#duncan eagleson

[writing-for-life]

Sandman Cover Project #38—Duncan Eagleson

"The Sandman Cover Project": What would the covers have looked like if created by the issue artists instead of Dave McKean?

I will gradually add all illustrations via the tag “Sandman Cover Project”.

[fayevalcntine]

Claudia Appreciation Week: AU Day / Free Day

Claudia doesn't die in Paris and gets to tour the world, but becomes a target of the Talamasca for any potential information on vampires. Inspiration for the first photo taken from artwork in The Witching Hour (1990), by illustrators Duncan Eagleson and John Bolton. Book template by @cavalierfou.

[machetelanding]

Original pitch idea poster for A Nightmare on Elm Street (1984)

Artist: Duncan Eagleson

[longerbox]

Poor Orpheus. It’s hard living in your father’s shadow. He’ll always be five feet and one letter short.

[smillingcartoonist]

The Sandman 38 #

[eviloverlord]

Check out the latest faction profile in the EVIL BLOG. Also, get a load of this character art, jeez.

[indiecade]

IndieCade #ArtWall: Susurrus: Season of Tides

This game was an IndieCade/documents Selection at Festival 2017!

Artist: Duncan Eagleson Game: Susurrus: Season of Tides Developer: Evil Overlord Games

Susurrus: Season of Tides is a massively multiplayer work of interactive fiction set in an urban fantasy environment. A player selects one of three starting species (mage, werewolf, or vampire), and later selects one of ten factions, each of which specializes in two out of five spheres of influence around the city (magic, government, criminal, corporate, or intelligence). The character depicted here is Jared, the young mage you meet right after your transformation if you choose to play a mage.

"I had this image in my mind of Jared working on a spell in his apartment, and though it's a sunny day outside, he's pulled the curtains and isolated himself to focus. That sort of dusty half-light, with a beam of sunlight sneaking in through a gap in the curtains seemed very evocative to me of being in your "mage cave," alone and working away.

In our game world, their glasses filter a mage's perception of the magical alphabet so they're not overwhelmed by it in daily life, which is why I left his glasses off, to indicate he's working more intimately with the letters. That spell he's writing isn't just a random collection of glyphs, by the way.  All of the examples of the magical alphabet you see in the game actually do say something.  In most cases, they're pieces taken from ancient grimoires, or quotations from magical texts or various sacred books.

The piece was mainly painted in Photoshop, with a few touches added in Corel Painter.  I'm more of an illustrator than a concept artist, so I work a lot with photo and 3D reference.  Most of this piece was generated in 3D, and the drawing developed based on that.  Some of it was overpainted on the 3D image, but most of it I just looked at for reference while drawing and painting."                                        -Duncan Eagleson, Art Director

Check out more indie game art: [IndieCade #ArtWall Collection]

[hungariancomics]

Sandman - Az álmok fejedelme #2

Thank you, Mr. @neil-gaiman !

[writing-for-life]

Fiddlers Green—Duncan Eagleson

Poster design for “Celebrating 20 Years of Sandman” (2009)

[mask131]

The Sandman bonus notes: Interviews (4)

Here are yet again more fascinating facts from the interviews Neil Gaiman gave in The Sandman Companion!

FABLES AND REFLECTIONS

# Neil Gaiman originally planned for the Marquis de Sade to appear in “Thermidor”, and for this purpose he read his works before preparing the story. However he could not find where to put him, so the Marquis ended up merely referenced in “Brief Lives”. If he had appeared, Johanna would have met the “real” Marquis de Sade, a small, fat and sad man, far away from the picture people might have of him. Neil Gaiman, when writing Thermidor, was fascinated by how a counter-revolution was produced barely weeks after the French Revolution, and most precisely by the cognitive dissonance surrounding Robespierre (which he discovered when reading an old Encyclopedia Britannica, where the article about the French Revolution had been written by someone hating Robespierre, while the biography of the man had been written by one of his deep fans). In fact, after “Thermidor” was published, a reader sent Neil Gaiman a thesis exploring how Robespierre was a great man - and honestly, Neil Gaiman said that he could have very well written a story where Robespierre was a great and noble heroic figure, but he did not because it wasn’t the story he wanted to tell, he needed Robespierre as a villain. 

