?

Yo este de Sienkiewicz lo compro seguro. De cualquier manera coincido con lo de 30 days, para mi solo el primero es bueno, después va cayendo. Y solo leí Another 30 days y Return To Barrow, no leí todas las otras cosas con las que robaron.

[Brainiac_5]

Y ni en pedo le compro algo a Chienquegüiks, ladri mundial.

Mommie, make the mad man go away...

No te gusta el dios Bill ???

Esto la verdad tiene toda la pulenta parece...

Miro los dibujitos y me olvido de las historias super repetidas de vampiros de Niles y listo el pollo.

[AbsolutKirby]

Y esto cuando sale?

[walterkovacs]

¿No vas a comprar nada nuevo de 30 days...? ¿Ni siquiera 30 days: Red Snow (Templesmith haciendo el solo los guiones y dibujos en una historia post WWII y pre 30 days)?

Si, ese sí, más que nada porque Templesmith ha demostrado que también puede hacer buenos guiones.

No te gusta el dios Bill ???

Esto la verdad tiene toda la pulenta parece...

Verdulator mode on!
"Tenés que comprarte lo último de Bill, negroooooooooooooooooooo"