Today on the site, we have a 1984 interview with the late Skip Williamson.
And it’s another sad day for comics, as Bernie Wrightson, a beloved artist of numerous comics and books, has passed away after suffering from brain cancer.A fine summary of his life is on his own web site. Wrightson specialized in post-EC horror, emerging in the early 1970s to co-create Swamp Thing, draw covers and stories for DC, short stories for Warren, and co-found “The Studio”, a space on Manhattan’s Upper West Side where he, Barry Windsor Smith, Michael Kaluta and Jeffrey Jones worked, and about which an influential book was published. Wrightson is perhaps most acclaimed for his illustrations for Frankenstein, which were rendered in an elaborate pen and ink manner reminiscent of one of his heroes, Franklin Booth. He also collaborated with Stephen King, illustrating books including The Stand. Wrightson created his own character, Captain Sternn, who was featured in the print Heavy Metal and the anthology’s film version. The artist went on to draw Batman, the Punisher, and in recent years returned to Frankenstein. There’s more, of course, and we will have a full obituary soon, as well as an archival interview. I will say that, personally, Bernie Wrightson was the first artist I ever really studied. Starting when I was about 10 or 11 I ordered his posters out of the Bud Plant catalog and read and re-read his 1991 monograph, A Look Back, so many times that it fell apart. It was through Wrightson, and his old friend Joel Pollack (the founder of Big Planet Comics) that I learned about 19th and 20th century adventure illustration, to which I’ve returned in the last couple of years. Wrightson was the comic book heir to the EC horror line, and I suspect that if his influence on comics waned in the last couple of decades, it flourished in film via directors like Guillermo del Toro, who, like me, grew up on the stuff. I moved on from Wrightson somewhere just south of 18, but I have a a huge amount of appreciation for the work, in all its dedication and drama. He was at his best in Frankenstein, which I can still recommend, and whenever he moved into a his brushy horror mode, often in images for posters and portfolios.