Monday, July 28, 2003
The TED NAIFEH Interview
By Denny Haynes
Ted Naifeh is the creator of the new Oni Press title Courtney Crumrin & The Night Things. He first came to reader’s attention with his work on ‘Gloom Cookie’ and the recent 3-issue mini series written by Dan Brereton, ‘The Gunwitch.’ I had the pleasure of meeting this talented artist and now writer at this year’s Megacon in Orlando.
DMH: Did you read comics growing up?
TN: Like a lot of my contemporaries, I was brought into the fold by Dark Knight, and Alan Moore comics like Swamp Thing and Watchmen. Mage and Grendel by Matt Wagner were also a huge influence. I was a teenager, and felt a little silly at first reading comics, but it quickly became apparent that I was not alone in my interest.
DMH: How have Moore, Miller and Wagner influenced your writing?
TN: Wagner was one of my favorites because his work was so comfortable and smooth. His dialog felt very natural. Also, Grendel was just a sexy character, both the Hunter Rose incarnation and Christine Spar.
Miller was just sheer emotion, and his stories really pack a wallop. I can only hope to someday produce comics that hit as hard as his.
Moore is a little different, being a writer. Since he always collaborates with another creator, his work has a different feel on every project. But I do love how he plays with the medium, uses the dangling caption, where one scene ends with a thought that eerily echoes the situation in the next scene in a fun, ironic way. It's incredibly pulpy and incredibly clever whenever he does it. I think Alan is at his best when he's being both pulpy and clever. I guess he inspired my interest in taking light pop source material, for example a comic book character, and imbuing it with real depth. No one else does it quite like him, except perhaps Miller.
DMH: How have Mignola, Charest, and McKean influenced your art?
TN: One word: Design. All three of those creators are brilliant designers, their work is presented in a simple, easy to read style, but each one takes a sophisticated, unique approach to it. I'm striving to make comics that aren't difficult to dive into, that are clearly decipherable for even non-comics readers.
One problem I've noticed with lots of comics is that unless you're an avid reader, it takes a moment to work out what's going on in the page, and you really have to view them panel by panel. This is changing, and more and more comics become clear and elegantly designed, but I would say that this is due predominantly to the influence of artists like Mignola. It certainly isn't due to Jim Lee, or other masters of insane detail like Art Adams and Todd Mcfarlane. They appeal for wholly different reasons. Travis Charest seems to handle both sides really well, being insanely detailed yet perfectly clear and designed. Needless to say, he seems to have found this level of quality impossible to keep up on a monthly basis. Alas.
DMH: Why comics? Why did you want to get into this industry?
TN: I'm an artist, but I love stories, and comics are a great visual storytelling medium. It can also be a one-man show, where I can make all the decisions and do all the work as well. I heard recently that Paul Dini (co-creator of the amazing Batman animated series among other accomplishments) was amazed that Oni Press would let him do whatever he wanted. Can you imagine someone with a track record that impressive struggling to push through every project? In comics, there's less at stake, so there's more freedom to be innovative. It's the freedom of having little to lose, and a lot to gain.
DMH: So how did you get started in comics?
TN: I drew a bunch of Batman pages and took them to the local convention. People never quite believe that you can get jobs that way, but it works. I got a promising review from Innovation Comics, and they told me to follow up and send a copy of my portfolio to them. I did, and they gave me a job adapting the Gene Wolfe fantasy novel Shadow of the Torturer. Of course that was back in the day when there was more work, and the same portfolio might not have gotten me work today. I'm not altogether sure that's such a bad thing, though. Have you ever heard the theory that every artist has about 200 bad pages to draw before the good pages start coming? I had about a thousand.
DMH: You’re too hard on yourself. What are your favorite comics or characters, past and present, and why do you like them?
TN: Batman is an enduring favorite, because he so perfectly represents all the contradictions of the superhero myth. I loved the Christine Spar Grendel: amazing story, and a great character. Rorshach from Watchmen is awesome. What a brilliant deconstruction of the superhero genre that book was, and Rorshach was such an amazing deconstructed superhero. His ideals were so pure, but he was basically a monster.
DMH: What character would you like to write/draw?
TN: Batman. If I do get to draw an established character, I'd like to draw the Dark Knight Detective. What can I say, I'm a fanboy.
DMH: Who are your favorite creators and how did they influence you?
TN: Of course, Moore, Miller and Wagner are three main influences. Neil Gaiman has blown me away from time to time, in as much as I can be blown away now that I've grown and become a professional myself. In terms of art I'm a sucker for Mike Mignola lately, and Travis Charest. Boy, that Charest just kills me. His sense of page design is superb, and his rendering style knocks me out. But my lasting awe goes to Dave McKean. He just does amazing work on everything he touches. He demonstrated to me that there were no limits to how different you can be from the status quo. I wish there were more like him.
DMH: Who are your favorite non-comic creators?
TN: I'm a big fan of early 20th century art, like Aubrey Beardsley, Arthur Rackham, and Gustav Klimt. Those were the artists that really started using line and composition in illustration the way I like. It was really the influence of Japanese prints, which were beginning to proliferate in Europe at the time. Tamara Lampika was also really cool and so was Modigliani. Of course these days I really get into Edward Gorey, though he almost counts as a comic artist.
DMH: How have Beardsley, Rackham and Klimt influenced your work? Any particular pieces that just blew your mind away?
TN: Beardsley did a series of illustrations for Oscar Wilde's Salome play that's just gorgeous. Rackham's illustrations for Alice in Wonderland are particularly nice. But it's not really the individual pieces from artists that excite me, it’s the universe created by the collections.
DMH: How did your parents feel about your choice of occupation?
TN: I think they're relieved that I'm not slinging burgers, considering the scandal that was my early education. They've been incredibly supportive of my creative side, sent me to a private art instructor, paid for college classes, etc. I think they knew that they had to encourage it, since it was the only thing I had any enthusiasm for. I even run ideas by them and they give me feedback.
DMH: Ooh, what types of scandals?
TN: Not what you're thinking, you dirty-minded so-and-so. I just consider the California public school system to be a scandal. It's understaffed and under-funded, and has some of the lowest sat scores in the country. I also feel that being a schoolteacher should be a sought-after profession like being a doctor, and involve a huge salary. Then maybe the teaching staffs at schools wouldn't be such bitter, undervalued people. Okay, rant over.
DMH: Any projects your parents said you shouldn't do
TN: Nope, they've been pretty supportive all the way through. They particularly like Courtney and my mom even suggested that most good children's stories involved kids that hated their parents. It's a concept that seems to resonate.
DMH: People are always interested in how other creators write their stories. What is your method?
TN: It starts with an idea or scene coming to me, and I start sketching out characters. It takes about three or four attempts before something happens and they take on a bit of life. Once they're looking back at me from the page, I can start writing out a synopsis of their first adventure, and then a script.
Coming up with stories is a mixture of intuition, emotional resonance and blatant theft. Sometimes I have to think to myself "Ghost meets Manchurian Candidate", or some such nonsense, to get the ideas going in the right direction. Also, I try to imagine an emotional experience for the characters that resonates for me, and then write a story around that. With my current project, Courtney Crumrin, it was about the overwhelming powerlessness and rage of being a kid. Once I had that goal, to create that experience, it was just a matter of trying to get there.
DMH: Any sort of particular atmosphere/aesthetic when working?
TN: I have a process that involves coming up with ideas while falling asleep, or driving, or drawing, and thinking it through. When I write it down I need total silence. But often I come up with great ideas while watching bad television or mediocre movies. With great movies, there's little point because they've come together so well, and they usually have good imagination. But with lousy movies, you can occasionally see where it went wrong, where it missed an opportunity, and you catch a glimpse of a whole other movie. That gets my imagination going, and from there new ideas start firing. Unlike some artists, I can't come up with ideas by drawing characters and then imagining stories for them. I need the story first.
DMH: What do you do to get the creative juices flowing, especially if you get stuck?
TN: These days I don't tend to have a problem with inspiration. But after endless hours on, say, a Star Wars book, it's a little difficult to keep up the interest. I find that it helps to go find fresh inspiration, a new comic, art I haven't looked at in a while, just to recharge the imagination. I'm afraid I also tend to do a bit too much net surfing. I used to be a dangerous online video game player, but I had to cut that off before it destroyed my career. Sometimes it just takes a monumental act of will to just face the page and keep working. Rent is the biggest motivation for some things.
DMH: How did you enjoy working with Dan Brereton on ‘The Gunwitch’ mini-series?
TN: Very much. He'd made some sketches of most of the characters beforehand, so I got to put my own flavor onto them. The result was a book that felt like a union between our styles. I was very proud of that, and the Brereton fans really appreciated it.
DMH: Did you learn anything from that experience?
TN: I learned a little more about page design, and a lot about character design. I also learned a valuable lesson about the importance of confidence in storytelling. Dan in particular is as confident a storyteller as he is an artist, and the results work well.
DMH: Let’s talk about your new book Courtney Crumrin and The Night Things from Oni Press. What's it about?
TN: Courtney Crumrin is a young girl whose family moves into a creepy old mansion in a wealthy suburb. She's faced with adapting to a new school, dealing with her spoilt classmates and the presence of strange creatures that roam through her new home at night. She gets bullied after school every day and scared out of her wits every night. But she discovers that her uncle Aloysius, the owner of the house, is something of a warlock, and among his collection of books she finds the means to fight back.
Courtney is basically a children's book in the tradition of Roald Dahl or JK Rowling, but darker and more sardonic. Whenever I read children's stories, I often find that I have trouble understanding how the characters manage to have such a thoroughly developed moral compass and such a sense of fairness. The fun thing about Courtney is that when the world bites her, she bites back hard. When I was a kid, that was how we all were. She's as close to the Punisher as a little blonde eleven-year-old girl can get, the kind of kid I can relate to.
DMH: Is there a reason Courtney doesn't have a nose, or is it just you like the look?
TN: Hello Kitty doesn't have a mouth.
It gets back to an idea put forward by Scott McCloud in Understanding Comics. The simpler the central character appears in a comic, the more the reader identifies with them. It's sort of the language of comic story telling, that connects directly with the brain. Simplifying the character separates her from the reality of the story, indicating a representation of her self-image. All the other characters are more realistically drawn, though they also are a representation of her self-image.
Oh, and it looks cute.
DMH: What are your plans for AFTER the initial Courtney mini-series?
TN: It's going to be four episodes in her life, as she learns more about her new home, her uncle and the community of night things. They're stand-alone stories, but each will follow a narrative of Courtney's progress.
DMH: You want a Harry Potter movie deal, don't you!
TN: Ya got me. Seriously, I'd be happy to get a television deal. Whatever brings in a little money, and makes it possible for me to keep doing comics. But I have this secret dream of seeing the series done with CGI like a creepy Toy Story, or even better puppetry animation like Nightmare Before Christmas.
DMH: What did you learn from your previous work experiences?
TN: The best way to learn any part of making comics is to learn every part. Once you can do it all, you have a better idea how best to do each part. On Courtney I'm doing everything from the writing to the lettering, coloring the cover, laying out the inside front and back pages (except for the Oni info), and I'm even taking part in the promotional campaign. It's all part of the art of making comics. Yes, I can be something of a megalomaniac.
DMH: What would be your dream project?
TN: Courtney with color interiors. Seriously, I'm pretty much doing exactly what I want. The one thing I still dream of is a solid fan following for my work. But that seems to be coming as well.
DMH: Is there something color brings or adds to a book that you don't feel black and white does or convey to a reader?
TN: Well, I think that black and white should be a choice, rather than a necessity. I think lots of comics readers notice that B&W books are the same price as color books, but they're printed on cheaper paper and they're less luxurious. You don't tend to see too many black and white movies out there any more, and when you do, crowds tend to avoid them, unless they have the big Spielberg name on them. It can be artistic, but usually it's just an indication that the book is small press. But the main reason I'd like Courtney to be in color is because I think it looks better, and more atmospheric. I'd like to color it myself. I'm really pleased with the covers, and I wish the whole book could look like that.
DMH: What are your thoughts on the comic industry?