# All the historical facts in “Three Septembers and a January” are true: the emperor Norton, the King of Pain, the Cobweb Palace, how Mark Twain was a journalist... The only mistake was that during the printing the hair color of Mark Twain came incorrectly. Sometimes Neil Gaiman even got facts right by pure luck - at one point he got the idea to give Norton an Asiatic chamberlain, and he later found out that at one point in his life a servant named Ah-Ho followed him everywhere like a butler. 

# Everything in “August” comes from the “The Twelve Caesars” written by Suetonius and later translated by Robert Graves. The only things Neil Gaiman added were the presence of Terminus, the god of frontiers, and the trick to create boils and wounds on your skin - it was actually a trick of the Victorian-era beggars. In this story, Neil Gaiman praises the sense of detail of Bryan Talbot, who visually translated the passage of time through all sorts of little tricks: the shadows going from left to right throughout the story, the characters wearing a cap during mid-day and taking it off as the evening gets near, or the same staircase appearing clean in the morning and dirty by the afternoon. 

# Neil Gaiman considers John Watkiss’ rendition of Dream as one of his favorites because of how awesome and strange it is. 

# The inclusion of the “soft places” in the story was actually an eventual “safe exit” for Neil Gaiman: if he had ever decided to get out of the events he had planned to conclude the series, he would have used the soft places and how time passes differently in the Dreaming as an “exit”. However he did not use this escape route, and stayed on what he had originally planned. 

# While, for “The Hunt”, Duncan Eagleson did a beautiful job for everything, there is one scene that was not correctly translated, and it was the sex scene between the two werewolves. Neil Gaiman wanted a copulation mixing the wolf and the human, and the first scene drawn by Eagleson was that of a naked man having sex with a she-wolf. It was judged to be “bestiality” and thus had to be redrawn, and the final result did not express sexuality properly. 

# While “The Sandman Special” has been awarded and an acclaimed success, Neil Gaiman is actually not satisfied with it. Originally he wanted a much weirder and interesting story that played around with Orphic themes, the equivalent of a jazz riff as a story, with all sorts of variations and twists - something like “The Einstein Intersection”. However he ended up dropping this ambitious project because, no matter to which of his readers he talked, even the more enlightened and educated, they did not know who Orpheus was or what was the story of Eurydice. Realizing such a “riff story” would have no impact on an audience unaware of the original myth, he went for a straight and simple retelling of the legend of Orpheus, but incorporated in the Sandman world. 

BRIEF LIVES

# Neil Gaiman did not hide the identity of Dream’s lover out of sadism against his audience - he simply thought the brief scene of introduction he wrote for her was no good, and so decided to begin the story once she was already gone. 

# Gaiman sees Mervyn as “the voice of the people”, and he makes him enter the stage whenever the Sandman does too much, as a way to have someone telling to Dream that he acts like a real dummy. Neil Gaiman also points out a beautiful and lovely detail from Jill Thompson - at one point Mervyn comes in the library with a roll of wallpaper he starts applying, and the wallpaper turns out to be new bookshelves filled with tomes for the library. 

# When it came to using Delirium in Sandman, Neil Gaiman thought back of how someone had told him one day how “Sandman” was a surrealist comic book, something Gaiman did not agree on since he thought it “perfectly realist”. He then decided to introduce pure surrealism with Delirium. According to him, while Delirium is really funny and entertaining, she is not to be triffled with, because she is able of a great wisdom. 

# The Alderman is actually born of several sources. Hs name, Leib-olmai, comes from real Finland legends. However, the ritual of transformation (putting your clothes in a pile and urinating a circle around) comes from the “Satyricon” of Petronius, while the idea of cutting your shadow with your teeth comes from “Peter Pan” (where Peter and his shadow split). Other ideas are more personals - such as the small pouches to trap your death. 

# For the dialogues of Bast, Neil Gaiman actually took inspiration from James Branch Cabell - he wrote a form of poetic politeness in his historical novels that was never truly used by anyone but that is absolutely charming, and Neil Gaiman thought it would fit perfectly Bast. 

# When it comes to Barnabas eating chocolate, Neil Gaiman explains that he knows very well chocolate is toxic to dogs, and that in the story Destruction ignored this fact while Barnabas was certainly not going to tell him about it. 

