Writers Talk Crafting New Tales in EC Comics Tradition [Exclusive]

You’ve probably heard (from us)  that EC Comics has risen from the grave. Again! You can’t keep a bloody comic imprint down.

EC offered a popular line of horror comics in the 1950s, but opposition to dark-themed comics and the birth of the Comics Code were nails in its coffin, though humor saved its Mad Magazine title.

Various iterations of EC favorites such as Tales from the Crypt have resurfaced over the decades.

Now, a new and fresh take is here. EC is in good hands these days with Oni Press, the publisher of one of the most banned books in America, Maia Kobabe’s Gender Queer. You may also know them as the publisher of Bryan Lee O’Malley’s Scott Pilgrim books.

Oni is rolling out the new EC line with some all-new horror hosts to introduce tales of terror with dark twists.

Wicked Horror threw out some questions for a couple of contributors to the new Oni EC title Epitaphs of the Abyss to get a sense of what’s in store for readers. (Watch for EC Cruel Universe as well.)

J. Holtham

J. Holtham’s a screenwriter with credits including Supergirl and Jessica Jones, and his work for Marvel Comics includes Bishop: War College and Night Thrasher.

 WH: Were you an EC Comics fan before this opportunity came along?

J. Holtham: Oh, absolutely! I’ve been a horror head since I was in junior high, so the classic EC books were always on my radar. William Gaines and the entire EC family are so integral to modern horror. We would not have Sam Raimi, John Carpenter or Edgar Wright without them.

WH: You’ve worked with a lot super hero characters, but what creative demands did the unique world of EC present?

J. Holtham: I love writing superhero stuff, but I always call it “playing with other people’s toys.” Writing for EC was a lot more freeing in most ways. There are guardrails, of course, and very unique vision of horror, but there’s so much latitude to play with. Working with the Oni Press team has been great in really nailing the vibe.

WH: How did envisioning the unique visual world of EC affect your creative thinking?

J. Holtham: I got to let my inner gore-hound out. The bigger, the bloodier, the bolder, the better. Plus knowing that Jorge Fornés would be drawing the book gave me even more freedom and inspiration. He’s a truly brilliant artist, so I was comfortable going as far as I could and knowing he’d take it even further.

WH: What can readers expect in the tales you penned for new EC Comics?

J. Holtham: The joy of these stories are all in the twists. Horror is such a perfect vehicle for a little social commentary. And a little well-deserved karma. My first story is kind of like Adaptation meets Friday the 13^th. Anyone who’s taken any kind of writing class is definitely going to have fun with it.

Corinna Bechko

Corinna Bechko is a Hugo and Eisner-nominated writer whose credits include Avatar: Adapt or Die, Green Lantern: Earth One and books for young readers under the Smithsonian imprint.

WH: You’re experienced in working on established intellectual properties including Planet of the Apes and the Star Wars universe, but EC Comics are a different world in a way. They’re not about an established world or set of characters as much as a storytelling style and attitude. How did you go about tackling a new version of EC?

Corinna Bechko: EC stories always carry a sting in their tail (or should I say tale?), so I tried to lean into that. In a way, it’s not so different from those other universes. I always work to get the tone right before tackling the plot, the setting, or anything else when I start a new project. The difference here is that the tone needs to be funny and razor sharp as opposed to earnest or hopeful. I admit that as a writer that was rather freeing.

WH: As you mention, the original EC tales are remembered most for their shocks, though there was a good bit of variety. Did you try to stretch for something that would shock readers today, who’ve seen a lot more than 1950s audiences?

Corinna Bechko: I think audiences today are just as prone to being shocked. Some of the source of that shock has changed, but some things, like the undead and body horror, are innately disturbing so still resonate. I personally love to write horror, so I had a lot of ideas ready to go. Not sure what it says about me that it wasn’t much of a stretch.

WH: What other efforts did you have to tackle to make EC ready for the modern world?

Corinna Bechko: I love the punk attitude that EC has always had so there wasn’t much I had to do to update that. Aside from thinking through who would be a villain now as opposed to then I pretty much just opened up a vein of discontent, used it to ink my most poisonous pen, then went hunting for an appropriate malefactor to punish.

WH: Were you given any restrictions? The ‘50s were a time of censorship, but in some ways we’ve returned to period where some groups would like to ban materials and ideas that challenge their world view.

Corinna Bechko: Sadly, I feel you are quite right about that. EC has always kicked against those kinds of restrictions though, and this project is no different. I was given absolutely no restrictions, and for that I am grateful.

WH: What do you think of the new EC hosts created by Dustin Weaver and how did you set about to use the hosts as part of your storytelling?

Corinna Bechko: I love the update! Dustin is a top talent and it’s a great idea to have new hosts for these new stories.

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