TN: I think it's in trouble, but it's been in trouble for almost ten years. One problem the industry has is its addiction to the superhero genre. There seem to be polarized camps that are pro-superhero and anti-superhero. The pro-superhero camp is running out of ideas, and the anti- camp tries to distance itself so much that it doesn't see the things that hero books do well. I'm impressed with CrossGen because they seem to have found a nice solution--doing lots of fantasy and making it all look slick and nice.
But the really innovative ideas are coming out of Oni Press, who are trying out whole new genres and bringing a fresh audience to the medium. Let's face it, something has to be done to bring more fans into the stores, and I think the industry is just beginning to take steps in the right direction.
DMH: There does seem to be a lot of infighting and pointing blame, but no real unity to fix the problem or come up with a solution. Obviously there is room for the superhero genre as well as expanding on other genres, something I've noticed happening as of late.
TN: I totally agree, but I also see the industry starting to come together. Artists that cut their teeth at Vertigo/DC are now becoming the industry standards, on the top marvel books. I suspect the industry is beginning to go through a rebirth.
DMH: Superhero titles have very loyal fans, due more to the character than the creators, but I’ve been seeing more and more people following creators instead lately.
TN: I get a lot of fans staring at my (admittedly unpronounceable) name and saying, "do you know Gloomcookie?" It's the same in lots of industries; the names in the credits are too hard to keep track of unless they're top-billed, like Arnold Schwarzenegger or Stephen King. It's the titles that are easiest to remember. I think it'll always be like that to some extent. For that reason, I'd prefer my signature work to belong to me. I don't see spending twenty years of my life drawing the X-Men, or putting the very best work I'll ever do into Batman. I'd rather put my all into my own creations, and make sure that I stay in control of them. It's not always possible, of course, but that's the way I prefer it.
DMH: What do you like about the comic industry specifically?
TN: One thing I've always liked about the comics is how much the audience feels a part of it, with fan letters printed in the backs of issues and comics creators more or less available for chats at conventions. A few people came up to me at Megacon in Florida last weekend and made suggestions about what they would like to see in Courtney, and I'm going to take their advice. How often is that possible in the movie industry?
Also, almost half the fans have an idea for a series, or want to draw comics themselves. They feel close enough to the work that they want to do it, too. Unfortunately, most companies these days are refusing submissions, so people are feeling a little disconnected. Consequently they are less interested in the medium. I think that much of people's interest in comics is the dream of one-day writing or drawing one. That was certainly one of my reasons in the beginning.
DMH: Do you keep up on current goings-on?
TN: I sent a submission recently to Axel Alonso at Vertigo. So no, I don't keep up as much as I should. As for reading, it's hard to know what to buy that's good these days. Oni has been keeping me updated with their stuff, most of which is really good. But when I get too caught up in reading and looking at art, I can get a little insecure about the worth of my own work. It's sometimes better to keep my distance and imagine that my latest offering is the best thing the industry has seen in years. But I do occasionally take a look at what's out there, and get my bubble blown (and go back and think up something even better).
DMH: Do you prefer serialized comics or original graphic novels and trades?
I prefer a story that doesn't go on too long. I need a "The End" somewhere in a series once in a while or I just can't be bothered. Trades are easier to keep handy, but I never bought the Watchmen Trade. Still got the individual issues. It's hard to say.
DMH: What are your favorite foods?
TN: Sushi.
DMH: I love sushi! Do you have any favorites? I prefer ebi, smoked
eel, and tuna.
TN: Saba!!! I like my ebi raw, with a little lemon. I also like smoked salmon and avocado. I believe its typically called Alaska Roll
DMH: What is your favorite movie and album?
TN: Movie - Hedwig and the Angry Inch, music – Pulp: Different Class.
DMH: I haven’t heard of Hedwig, what’s it about?
TN: Hedwig is a movie about a transsexual glam-rock singer from communist East Berlin. She spends the movie trailing her ex-lover's much more successful tour because he stole all her songs, and telling stories of her life to indifferent audiences. She plays in this chain of seafood restaurants called Bilgewaters'. It's hilariously funny, and incredibly moving. Before you know it, you're identifying with this totally bizarre person, regardless of what a self-involved jerk she seems to be. You're totally inside her. It's an amazing film. And the music's great. Unlike Moulin Rouge, the songs are all original to the story.
DMH: What movie are you most looking forward to watching in 2002?
TN: You want me to say Two Towers, don't you?
DMH: J. Torres said the same thing in his interview, but the movie he used was Episode 2. Actually the answer I'm looking for is Spider-Man, yes Spider-Man was the correct answer.
Any favorite actor, actress, director that if they make a movie you are going opening day or movie you'll wait in line for?
TN: I waited in line for Episode one, but I don't think I'll do that again for any film. I would have for Lord of the Rings, but didn't have anyone to do it with, and after seeing it, I'm glad I didn't. Waiting in line is an act or worship, but it's worshipping hype. I was disappointed by both those movies (far less so by LoTR than E1) and felt like the hype machine played me for a fool.
I think I am looking forward to Spiderman the most, but isn't Matrix 2 coming out? Or Blade 2? I usually find that my favorite movies are the ones I least expect.
DMH: Favorite singer, band?
TN: David Bowie or London Suede
DMH: What do you like to do in your free time, to unwind?
TN: Draw comics.
DMH: I imagine there's a freedom art brings.
TN: You get to try on different identities and live in different worlds, say and do things you never could in the real world. It's make-believe, it’s an expression of the inner life.
DMH: I remember you mentioning you won't be making your living off
Courtney Crumrin, so what do you do? Any other fields of work? I know a lot of artists do graphic design work to pay the bills.
TN: I've done video game art for a few years. It's okay. Definitely a fun mental exercise, getting art out of those constrained rules of technology and computer memory. I've gotten a few offers recently now that the games industry is taking off again, but I don't know how interested I am. I'd just as soon do more Star Wars or Buffy comics for Dark Horse, or maybe get a Batman fill-in. I can do a kick ass Batman.
DMH: Jobs you've had to take to chase your dream and continue doing comics?
TN: Nothing too humiliating so far. It's the jobs that didn't happen that make the best stories. I have a section on my website of sketches for a teenage rat rock and roll band comic. After a few meetings it became obvious that I was indulging the delusions of a total ding-a-ling with nothing real to offer. It happens occasionally. These days if I want to do free work for some idiot with a half-baked idea and delusions of grandeur, that idiot is going to be me.
DMH: Where would you take someone who's never been to San Francisco?
TN: Trannyshack, Millenium Restaurant, Annie's Bail-Bonds and Karaoke Bar.
DMH: What comic store do you go to?
TN: Comics and Da-Kind. It's just been taken over by this great guy with a brilliant new approach for making comics feel hip again. It's decorated nicely, comfortable, and if you want you can grab your favorite comic, read it stretched out on a leather sofa, and then chat about it with the owner or the hip staff. It’s a totally friendly and fun place.
DMH: Any crazy comic stories you’d like to share?
TN: Let me get more famous, and get back to you. Jamie Rich and I have a date to go karaokeing at the next convention. We'll see if it gets embarrassing
Thanks Ted.
Be sure to pick up Ted Naifeh’s Courtney Crumrin and The Night Things, Courtney Crumrin and The Coven of Mystics on shelves NOW from Oni Press as well as How Loathing from NBM!
By Denny Haynes
Ted Naifeh is the creator of the new Oni Press title Courtney Crumrin & The Night Things. He first came to reader’s attention with his work on ‘Gloom Cookie’ and the recent 3-issue mini series written by Dan Brereton, ‘The Gunwitch.’ I had the pleasure of meeting this talented artist and now writer at this year’s Megacon in Orlando.
DMH: Did you read comics growing up?
TN: Like a lot of my contemporaries, I was brought into the fold by Dark Knight, and Alan Moore comics like Swamp Thing and Watchmen. Mage and Grendel by Matt Wagner were also a huge influence. I was a teenager, and felt a little silly at first reading comics, but it quickly became apparent that I was not alone in my interest.
DMH: How have Moore, Miller and Wagner influenced your writing?
TN: Wagner was one of my favorites because his work was so comfortable and smooth. His dialog felt very natural. Also, Grendel was just a sexy character, both the Hunter Rose incarnation and Christine Spar.
Miller was just sheer emotion, and his stories really pack a wallop. I can only hope to someday produce comics that hit as hard as his.
Moore is a little different, being a writer. Since he always collaborates with another creator, his work has a different feel on every project. But I do love how he plays with the medium, uses the dangling caption, where one scene ends with a thought that eerily echoes the situation in the next scene in a fun, ironic way. It's incredibly pulpy and incredibly clever whenever he does it. I think Alan is at his best when he's being both pulpy and clever. I guess he inspired my interest in taking light pop source material, for example a comic book character, and imbuing it with real depth. No one else does it quite like him, except perhaps Miller.
DMH: How have Mignola, Charest, and McKean influenced your art?
TN: One word: Design. All three of those creators are brilliant designers, their work is presented in a simple, easy to read style, but each one takes a sophisticated, unique approach to it. I'm striving to make comics that aren't difficult to dive into, that are clearly decipherable for even non-comics readers.
One problem I've noticed with lots of comics is that unless you're an avid reader, it takes a moment to work out what's going on in the page, and you really have to view them panel by panel. This is changing, and more and more comics become clear and elegantly designed, but I would say that this is due predominantly to the influence of artists like Mignola. It certainly isn't due to Jim Lee, or other masters of insane detail like Art Adams and Todd Mcfarlane. They appeal for wholly different reasons. Travis Charest seems to handle both sides really well, being insanely detailed yet perfectly clear and designed. Needless to say, he seems to have found this level of quality impossible to keep up on a monthly basis. Alas.
DMH: Why comics? Why did you want to get into this industry?
TN: I'm an artist, but I love stories, and comics are a great visual storytelling medium. It can also be a one-man show, where I can make all the decisions and do all the work as well. I heard recently that Paul Dini (co-creator of the amazing Batman animated series among other accomplishments) was amazed that Oni Press would let him do whatever he wanted. Can you imagine someone with a track record that impressive struggling to push through every project? In comics, there's less at stake, so there's more freedom to be innovative. It's the freedom of having little to lose, and a lot to gain.
DMH: So how did you get started in comics?
TN: I drew a bunch of Batman pages and took them to the local convention. People never quite believe that you can get jobs that way, but it works. I got a promising review from Innovation Comics, and they told me to follow up and send a copy of my portfolio to them. I did, and they gave me a job adapting the Gene Wolfe fantasy novel Shadow of the Torturer. Of course that was back in the day when there was more work, and the same portfolio might not have gotten me work today. I'm not altogether sure that's such a bad thing, though. Have you ever heard the theory that every artist has about 200 bad pages to draw before the good pages start coming? I had about a thousand.
DMH: You’re too hard on yourself. What are your favorite comics or characters, past and present, and why do you like them?
TN: Batman is an enduring favorite, because he so perfectly represents all the contradictions of the superhero myth. I loved the Christine Spar Grendel: amazing story, and a great character. Rorshach from Watchmen is awesome. What a brilliant deconstruction of the superhero genre that book was, and Rorshach was such an amazing deconstructed superhero. His ideals were so pure, but he was basically a monster.
DMH: What character would you like to write/draw?
TN: Batman. If I do get to draw an established character, I'd like to draw the Dark Knight Detective. What can I say, I'm a fanboy.
DMH: Who are your favorite creators and how did they influence you?
TN: Of course, Moore, Miller and Wagner are three main influences. Neil Gaiman has blown me away from time to time, in as much as I can be blown away now that I've grown and become a professional myself. In terms of art I'm a sucker for Mike Mignola lately, and Travis Charest. Boy, that Charest just kills me. His sense of page design is superb, and his rendering style knocks me out. But my lasting awe goes to Dave McKean. He just does amazing work on everything he touches. He demonstrated to me that there were no limits to how different you can be from the status quo. I wish there were more like him.
DMH: Who are your favorite non-comic creators?
