When asked how much the writer has to do with establishing this tension and how much is down to the artist, Albuquerque came out on the side of the artist: I think the artist is the director and the writer is the writer. We are the ones who get the script but we tell it the way we see it. The influence we havethats the thing. Its through our eyes that the thing is made strong.Templesmith said, You have to choose the shot. I dont like a really tight script where theres nothing for me to be creative about. Its my job to make it entertaining, and he added that horror really depends on true collaboration, and if theres no room in the script for details by the artist to create mood, horror is less likely to succeed.Albuquerque said that American Vampire is very open and he can dialogue with Snyder if theres anything hes not comfortable with, so working without very detailed scripts is his preference and Snyder is amenable to that.For these horror creators, they arent often surprised by their own work and it takes a long time to appreciate it fully after its been published because of having to think about technical problems and also from having to read the story so many times before publication. Deering suggested it takes a year to appreciate one as a creator after its in print.The changes in horror comics over time means that they do look back to the pre-code days for inspiration, but also have an interest in what digital comics can do when it comes to horror, often incorporating even more heightened page-turn elements and bringing out new features. Deering feels that digital definitely helps. It can change the scene slightly, creating morphing of characters which is incredibly effective. You dont have to lead the eye away from the panel. The 8th Seal is a perfect example, or comics on Thrillbent. The more interactive you are with a comic, the more get out of it horror-wise, though she herself prefers paper to scare herself in her own way. Roberts, however, misses the captions and old Edgar Allen Poe stories of horror comics past. Templesmith joined in to say that the thought bubble used in older horror comics is now out of fashion but he thinks has virtue. Roberts also agreed that he prefers to control the page himself in print.