a monster has to be something that stirs the viewer's imagination, whether they think it's cool or creepy or just question what it is they are actually trying to see. –Guy Davis
It's often hard to describe to the uninitiated exactly what the appeal is of a good horror movie monster. For some, it's the exhilarating high of pretending to face the unknown [generally Death]. Others reflect on the metaphor-laden philosophies that a good horror films reveal beneath the surface, such as the Wolfman's desperate struggle with the duality of human nature [man vs. animal]. And there's even a select few whose admiration of the grotesque inspire them to go forth and create monstrosities of their own.
So to shed some light on this somewhat misconstrued admiration, I'm dedicating a new column to the "monster makers" of our generation and those long since past and to bring it in with some panache, I've chosen to spotlight the work of Guy Davis. Best known for his work on the hallowed pages of Hellboy and his self-published book entitled The Marquis, Davis has also contributed to the B.R.P.D. series and Solomon Kane (both published through Dark Horse Comics).
His work, much like Hellboy's Mike Mignola, seems to conveys a certain mythology, though Davis openly admits that he tries to diverge from relying too much on classical mythology for inspiration. While this may be true, there's certainly a hint of Hieronymus Bosch in his designs for Solomon Kane and no denying a little bit of good 'ole H.P. Lovecraft in his tendril-laced demons in The Marquis. For even more in depth coverage of Davis's work and creative process, check out this great interview at Comic Book Resources.
Absolutely amazing artist!
His work on BPRD is staggeringly great.