TN: I'm a big fan of early 20th century art, like Aubrey Beardsley, Arthur Rackham, and Gustav Klimt. Those were the artists that really started using line and composition in illustration the way I like. It was really the influence of Japanese prints, which were beginning to proliferate in Europe at the time. Tamara Lampika was also really cool and so was Modigliani. Of course these days I really get into Edward Gorey, though he almost counts as a comic artist.
DMH: How have Beardsley, Rackham and Klimt influenced your work? Any particular pieces that just blew your mind away?
TN: Beardsley did a series of illustrations for Oscar Wilde's Salome play that's just gorgeous. Rackham's illustrations for Alice in Wonderland are particularly nice. But it's not really the individual pieces from artists that excite me, it’s the universe created by the collections.
DMH: How did your parents feel about your choice of occupation?
TN: I think they're relieved that I'm not slinging burgers, considering the scandal that was my early education. They've been incredibly supportive of my creative side, sent me to a private art instructor, paid for college classes, etc. I think they knew that they had to encourage it, since it was the only thing I had any enthusiasm for. I even run ideas by them and they give me feedback.
DMH: Ooh, what types of scandals?
TN: Not what you're thinking, you dirty-minded so-and-so. I just consider the California public school system to be a scandal. It's understaffed and under-funded, and has some of the lowest sat scores in the country. I also feel that being a schoolteacher should be a sought-after profession like being a doctor, and involve a huge salary. Then maybe the teaching staffs at schools wouldn't be such bitter, undervalued people. Okay, rant over.
DMH: Any projects your parents said you shouldn't do
TN: Nope, they've been pretty supportive all the way through. They particularly like Courtney and my mom even suggested that most good children's stories involved kids that hated their parents. It's a concept that seems to resonate.
DMH: People are always interested in how other creators write their stories. What is your method?
TN: It starts with an idea or scene coming to me, and I start sketching out characters. It takes about three or four attempts before something happens and they take on a bit of life. Once they're looking back at me from the page, I can start writing out a synopsis of their first adventure, and then a script.
Coming up with stories is a mixture of intuition, emotional resonance and blatant theft. Sometimes I have to think to myself "Ghost meets Manchurian Candidate", or some such nonsense, to get the ideas going in the right direction. Also, I try to imagine an emotional experience for the characters that resonates for me, and then write a story around that. With my current project, Courtney Crumrin, it was about the overwhelming powerlessness and rage of being a kid. Once I had that goal, to create that experience, it was just a matter of trying to get there.
DMH: Any sort of particular atmosphere/aesthetic when working?
TN: I have a process that involves coming up with ideas while falling asleep, or driving, or drawing, and thinking it through. When I write it down I need total silence. But often I come up with great ideas while watching bad television or mediocre movies. With great movies, there's little point because they've come together so well, and they usually have good imagination. But with lousy movies, you can occasionally see where it went wrong, where it missed an opportunity, and you catch a glimpse of a whole other movie. That gets my imagination going, and from there new ideas start firing. Unlike some artists, I can't come up with ideas by drawing characters and then imagining stories for them. I need the story first.
DMH: What do you do to get the creative juices flowing, especially if you get stuck?
TN: These days I don't tend to have a problem with inspiration. But after endless hours on, say, a Star Wars book, it's a little difficult to keep up the interest. I find that it helps to go find fresh inspiration, a new comic, art I haven't looked at in a while, just to recharge the imagination. I'm afraid I also tend to do a bit too much net surfing. I used to be a dangerous online video game player, but I had to cut that off before it destroyed my career. Sometimes it just takes a monumental act of will to just face the page and keep working. Rent is the biggest motivation for some things.
DMH: How did you enjoy working with Dan Brereton on ‘The Gunwitch’ mini-series?
TN: Very much. He'd made some sketches of most of the characters beforehand, so I got to put my own flavor onto them. The result was a book that felt like a union between our styles. I was very proud of that, and the Brereton fans really appreciated it.
DMH: Did you learn anything from that experience?
TN: I learned a little more about page design, and a lot about character design. I also learned a valuable lesson about the importance of confidence in storytelling. Dan in particular is as confident a storyteller as he is an artist, and the results work well.
DMH: Let’s talk about your new book Courtney Crumrin and The Night Things from Oni Press. What's it about?
TN: Courtney Crumrin is a young girl whose family moves into a creepy old mansion in a wealthy suburb. She's faced with adapting to a new school, dealing with her spoilt classmates and the presence of strange creatures that roam through her new home at night. She gets bullied after school every day and scared out of her wits every night. But she discovers that her uncle Aloysius, the owner of the house, is something of a warlock, and among his collection of books she finds the means to fight back.
Courtney is basically a children's book in the tradition of Roald Dahl or JK Rowling, but darker and more sardonic. Whenever I read children's stories, I often find that I have trouble understanding how the characters manage to have such a thoroughly developed moral compass and such a sense of fairness. The fun thing about Courtney is that when the world bites her, she bites back hard. When I was a kid, that was how we all were. She's as close to the Punisher as a little blonde eleven-year-old girl can get, the kind of kid I can relate to.
DMH: Is there a reason Courtney doesn't have a nose, or is it just you like the look?
TN: Hello Kitty doesn't have a mouth.
It gets back to an idea put forward by Scott McCloud in Understanding Comics. The simpler the central character appears in a comic, the more the reader identifies with them. It's sort of the language of comic story telling, that connects directly with the brain. Simplifying the character separates her from the reality of the story, indicating a representation of her self-image. All the other characters are more realistically drawn, though they also are a representation of her self-image.
Oh, and it looks cute.
DMH: What are your plans for AFTER the initial Courtney mini-series?
TN: It's going to be four episodes in her life, as she learns more about her new home, her uncle and the community of night things. They're stand-alone stories, but each will follow a narrative of Courtney's progress.
DMH: You want a Harry Potter movie deal, don't you!
TN: Ya got me. Seriously, I'd be happy to get a television deal. Whatever brings in a little money, and makes it possible for me to keep doing comics. But I have this secret dream of seeing the series done with CGI like a creepy Toy Story, or even better puppetry animation like Nightmare Before Christmas.
DMH: What did you learn from your previous work experiences?
TN: The best way to learn any part of making comics is to learn every part. Once you can do it all, you have a better idea how best to do each part. On Courtney I'm doing everything from the writing to the lettering, coloring the cover, laying out the inside front and back pages (except for the Oni info), and I'm even taking part in the promotional campaign. It's all part of the art of making comics. Yes, I can be something of a megalomaniac.
DMH: What would be your dream project?
TN: Courtney with color interiors. Seriously, I'm pretty much doing exactly what I want. The one thing I still dream of is a solid fan following for my work. But that seems to be coming as well.
DMH: Is there something color brings or adds to a book that you don't feel black and white does or convey to a reader?
TN: Well, I think that black and white should be a choice, rather than a necessity. I think lots of comics readers notice that B&W books are the same price as color books, but they're printed on cheaper paper and they're less luxurious. You don't tend to see too many black and white movies out there any more, and when you do, crowds tend to avoid them, unless they have the big Spielberg name on them. It can be artistic, but usually it's just an indication that the book is small press. But the main reason I'd like Courtney to be in color is because I think it looks better, and more atmospheric. I'd like to color it myself. I'm really pleased with the covers, and I wish the whole book could look like that.
DMH: What are your thoughts on the comic industry?
TN: I think it's in trouble, but it's been in trouble for almost ten years. One problem the industry has is its addiction to the superhero genre. There seem to be polarized camps that are pro-superhero and anti-superhero. The pro-superhero camp is running out of ideas, and the anti- camp tries to distance itself so much that it doesn't see the things that hero books do well. I'm impressed with CrossGen because they seem to have found a nice solution--doing lots of fantasy and making it all look slick and nice.
But the really innovative ideas are coming out of Oni Press, who are trying out whole new genres and bringing a fresh audience to the medium. Let's face it, something has to be done to bring more fans into the stores, and I think the industry is just beginning to take steps in the right direction.
DMH: There does seem to be a lot of infighting and pointing blame, but no real unity to fix the problem or come up with a solution. Obviously there is room for the superhero genre as well as expanding on other genres, something I've noticed happening as of late.
TN: I totally agree, but I also see the industry starting to come together. Artists that cut their teeth at Vertigo/DC are now becoming the industry standards, on the top marvel books. I suspect the industry is beginning to go through a rebirth.
DMH: Superhero titles have very loyal fans, due more to the character than the creators, but I’ve been seeing more and more people following creators instead lately.
TN: I get a lot of fans staring at my (admittedly unpronounceable) name and saying, "do you know Gloomcookie?" It's the same in lots of industries; the names in the credits are too hard to keep track of unless they're top-billed, like Arnold Schwarzenegger or Stephen King. It's the titles that are easiest to remember. I think it'll always be like that to some extent. For that reason, I'd prefer my signature work to belong to me. I don't see spending twenty years of my life drawing the X-Men, or putting the very best work I'll ever do into Batman. I'd rather put my all into my own creations, and make sure that I stay in control of them. It's not always possible, of course, but that's the way I prefer it.
DMH: What do you like about the comic industry specifically?
TN: One thing I've always liked about the comics is how much the audience feels a part of it, with fan letters printed in the backs of issues and comics creators more or less available for chats at conventions. A few people came up to me at Megacon in Florida last weekend and made suggestions about what they would like to see in Courtney, and I'm going to take their advice. How often is that possible in the movie industry?
Also, almost half the fans have an idea for a series, or want to draw comics themselves. They feel close enough to the work that they want to do it, too. Unfortunately, most companies these days are refusing submissions, so people are feeling a little disconnected. Consequently they are less interested in the medium. I think that much of people's interest in comics is the dream of one-day writing or drawing one. That was certainly one of my reasons in the beginning.
DMH: Do you keep up on current goings-on?
TN: I sent a submission recently to Axel Alonso at Vertigo. So no, I don't keep up as much as I should. As for reading, it's hard to know what to buy that's good these days. Oni has been keeping me updated with their stuff, most of which is really good. But when I get too caught up in reading and looking at art, I can get a little insecure about the worth of my own work. It's sometimes better to keep my distance and imagine that my latest offering is the best thing the industry has seen in years. But I do occasionally take a look at what's out there, and get my bubble blown (and go back and think up something even better).
DMH: Do you prefer serialized comics or original graphic novels and trades?
I prefer a story that doesn't go on too long. I need a "The End" somewhere in a series once in a while or I just can't be bothered. Trades are easier to keep handy, but I never bought the Watchmen Trade. Still got the individual issues. It's hard to say.
DMH: What are your favorite foods?
TN: Sushi.
DMH: I love sushi! Do you have any favorites? I prefer ebi, smoked
eel, and tuna.
TN: Saba!!! I like my ebi raw, with a little lemon. I also like smoked salmon and avocado. I believe its typically called Alaska Roll
DMH: What is your favorite movie and album?
TN: Movie - Hedwig and the Angry Inch, music – Pulp: Different Class.
DMH: I haven’t heard of Hedwig, what’s it about?
TN: Hedwig is a movie about a transsexual glam-rock singer from communist East Berlin. She spends the movie trailing her ex-lover's much more successful tour because he stole all her songs, and telling stories of her life to indifferent audiences. She plays in this chain of seafood restaurants called Bilgewaters'. It's hilariously funny, and incredibly moving. Before you know it, you're identifying with this totally bizarre person, regardless of what a self-involved jerk she seems to be. You're totally inside her. It's an amazing film. And the music's great. Unlike Moulin Rouge, the songs are all original to the story.
DMH: What movie are you most looking forward to watching in 2002?
TN: You want me to say Two Towers, don't you?
DMH: J. Torres said the same thing in his interview, but the movie he used was Episode 2. Actually the answer I'm looking for is Spider-Man, yes Spider-Man was the correct answer.
Any favorite actor, actress, director that if they make a movie you are going opening day or movie you'll wait in line for?
TN: I waited in line for Episode one, but I don't think I'll do that again for any film. I would have for Lord of the Rings, but didn't have anyone to do it with, and after seeing it, I'm glad I didn't. Waiting in line is an act or worship, but it's worshipping hype. I was disappointed by both those movies (far less so by LoTR than E1) and felt like the hype machine played me for a fool.
