Garth Ennis Quotes
Garth Ennis (born 16 January 1970) is a Northern Irish-born American comics writer, best known for the Vertigo series Preacher with artist Steve Dillon and his successful nine-year run on Marvel Comics' Punisher franchise. He has collaborated with artists such as Dillon and Glenn Fabry on Preacher, John McCrea on Hitman, and Carlos Ezquerra on both Preacher and Hitman.
Read more about this author on Wikipedia
Yeah, Hitman I suppose is most of the time a lighter read than Preacher; it was always going to be.
Wouldn't want to write the X-Men, and I suppose the X-Men is the ultimate Marvel comic, and I really wouldn't want to go anywhere near it at all, although on the other had I wouldn't mind having a crack at something like the Punisher.
If you look at Marvel Comics, there are very few Marvel characters I would like to write.
Most regular superhero books are designed to go on forever; of course, very few of them do, but the point is they are trying to throw mud against the wall and hope it will stick, and most of it slides off.
I don't necessarily write everything as automatically assuming it will be collected, there's nothing that says Hitman will be collected, though it might be.
With a mini series you can give the story a proper sense of pacing, a proper sense of closure.
Hitman does well and it certainly does well enough to survive, but at the same time I don't want to involve the character into the DC Universe even if it meant more sales, to the point where we sort of upset the balance that we have at the moment.
Preacher is a book that somehow allows me time by its settling on it's characters, that sort of modern gothic western feel. You're not likely to see the boat veering too far from that.
It's nice to be in a situation where the two books that I write for a sort of regular monthly income are also works that I enjoy immensely, rather than them being some kind of bread and butter, do it because you have to do it.
Howard Chaykin was one of the few who dared to make mainstream comics different back in the eighties; it was guys like him, Alan Moore and Frank Miller who made sure there'd be no going back. Howard's work on The Shadow is amongst his very best: razor-sharp character work, sizzling dialogue and an unsurpassed sense of layout and design.
The comics I read as a kid were much more influenced by TV and movies. Encountering superheroes as an adult without that kind of childhood sentimentality, it just doesn't allow you, or in my case at least, it wouldn't let me take the characters seriously.
I guess you can stay sort of true to the story; you don't have to artificially bring the character back from whatever doom you've designed for them, you can tell the story, I suppose, honestly.
You know, I think I did originally have some sort of idea of maybe a Where Eagles Dare kind of mission against impossible odds, but it really sort of died before I had a chance to really go anywhere with it, and then just doing the book was out of the question.
I'm sure you're aware, with the time it takes to put these books together, everything can suddenly start coming out at once even though I wrote anything between one and five years ago.