I saw the art of Brom when I was a teenager, those covers for D&D Dark Sun got stuck in my mind, adding a pint of darkness into my imagination. In this moment I'm looking at a tin plate I have in my room with the amazing cover for the Mage Slayer videogame. Another of my Brom's favorites is the Demon Hunter illustration for Diablo 3.
As a kid in the 90s I had the pleasure of experiencing the shift from 2D to fully 3D games through curious childhood eyes and while I didn't have a PC of my own until much later (such was life in Eastern Europe) I visited gaming clubs often and played whatever I could find there for hours and several games completely blew my mind away with their worlds, creatures and fantastical visuals, one such game was Heretic 2 a game from a franchise I never explored or shown any interest in doing so but somehow that game in particular just couldn't leave my imagination alone. The world of Heretic 2 was both colourful and dark, it was filled with monsters and creatures that to me seemed very unique and unnerving, the overall aesthetic and feel of the game was somewhere between Conan and Jim Henson's Labyrinth and since I was more into sci-fi I was taken away by how fantasy games can look and feel. It was many many years later when I learned that Brom worked on the game's creature design and contributed heavily to what made the game stand out from the rest more conventional fantasy games of the time.
Amazing, amazing. Brom's work had so much impact in me growing up, starting with his trading card game works, and into his literature pieces and concept art. I just want to clarify that Devil's Rose is not, strictly speaking, a graphic novel. In the sense that it's not in comic format but rather, like many of his stuff, an illustrated novella. My brother gave me a copy as a gift and it is a beautiful piece.
He really was representative of Fantasy of the 90's. A better time for a lot of Fantasy media. More grown up and atmospheric than the current pop cultural soup that's watering down big fantasy properties.
Grown up and disturbing art has always been an issue for most, before it was due to religious panic and the idea that violence in fiction breeds violence in reality, now it's due to a combination of emotional and mental security and the idea that violence in fiction breeds violence in reality. In other words the religious angle was dropped and replaced with less defined arguments that all lead down to the same conclusion, if we make fiction happy and trouble-free people won't be discontent, violent and overall less troublesome. And maybe happy, maybe. We're seeing popular art and fiction serving a more calming and reassuring role rather than showing anything that might evoke negative or strong emotions. The nightmares and monsters of before are now being sold as toys and pop culture tokens and newer horror focuses more and more on abstracts psychological deeply personal aspects rather than any horrors that exist outside us. If the only horror that works in modern times is the one that challenges the individual then the horrors that plague the many lose meaning.
I met him at a convention a few years back , he was really warm and engaging….nice person , great artist.
I didn’t know that so many artworks that I admired when I was young were made by the same artist! His work is brilliant
I saw the art of Brom when I was a teenager, those covers for D&D Dark Sun got stuck in my mind, adding a pint of darkness into my imagination.
In this moment I'm looking at a tin plate I have in my room with the amazing cover for the Mage Slayer videogame.
Another of my Brom's favorites is the Demon Hunter illustration for Diablo 3.
one of very awesome artist ever! BROM, you are unbelievable awesome!
I love his artwork very inspiring keep up the great work with your channel
Thanks for the Chanel!!!
One of the best of all illustrators😂❤
As a kid in the 90s I had the pleasure of experiencing the shift from 2D to fully 3D games through curious childhood eyes and while I didn't have a PC of my own until much later (such was life in Eastern Europe) I visited gaming clubs often and played whatever I could find there for hours and several games completely blew my mind away with their worlds, creatures and fantastical visuals, one such game was Heretic 2 a game from a franchise I never explored or shown any interest in doing so but somehow that game in particular just couldn't leave my imagination alone. The world of Heretic 2 was both colourful and dark, it was filled with monsters and creatures that to me seemed very unique and unnerving, the overall aesthetic and feel of the game was somewhere between Conan and Jim Henson's Labyrinth and since I was more into sci-fi I was taken away by how fantasy games can look and feel. It was many many years later when I learned that Brom worked on the game's creature design and contributed heavily to what made the game stand out from the rest more conventional fantasy games of the time.
Amazing, amazing. Brom's work had so much impact in me growing up, starting with his trading card game works, and into his literature pieces and concept art.
I just want to clarify that Devil's Rose is not, strictly speaking, a graphic novel. In the sense that it's not in comic format but rather, like many of his stuff, an illustrated novella. My brother gave me a copy as a gift and it is a beautiful piece.
❤❤❤❤❤
He really was representative of Fantasy of the 90's. A better time for a lot of Fantasy media. More grown up and atmospheric than the current pop cultural soup that's watering down big fantasy properties.
Grown up and disturbing art has always been an issue for most, before it was due to religious panic and the idea that violence in fiction breeds violence in reality, now it's due to a combination of emotional and mental security and the idea that violence in fiction breeds violence in reality. In other words the religious angle was dropped and replaced with less defined arguments that all lead down to the same conclusion, if we make fiction happy and trouble-free people won't be discontent, violent and overall less troublesome. And maybe happy, maybe. We're seeing popular art and fiction serving a more calming and reassuring role rather than showing anything that might evoke negative or strong emotions. The nightmares and monsters of before are now being sold as toys and pop culture tokens and newer horror focuses more and more on abstracts psychological deeply personal aspects rather than any horrors that exist outside us. If the only horror that works in modern times is the one that challenges the individual then the horrors that plague the many lose meaning.
Some creepy s*** yo.
0:34 there are 2-3 frames of "Sergio Toppi" chyron