After months of waiting (even longer for some folks), Oni Press is finally set to unearth EC Comics. The resurrection begins with two brand-new books: Epitaphs From the Abyss #1 (due out this week, July 24) and Cruel Universe #1 (which drops August 7).
The former’s a horror-centric anthology featuring the likes of Brian Azzarello, Jorge Fornes, Stephanie Phillips, and Phil Hester, among many others. The latter, meanwhile, leans more toward sci-fi with contributions by Matt Kindt, Kano, Ben H. Winters, Caitlin Yarsky, and more. Both are a mighty opening salvo for the all-new EC Comics, and a chance for Oni and their A-list contributors to tell thoughtful, genre-centric storytelling that’s as thrilling and/or horrifying as it is impactful.
We’ve already heard from the Oni team (Hunter Gorinson and Sierra Hahn) about the ins and outs of this brand-new EC Comics. Now, we’ve asked contributors from the first two EC Comics books (that’d be Chris Condon, Jay Stephens, J. Holtham, Corinna Bechko, and Peter Krause) to weigh in. Specifically, we asked them about the EC Comics legacy, proper storytelling techniques, their thoughts on other stories, and some other insights and tidbits.
If you’re in the Los Angeles area on Tuesday, July 23, Revenge of Comics and Pinball is hosting an EC Comics launch event, with food, live tattoos, and merch galore. Head here for more info.
Courtesy of Oni Press.
AIPT: What’s it mean to you personally to contribute to the EC Comics legacy?
Chris Condon: It’s truly an honor. EC is a huge part of the history of comics as a medium, as well as part of my own personal history as a comics reader. This is a name that means something to people. If you say the name “EC Comics,” people know what kind of story to expect, both in quality and style. I’ve always found inspiration in EC’s classic stories, so to be tackling new stories that fit within that legacy is nothing short of a nightmare come true.
Jay Stephens: It’s a fan-addicts’ nightmare come true! My first full exposure to the shocking and subversive terrors of EC came back in 1990 with the Gladstone reprints of the original stories, and Tales From The Crypt television series and coffee table book. But by then the style was deeply, disturbingly familiar… EC had already crept into my subconscious mind through mentions and excerpts in books about comics’ history. The filth that caused mass comic book burnings! Who could resist? And way back in ’82, Stephen King and George Romero’s tribute film, Creepshow, had me obsessed with the format from a very early age. It’s still hard for me to believe I am in any way involved with this grand, gory tradition.
J. Holtham: As a Black writer and a horror fan, getting to be a part of something so important and influential is beyond thrilling. Horror has been a constant in my life, but I’ve rarely gotten to play in that sandbox. This really unlocked something in me.
Corinna Bechko: It’s truly thrilling to be able to add a little corner to the EC Comics historical record. I love the format and the kinds of tales that were told there. It’s been a lot of fun to play in that world, but I felt the weight of the tradition I’m holding up as well.
Peter Krause: I’ve been drawing comics for over three decades. At this point, you do look back a bit and note some highlights. To contribute to the EC Comics legacy is an honor. The imprint presented some of the giants of the industry — Joe Orlando, Wally Wood, Al Williamson, Johnny Craig, and so many more. I am grateful I was asked to lend my talents to the endeavor. I’ll always be an EC Comics artist — how cool is that?
Variant cover by Andrea Sorrentino. Courtesy of Oni Press.
AIPT: What do you think are the two to three pillars of a truly great horror and/or sci-fi story? And do you think your contribution checks the boxes?
PK: I think there has to be a real payoff — otherwise the reader feels cheated. But there is also the anticipation. The story doesn’t have to start in an isolated hotel or a cabin in the woods—our story “Senator, Senator” begins in a busy newsroom. The reader knows something will happen but is unsure of the pathway to horror. That tension is wonderful. Are we successful? I’ll leave it to the readers to make that judgment on our tale.
JS: Shock, shock, and shock. Horror, like humour, only works with the element of surprise. Sci-fi, too, I think. This is why so many horror and sci-fi film sequels fail to engage fans… we think we want more of the same, the creators think we want more of the same, but when we get the same, we are unamused. We’ve seen it already! I’m hoping these new EC stories not only scratch a nostalgic itch, but add some new flesh to the old bones. I’m certainly giving it my best try.