I think I am looking forward to Spiderman the most, but isn't Matrix 2 coming out? Or Blade 2? I usually find that my favorite movies are the ones I least expect.
DMH: Favorite singer, band?
TN: David Bowie or London Suede
DMH: What do you like to do in your free time, to unwind?
TN: Draw comics.
DMH: I imagine there's a freedom art brings.
TN: You get to try on different identities and live in different worlds, say and do things you never could in the real world. It's make-believe, it’s an expression of the inner life.
DMH: I remember you mentioning you won't be making your living off
Courtney Crumrin, so what do you do? Any other fields of work? I know a lot of artists do graphic design work to pay the bills.
TN: I've done video game art for a few years. It's okay. Definitely a fun mental exercise, getting art out of those constrained rules of technology and computer memory. I've gotten a few offers recently now that the games industry is taking off again, but I don't know how interested I am. I'd just as soon do more Star Wars or Buffy comics for Dark Horse, or maybe get a Batman fill-in. I can do a kick ass Batman.
DMH: Jobs you've had to take to chase your dream and continue doing comics?
TN: Nothing too humiliating so far. It's the jobs that didn't happen that make the best stories. I have a section on my website of sketches for a teenage rat rock and roll band comic. After a few meetings it became obvious that I was indulging the delusions of a total ding-a-ling with nothing real to offer. It happens occasionally. These days if I want to do free work for some idiot with a half-baked idea and delusions of grandeur, that idiot is going to be me.
DMH: Where would you take someone who's never been to San Francisco?
TN: Trannyshack, Millenium Restaurant, Annie's Bail-Bonds and Karaoke Bar.
DMH: What comic store do you go to?
TN: Comics and Da-Kind. It's just been taken over by this great guy with a brilliant new approach for making comics feel hip again. It's decorated nicely, comfortable, and if you want you can grab your favorite comic, read it stretched out on a leather sofa, and then chat about it with the owner or the hip staff. It’s a totally friendly and fun place.
DMH: Any crazy comic stories you’d like to share?
TN: Let me get more famous, and get back to you. Jamie Rich and I have a date to go karaokeing at the next convention. We'll see if it gets embarrassing
Thanks Ted.
Be sure to pick up Ted Naifeh’s Courtney Crumrin and The Night Things, Courtney Crumrin and The Coven of Mystics on shelves NOW from Oni Press as well as How Loathing from NBM!
Friday, July 25, 2003
What Influences Your Comic Book Buying
by Denny Haynes
When I first began reading comics, in 1982, my reading was influenced by what was in the box given to me by my dad’s friend. It was pretty cool as it had a wide range of Marvel and DC titles. I soon choose my favorites, Spider-Man and Daredevil. I loved those two titles. I wasn’t big on DC as, actually I don’t know why, it just didn’t click for me. Marvel also had those cool handbooks I could tape to the window and trace.
When I moved in 1984 to Fort Knox my parent’s let me pick up a comic of my choosing, I think they knew I was bored as it was the summer and I hadn’t made any friends yet. So my mom told me I could buy one. The first comic I ever bought was The All New All Different Peter Parker the Spectacular Spider-Man #107, I always liked Spidey best. From there I picked up all of his titles: Amazing Spider-Man, Web of Spider-Man, and Marvel Tales starring Spider-Man, later Spider-Man in 1990. It was awesome because every week a new Spidey comic would come out.
I remember when Fall of the Mutants came out I really wanted to buy it to see what was going on, my mom told me no. She said that I read Spider-Man and that I wasn’t allowed to start buying everything that caught my fancy. You might think it’s mean but it makes sense, otherwise you’ll have a child wanting to buy every comic he sees and that could become expensive. I was getting at least one comic a week and prices were starting to go up so my comic buying was influenced by my parents from 1984-1991.
Well in 1991, we no longer lived on the military base and I was beginning to buy my comics from a comic store. I saw X-Force and X-Men #1 and convinced my mom to buy me those two comics. So thus began my purchasing of the X-titles, which increased my reading from 5 titles to 8. As we all know a year later seven hot artists left Marvel to form their own upstart company. As I was a big fan of Todd McFarlane, Erik Larsen, Jim Lee, and Whilce Portacio I had to go check out their creator owned titles, probably my first exposure to that term. My mom was cool about it and supported my love for comic books, she always said, “He could be into other things, like drugs.”
Wizard was also beginning to get hot at this time and they hyped a lot of Image’s books as well as other Marvel, DC, and Dark Horse titles I never read. So my comic purchases slowly grew to a $75 a week habit. I was reading Marvel, Image, Valiant, Ultraverse and DC titles. I was being influenced by Wizard and the comics they spotlighted and said were “hot”. I was a part of the speculator mentality and it influenced my purchases, can you say “multiple copies…I knew you could.”
Once I went to college, University of Kentucky, I had to start cutting back, which wasn’t too hard. Once you stop buying multiple copies, Valiant, Ultraverse, and everything Liefeld put out (the man released more books than Marvel and DC combined) you start saving money. I started being more selective in my purchases although they mainly were from Marvel, DC, and Image. I was leery of picking up new books as I was burned by the speculator era. I was still being influenced by Wizard and what they spotlighted, the lingering memories of the speculator era, and being poor.
In April of this year I got a job in a government agency, which was about to experience a downtime of about four months. I had access to the Internet and started looking for comic related sites. I was told about Warren Ellis’ column at CBR and began reading it as well as some of his other works I had never looked at before, like Hellblazer. He was saying some great things and was telling people to go out and read comics that they have never read, to question your purchases, and speaking about the industry in general. He recommended other trades to read, which was foreign to me as I only buy the serials/original issues, and Internet sites to visit. One site Warren recommended was Jinxworld.
I was interested in Bendis’ works and found his board, which had some pretty cool people on it. I didn’t agree with everything they said, mainly about societal issues, but they were talking about some good comics I soon learned. I got on eBay and started tracking down books I was told were really good or had thought of buying. Ironically my first purchase wasn’t a comic but two novels by Derek Raymond recommended by Warren Ellis. In regards to comics, I bought a ton of stuff. The list includes:
-Alan Moore’s From Hell, Swamp Thing, and Supreme
-Grant Morrison’s Invisibles Vol. I-III, Animal Man, Doom Patrol, and Arkham Asylum
-Neil Gaiman’s Sandman
-Greg Rucka’s Whiteout
-Garth Ennis’ Hitman
-Will Eisner’s Graphic Novels
-Chris Ware’s Acme Novelty Library
-Brian Michael Bendis’ Fortune & Glory
-Carla Speed-McNeil’s Finder
-Ed Brubaker’s Deadenders
-Art Spiegleman’s Maus
-Metabarons
There are numerous other titles that I’m looking into right now like The Waiting Place, Optic Nerve, etc at Comicopia in Boston. I am being influenced now by my “friends” on the Bendis board, Warren Ellis, and his forum.
What’s the point of this column? Well it is posing to you, the reader, a question. What is influencing your purchasing? I think most everyone is influenced by internal and external reasons. Internal reasons include love for reading, love of art, wanting something quick and fun to read, a collector mentality, obsession/addiction, and being immersed in the storyline. External reasons include comic magazines, retailers, internet, creators, and friends.
Whatever influences you, you should make sure that they are giving you the whole picture and not just parts of it. Wizard hypes projects mainly by Marvel, DC, and Image mentioning some independent titles, but barely hitting the tip of the iceberg. The Comic Journal hypes independent titles to the point of being biased towards mainstream comics. In my opinion both these magazines are biased and showing only half of what is out there. Warren Ellis recommends a lot of industry changing material, but has a little bias against super hero titles; you’ve read his columns. Retailers influence people by recommending titles to buy whether out of love of the industry or love for money, but not every comic store keeps up with every great title. Friends influence you but they could have as limited an exposure to what is out there as you do.
I never gave independent titles a look. At first, I never even knew they existed as they were not getting to the newsstands like Marvel and DC, and later when I started seeing them I felt they didn’t have the same quality. They were after all black and white comics, published on cheaper paper and where were the enhanced covers. Heck I didn’t think they existed until the 90’s. Obviously titles such as Cerebus, Love & Rockets, Berlin, and Stray Bullets have proven that black and white independent books can be as good if not better than mainstream titles. It is your job to go out into the comic industry to find books that you enjoy, whether they be by Marvel/,DC/Image Fantagraphics/Cartoon Books/El Capitan, or an individual’s “company” such as Lightspeed Press/Altered Realities/JohnG Inc.
by Denny Haynes
When I first began reading comics, in 1982, my reading was influenced by what was in the box given to me by my dad’s friend. It was pretty cool as it had a wide range of Marvel and DC titles. I soon choose my favorites, Spider-Man and Daredevil. I loved those two titles. I wasn’t big on DC as, actually I don’t know why, it just didn’t click for me. Marvel also had those cool handbooks I could tape to the window and trace.
When I moved in 1984 to Fort Knox my parent’s let me pick up a comic of my choosing, I think they knew I was bored as it was the summer and I hadn’t made any friends yet. So my mom told me I could buy one. The first comic I ever bought was The All New All Different Peter Parker the Spectacular Spider-Man #107, I always liked Spidey best. From there I picked up all of his titles: Amazing Spider-Man, Web of Spider-Man, and Marvel Tales starring Spider-Man, later Spider-Man in 1990. It was awesome because every week a new Spidey comic would come out.
I remember when Fall of the Mutants came out I really wanted to buy it to see what was going on, my mom told me no. She said that I read Spider-Man and that I wasn’t allowed to start buying everything that caught my fancy. You might think it’s mean but it makes sense, otherwise you’ll have a child wanting to buy every comic he sees and that could become expensive. I was getting at least one comic a week and prices were starting to go up so my comic buying was influenced by my parents from 1984-1991.
Well in 1991, we no longer lived on the military base and I was beginning to buy my comics from a comic store. I saw X-Force and X-Men #1 and convinced my mom to buy me those two comics. So thus began my purchasing of the X-titles, which increased my reading from 5 titles to 8. As we all know a year later seven hot artists left Marvel to form their own upstart company. As I was a big fan of Todd McFarlane, Erik Larsen, Jim Lee, and Whilce Portacio I had to go check out their creator owned titles, probably my first exposure to that term. My mom was cool about it and supported my love for comic books, she always said, “He could be into other things, like drugs.”
Wizard was also beginning to get hot at this time and they hyped a lot of Image’s books as well as other Marvel, DC, and Dark Horse titles I never read. So my comic purchases slowly grew to a $75 a week habit. I was reading Marvel, Image, Valiant, Ultraverse and DC titles. I was being influenced by Wizard and the comics they spotlighted and said were “hot”. I was a part of the speculator mentality and it influenced my purchases, can you say “multiple copies…I knew you could.”
Once I went to college, University of Kentucky, I had to start cutting back, which wasn’t too hard. Once you stop buying multiple copies, Valiant, Ultraverse, and everything Liefeld put out (the man released more books than Marvel and DC combined) you start saving money. I started being more selective in my purchases although they mainly were from Marvel, DC, and Image. I was leery of picking up new books as I was burned by the speculator era. I was still being influenced by Wizard and what they spotlighted, the lingering memories of the speculator era, and being poor.
In April of this year I got a job in a government agency, which was about to experience a downtime of about four months. I had access to the Internet and started looking for comic related sites. I was told about Warren Ellis’ column at CBR and began reading it as well as some of his other works I had never looked at before, like Hellblazer. He was saying some great things and was telling people to go out and read comics that they have never read, to question your purchases, and speaking about the industry in general. He recommended other trades to read, which was foreign to me as I only buy the serials/original issues, and Internet sites to visit. One site Warren recommended was Jinxworld.
