Where the Trains Turn November 19, 2014 Where the Trains Turn Pasi Ilmari Jääskeläinen His imagination runs wild. The Walk November 12, 2014 The Walk Dennis Etchison Creative differences can be brutal. Where the Lost Things Are November 5, 2014 Where the Lost Things Are Rudy Rucker and Terry Bisson Everything has to wind up somewhere. A Kiss with Teeth October 29, 2014 A Kiss with Teeth Max Gladstone Happy Halloween.
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November 21, 2014
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November 17, 2014
In Defense of Indiana Jones, Archaeologist
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November 14, 2014
An Uncut and Non-Remastered List of Star Wars Editions!
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November 13, 2014
Why Do We Reject Love as a Powerful Force in Interstellar?
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Showing posts by: Greg Ruth click to see Greg Ruth's profile
Thu
Sep 4 2014 1:00pm

The Wrong Track that Leads to the Right One

I was approached by Irene Gallo to do a piece for Tor.com’s “Where the Trains Turn” by Pasi Ilmari Jaaskelainen, and as typical to my previous efforts, (and despite my swearings to be cured of this method) I ended up doing two.

Overall I have always railed against this double work as a poor and time consuming way forward. “Why not just thumbnail it first, you dolt?” is the usual refrain when it comes to confessing this as a recurring event. And I thought for a while that it was true. That my impatience to get right to the piece itself was causing this. But as it turns out, this is not the case. So, I have decided to hug this as a legitimate part of the process, and celebrate its necessity rather than try and undo it. So, in full confession mode, here’s the deal as representative of deals to come and deals long past, and why it’s maybe not such a bad thing.

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Fri
Jul 11 2014 9:00am

For Love or Money (And If You Do It Right, BOTH): Choosing a Career in Art

greg ruth pandemonium daryl gergory

We have a rather warped ethos for how we look at and deal with art and artists as a culture. There are roughly two camps of art-making, those who do it for fun as a hobby or are lucky enough to have married well or receive a trust fund or live in a hut, and those of us who make a living out of art and must navigate the treacherous waters where the profit motive and the creative motive meet, clash and dance together. That’s what this week’s post is about (suck it, hut-people).

When we’re kids, we don’t do it for the money. Art is a playground and a wonderscape we’re encouraged to utilize as much as possible. No one complains that their kid draws too much, or likes art too much. That comes later when you’re a grownup and you’re supposed to have gotten rid of this childish habit. Those of us who wish to or in my case, have codified this act of play as a career have a rocky road to navigate. Really much of the issues that will come at you in terms of balancing your need to feed yourself/your family are only struggles you’ll have to wrestle with when you make it your full time gig.

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Thu
May 29 2014 11:00am

Why Horror is Good For You (and Even Better for Your Kids)

Greg Ruth

One of the core reasons I make books now is because Ray Bradbury scared me so happy, that what I am perpetually compelled to do is, at best, ignite the same flame in a young reader today. Most of my comics, certainly the ones I write myself, are scary ones or revolve around scary themes. In the last ten years I began to notice that they also featured, as protagonists, children. Even when the overall story wasn’t necessarily about them, there they were: peeking from behind some safe remove, watching.

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Fri
Apr 11 2014 11:00am

Tor.com Story Art We Never Got to Show You

Greg Ruth illustration Lavie Tidhar Tor.com story Dragonkin

Time and again I seem to be required to craft two fully fleshed out final paintings for every single cover, mostly for Tor.com’s short online fictions, and it’s not a bad thing at all. Sort of. To date I still can only speculate as to the cause for this recent phenomenon, but I think if not fully on target, this theory hits close enough to brave an article about it. Not by request am I tasked to do this mind you, but by the process of making the pieces. Within this practice, at each turn are different causes for this seemingly time-wasting habit, which makes it hard to solve if solving it is even a good idea at all. So I’ll cleave out a few cases and hopefully you’ll see why.

[Tor.com art we never got to show you...until now]

Thu
Aug 22 2013 10:00am

How a Fables Cover Gets Made: Greg Ruth on Crafting Fables #135

Greg Ruth Fables coverA new era is beginning for the Farm as knights begin to arrive from every corner of countless worlds. In the old version of Camelot, the brief shining moment was destroyed by infidelity, infighting and the evil machinations of the king’s sister. If Rose Red is the king this time, does that mean Snow White is the one destined to bring it all crashing down around them?—See more at Vertigo Comics!

Greg Ruth is an artist and writer working in comics, children’s books, advertising, and is often contributor to Tor.com’s fiction. Vertigo Comics commissioned him to illustrate the cover for Bill Willingham’s acclaimed Fables series. Below, he guides us through his process in creating this Camelot-themed cover.

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Thu
Jul 25 2013 1:00pm
Excerpt

The Lost Boy (Comic Excerpt)

The Lost Boy by Greg RuthEnjoy this ten page preview of The Lost Boy, a new graphic novel beautifully illustrated by Greg Ruth, coming from Scholastic on August 27th.

Nate’s not happy about his family moving to a new house in a new town. After all, nobody asked him if he wanted to move in the first place. But when he discovers a tape recorder and note addressed to him under the floorboards of his bedroom, he’s thrust into a dark mystery about a boy who went missing many, many years ago. Now, as strange happenings and weird creatures begin to track Nate, he must partner with Tabitha, a local girl, to find out what they want with him. But time is running out, for a powerful force is gathering strength in the woods at the edge of town, and before long Nate and Tabitha will be forced to confront a terrifying foe and uncover the truth about the Lost Boy.

[Read The Lost Boy]

Tue
Sep 7 2010 5:31pm

The Giant Zardozian Head of Stanley Kubrick

If all were lost and I found myself red-thonged and rifle-bound as the giant Zardozian head of Stanley Kubrick roiled over the ruined horizon, I would chase it forever till the end of the earth. Kubrick’s films offer a stunning portrait of isolation and spiritual angst few others manage to achieve with such edge and elegance. Grounded in both the pulverant physicality of the little moments while also speaking to our loftiest concepts is a rare achievement, but one Kubrick manages in each of his films beautifully. As a storyteller watching his films, I feel like a dusty, cod-eyed ape triumphantly railing my newfound bone weapon against a backdrop of something far bigger than I could ever conceive... and my heart is warmed greatly by it.

Illustration by Greg Ruth


From Greg Ruth’s 52 Weeks project—offering a drawing and a few words once a week, every week. Follow him on Twitter and check out his Etsy store.

Tue
Aug 3 2010 8:22am

Let the Right One In, Eli in my psyche

Greg Ruth, Let the Right One InI’m in the middle of reading John Ajvide Lindqvist’s seminal masterpiece, Let the Right One In and am in utter awe of the unique strength and power of the central character, Eli. Not being particularly interested in vampires as a general theme, the stark and lyric prose of this novel has completely circumvented my prejudices and taken me over completely. Eli as an unknowable creature is so much more fully explored here, and with all great characters she becomes more elusive and deeper the more we learn about her through the text. It’s an astonishingly rich and rewarding novel that stands out so much more than I ever expected, and Eli has wormed her way into my psyche so deeply, I can hardly imagine her ever completely leaving. Do yourself a favor if you find yourself heading for a spell of summer reading, and cast a long shadow over the sandy beach with this fine and fantastic piece of dark confection. You won’t be disappointed.

Illustration by Greg Ruth


From Greg Ruth’s 52 Weeks project—offering a drawing and a few words once a week, every week.