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Come In Alone
They want me to entertain you bastards," Warren Ellis began his series of columns for the comic book Internet destination website Comic Book Resources.
Part social commentary, part sitting at-the-feet-of-Socrates, part kick in the ass, COME IN ALONE was the column that would zig when you thought it would zag.
This collection of all fifty-two columns includes Ellis' unique take on the comic book industry, features first-class interviews with top-flight comic book professionals, and even includes the legendary Old Bastard's Manifesto.
Wrap this all up in an evocative and spooky cover by Brian Wood, and you've got a collection of commentary that midwifed the birth of the comic book industry into the 21st century.
Part social commentary, part sitting at-the-feet-of-Socrates, part kick in the ass, COME IN ALONE was the column that would zig when you thought it would zag.
This collection of all fifty-two columns includes Ellis' unique take on the comic book industry, features first-class interviews with top-flight comic book professionals, and even includes the legendary Old Bastard's Manifesto.
Wrap this all up in an evocative and spooky cover by Brian Wood, and you've got a collection of commentary that midwifed the birth of the comic book industry into the 21st century.
248 pages, Paperback
First published May 1, 2001
3 people are currently reading
156 people want to read
About the author
Warren Ellis
1,971 books5,766 followersWarren Ellis is the award-winning writer of graphic novels like TRANSMETROPOLITAN, FELL, MINISTRY OF SPACE and PLANETARY, and the author of the NYT-bestselling GUN MACHINE and the “underground classic” novel CROOKED LITTLE VEIN, as well as the digital short-story single DEAD PIG COLLECTOR. His newest book is the novella NORMAL, from FSG Originals, listed as one of Amazon’s Best 100 Books Of 2016.
The movie RED is based on his graphic novel of the same name, its sequel having been released in summer 2013. IRON MAN 3 is based on his Marvel Comics graphic novel IRON MAN: EXTREMIS. He is currently developing his graphic novel sequence with Jason Howard, TREES, for television, in concert with HardySonBaker and NBCU, and continues to work as a screenwriter and producer in film and television, represented by Angela Cheng Caplan and Cheng Caplan Company. He is the creator, writer and co-producer of the Netflix series CASTLEVANIA, recently renewed for its third season, and of the recently-announced Netflix series HEAVEN’S FOREST.
He’s written extensively for VICE, WIRED UK and Reuters on technological and cultural matters, and given keynote speeches and lectures at events like dConstruct, ThingsCon, Improving Reality, SxSW, How The Light Gets In, Haunted Machines and Cognitive Cities.
Warren Ellis has recently developed and curated the revival of the Wildstorm creative library for DC Entertainment with the series THE WILD STORM, and is currently working on the serialising of new graphic novel works TREES: THREE FATES and INJECTION at Image Comics, and the serialised graphic novel THE BATMAN’S GRAVE for DC Comics, while working as a Consulting Producer on another television series.
A documentary about his work, CAPTURED GHOSTS, was released in 2012.
Recognitions include the NUIG Literary and Debating Society’s President’s Medal for service to freedom of speech, the EAGLE AWARDS Roll Of Honour for lifetime achievement in the field of comics & graphic novels, the Grand Prix de l’Imaginaire 2010, the Sidewise Award for Alternate History and the International Horror Guild Award for illustrated narrative. He is a Patron of Humanists UK. He holds an honorary doctorate from the University of Essex.
Warren Ellis lives outside London, on the south-east coast of England, in case he needs to make a quick getaway.
The movie RED is based on his graphic novel of the same name, its sequel having been released in summer 2013. IRON MAN 3 is based on his Marvel Comics graphic novel IRON MAN: EXTREMIS. He is currently developing his graphic novel sequence with Jason Howard, TREES, for television, in concert with HardySonBaker and NBCU, and continues to work as a screenwriter and producer in film and television, represented by Angela Cheng Caplan and Cheng Caplan Company. He is the creator, writer and co-producer of the Netflix series CASTLEVANIA, recently renewed for its third season, and of the recently-announced Netflix series HEAVEN’S FOREST.
He’s written extensively for VICE, WIRED UK and Reuters on technological and cultural matters, and given keynote speeches and lectures at events like dConstruct, ThingsCon, Improving Reality, SxSW, How The Light Gets In, Haunted Machines and Cognitive Cities.
