By Gerhard Seyfried
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Extra info for Das schwarze Imperium. Comic
The family had a sense of pride, and we lived well above our means, with as much dignity as we could muster. I think we were quite poor and didn’t know it. But we always sort of managed somehow. My mother was very typical of the girls of that era. She had no formal education. She came over here and as soon as she could stand up straight, I suppose, she was working in a factory: a very typical factory girl of the period. She worked in hat factories until she married my father. My father was very interested in literature and painting and so forth, but he was not a highly literate man.
I’m used to black-and-white done in a manner which can be supportive of colour. Sim: How essential is the format of the comic book to its appeal? Eisner: I think that the comic book technique is a series of pictures with speciﬁc reading sequence. And that is essential to its presentation. Whether they are framed by a thick panel or no panel at all is really unimportant. It is a combination of words and pictures which tell a story. And as long as that’s present, whether they are enclosed in a box called a panel or whether there are three of them on a page or four of them on a page is unimportant.
Plastic Man was something we came up with out of an idea I talked with “Busy” about; I think ultimately Jack did it. I am always, or I was anyway, always generating ideas, and it didn’t matter to me where they went or who took them or what. I don’t lay a claim to any of these ideas, it’s just . . you know, everybody gets inﬂuenced by everybody else. I was inﬂuenced by people who were doing backgrounds for me. And I’m sure they were inﬂuenced by me. Benson: You mentioned the story about the atom bomb.
Das schwarze Imperium. Comic by Gerhard Seyfried