starcraft comic episode 0.pdf

8/10/2019 Starcraft Comic Episode 0.pdf

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W a r P i g s i n StarCraft S

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The War Pigs, elite Marines with a reputation for getting dirty jobs done,

are going to be playable as mercenary units in the upcomingStarCraft2:WingsofLibertygame

This team was created to handle missions that required more ingenuity

and inventiveness than your average brain-panned Marine could provide.

The War Pigs are al l criminals given the option of retaining their

memories in exchange for a l i fe sentence with this dangerous crew. Few

M a ri n e s a re cra z y e n o u g h o r de a dl y e n o u g h to f i t th e bill.

The War Pigs have tightened up their organization since the "Raynor

Incident" (chronicled in the StarCraft comic ), and have recruited moreba tt l e -h a rde n e d ve te ra n s i n to th e i r ra n ks. W i th n e w sta n da rdi z e d

uniforms and weaponry, the War Pigs are the ultimate mere troupe for

missions requiring decisive action.

mim


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N a m e : P y r i u s . R o m y

R a n k : C l a s s i f i e d Date of Birth: 2444-08-12

S e x : M H e i g h t : 5 1 0 W e i g h t : 175 Ib.

E y e s : B LU H a i r : BL N

D i s t i n g u i s h i n g M a r k s : N e e d l e a n d P r e s s u r i z e d S y r i n g e S c a r r i n g o n A r m s ,

L e g s , Ne c k , a n d F e e t

/ H

C R I M I N A L H I S T O R Y : f

J

C h a r g e D e s e : M a n u f a c t u r a of C o n t ro l l e d S u b s t a n c e s , M a n u f a c t u r e ,

Po s s e s s i o n , a n d Di s t r i b u t i o n o f To x i n s Wi t h t h e I n t e n t t o Ki l l o r n j u r e ,

Po s s e s s i o n o f a Co n t r o l l e d Su b s t a n c e , Sa l e o r Di s t r i b u t i o n o f Dr u g

Pa r a p h e r n a l i a , Sa l e o r T r a n s f e r o f Co n t r o l l e d Su b s t a n c e s (

S e n t e n c e : L i f e ' /

A T T N :

T A M S E N C A U L E Y

S U B J E C T : R O M Y P Y R I U S S K I L L S A S S E S S M E N T

S T A T U S : C L A S S I F I E D

Pyr i u s ' h i s t o r y o f d r u g a b u s e a n d d i s t r i b u t i o n i n c l u d e s t h e ma n u f a c t u r i

o f n a r c o t i c s t h a t we r e l a t e r f o u n d t o b e e n g i n e e r e d a s l e t h a l s l o w-a c t i n g

p o i s o n s . Cr i mi n a l i n t e n t a s i d e , h i s g r a s p o f c h e mi s t r y , me d i c i n e , a n d

b i o l o g y i s u n p a r a l l e l e d a mo n g s t t h e o t h e r Wa r Pi g s . Pyr i u s d o e s h a ve a

h i s t o r y o f d i s l o ya l t y t o h i s f r i e n d s a n d b u s i n e s s p a r t n e r s , b u t t h i s s h o u l d

p r o ve a d va n t a g e o u s a s i t s i mp l y me a n s t h a t e mo i o n a l a t t a c h me n t s wo n 't

a f f e c t h i s a b i l i t y t o c o mp l e t e a mi s s i o n .


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The fol lowing is an excerpt of an interview

with Simon Furman that was conducted by Chris

M e t z e n ,

Blizzard Entertainment's Senior Vice

Pre si de n t o f Cre a t i ve D e ve l o pm e n t, o n Ju l y

28th, 2009.

Ch ri s M e tz e n : How did you get into the comic

book business?

S i m o n F u r m a n : Well, like a lot of people, I

started out on the editorial side of things, work-

ing on comics from behind the scenes. Comics

were something l'd grown up with and loved as

a kid, but l'd grown away from them a little bit in

my teens. Then I started working for a big UK

pu bl i sh i n g co m pa n y ca l l e d IPC M a g a z i n e s.

It h a d a w h o l e b u n ch o f g e n e ra l - i n te re s t

m a g a z i n e s a n d a de di ca te d co m i cs d i v i s i o n , a n d

i t w a s i n th a t co m i cs d i v i s i o n ki n d o f by

o s m o s i s w h e r e I ^ ^

e n de d u p w o rki n g . I t j * . .

was the start of a jour-

J|pi^^ .*>

ney of red isco very for ' ,

me as I came to realize

just how much l'd loved m *th ese th i n gs a n d j f l

m i s s e d t h e m . * ^

L a r g e l y t h r o u g h *

d e a d l i n e c r u n c h e s

where we didn't have a

w ri te r o r w e w e re

fall ing short of t imeI pitched in and did a few

spec scripts here and there, f inishing off series,

doing l i ttle one-shots, dropping in where a

writer had dropped out. I found I had a wee bit of

a talent for it and also loved doing it. The idea

that you could actually make a l iving as a

comics writer was something that had never

really occurred to me before, but suddenly i t

was a very real possibil i ty.