I was interested in Bendis’ works and found his board, which had some pretty cool people on it. I didn’t agree with everything they said, mainly about societal issues, but they were talking about some good comics I soon learned. I got on eBay and started tracking down books I was told were really good or had thought of buying. Ironically my first purchase wasn’t a comic but two novels by Derek Raymond recommended by Warren Ellis. In regards to comics, I bought a ton of stuff. The list includes:
-Alan Moore’s From Hell, Swamp Thing, and Supreme
-Grant Morrison’s Invisibles Vol. I-III, Animal Man, Doom Patrol, and Arkham Asylum
-Neil Gaiman’s Sandman
-Greg Rucka’s Whiteout
-Garth Ennis’ Hitman
-Will Eisner’s Graphic Novels
-Chris Ware’s Acme Novelty Library
-Brian Michael Bendis’ Fortune & Glory
-Carla Speed-McNeil’s Finder
-Ed Brubaker’s Deadenders
-Art Spiegleman’s Maus
-Metabarons
There are numerous other titles that I’m looking into right now like The Waiting Place, Optic Nerve, etc at Comicopia in Boston. I am being influenced now by my “friends” on the Bendis board, Warren Ellis, and his forum.
What’s the point of this column? Well it is posing to you, the reader, a question. What is influencing your purchasing? I think most everyone is influenced by internal and external reasons. Internal reasons include love for reading, love of art, wanting something quick and fun to read, a collector mentality, obsession/addiction, and being immersed in the storyline. External reasons include comic magazines, retailers, internet, creators, and friends.
Whatever influences you, you should make sure that they are giving you the whole picture and not just parts of it. Wizard hypes projects mainly by Marvel, DC, and Image mentioning some independent titles, but barely hitting the tip of the iceberg. The Comic Journal hypes independent titles to the point of being biased towards mainstream comics. In my opinion both these magazines are biased and showing only half of what is out there. Warren Ellis recommends a lot of industry changing material, but has a little bias against super hero titles; you’ve read his columns. Retailers influence people by recommending titles to buy whether out of love of the industry or love for money, but not every comic store keeps up with every great title. Friends influence you but they could have as limited an exposure to what is out there as you do.
I never gave independent titles a look. At first, I never even knew they existed as they were not getting to the newsstands like Marvel and DC, and later when I started seeing them I felt they didn’t have the same quality. They were after all black and white comics, published on cheaper paper and where were the enhanced covers. Heck I didn’t think they existed until the 90’s. Obviously titles such as Cerebus, Love & Rockets, Berlin, and Stray Bullets have proven that black and white independent books can be as good if not better than mainstream titles. It is your job to go out into the comic industry to find books that you enjoy, whether they be by Marvel/,DC/Image Fantagraphics/Cartoon Books/El Capitan, or an individual’s “company” such as Lightspeed Press/Altered Realities/JohnG Inc.
Thursday, July 24, 2003
CICADA – Original Graphic Novel
By: Denny Haynes
Cicada is an emotional, moving, and powerful story that explores the ramifications of one man’s poor decisions.
I preordered Cicada, a 112-page, black & white original graphic novel by Josué Menjivar off the strength of Top Shelf’s previous comic publications. I couldn’t remember what the book was about, and since there was no back cover text to give me a plot synopsis I started reading it in the car on the way home from the comic store (I can be a little impatient). I do not recommend reading and driving, but traffic was backed up and I was curious to find out what the book I bought was about. I sat in my car, in front of my apartment, until I finished it, which says a lot.
One of the strengths of the story is that it is told using a flashback method, with present day events triggering past memories. Are there any other kinds of memories? Obviously, the memories being recalled are on the main character’s mind, but Josué weaves the tale between past and present beautifully and precisely, and utilizing the backdrop of the Cicadas perfectly. Cicadas are locusts, which emerge every 13 to 17 years. They eat all the vegetation, they mate, and then they die, until the next brood comes.
Menjivar captures the deep loss and hopelessness of the main character, Thomas. Thomas is checking into a hotel to commit suicide due to the poor decisions of his past. Decisions made because of his deep seeded need to be liked. I was completely sucked into the story, opting to go into left turn lanes as often as possible so I could sit and read this book until the light turned green. Which is a testament to how good this story is, as I hate driving in traffic.
The art is solid. Josué did a fantastic job to ensure that there was no confusion between the past and present transitions, or the different characters introduced. Menjivar’s style fits well with the story, his proportions are good, and he utilizes the black and white format to its fullest, creating beautiful panels and pages.
I went in knowing nothing of the story and was completely surprised. I’d recommend anyone interested in picking up this book to read it with as little information as possible so you will be surprised as well. However, for those who would like a little more info, here’s a blurb I stole from Top Shelfwebsite. I’ll even put it in smaller type, just in case.
SPOILER WARNING
STOP READING IF YOU DON’T WANT TOO MUCH INFO ON THE STORY.
“Examining the emotional scars that infidelity can produce, this graphic novel intelligently relates the guilt that one man carries with him to the hibernation cycle of the cicada.” I thought this story illustrated very well, though maybe to an extreme, the hurtful act of infidelity. I wasn’t expecting the major revelation, but you’ll have to read the book to find that out.
END SPOILER WARNING
Overall, this book pleasantly surprised me. From the story to the art, this book has it all. Top Shelf continues their streak of publishing quality original graphic novels, including Box Office Poison, The Soap Lady, A Complete Lowlife, Pistolwhip, Mephisto, and Goodbye, Chunky Rice. I look forward to more work by Josué Menjivar and hope you all give his book, Cicada, a chance.
Writer/Artist: Josué Menjivar
Publisher: Top Shelf
Price: $12.95
Star Code: 14848F
By: Denny Haynes
Cicada is an emotional, moving, and powerful story that explores the ramifications of one man’s poor decisions.
I preordered Cicada, a 112-page, black & white original graphic novel by Josué Menjivar off the strength of Top Shelf’s previous comic publications. I couldn’t remember what the book was about, and since there was no back cover text to give me a plot synopsis I started reading it in the car on the way home from the comic store (I can be a little impatient). I do not recommend reading and driving, but traffic was backed up and I was curious to find out what the book I bought was about. I sat in my car, in front of my apartment, until I finished it, which says a lot.
One of the strengths of the story is that it is told using a flashback method, with present day events triggering past memories. Are there any other kinds of memories? Obviously, the memories being recalled are on the main character’s mind, but Josué weaves the tale between past and present beautifully and precisely, and utilizing the backdrop of the Cicadas perfectly. Cicadas are locusts, which emerge every 13 to 17 years. They eat all the vegetation, they mate, and then they die, until the next brood comes.
Menjivar captures the deep loss and hopelessness of the main character, Thomas. Thomas is checking into a hotel to commit suicide due to the poor decisions of his past. Decisions made because of his deep seeded need to be liked. I was completely sucked into the story, opting to go into left turn lanes as often as possible so I could sit and read this book until the light turned green. Which is a testament to how good this story is, as I hate driving in traffic.
The art is solid. Josué did a fantastic job to ensure that there was no confusion between the past and present transitions, or the different characters introduced. Menjivar’s style fits well with the story, his proportions are good, and he utilizes the black and white format to its fullest, creating beautiful panels and pages.
I went in knowing nothing of the story and was completely surprised. I’d recommend anyone interested in picking up this book to read it with as little information as possible so you will be surprised as well. However, for those who would like a little more info, here’s a blurb I stole from Top Shelfwebsite. I’ll even put it in smaller type, just in case.
SPOILER WARNING
STOP READING IF YOU DON’T WANT TOO MUCH INFO ON THE STORY.
“Examining the emotional scars that infidelity can produce, this graphic novel intelligently relates the guilt that one man carries with him to the hibernation cycle of the cicada.” I thought this story illustrated very well, though maybe to an extreme, the hurtful act of infidelity. I wasn’t expecting the major revelation, but you’ll have to read the book to find that out.
END SPOILER WARNING
Overall, this book pleasantly surprised me. From the story to the art, this book has it all. Top Shelf continues their streak of publishing quality original graphic novels, including Box Office Poison, The Soap Lady, A Complete Lowlife, Pistolwhip, Mephisto, and Goodbye, Chunky Rice. I look forward to more work by Josué Menjivar and hope you all give his book, Cicada, a chance.
Writer/Artist: Josué Menjivar
Publisher: Top Shelf
Price: $12.95
Star Code: 14848F
Monday, July 21, 2003
This interview originally appeared at Comic Book Galaxy back in January 2003, during the time GHM partnered up with CBG. It was my one contribution to the combined site prior to the split.
Brian Hurtt – The GrayHaven Interview
By Denny Haynes
Brian Hurtt is known for his stellar illustrating work on Queen & Country: Operation Morningstar with Greg Rucka and the Skinwalker mini-series from Oni Press. I met him at Wizard World 2002 and a fight soon broke out as he is a Star Crunch lover, while everyone who’s anyone knows it’s all about the Fudge Round. We were able to put our snack food differences aside and chat for a bit.
DMH: I'm curious how you broke into comics.
BH: As anyone will tell you there is really no set formula to this. In my case I was very fortunate to be put in close proximity to people who were willing to look at my portfolio and give me some consideration. I really owe a lot to both Christine Norrie and her husband Andrew Lis. I had known Christine for years. We had worked in the same comic book store back in the day. Anyway, she introduced me to the guys at Oni while I was at WizardWorld Chicago. I had been shuffling from booth to booth with portfolio in hand and I think they saw how beaten down I looked and took pity on me. James Lucas Jones took a look at my portfolio (which just so happened have several pages drawn from a QUEEN & COUNTRY script) and was very positive in his response. He showed it to Jamie Rich who was also very kind. They didn't have any work to give me at the time but I went home with a big grin on my face just the same. A few weeks after that Andrew Lis gave me a call. He was already familiar with my work and had decided to take a chance on me. He gave me my first job which was an 8-page story written by Jen Van Meter and inked by Jim Mahfood that appeared in CAPTAIN AMERICA #50. It was while I was working on that story that I got the call from Oni offering me the opportunity to pencil QUEEN & COUNTRY 5-7. It was unreal. I couldn't believe my luck. Still can't.
DMH: I remember that Captain America story! Mainly because I was a fan of
Jen Van Meter from her work with Oni; you did a great job. Interesting that you've worked with Greg and his wife Jen; how do their scripts differ?
BH: It’s kind of hard to say. Jen’s script was the first comic script I had ever worked from and it seems like a lifetime ago. It’s also kind of hard to get a handle on a writer from an 8-page story. The one thing Greg and Jen share in common is their attention to detail. They’re both talented writers (obviously) but they also show a real understanding of the medium and the art of visual storytelling and that comes across in their scripts.
DMH: How did you get involved in the Skinwalker mini-series?
BH: According to Jamie, he was considering me for SKINWALKER before he had even hired me for Queen&Country. He ran my samples by Nunzio and Christina and they gave the final thumbs up. It was pretty straightforward and sudden actually. I didn't have to pay anybody off. Promise.
DMH: What was it about the projects at Oni that made you want to work there?
BH: Oni gives it's artists, writers, and creators the opportunity to work on projects that they can be proud to be a part of. There are very few companies, in my opinion, that put out the quality and diversity of product that Oni does. You get the feeling that Oni can do anything and do it well. There isn't another company out there who could successfully publish and market anything from Hopeless Savages, Blue Monday and Magic Pickle to books like The Coffin, Queen & Country and Skinwalker. (Let's not forget my favorite Oni book: Courtney Crumrin!)
DMH: What kind of opportunities has working for Oni opened up for you?
BH: Oni has given me the chance to develop as an artist and at the same time work with some amazing writers. There’s a line of artist’s out there who’d cut off their (non-drawing) arm for a chance to work with Rucka. (Believe me it’s worth it. And with that whole phantom limb sensation I hardly even know it’s not there). And I feel amazingly lucky to work with Nunzio and Christina. These two need to be watched closely because I think they are just going to explode onto the scene. There are few people who come in and make as impressive a debut as they did on Skinwalker. More than opportunity though, Oni’s given me a sense of pride. For the first time in my life I’m really proud of what I do. I’m living my dream (minus the being in the parent’s basement thing) and that’s more than most people can say.
DMH: Do you have any interest working for the Big Two or would you rather do creator-owned work?
