On a personal level, I'm pleased to see Corben recognised - he has long been a favourite of mine, though I must admit I have not been following his work over the past 18 years or so. I was, I think, 16 when I first came across his art - seeing just a tame panel or two from his 1978 "illustrated epic adventure of fantasy and magic", Neverwhere, I put it on my Christmas list and my younger brother bravely bought it for me. Seeing the full book for the first time was a bit of a shock for this rather sheltered young lad - most of the characters went around totally naked, baring their weighty anatomy without so much as a blush.
But once I got over that (and making sure my Mum never saw it), the main aspect that struck me was the solid vivaciousness of the art - the painting was incredible (how could someone produce so many pages of such detail and intensity?) and the characters were alive, squashy flesh, elastic muscle, poses I hadn't seen in comics before, expressions that conveyed everything, all bathed in light and shadow that made the drawings feel like tactile models.
The fight scenes in particular stood out - they were bone-crunchingly real, enough to make you wince while reading. Faces concertinaed under the weight of a fist, leg bones snapped from the force of a thrust kick that looked as though Corben must have studied martial arts at some point.
Corben quickly became my favourite artist (a panel here and there in my comic Realm of the Sorceress was directly copied from his work) and I sought out more of his stuff - not easy in that pre-internet era, when much of what was available was sold by specialists far away across the Atlantic. I got hold of the Complete Underground volumes, as well as Mutant World, Werewolf and Bloodstar. I discovered a sequel to Neverwhere, Muvovum, a work I found difficult to digest due to the unflinching physical detail of the monsters depicted.
Another to keep away from my Mum was The Bodyssey, though I preferred some of his more mainstream adaptations such as The Last Voyage of Sinbad (with Jan Strnad), Vic & Blood (Harlan Ellison), and, produced later, one of my favourite novels, William Hope Hodgson's The House on the Borderland.
I've no doubt some of his work could be described as quite sexist, though perhaps it could also be argued that the men had equal rights when it came to nudity, and, contrary to what Le Figaro says, many of his female characters were intelligent, strong, and usually got the better of the often simpleton men - but you have to read the stories to see that. Then again, perhaps it doesn't help too much when viewed within an industry (comics) that already overwhelmingly objectifies women within its most visible genre (superheroes).
Another favourite, from the Collected Underground volumes, was Rowlf, the tale of a girl and her pet wolf - the Japanese genius of animation, Hayao Miyazaki, liked it so much he started to adapt it as a possible film project. One can only dream what that would have been like!
I drifted away from Corben after a while - perhaps much of his work was more suited to the male psyche when in its late-teen and early-twenties, and my interest in horror, especially graphically violent horror, quickly disappeared - though it really was his art that astounded me more than any attraction to the titillation or story content (a mixed bag) - and that has stayed with me to this day, particularly in the way I think about fight scenes in my own comics.
So, congratulations, Mr Corben - I should perhaps go and see what changes the new century has brought to your amazing work, and I hope there are many more projects yet to come.