Ch r i s M e tz e n : Do you think you conceptualize

a sto ry d i f fe re n t l y i f i t' s se r i a l (e .g . ,

Transformers) and you know that you have a verywide tableau to work with? Is your approach

different for smaller projects?

S i m o n F u r m a n : I wou ld say m y approach is

pretty much the same whatever l'm doing: I

always try to look at the bigger picture first so I

know exactly where we're setting something,

what the larger ground rules are, and then boii i t

al l the way down to an individual character or

three, which I sti l l believe underpins so much of

g o o d ,

solid storytel l ing. So I tend to want to

know everything that's going on, and then I can

focus in on individual characters and stories,

expanding on the little gaps you see in the

bigger picture.

W i th so m e th i n g l i ke Transformers, so much

was already laid out right from the start. The

characters had their personalities, and you had

this epic, far-reaching backstory. I looked at that

whole vast canvas, and then I searched for the

sm a l l e r sto r i e s w i th i n , th e f i n e de ta i l yo u

just cant get with that big a brush. You cant

possibly cover everything, even in the most

comprehensive style guide in the world or the

absolute best series bible. The great thing about

Transformers wa s that there we re so manyplaces to go with it and broaden it out. The thing

l've become quite well known for, especially in

Transformers, is taking somewhat non-entitiesa n d bu i l d i n g pe rso n a l i ty o n to th e m a n d

m a ki n g th e m "fa n -

:

\ . f a v o r i t e " c h a r a c t e r s .

Cjb' Thi s is what I Iove

doing, because as soon

jiSf . a s 1v e 9 0 t t n e D a r eI bo n e s o f a ch a ra c te r

j " " ' a n d s o m e p r e c o n c e p -:Jr

tion that they're this,

M that, or the other, then I

Wm - set out to con foun d

th a t pre co n ce pti o n by

building them up or

making them different or adding in unexpected

layers. This is really what f i res me up about

co m i cs: bu i l d i n g d i spa ra te ch a ra cte rs i n to

(hopefully) great stories.

C M : What are some examples of your favorite

characters that you've put a spin on and gotten

the most kick out of?

SF: A good example is a robotic character

called Death's Head, whom I created back in the

1980s for Marvel UK. We started off needing just

a th ro w a w a y ch a ra cte r , a g e n e r i c m e rce n a ry o r

bounty hunter, for a UK Transformers strip. Butw h e n th e v i su a l s fo r th a t ch a ra cte rfro m th e

artist Geoff Seniorstarted dropping on our

desks, we loved them so much that we thought,

"There's no way we can just throw this character

out after maybe one or two stories." So, we did

this emerge ncy retrofitting wher e I just layere d

all these extra quirks and eccentricities and pre-

pared a special one-page story so that Marvel

could duly copyrightthe character. Death's Head

just took off from there


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C M : What is i t that makes you feel most satis-

d wi th y o u r wo rk? Do es sa t i s fa ct i o n co me

ough more in the works of your pure imagina

ri because you've done a lot of licensed stuff

ke

StarCraft)? Clearly you'd have more fun

irking on som ething l ike StarCraft.

aughter]

C M : Bu t i s th ere a ra t i o b etween p u re

lagination and l icensed projects having more

saning to you at the end of the day?

S F: H onestly, I just Iove tel l ing sto ries. Give

e the playground, the toys, and l'm happy to

wh erev er wi th th em. Wh a t I l i ked a b o u t

C M : O v e r t h e y e a r s , w e ( B l i z z a r d

E n t e r t a i n m e n t ) h a v e d o n e c o m i c s , m a n g a ,

novels, and short stories in addition to our

gam es. W e've alw ays l iked the idea of trying to

meld a lot of those mediums together. So you

might see characters pop into the game who are

from a unique manga story. What's your take on

that kind of stuff?

SF: To me that's the meat and potatoes of

storytel l ing, that everything interacts and that

a n a ct i o n o v er h ere h a s rep ercu ssi o n s wa y o v er

there. It's like a big picture that you don't

necessari ly need to see al l of, but you can

go over there and have a look at that, and

ultimately everything matters. I Iove the fact

mmI

I

m

mm

mm


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STARCRAFT O, publistied by WildStorm Productions. an imprint of DC Comics, 888 Prospect St, Suite 240, La Jolla, CA 92037.

Copyright 2010 Blizzard Entertainment, Inc. AII Rights Reserved.

Starcraft and Blizzard Entertainment are registered trademarks of Blizzard Entertainment, Inc in the US and/or other countries.

WildStorm and logo are trademarks of DC Comics. The stories, characters and incidents mentjoned in this magazine are cntire-

ly fictional. Printed on recyclable paper.

Printed by World Color Press, Inc, Montreal, QC, Canada 3/8/10

DC Comics, a Wamer Bros. Entertainment Company.

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1J

iii


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