Brian Stelfreeze Quotes
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When I do actual sequential work, I really want a story I can get a behind: a story that really holds my attention for, like, the length of what I'll be working on.
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When you're an artist, you're generally working at home alone in a studio. It's just really good to get with other guys and make art something you can share.
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There is a profound gap between meeting a person and knowing a person, and that holds true for the difference between visiting and residing.
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The detail of my art depends entirely on the project itself. I tend to be a little more detail-oriented with covers than I am with interior pages, and I try to reduce the detail on action sequences as opposed to suspense passages.
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I like it when I'm watching a movie which has a harmonious feeling to it. It's as if the environment puts you in the mood for the characters and story you experience.
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The cool thing is, I was a little nervous about how they were going to handle Black Panther in his own movie, but then when I saw 'Civil War' and just the perfect way they handled him in that movie, it made me even more excited about a Black Panther film.
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There's an attitude that I have where I bring the art to the table and the writer brings the writing to the table, but neither of us brings the story to the table. The story is something that only happens with the combination of both of us.
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Writing comics and drawing comics is a really very specific art form. It's a lot easier to get it wrong than it is to get it right.
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I believe monthly comics and the extended miniseries are the true hallmarks of comic art and storytelling.
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In the Marvel universe, vibranium has always been this material that absorbs kinetic energy. And any tiny bit of physics knowledge will tell you that that's really non-Newtonian. You can't just absorb energy, you've gotta change it into something else.
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Much like every artist or every creator, I got into comics as a kid, and the most important thing was the 'bang zoom' of it. As many explosions as possible.
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Most creative people fall into one of two categories - either they're task-oriented, or they're time-oriented.
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Wakanda is the Marvel world's most technologically advanced nation, and offensives there can have ramifications everywhere, so that leaves open great possibilities for cameos.
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In a collaborator, I always look for someone who's going to push me a little bit.
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Oddly enough, Black Panther's almost like an analog to Tarzan.
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I'm trying to have Wakanda represent all of Africa.
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I started my work on a lot of the 'Batman' books. So I've worked on a 'Batman,' 'Spider-Man,' some of the 'X-Men' books.
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I think, for the most part, comics have devolved into fantasy for the sake of fantasy.
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I see every project I take on as significant, and I try to pour a lifetime of experience into it.
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I'm always a little nervous when someone comes from other media into writing comics. It's a unique storytelling form, and it requires both talent and respect.
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I try to place what I creatively have to say above who I am.
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I don't consider what I do 'art.' It's 'storytelling.'
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As I've grown as a creator, I feel that I want to tread in deeper waters and have a lot more going on emotionally with the characters. That's my appreciation for comics as a creator and a consumer as well. I'm more into stories that don't just bounce off the surface but go a little bit deeper.
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I've always liked the simplicity of the Black Panther costume. I've never liked when people give him flashy capes and other adornments.