Warren Ellis has recently developed and curated the revival of the Wildstorm creative library for DC Entertainment with the series THE WILD STORM, and is currently working on the serialising of new graphic novel works TREES: THREE FATES and INJECTION at Image Comics, and the serialised graphic novel THE BATMAN’S GRAVE for DC Comics, while working as a Consulting Producer on another television series.
A documentary about his work, CAPTURED GHOSTS, was released in 2012.
Recognitions include the NUIG Literary and Debating Society’s President’s Medal for service to freedom of speech, the EAGLE AWARDS Roll Of Honour for lifetime achievement in the field of comics & graphic novels, the Grand Prix de l’Imaginaire 2010, the Sidewise Award for Alternate History and the International Horror Guild Award for illustrated narrative. He is a Patron of Humanists UK. He holds an honorary doctorate from the University of Essex.
Warren Ellis lives outside London, on the south-east coast of England, in case he needs to make a quick getaway.
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Displaying 1 - 11 of 11 reviews
June 22, 2007
Have you ever sat down and talked to someone who is so passionate about something all you can do is sit back and be amazed? I love talking to these people. Doesn't terribly matter what it actually is that they're interested in, if it gets them excited, really and truly excited, I love feeling that energy.
If you're similar, check out Warren Ellis's Come in Alone. Even if you don't like comics, check it out. First of all, Ellis is one of the most clever and engaging people writing today. Not writing comics, not writing pulp. Writing. Period. Second of all, he's a madman, and when he goes off it's a fascinating thing to read. Warren Ellis loves comics with an intensity that comes right off of the page and screams in your face. He loves comics more than you love just about anything in your life. Even your own mother.
Third of all, Ellis is smart. For reals smart. All over the place smart. And there's a kind of smart that mixes with passion and creates a monster like Ellis who can write multiple pages about the Marvel comics business plan and bankruptcy scare of 2000 and he presents the facts to you, cold solid researched facts, in a way that make you feel like you're reading a detective story instead of a business report. Most of this book is aimed at addressing the question of why comics weren't working at the turn of the new century. When the articles in the book were being mentioned the comics movie boom of X-Men and Spider-Man were still around the corner and the industry was in slump. Ellis sums up the situation beautifully and clearly and then outlines simple, sensical solutions for change.
But most importantly of all it's a book about a love for the art. Pure, unfiltered love for the potential of a form that has so often been relegated to "kiddie stuff." Ellis preaches the gospel of the funny books, and if you give him a good listen, you might find yourself amongst the converted.
If you're similar, check out Warren Ellis's Come in Alone. Even if you don't like comics, check it out. First of all, Ellis is one of the most clever and engaging people writing today. Not writing comics, not writing pulp. Writing. Period. Second of all, he's a madman, and when he goes off it's a fascinating thing to read. Warren Ellis loves comics with an intensity that comes right off of the page and screams in your face. He loves comics more than you love just about anything in your life. Even your own mother.
Third of all, Ellis is smart. For reals smart. All over the place smart. And there's a kind of smart that mixes with passion and creates a monster like Ellis who can write multiple pages about the Marvel comics business plan and bankruptcy scare of 2000 and he presents the facts to you, cold solid researched facts, in a way that make you feel like you're reading a detective story instead of a business report. Most of this book is aimed at addressing the question of why comics weren't working at the turn of the new century. When the articles in the book were being mentioned the comics movie boom of X-Men and Spider-Man were still around the corner and the industry was in slump. Ellis sums up the situation beautifully and clearly and then outlines simple, sensical solutions for change.
But most importantly of all it's a book about a love for the art. Pure, unfiltered love for the potential of a form that has so often been relegated to "kiddie stuff." Ellis preaches the gospel of the funny books, and if you give him a good listen, you might find yourself amongst the converted.
July 26, 2013
A time capsule spanning the 52 weeks of the year 2000, this is Ellis screaming about how the comics medium is worth saving - and how the comics industry is hurting it. Still relevant in the same way Scott McCloud's Reinventing Comics, published the same year, is - attitudes still haven't shifted forward much, and in some cases have regressed.
Ellis's prose is as entertaining as ever, a quick, seemingly unfiltered read from his brain to yours.
Also, great interviews with Grant Morrison, Mark Millar, and Mark Waid, a manifesto, comics scriptwriting tips, many solid comics reading recommendations, and an interesting account of being Big in Iceland.
Worth a read if a read if any of the above sparks an interest for you. No need to track down the actual book, it's still all up for free online at: http://www.comicbookresources.com/?pa...