BH: There are two answers to that question: yes and yes. I would love the opportunity to work for either of the "Big Two". I grew up on that stuff and I think it would be amazing to have the opportunity to come full circle. I’d also love the chance to draw some big dynamic action pieces. I tried convincing Rucka to give Crocker super powers for Queen & Country: Declassified but he wasn’t game. Who doesn’t want to see Crocker flying around and fighting giant robots—ooh there you go, how about a Jason and the Argobots/Queen & Country crossover! Cosmic Crocker vs. Chiron! We could have gold foil alternate covers and everything! But I digress…yeah, it’d be cool to work for those companies but I think it would get out of my system pretty quick. I really don’t have any interest in doing super hero comics in the long run. That doesn’t rule out Vertigo though, I’d still kill to work for them.
As for the question of doing creator-owned work; ultimately that’s all I want to do—for that matter that’s probably all any of us want to do. It’s just very hard and very rare for someone to be able to actually make a living doing so. So if I do have the chance to do that it will probably be few and far between…unless I gets me a sugar momma.
DMH: What is it about creator-owned work that makes you want to focus solely on it?
BH: I think it's probably the dream of most comic book creators. I know that I got into comics because I want to tell stories. Telling stories is in my system and comics are the perfect outlet for that. There is nothing you can't achieve in the medium--no story that can not be told. I think it would be very difficult to put your heart and soul into a story if it did not belong to you though. And that's what creator-owned work represents (or should represent) --the heart and soul of the creator that comes through in a work when the work is something you believe in through and through.
Many creators who are successful in the industry with their own work still seem to do work for Marvel/DC - I think due to their love for these characters from when they were a child.
DMH: Do you ever think there will be a time when independent artists will have no interest "servicing" these corporate icons?
BH: I think that exists to a certain extent already. But I also think that due to the economics of the industry there are creators whose desire to work for these companies comes less from a burning desire to draw guys in spandex and more from necessity. It's the equivalent of John Malkovich taking a big money role in Con Air so he can afford to go and make 10 smaller movies that he believes in. There are VERY few exceptions of people who can afford to work solely in the "independent" field. It's such a rarity that we probably all know their names off the top of our heads.
DMH: What are your upcoming plans in the industry and personally?
DMH: I'll be working on THREE STRIKES with DeFillipis and Weir up until the summer of '03. After that I'll be at a kind of crossroads. One option would be to find some "mainstream" (i.e. rent-paying) work. Otherwise I'm seriously considering finding a full-time job and self-publishing comics on the side. The benefit of that would be that I would have complete control over the content, design and rate of productivity (I'm slow). And that's all good because I'm a control freak.
DMH: What comics are you reading right now and what format do you prefer?
BH: I almost feel a little ashamed to say that I read VERY little right now. I've actually been that way for a few years now. Um... let's see. First off, I buy anything that Paul Pope does. But I have to say that as much as I've liked his Vertigo stuff I think it's his THB work that has the most "life". I'm also a big fan of BONE. I think Jeff Smith is an amazing storyteller.
Over the past year I've also picked up the first two trades of 100 BULLETS and I'm sure that I'll eventually pick them all up. In the past month or so I came across this comic called EPOXY by a guy named John Pham. It's really great stuff and I've been recommending it to everybody.
I'm also a big fan of David Lapham although I've significantly fallen behind in my STRAY BULLETS reading. I need to pick up the most recent hardback collection of that. I did buy the hardback of MURDER ME DEAD a couple months back and I really enjoyed that. I tend to stay away from serial format comics and stick to the trades and even then I'll only buy the hardback if it's available. I want to be able to put the comics I like on a shelf where they are easily accessed instead of having them sit in a pile of white boxes in the basement. If I absolutely can't wait to read the book then I'll buy the individual comics and then give them away when I pick up the trade. I understand the economic reasons behind putting out books in a serialized format but when you know that you're ultimately going to want the trade paperback it seems silly to pay for it twice.
DMH: I'm curious about how you developed as an artist. Did you have any formal training or just practice, practice, practice?
BH: Less of the former, more of the latter. I have always drawn a LOT. I have a sketchbook that never leaves my side. I could probably be diagnosed as a little obsessive-compulsive when it comes to traveling with my sketchbook. I get very uncomfortable and anxious if I leave it at home. It's really like a security blanket in that aspect. I rarely draw in it anymore though because my hand is generally numb from doing comic pages all day. As for formal training, I did take a lot of fine art courses at the local community college. I'm lucky to be close to one that has a reputation for having a really good art program. Every class I took helped me improve as an artist but I have to say that the most influential and helpful were the Figure Drawing classes. While taking those I really saw my work start to improve rapidly. I'm dying to get back and take those courses again. You can never stop practicing.
DMH: What would you recommend up and coming artists to do to help them break into the industry?
BH: Practice black magic. Other than blackmail and sexual favors that’s the only surefire way I know to get into the industry…
DMH: And Jamie Rich, editor-in-chief of Oni Press wouldn’t have it any other way! Thanks so much for taking time out of your schedule to let me ask you a few questions. I’ll be sure to preorder THREE STRIKES.
If you haven’t already, be sure to pick up QUEEN & COUNTRY: Declassified written by Greg Rucka, covers by Scott Morse and interiors by the man of the hour, Brian Hurtt.
Special thanks to Lance “LWK” Karutz for the 11th hour edit.
Brian Hurtt – The GrayHaven Interview
By Denny Haynes
Brian Hurtt is known for his stellar illustrating work on Queen & Country: Operation Morningstar with Greg Rucka and the Skinwalker mini-series from Oni Press. I met him at Wizard World 2002 and a fight soon broke out as he is a Star Crunch lover, while everyone who’s anyone knows it’s all about the Fudge Round. We were able to put our snack food differences aside and chat for a bit.
DMH: I'm curious how you broke into comics.
BH: As anyone will tell you there is really no set formula to this. In my case I was very fortunate to be put in close proximity to people who were willing to look at my portfolio and give me some consideration. I really owe a lot to both Christine Norrie and her husband Andrew Lis. I had known Christine for years. We had worked in the same comic book store back in the day. Anyway, she introduced me to the guys at Oni while I was at WizardWorld Chicago. I had been shuffling from booth to booth with portfolio in hand and I think they saw how beaten down I looked and took pity on me. James Lucas Jones took a look at my portfolio (which just so happened have several pages drawn from a QUEEN & COUNTRY script) and was very positive in his response. He showed it to Jamie Rich who was also very kind. They didn't have any work to give me at the time but I went home with a big grin on my face just the same. A few weeks after that Andrew Lis gave me a call. He was already familiar with my work and had decided to take a chance on me. He gave me my first job which was an 8-page story written by Jen Van Meter and inked by Jim Mahfood that appeared in CAPTAIN AMERICA #50. It was while I was working on that story that I got the call from Oni offering me the opportunity to pencil QUEEN & COUNTRY 5-7. It was unreal. I couldn't believe my luck. Still can't.
DMH: I remember that Captain America story! Mainly because I was a fan of
Jen Van Meter from her work with Oni; you did a great job. Interesting that you've worked with Greg and his wife Jen; how do their scripts differ?
BH: It’s kind of hard to say. Jen’s script was the first comic script I had ever worked from and it seems like a lifetime ago. It’s also kind of hard to get a handle on a writer from an 8-page story. The one thing Greg and Jen share in common is their attention to detail. They’re both talented writers (obviously) but they also show a real understanding of the medium and the art of visual storytelling and that comes across in their scripts.
DMH: How did you get involved in the Skinwalker mini-series?
BH: According to Jamie, he was considering me for SKINWALKER before he had even hired me for Queen&Country. He ran my samples by Nunzio and Christina and they gave the final thumbs up. It was pretty straightforward and sudden actually. I didn't have to pay anybody off. Promise.
DMH: What was it about the projects at Oni that made you want to work there?
BH: Oni gives it's artists, writers, and creators the opportunity to work on projects that they can be proud to be a part of. There are very few companies, in my opinion, that put out the quality and diversity of product that Oni does. You get the feeling that Oni can do anything and do it well. There isn't another company out there who could successfully publish and market anything from Hopeless Savages, Blue Monday and Magic Pickle to books like The Coffin, Queen & Country and Skinwalker. (Let's not forget my favorite Oni book: Courtney Crumrin!)
DMH: What kind of opportunities has working for Oni opened up for you?
BH: Oni has given me the chance to develop as an artist and at the same time work with some amazing writers. There’s a line of artist’s out there who’d cut off their (non-drawing) arm for a chance to work with Rucka. (Believe me it’s worth it. And with that whole phantom limb sensation I hardly even know it’s not there). And I feel amazingly lucky to work with Nunzio and Christina. These two need to be watched closely because I think they are just going to explode onto the scene. There are few people who come in and make as impressive a debut as they did on Skinwalker. More than opportunity though, Oni’s given me a sense of pride. For the first time in my life I’m really proud of what I do. I’m living my dream (minus the being in the parent’s basement thing) and that’s more than most people can say.
DMH: Do you have any interest working for the Big Two or would you rather do creator-owned work?
BH: There are two answers to that question: yes and yes. I would love the opportunity to work for either of the "Big Two". I grew up on that stuff and I think it would be amazing to have the opportunity to come full circle. I’d also love the chance to draw some big dynamic action pieces. I tried convincing Rucka to give Crocker super powers for Queen & Country: Declassified but he wasn’t game. Who doesn’t want to see Crocker flying around and fighting giant robots—ooh there you go, how about a Jason and the Argobots/Queen & Country crossover! Cosmic Crocker vs. Chiron! We could have gold foil alternate covers and everything! But I digress…yeah, it’d be cool to work for those companies but I think it would get out of my system pretty quick. I really don’t have any interest in doing super hero comics in the long run. That doesn’t rule out Vertigo though, I’d still kill to work for them.
As for the question of doing creator-owned work; ultimately that’s all I want to do—for that matter that’s probably all any of us want to do. It’s just very hard and very rare for someone to be able to actually make a living doing so. So if I do have the chance to do that it will probably be few and far between…unless I gets me a sugar momma.
DMH: What is it about creator-owned work that makes you want to focus solely on it?
BH: I think it's probably the dream of most comic book creators. I know that I got into comics because I want to tell stories. Telling stories is in my system and comics are the perfect outlet for that. There is nothing you can't achieve in the medium--no story that can not be told. I think it would be very difficult to put your heart and soul into a story if it did not belong to you though. And that's what creator-owned work represents (or should represent) --the heart and soul of the creator that comes through in a work when the work is something you believe in through and through.
Many creators who are successful in the industry with their own work still seem to do work for Marvel/DC - I think due to their love for these characters from when they were a child.
DMH: Do you ever think there will be a time when independent artists will have no interest "servicing" these corporate icons?
BH: I think that exists to a certain extent already. But I also think that due to the economics of the industry there are creators whose desire to work for these companies comes less from a burning desire to draw guys in spandex and more from necessity. It's the equivalent of John Malkovich taking a big money role in Con Air so he can afford to go and make 10 smaller movies that he believes in. There are VERY few exceptions of people who can afford to work solely in the "independent" field. It's such a rarity that we probably all know their names off the top of our heads.
DMH: What are your upcoming plans in the industry and personally?
DMH: I'll be working on THREE STRIKES with DeFillipis and Weir up until the summer of '03. After that I'll be at a kind of crossroads. One option would be to find some "mainstream" (i.e. rent-paying) work. Otherwise I'm seriously considering finding a full-time job and self-publishing comics on the side. The benefit of that would be that I would have complete control over the content, design and rate of productivity (I'm slow). And that's all good because I'm a control freak.
DMH: What comics are you reading right now and what format do you prefer?
BH: I almost feel a little ashamed to say that I read VERY little right now. I've actually been that way for a few years now. Um... let's see. First off, I buy anything that Paul Pope does. But I have to say that as much as I've liked his Vertigo stuff I think it's his THB work that has the most "life". I'm also a big fan of BONE. I think Jeff Smith is an amazing storyteller.
Over the past year I've also picked up the first two trades of 100 BULLETS and I'm sure that I'll eventually pick them all up. In the past month or so I came across this comic called EPOXY by a guy named John Pham. It's really great stuff and I've been recommending it to everybody.