CB: I could write a book on this question but let me try to narrow it down. Setting is always important. Somewhere both a little familiar but just a bit “off.” Equally important is the tone. Claustrophobia, a sense of dread that can’t be escaped, can do wonders for such a horror tale, as can an open sense of wonder for one leaning more toward scifi. All of that said, comedy and horror can be close cousins, so surprising twists are always welcome. I hope I checked those boxes, especially since there’s definitely a comedic element to what Jonathan Case and I created.
JH: I think a great horror story has a shocking twist, a satisfying ending and something to say. Those were my personal guidelines for writing this story. The social commentary is what gives a good horror story its teeth. I wanted to make sure that part was sharp.
AIPT: Do you have an original EC story that’s your favorite or just stands out?
CC: Oh, there’s so many. There are two that I can pinpoint right here and now that are my all-time favorites, though. One is “Taint the Meat…It’s the Humanity!” The other is “Foul Play.” Both are perfect EC short stories that shock and thrill.
Variant cover by Dustin Weaver. Courtesy of Oni Press.
AIPT: Can you describe your story with the following formula: “It’s like (Movie) meets (TV Show), but (Blank)”?
CC: My first story is with the wonderful Peter Krause. It’s called “Senator, Senator.” I don’t even want to fill in those blanks, I’ll just say this: it’s the closest we’ll likely ever get to seeing Lois Lane starring in a horror story.
JH: I like to think of it as Adaptation meets Friday the 13th. A little bloody valentine for everyone who’s been in a class with a particular kind of insufferable writer.
AIPT: Is there a theme and/or subject that you can think of that’s too scary or generally off limits for a comic/story in general?
CC: I don’t think anything is off limits in comics or in stories. We need stories to exorcise the horrors of our real world. Even The Twilight Zone took a hard look at the Nazi’s war criminals. EC aims to do exactly the same thing and I think that Peter and I have told a story in “Senator, Senator” that some folks may find extremely timely and, frankly, taboo.
CB: I don’t like the idea of anything being “off limits” because I think there are ways of approaching almost anything in ways that illuminate rather than titillate. Who am I to tell anyone what to create? Still, there are certainly things that I wouldn’t write and don’t like to read. I personally don’t like to see animals hurt or in danger (I was that annoying person who saw A Quiet Place: Day One on opening weekend and then cried at the end from pure relief) but I certainly wouldn’t want to tell Stephen King that he shouldn’t have written Pet Sematary simply because I am sensitive about kitty deaths.
JH: Absolutely not. The whole point of horror is to transgress, to push the limits and cross the boundaries. You can’t put anything off-limits. I do think that goal is to discomfort the comfortable, so you know the direction the knives should point.
Variant cover by J. H. Williams III. Courtesy of Oni Press.
AIPT: Have you read any other creators’ stories/seen their art? Is there anything that stands out to you?
CC: Oh, yeah. I’ve read the entire first issue and it’s fantastic. Phil Hester’s art in the pitch-black story “Family Values,” written by Stephanie Phillips, will get under people’s skin…and I can’t wait to see it.
PK: I have not read any of the other stories—other than seeing a glimpses of the art—so I can’t help much with this one.
JS: Leomacs’ layouts on our first collaboration, “A Hand In It,” are outstanding. I’m so excited to be jamming with such illustrious company! But most of the work is still as much a secret to me as it is to everyone else. I’m looking forward to more revelations at San Diego Comic Con [this] week.
If you could return to this “new EC” with a follow-up story, could you offer teasers about what that might be/how you intend to shock and surprise readers?
CC: Well, I’m really lucky (or am I cursed?) because I have a few stories coming up across the entire line of new EC Comics at Oni Press. What can you expect? A remorseful husband who seeks to right a wrong from his youth. An aging billionaire seeks eternal youth. A dying man is given a new lease on life with a horrible twist. And, well… Why spoil the fun?
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