Ellis's prose is as entertaining as ever, a quick, seemingly unfiltered read from his brain to yours.
Also, great interviews with Grant Morrison, Mark Millar, and Mark Waid, a manifesto, comics scriptwriting tips, many solid comics reading recommendations, and an interesting account of being Big in Iceland.
Worth a read if a read if any of the above sparks an interest for you. No need to track down the actual book, it's still all up for free online at: http://www.comicbookresources.com/?pa...
June 27, 2013
Quite possibly one of the most prescient books on the comics industry I've read. With biting, perverse humor combined with statistics, interviews, and accessible explanations, this collected series of blog entries is definitely recommended to anyone with even a passing curiosity in the comics industry.
Some information may be dated, but much of that is still very illuminating regarding the current state of comics.
Some information may be dated, but much of that is still very illuminating regarding the current state of comics.
January 22, 2011
Warren Ellis is a mean-spirited, backstabbing, ornery SOB. But his yearlong tour of the comic book industry in 1999 is a fun read. Twelve years later, it's also fun to see how many of his predictions were spot-on and way-off.
For people in the industry, or people that like the funny books, this will be interesting.
May 14, 2009
I found this to mostly be useful as a bibliography/recommendation guide for literature, film, and music. Just know that it's really just a glorified blog.
November 5, 2018
Lots of fantastic perspective on the comics industry at the turn of the century (almost), and maybe a little too much Hunter S Thompsonesque gonzo journaling and manifesto-ing.
June 6, 2018
This is the self-proclaimed "internt Jesus" shaking his penis at the crowd like an itinerant street preacher.
I like Warren, many of his comics are pithy, share interesting ideas and are usually (emphasis on usually) structured and paced well. He's much more of a cynic and realist as opposed to Grant Morrison and thinks about the industry--but not regarding superheroes, like Mark Millar does.
As such, I often think of Warren as a better essayist/columnist then comic writer at times. The man can write (although quite curmudgeonly that often appeals to disenfranchised young men.
This is basically a time capsule of millenial aspirations--before 9/11. With all the hope that Morrison, Millar, etc had. That the counter-culture was winning and would overcome.
As a retrospective, it's quite interesting to see how many predictions are spot on, and how many are way-off. This is almost a theology lesson on comic books. It (with his Do Anything and Shivering Sands) is almost like Grant Morrison's Supergods.
Ellis' is a generous host as well--every column he plugs a book, an album, a website and a comic. I love that notion. His weekly e-mail is often surprisingly touching as well.
I like Warren, many of his comics are pithy, share interesting ideas and are usually (emphasis on usually) structured and paced well. He's much more of a cynic and realist as opposed to Grant Morrison and thinks about the industry--but not regarding superheroes, like Mark Millar does.
As such, I often think of Warren as a better essayist/columnist then comic writer at times. The man can write (although quite curmudgeonly that often appeals to disenfranchised young men.
This is basically a time capsule of millenial aspirations--before 9/11. With all the hope that Morrison, Millar, etc had. That the counter-culture was winning and would overcome.
As a retrospective, it's quite interesting to see how many predictions are spot on, and how many are way-off. This is almost a theology lesson on comic books. It (with his Do Anything and Shivering Sands) is almost like Grant Morrison's Supergods.
Ellis' is a generous host as well--every column he plugs a book, an album, a website and a comic. I love that notion. His weekly e-mail is often surprisingly touching as well.
March 19, 2019
It's both fascinating and oddly creepy to be re-reading this collection - 52 weekly columns written by Warren Ellis back in 98 and 99 - and to see what has changed and what hasn't. Which predictions came true and which did not. There's some stuff in it that's timeless, and other bits that have either been proven wrong by history of simply left behind by its march (the plethora of urls in particular).
But it is interesting, in a historical drama kind of way, to see what some of the best minds in comics were thinking twenty years ago, in an age before social media or the MCU.
But it is interesting, in a historical drama kind of way, to see what some of the best minds in comics were thinking twenty years ago, in an age before social media or the MCU.
January 9, 2011
comic books,graphic novels,writing,creative process,collected volume,journal
February 23, 2013
Moving from Understanding Comics to Do Anything to this collection is like going to comic book high school. And it's really fun.
March 4, 2014
Expert, instinctive, fragmented commentary on mind in general.
I think, a really good one.
I think, a really good one.
Displaying 1 - 11 of 11 reviews