I'm also a big fan of David Lapham although I've significantly fallen behind in my STRAY BULLETS reading. I need to pick up the most recent hardback collection of that. I did buy the hardback of MURDER ME DEAD a couple months back and I really enjoyed that. I tend to stay away from serial format comics and stick to the trades and even then I'll only buy the hardback if it's available. I want to be able to put the comics I like on a shelf where they are easily accessed instead of having them sit in a pile of white boxes in the basement. If I absolutely can't wait to read the book then I'll buy the individual comics and then give them away when I pick up the trade. I understand the economic reasons behind putting out books in a serialized format but when you know that you're ultimately going to want the trade paperback it seems silly to pay for it twice.
DMH: I'm curious about how you developed as an artist. Did you have any formal training or just practice, practice, practice?
BH: Less of the former, more of the latter. I have always drawn a LOT. I have a sketchbook that never leaves my side. I could probably be diagnosed as a little obsessive-compulsive when it comes to traveling with my sketchbook. I get very uncomfortable and anxious if I leave it at home. It's really like a security blanket in that aspect. I rarely draw in it anymore though because my hand is generally numb from doing comic pages all day. As for formal training, I did take a lot of fine art courses at the local community college. I'm lucky to be close to one that has a reputation for having a really good art program. Every class I took helped me improve as an artist but I have to say that the most influential and helpful were the Figure Drawing classes. While taking those I really saw my work start to improve rapidly. I'm dying to get back and take those courses again. You can never stop practicing.
DMH: What would you recommend up and coming artists to do to help them break into the industry?
BH: Practice black magic. Other than blackmail and sexual favors that’s the only surefire way I know to get into the industry…
DMH: And Jamie Rich, editor-in-chief of Oni Press wouldn’t have it any other way! Thanks so much for taking time out of your schedule to let me ask you a few questions. I’ll be sure to preorder THREE STRIKES.
If you haven’t already, be sure to pick up QUEEN & COUNTRY: Declassified written by Greg Rucka, covers by Scott Morse and interiors by the man of the hour, Brian Hurtt.
Friday, July 18, 2003
Loathing
By Denny Haynes
One of the things Brian Michael Bendis says about creating your own books is, “If blue is what’s hot in the industry, don’t do blue just because it’s all the rage, because by the time you come out with your blue comic, pink will now be in and you’ll be stuck with this blue book that even you don’t like.” That’s not a direct quote, but a quote from my memory of a panel I moderated for him at the Mid-Ohio Con.
For years Bendis worked on his distinctive voice, from his early works on Fire and Goldfish all the way through Jinx, Torso, Fortune & Glory, and now Powers, DD, and Alias. Bendis’ dialogue is unmistakable; the work showcased in Total Sellout shows his willingness to take chances, to try new styles and storytelling devices and while you might not see the failures (visit Pre-Jinxworld for some forgettable books by Brian), how can one succeed if they don’t try. One of the reasons I feel Brian Michael Bendis is so successful in the comic industry is because he brought his own voice, he didn’t try to ape anyone (well David Mamet, but I digress) I kid!.
Readers respond and are attracted to distinct voices and after reading the comic HOW LOATHSOME by Ted Naifeh & Tristan Crane, published through NBM, there is no doubt that this book and its creators have their own, very distinct voice touching on subject matter I never read in comics. I picked up Ted’s new book because of his work on Oni Press’ Courtney Crumrin and Gunwitch, though many are probably familiar with his run on Gloom Cookie as well, and I must admit to being surprised to see the 1st issue take me to a fetish party with Catherine, a lesbian (described as a gender outlaw), hooking up with Chloe, a transvestite, talking quite candidly about their experiences being gay and ending up going on a drug binge that Hunter S. Thompson would be impressed with, which leads to heartbreaking results.
The story is honest and sometimes uncomfortable to read, the covers are gorgeous and wonderfully designed, and the art inside is Naifeh at his best; very detailed, intricate, and sets the mood perfectly for the story providing one of the most distinctive comics published this year. This book definitely isn’t for all readers, but I think it's a book that needs to be checked out.
JUL03 2386 HOW LOATHSOME #1 (MR) $2.95
JUL03 2387 HOW LOATHSOME #2 (MR) $2.95
MAY03 2343 HOW LOATHSOME #3 (MR) $2.95
JUL03 2385 HOW LOATHSOME #4 (Of 4) (MR) $2.95
By Denny Haynes
One of the things Brian Michael Bendis says about creating your own books is, “If blue is what’s hot in the industry, don’t do blue just because it’s all the rage, because by the time you come out with your blue comic, pink will now be in and you’ll be stuck with this blue book that even you don’t like.” That’s not a direct quote, but a quote from my memory of a panel I moderated for him at the Mid-Ohio Con.
For years Bendis worked on his distinctive voice, from his early works on Fire and Goldfish all the way through Jinx, Torso, Fortune & Glory, and now Powers, DD, and Alias. Bendis’ dialogue is unmistakable; the work showcased in Total Sellout shows his willingness to take chances, to try new styles and storytelling devices and while you might not see the failures (visit Pre-Jinxworld for some forgettable books by Brian), how can one succeed if they don’t try. One of the reasons I feel Brian Michael Bendis is so successful in the comic industry is because he brought his own voice, he didn’t try to ape anyone (well David Mamet, but I digress) I kid!.
Readers respond and are attracted to distinct voices and after reading the comic HOW LOATHSOME by Ted Naifeh & Tristan Crane, published through NBM, there is no doubt that this book and its creators have their own, very distinct voice touching on subject matter I never read in comics. I picked up Ted’s new book because of his work on Oni Press’ Courtney Crumrin and Gunwitch, though many are probably familiar with his run on Gloom Cookie as well, and I must admit to being surprised to see the 1st issue take me to a fetish party with Catherine, a lesbian (described as a gender outlaw), hooking up with Chloe, a transvestite, talking quite candidly about their experiences being gay and ending up going on a drug binge that Hunter S. Thompson would be impressed with, which leads to heartbreaking results.
The story is honest and sometimes uncomfortable to read, the covers are gorgeous and wonderfully designed, and the art inside is Naifeh at his best; very detailed, intricate, and sets the mood perfectly for the story providing one of the most distinctive comics published this year. This book definitely isn’t for all readers, but I think it's a book that needs to be checked out.
JUL03 2386 HOW LOATHSOME #1 (MR) $2.95
JUL03 2387 HOW LOATHSOME #2 (MR) $2.95
MAY03 2343 HOW LOATHSOME #3 (MR) $2.95
JUL03 2385 HOW LOATHSOME #4 (Of 4) (MR) $2.95
Thursday, July 17, 2003
Cheers!
By Denny Haynes
A common theme among many comic readers is that they also want to become comic creators. Many talk a good game, but when the chips are on the table most fold. For some all they do is talk, others don’t write or draw to hone their craft, still others are unwilling to make the sacrifice and invest the time and money into seeing their “dream” come true, but there are a select few who run the race and just do it. These are the people who suck it up, go for it, and come what may give it their all. People, who don’t wait for a company to pick them out of the masses and pay them a fortune to work on their favorite character, but decide to self-publish because they love the medium.
Two such special creators are Dan Taylor and Chris Fason of GeekPunk’s SUPER HERO HAPPY HOUR, who have just released their second issue of this hilarious book. You can find an interview w/ Chris Fason further down this page. Set inside the tavern known as the Hideout Bar & Grill we get to meet the heroes of First City when they are off duty, trying to wind down from a day of fighting super villains and saving the world. It is an ingenious idea, but not one every writer or artist could pull off. Dan is bringing to light all the topics fans of comics think about and approached them in a thoughtful, honest, and funny manner. The first issue dealt with the thought process of a villain who’s trying to take over a city, the joys of being a sidekick, and having your very own action figure.
Well, It’s Ladies Night at the Hideout Bar & Grill in issue two and the girls, *ahem women (wouldn’t want to get on Galaxy Girl’s bad side), are feeling a little catty. The opening sequence perfectly sets the mood of the book culminating in the two male bar hoppers early dismissal from the tavern. Psiren, Feline, Knightengale, and the aforementioned Galaxy Girl are having a girls night out; discussing the plight of women in the superhero community, boob jobs, and of course men with the poor bartender officiating the melee! Chris Fason provides a gorgeous, simple animation style to the book similar to that of Mike Oeming and Scott Morse. One of Fason’s strengths is his ability to illustrate facial features to get their emotions across, which is handy for a dialogue driven book such as this. Jim Mahfood provides the cover for this installment, D.J. Coffman provides the illustration for “Bar Tricks,” and four pin-ups are included. This book is jam-packed with quality content from cover to cover.
If your local comic store does not have this book in stock be sure to have them order it:
JAN032228 SUPER HERO HAPPY HOUR #2 $3.00
NOV022560 SUPER HERO HAPPY HOUR #1 $3.00
You can even go directly through the GeekPunk website.
I think these two guys have created something special with this book and hope that you support them in their endeavor. You have to respect two men who are willing to sacrifice their time, money, and energy to take a chance. Maybe these guys will inspire more people to go for the gold and create a book they can be proud of.
I hope you all give SUPER HERO HAPPY HOUR a chance, but that’s just my opinion!
Editor’s Note: SUPER HERO HAPPY HOUR #3 is now available for order. Just use order code APR032275.
By Denny Haynes
A common theme among many comic readers is that they also want to become comic creators. Many talk a good game, but when the chips are on the table most fold. For some all they do is talk, others don’t write or draw to hone their craft, still others are unwilling to make the sacrifice and invest the time and money into seeing their “dream” come true, but there are a select few who run the race and just do it. These are the people who suck it up, go for it, and come what may give it their all. People, who don’t wait for a company to pick them out of the masses and pay them a fortune to work on their favorite character, but decide to self-publish because they love the medium.
Two such special creators are Dan Taylor and Chris Fason of GeekPunk’s SUPER HERO HAPPY HOUR, who have just released their second issue of this hilarious book. You can find an interview w/ Chris Fason further down this page. Set inside the tavern known as the Hideout Bar & Grill we get to meet the heroes of First City when they are off duty, trying to wind down from a day of fighting super villains and saving the world. It is an ingenious idea, but not one every writer or artist could pull off. Dan is bringing to light all the topics fans of comics think about and approached them in a thoughtful, honest, and funny manner. The first issue dealt with the thought process of a villain who’s trying to take over a city, the joys of being a sidekick, and having your very own action figure.
Well, It’s Ladies Night at the Hideout Bar & Grill in issue two and the girls, *ahem women (wouldn’t want to get on Galaxy Girl’s bad side), are feeling a little catty. The opening sequence perfectly sets the mood of the book culminating in the two male bar hoppers early dismissal from the tavern. Psiren, Feline, Knightengale, and the aforementioned Galaxy Girl are having a girls night out; discussing the plight of women in the superhero community, boob jobs, and of course men with the poor bartender officiating the melee! Chris Fason provides a gorgeous, simple animation style to the book similar to that of Mike Oeming and Scott Morse. One of Fason’s strengths is his ability to illustrate facial features to get their emotions across, which is handy for a dialogue driven book such as this. Jim Mahfood provides the cover for this installment, D.J. Coffman provides the illustration for “Bar Tricks,” and four pin-ups are included. This book is jam-packed with quality content from cover to cover.
If your local comic store does not have this book in stock be sure to have them order it:
NOV022560 SUPER HERO HAPPY HOUR #1 $3.00
You can even go directly through the GeekPunk website.
I think these two guys have created something special with this book and hope that you support them in their endeavor. You have to respect two men who are willing to sacrifice their time, money, and energy to take a chance. Maybe these guys will inspire more people to go for the gold and create a book they can be proud of.
I hope you all give SUPER HERO HAPPY HOUR a chance, but that’s just my opinion!
Editor’s Note: SUPER HERO HAPPY HOUR #3 is now available for order. Just use order code APR032275.