# Neil Gaiman explains that the moment the fate of Dream was sealed and became impossible to avoid was when he left Destiny’s garden to go find Orpheus. Before that, he could have changed direction and take other decisions which would have prevented his fate, but he did not. And this is why, as Dream is leaving, the pages of Destiny’s book flip between future and past, with a glimpse of the future Dream all in white: it is a sign that now it is too late to come back, that the third act has begun and the story is reaching its end. 

[if-you-fan-a-fire]

“Police Drive On Marijuana Is Continued,” The Globe and Mail. April 6, 1938. Page 05. ---- Confiscated Weed Tested by Health Department Analyst --- NO FURTHER ARRESTS ---- The police continued their drive yesterday against traffic in marijuana cigarets in an effort to rid the city of the dangerous weed. While no further arrests or seizures were made, the special police narcotic squad and the morality officers continued their investigations, hopeful of curbing the smoking of the drug. Acting Inspector Leonard Beatl;ey of the Morality Department and Staff Sergeant George Eagleson removed some of the marijuana weed from the home-made cigarets seized Sunday morning and burned it. The officers reported the odor was similar to that of dried leaves. The remainder of the weed was handed over to Raymond Heath, Chief Chemist in the City Department of Health. The analyst immediately started to work and it is expected his report will be ready in a few days. The police admitted yesterday that a woman had paid fifty cents a cigaret to one of the peddlers. It was not definitely learned whether the woman smoked it or was acting for an addict. The home-made cigarets, police said, are known to smokers as ‘muggles,’ ‘reefers’ and ‘Mary Warners.’ The three men arrested over the week-end on charges of trafficking in marijuana, Duncan E. Camobell, John Short and Robert Tubman, appeared yesterday morning in the Police Court. Without being asked to plead they were remanded one week. Bail was set at $2,000 each. ---- GETTING THE SMELL OF MARIJUANA ---- Police officers yesterday burned some of the marijuana cigarets seized over the week--end to familiarize themselves with the fumes of the weed. On the right are Sergeant George Eagleson and Acting Inspector Leonard Bentley of the Morality Division taking a ‘whiff’ of the burning ‘reefers,’ as the cigarets are known to addicts. On the left is Raymond Heath, chief chemist of the City Health Department, starting the three-day job of analyzing the drug. - Staff photos.

[dzelonis]

Neil Gaiman - The Sandman, Vol.6: Fables & Reflections (The Sandman #6)

Neil Gaiman – The Sandman, Vol.6: Fables & Reflections (The Sandman #6)

Links uz grāmatas Goodreads lapu Izdevniecība: Vertigo Manas pārdomas Nīla Geimena sestais The Sandman sērijas krājums Fables &Reflections ir deviņu dažādu un atsevišķi nesaistītu stāstiņu apkopojums, kaut arī ja nedaudz pacenšas, tad bez paša Sapņa var saskatīt vēl vienu kopīgu īpašību. Lielākā daļa no stāstiem norit pirms ‘’mūsdienām’’, t.i. pirms komiksu publicēšanas laika. Un iespējams tieši…

[smillingcartoonist]

The Sandman 38 #

[eviloverlord]

Good day, evil ones. May we present: Susurrus: Season of Tides, with a fresh new UI look. Warm colors accentuate a literary and almost piquant font choice, while expanded art creates a meaty, jubilant, nigh-Aristotelian sense of space.

(It's pretty. Go play. http://susurrusgame.com)

[jinenmok]

Revisiting The Sandman - todays it’s Fables and Reflections, “The Hunt”. A story within a story, and with a great storyteller to tell it. 

[keycomicbooks]

#AnneRice's The Witching Hour #1 (1992) #JohnBolton Cover & #DuncanEagleson Pencils, #TerryCollins & Duncan Eagleson Story Horror novelist Anne Rice was made famous by her Vampire Lestat novels including Interview With the Vampire and Queen of the Damned. Her grasp of horror goes beyond mere vampires, however, as shown in this adaptation of her novel, The Witching Hour.  https://www.amazon.com/gp/product/B082MR3DWC#RareComics #OldComics #NewComics #ComicBooks