Suicide Squad: Blaze brings horror into the story via its villain. Most villains have a function, a technique, some form of twisted logic to their actions or a measurable, accomplishable purpose. Not right 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 depend on leap scares the best way audio or video can: creators need to depend on environment to disturb readers. Campbell says he retains a replica of Grant Morrison and Dave McKean’s Arkham Asylum: A Serious House on Serious Earth in attain when he works on tales like this, citing McKean as an enormous affect on how he approaches horror in comics. But he additionally makes use of artists from different mediums: Joel Peter Witkin, a photographer who makes a speciality of marrying the mundane and the grotesque and was an enormous affect on cult basic Jacob’s Ladder. And Campbell’s basic principle for horror is much less is extra.
“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 phrase on Suicide Squad: Blaze courtesy of DC Comics
SUICIDE SQUAD: BLAZE #1