Suicide Squad: Blaze brings horror into the story through its villain. Most villains have a purpose, a method, some kind of twisted logic to their actions or a measurable, accomplishable goal. Not here.
“Even the craziest of super villains in these fictions, they want to take over the world, they want to rob a bank, they want to do things which are explicable,” Spurrier says. “The antagonist in this story is so beyond anything you’ve seen before and yet at the same time, so horrifyingly ordinary. I couldn’t picture that when I wrote that I wrote it and was like, ‘Ah, that’s not my problem. I don’t have to draw that.’ [Aaron’s] found a way to do it and be genuinely unnerving.”
Horror comics can’t rely on jump scares the way audio or video can: creators have to rely on atmosphere to disturb readers. Campbell says he keeps a copy of Grant Morrison and Dave McKean’s Arkham Asylum: A Serious House on Serious Earth in reach when he works on stories like this, citing McKean as a huge influence on how he approaches horror in comics. But he also uses artists from other mediums: Joel Peter Witkin, a photographer who specializes in marrying the mundane and the grotesque and was a huge influence on cult classic Jacob’s Ladder. And Campbell’s general theory for horror is less is more.
“When you really want to do like truly effective horror, you have to hold back,” he tells us. “The second you show everything, then you can start to define it. Once you define it, you take the edge off. It becomes quantifiable. It becomes no longer terrifying, because you have tools now to combat it.”
Here’s the official word on Suicide Squad: Blaze courtesy of DC Comics
SUICIDE SQUAD: BLAZE #1
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