I’m a writer, in case you hadn’t already figured that out. But my work has been and continues to be heavily influenced by visual media. Movies, of course, but also comic books, graphic novels, video games, fine arts, and, perhaps above all those others, illustration of various forms.
Beyond broader influences, I’ve written stories directly inspired by the photographs of William Mortensen, the paintings of Goya, wax anatomical models, and penny-arcade dioramas, to name just a few. Not to mention all of the movies that have directly inspired specific stories.
It’s why my list of major influences includes easily as many illustrators as writers – and many who are both – even though I’m no hand at all when it comes to illustrating myself. There are many names in that pantheon, and none are more important to the formation of my imagination as it exists today than Mike Mignola. But today I’m here to talk about someone else.
I’m not actually sure where I saw my first Gary Gianni illustration. It’s possible that, like so many other things, I came to his work by way of Mignola, through one of the Monster Men stories that served as backups in Hellboy comics (and vice versa). Those Monster Men comics have since been collected, by the way, and are amazing.
Or it may have been his illustrated version of some classic tale of weird fiction in one of the Dark Horse Book of… collections. What I do know is that, in short order, Gianni became the lens through which I tended to see classic weird tales of the golden age. There is something about his style that elevates it beyond mere pastiche of the old pulp illustrators. A wildness to his design sensibility, especially when it comes to drawing monsters, that puts him alongside folks like Virgil Finlay, Sidney Sime, and Lee Brown Coye, rather than working in their shadow.
(The more proper modern successors of Coye might be folks like Richard Corben and, more recently, Nick Gucker, who did several of my own book covers, but you get the idea.)
Gianni’s illustrations for Solomon Kane and some of the Conan books, not to mention the aforementioned stuff from the Dark Horse Book of… volumes, helped to cement him, in my mind, as the go-to guy for illustrating those kinds of tales. At least, the way I imagined seeing them illustrated.
A few years back, I got to meet him at the Spectrum Fantastic Art Live event here in Kansas City, and he seemed to be a genuinely nice guy, which was also pleasant. I had him sign some stuff, picked up a sketchbook, and was generally just happy to get to tell someone, even using highly inadequate words, what their work meant to me.
I hadn’t thought much about Gianni in some time – maybe not since Hellboy: Into the Silent Sea with his amazingly detailed art came out – when I saw Mike Mignola post a link to a new edition of Lovecraft’s “Call of Cthulhu,” with 100 new illustrations by Gianni. As I said on social media: Does anyone really need another edition of “Call of Cthulhu?” Maybe not. But does everyone need 100 new illustrations by Gary Gianni, drawing the kind of golden age pulp stuff that his style seems made for?