For over 40 years, Richard Corben has been stunning the comic world with his unique visions of horror and the macabre. From illustrating bizarre tales for fan favorite HEAVY METAL magazine to bringing life to the classic works of Robert E. Howard, H.P. Lovecraft, and others, Corben has been working hard at his one man attempt to push the limits of the illustrated medium. He’s been credited with introducing the underground comix vibe to mainstream audiences and with his latest adaption, THE PREMATURE BURIAL by Edgar Allan Poe, he continues to apply his distinguished talent on yet another timeless tale of terror.
FANGORIA: THE PREMATURE BURIAL is one of many adaptations of Poe’s work. What is it about his work that keeps bringing you back?
RICHARD CORBEN: I was vaguely aware of Poe’s stories when I was growing up, but I didn’t read any of them until I was in high school. Roger Corman’s movie adaptations were just appearing then. I found the actual text stories had much more substance and depth than the movies. I wondered at the time why the producers didn’t make more sincere adaptations than they did. I started collecting the other various adaptations in film and comics and it seemed none of them really got it right. Then, when I had become a comic book artist myself, and had the opportunity to work on Poe adaptations, I found that there are forces that work against the possibility of a true copy of Poe’s art. Like cutting down story elements to fit within a given space, or simplifying some concepts so that a certain audience will accept it. Probably more important, is the realization that some themes that work well with the written word don’t work at all in an image format. So when I try to adapt one of Poe’s stories or poems, I don’t often try to create an accurate visual rendition based on Poe’s written words. I think I can get a better overall effect by analyzing what I really like about a story, about what the inspiration is for me, and just go with it. Specifically, I think Poe dealt largely with an internal landscape, the fears and obsessions that made up his characters.
FANG: What made you decide on adapting this particular story?
CORBEN: THE PREMATURE BURIAL has been adapted many times in movies, television and comics. There are so many elements in the story that most adaptors use only bits of the story. There is a strong sexual part of the story that is usually ignored in the adaptations. This is surprising, because you would think that would be the part that could be the most interesting and easily emphasized. That is the episode of the lover that digs up his dead (assumed) darling for a posthumous tryst. So that is the episode I developed.
Q&A: Comics Great Richard Corben on Adapting Poe in “THE PREMATURE BURIAL”
By Svetlana Fedotov
For over 40 years, Richard Corben has been stunning the comic world with his unique visions of horror and the macabre. From illustrating bizarre tales for fan favorite HEAVY METAL magazine to bringing life to the classic works of Robert E. Howard, H.P. Lovecraft, and others, Corben has been working hard at his one man attempt to push the limits of the illustrated medium. He’s been credited with introducing the underground comix vibe to mainstream audiences and with his latest adaption, THE PREMATURE BURIAL by Edgar Allan Poe, he continues to apply his distinguished talent on yet another timeless tale of terror.
FANGORIA: THE PREMATURE BURIAL is one of many adaptations of Poe’s work. What is it about his work that keeps bringing you back?
RICHARD CORBEN: I was vaguely aware of Poe’s stories when I was growing up, but I didn’t read any of them until I was in high school. Roger Corman’s movie adaptations were just appearing then. I found the actual text stories had much more substance and depth than the movies. I wondered at the time why the producers didn’t make more sincere adaptations than they did. I started collecting the other various adaptations in film and comics and it seemed none of them really got it right. Then, when I had become a comic book artist myself, and had the opportunity to work on Poe adaptations, I found that there are forces that work against the possibility of a true copy of Poe’s art. Like cutting down story elements to fit within a given space, or simplifying some concepts so that a certain audience will accept it. Probably more important, is the realization that some themes that work well with the written word don’t work at all in an image format. So when I try to adapt one of Poe’s stories or poems, I don’t often try to create an accurate visual rendition based on Poe’s written words. I think I can get a better overall effect by analyzing what I really like about a story, about what the inspiration is for me, and just go with it. Specifically, I think Poe dealt largely with an internal landscape, the fears and obsessions that made up his characters.
FANGORIA: What made you decide on adapting this particular story?
CORBEN: THE PREMATURE BURIAL has been adapted many times in movies, television and comics. There are so many elements in the story that most adaptors use only bits of the story. There is a strong sexual part of the story that is usually ignored in the adaptations. This is surprising, because you would think that would be the part that could be the most interesting and easily emphasized. That is the episode of the lover that digs up his dead (assumed) darling for a posthumous tryst. So that is the episode I developed.
FANGORIA: THE PREMATURE BURIAL is one of many adaptations of Poe’s work. What is it about his work that keeps bringing you back?
RICHARD CORBEN: I was vaguely aware of Poe’s stories when I was growing up, but I didn’t read any of them until I was in high school. Roger Corman’s movie adaptations were just appearing then. I found the actual text stories had much more substance and depth than the movies. I wondered at the time why the producers didn’t make more sincere adaptations than they did. I started collecting the other various adaptations in film and comics and it seemed none of them really got it right. Then, when I had become a comic book artist myself, and had the opportunity to work on Poe adaptations, I found that there are forces that work against the possibility of a true copy of Poe’s art. Like cutting down story elements to fit within a given space, or simplifying some concepts so that a certain audience will accept it. Probably more important, is the realization that some themes that work well with the written word don’t work at all in an image format. So when I try to adapt one of Poe’s stories or poems, I don’t often try to create an accurate visual rendition based on Poe’s written words. I think I can get a better overall effect by analyzing what I really like about a story, about what the inspiration is for me, and just go with it. Specifically, I think Poe dealt largely with an internal landscape, the fears and obsessions that made up his characters.
FANGORIA: What made you decide on adapting this particular story?
CORBEN: THE PREMATURE BURIAL has been adapted many times in movies, television and comics. There are so many elements in the story that most adaptors use only bits of the story. There is a strong sexual part of the story that is usually ignored in the adaptations. This is surprising, because you would think that would be the part that could be the most interesting and easily emphasized. That is the episode of the lover that digs up his dead (assumed) darling for a posthumous tryst. So that is the episode I developed.
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