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| Barry Windsor-Smith cover art for Miracleman N. 24 (Eclipse Comics). |
Excerpt from The Comics Journal N. 190 (September 1996).
"[...] Within my parameters, my overview, say, when I was in my mid-20s, I honestly believed the comic books I was creating had value to them … not all of ’em mind you, Avengers #100 didn’t really rise above street level, y’know, but I had pride in something about those books like Conan, Doc Strange, and stuff I forget now. My drawing wasn’t always the greatest but I believe my storytelling had integrity because I had a background in books and plays and other literary endeavors that wasn’t just comic-books: Hell, I read Steinbeck when I was 14.1 don’t see intensity in modern Marvel and Image and what have you, no matter how abstracted it might be for the sake of the superhero genre, I can’t see it.
"[...] Within my parameters, my overview, say, when I was in my mid-20s, I honestly believed the comic books I was creating had value to them … not all of ’em mind you, Avengers #100 didn’t really rise above street level, y’know, but I had pride in something about those books like Conan, Doc Strange, and stuff I forget now. My drawing wasn’t always the greatest but I believe my storytelling had integrity because I had a background in books and plays and other literary endeavors that wasn’t just comic-books: Hell, I read Steinbeck when I was 14.1 don’t see intensity in modern Marvel and Image and what have you, no matter how abstracted it might be for the sake of the superhero genre, I can’t see it.
But when I read the entirety of Alan Moore’s Miracleman I was thrilled by his diverse experience and knowledge — you don’t find that depth in Youngblood." [Barry Windsor-Smith; the complete interview can be read here]
Excerpt from George Khoury's Kimota! book.
"[...] The fact is that Moore made me a fan again. He was one of the reasons
that I returned to the field. He rekindled my spirit, my sense of
wonder, and my foundering faith that the medium can be an artform." [Barry Windsor-Smith]
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