Wednesday, July 16, 2003
The RICK SPEARS Interview
by Denny Haynes
TEENAGERS FROM MARS is one of the hottest independent comics to hit the shelves in a long time. The creation of Rick Spears and Rob G, TFM has taken the comic book world by storm, turning the heads of fans, pros, and publishers alike. Rick Spears was nice enough to sit down and answer a few questions.
DMH: How did you and Rob G meet?
Rick Spears: I wrote the whole script out and then spent about a year looking for an artist. One day Macon (The Macon in the comic) was talking to Rob’s roommate JJ, and they introduced us. From the first sketches Rob had TFM nailed and we were off.
Rick Spears on the left, Rob G on the right,
tight like highways, smoked out our way.
DMH: How frustrating was that year of searching for an artist? What would you tell others who are probably in this same predicament?
RS: That year was utter shit hell. I was working a horrible job and my life just sucked. I had this great story, but I can’t draw and I was just stuck. I talked to a couple of artist, but the really good ones were lazy and the motivated ones stunk. It got pretty ugly.
I was very lucky to meet Rob and I’m not sure how to duplicate it. I’ve talked to other artists about work, but it’s been slow and difficult. You really have to trust the person you work with. Trust they will do their part and trust their instincts. It’s tricky and can be a real nightmare. My only advice is the fairly unhelpful, "just keep trying and don’t give up".
DMH: You know I always wondered about this. Why ARE the really good ones lazy? Or unwilling to work for little or nothing. Yeah it sucks, and it takes time and you are an artist and I understand that, but if you want to break into the comic industry you have to sacrifice for your dream. It’s not going to happen and why would a paying company hire you when you’ve not produced any work. It’s odd.
RS: Exactly, if you don’t put in the hours you will never go anywhere. Even if you’re the greatest artist ever if you don’t get the pages done what does it matter.
DMH: And how is Rob doing as far as gaining your trust? I think the evidence is in the book, but I wouldn’t mind hearing you expand upon your working relationship with Rob.
RS: Rob and I have really become a team. I trust him completely. We talk on the phone like a billion times a day and I go to his place pretty much every Sunday to go over shit. So, what started with TFM has grown into a real partnership. I mean we’ve been doing this for over a year now and dealing with money, travel, dead lines and all the creative problems you really get to know a person.
DMH: How did you come up with the idea for Teenagers From Mars?
RS: It all started with Mike Diana’s comic book censorship case and a quote by Frank Miller somewhere that suggested that when dealing with censorship comic book creators, retailers and fans should start acting like the heroes they create, read and sell. From there, I threw in a bunch of punk rock, zombies and John Hughes type shit and we were off.
DMH: What’s your personal creative process when writing a story? Have the stories you’ve written required much research?
RS: I just have these images and themes that keep recurring in my head. Things I can’t shake and I write to try to figure out why are these things so important to me. TFM was my first stab at working some of that out of my head but I’m not there yet. I’m currently working on 2 more scripts that are a lot like TFM, but also very different. Basically I’m still working off the same core ideas, but I wanted to take a different angle and stretch it to see what happens.
As for research, I like to find neat little facts and bits that can make a story a little more real or personal, but I don’t like doing a lot of research. I like to stick to writing about things I know and have experienced. I also find research is a great way of NOT WRITING. I’ll research something forever and tell myself I’m working, but I’m not. I’m just procrastinating and using research as an excuse.
DMH: Your book shows your belief in freedom of speech and protecting comics from censorship, why is this so important to you?
RS: Comic books are an easy target for censorship because of the misconception that they are exclusively for children. When comics have been targeted, people have lost their jobs, their businesses and their life savings. People have been ruined all because of this outdated and false assumption. Comics are not just for kids, in fact the average age of comic buyers is now like 30 something. We have great organizations like the CBLDF (Comic Book Legal Defense Fund) fighting the good fight, but it’s up to the comics community as a whole to stand up for itself and educRate the mainstream to what comics really are and all the diversity that they offer.
DMH: What's next for the series?
RS: In TFM #6 pressure continues to mount from the events of issue #5, as the police come to arrest Macon for obscenity, which pushes him to his breaking point and a fateful decision must be made.
Then in TFM #7, coming soon, everything hits the fans as Macon, with nothing to lose, decides that he will recover his comic…by any means necessary.
DMH: How did you get interested in reading/writing comics?
RS: In 6th grade I moved to a new town. The kids in my new neighborhood were all into comics. There was this cheap taco delivery place and we befriended the delivery guy so he would buy us beer and deliver it and tacos to the house. We would play cards and gamble with comics and then late night sneak out and meet up with the girls. In high school, comics slid away as my time became more monopolized by the pursuit of girls and trouble, but in college I came back and I’m here to stay.
DMH: Who has influenced your writing? (In and out of comics.)
RS: Dan O’Bannon, Tod Browning, John Carpenter, Wong Kar-Wai, George Romero, Philip K. Dick, Will Eisner, Frank Miller, Mobius, Alan Moore, Joey Ramone, Frank Black, Kathleen Hanna, Jello Biafra, Joe Strummer, Glenn Danzig.
DMH: How do these influences show up in your writing? What types of things are you doing to improve your writing? (Classes, just writing a lot, etc)
RS: I think all of these people make very interesting choices in their work. I like to look at the choices they’ve made and try to figure out why they did it the way they did. The number one thing I do to improve is just spending more time on task. Not just writing more, but thinking more, talking to people more, reviewing the work I’ve done more. One of the big things is I letter the book myself. I get to go back and really look at what I wrote again, see what works what doesn’t and think about it. I also like to watch movies and pay attention to how the story unfolds how long the acts are how things are introduced and how important things are hidden and foreshadowed for later. I also highly recommend reading STORY by Robert McKee- best book I’ve ever read on writing.
DMH: What do you think needs to happen for comics to become a greater part of mainstream American culture?
RS: The evolution of the graphic novel and returnable book store distribution, both are starting to happen right now and the next few years should produce some very interesting changes in how comics are perceived in America.
DMH: What do you think the next step for comics is?
RS: Diversity. Every story ever told could be a comic. We have to be more than underoos and capes.
DMH: What pisses you off about comics?
RS: People trying to get rich – Speculation - Variant covers - Over written dialogue - Exposition.
DMH: What do you love about comics?
RS: Wednesdays. Reprints of old, out of print stuff. The new friends I’ve made. Independent Cons. Sitting down with Rob and hashing out some crazy new story that will be the greatest comic ever.
DMH: What’s your favorite books on the stand right now? Why? What’s your favorite trade/hardcover?
RS: #1 The League of Extraordinary Gentlemen. I’m also reading Blue Monday, Fight For Tomorrow , Paul Pope’s 100%, The Tank Girl reprints. My favorite trades: Dark Knight and Watchmen of course but also Art Adam’s Creature Feature, The Spirit reprints and the Hellboy books.
DMH: Talk about your con experiences. What are those like? Any crazy going-ons? Which ones would you recommend to comic readers?
RS: Cons are a blast. We mainly stick to the indie cons like APE, SPX and the MOCCA and I highly recommend everyone go to them. (They’re on the Internet, look them up pack your buddies in the car and GO!) Cons are always fun. I mean put a bunch of highly motivated highly caffeinated kids in one room and it gonna rock. The indie cons are my favorite because most of the creators their publish there own stuff and you can hang out and talk and if you’re interested in doing your own book it’s a great way to learn the ropes. We’ve met a ton of cool people and are making some good friends.
DMH: Do you have any other projects lined up?
RS: Well, Rob just had The Couriers with Brian Wood come out from AiT/PlaNetLar and we are doing an OGN called Filler for them as well.
We are also doing doing a 4 month long Batman back-up story for Detective Comics starting in issue #785 on sale August 6th.
And we are working on The Curse of the Teenagers From Mars.
DMH: How did the deal with DC come about?
RS: Rob and I were at the super awesome MoCCA con here in NYC last June (2002). I guess DC and Marvel folks were trolling incognito cause the week after I got a call from DC on Monday and a call from Marvel on Thursday. Marvel didn’t work out and DC did.
DMH: Why Batman? What was it about this character that made you want to write him?
RS: Batman’s what they offered, we just said sure. But I grew up on Batman he was always the coolest of the capes.
DMH: Can you tell us anything about your upcoming story?
RS: Well the story is about a dogcatcher in Gotham. He catches a very special dog that leads him into a world of trouble.
DMH: How did the idea generate?
RS: Same as all our other ideas, Rob and I talked about it out and we knocked out some rough ideas and then I sit down and work‘em over and flesh it out.
DMH: Do you think you are going to lose any "street cred" with the indie readers who might think you are wasting your time on telling stories about perverts in spandex suits?
RS: We’re already getting some flack, but whatever. Rob and I aren’t stupid we know what work for hire means. We understand the advantages and all the disadvantages and we’re going into this with our eyes open. If people get mad at us, so be it. If we get burned then lesson learned. But we see this as an opportunity. An opportunity to find some new readers and a chance to get retailers that might not carry TFM to check it out. The whole point is to help Teenagers From Mars and hopefully everyone will understand that.
DMH: What goals have you set for yourself in this industry?
RS: I’d like to turn comics into a full-time career and push the limits of my storytelling.
DMH: What changes are you trying to bring about in this industry?
RS: I want to help protect comics from censorship and turn more people on to comics.
DMH: How important was Larry Young's endorsement of Teenagers From Mars for you guys?
RS: Larry’s on par with the electric light bulb. He’s is a cool stand up guy. He was the first to point us out to the world and he’s dedicated to making comics better. We are lucky to have him in our corner.
DMH: I think the comic industry is lucky to have you guys around, you add a new voice that is much needed. I highly recommend anyone who hasn’t picked up TEENAGERS FROM MARS to give it a try, good luck in tracking down the issues though -- the first three issues have sold out.
For more information regarding Teenagers From Mars, Rick Spears, or Rob G just check out their website @
www.teenagers-from-mars.com
If you are interested in COURIERS or FILLER visit the AiT/PlaNetLar website @ www.astronautsintrouble.com
by Denny Haynes
TEENAGERS FROM MARS is one of the hottest independent comics to hit the shelves in a long time. The creation of Rick Spears and Rob G, TFM has taken the comic book world by storm, turning the heads of fans, pros, and publishers alike. Rick Spears was nice enough to sit down and answer a few questions.
DMH: How did you and Rob G meet?
Rick Spears: I wrote the whole script out and then spent about a year looking for an artist. One day Macon (The Macon in the comic) was talking to Rob’s roommate JJ, and they introduced us. From the first sketches Rob had TFM nailed and we were off.
Rick Spears on the left, Rob G on the right,
tight like highways, smoked out our way.
DMH: How frustrating was that year of searching for an artist? What would you tell others who are probably in this same predicament?
RS: That year was utter shit hell. I was working a horrible job and my life just sucked. I had this great story, but I can’t draw and I was just stuck. I talked to a couple of artist, but the really good ones were lazy and the motivated ones stunk. It got pretty ugly.
I was very lucky to meet Rob and I’m not sure how to duplicate it. I’ve talked to other artists about work, but it’s been slow and difficult. You really have to trust the person you work with. Trust they will do their part and trust their instincts. It’s tricky and can be a real nightmare. My only advice is the fairly unhelpful, "just keep trying and don’t give up".
DMH: You know I always wondered about this. Why ARE the really good ones lazy? Or unwilling to work for little or nothing. Yeah it sucks, and it takes time and you are an artist and I understand that, but if you want to break into the comic industry you have to sacrifice for your dream. It’s not going to happen and why would a paying company hire you when you’ve not produced any work. It’s odd.
RS: Exactly, if you don’t put in the hours you will never go anywhere. Even if you’re the greatest artist ever if you don’t get the pages done what does it matter.
DMH: And how is Rob doing as far as gaining your trust? I think the evidence is in the book, but I wouldn’t mind hearing you expand upon your working relationship with Rob.
RS: Rob and I have really become a team. I trust him completely. We talk on the phone like a billion times a day and I go to his place pretty much every Sunday to go over shit. So, what started with TFM has grown into a real partnership. I mean we’ve been doing this for over a year now and dealing with money, travel, dead lines and all the creative problems you really get to know a person.
DMH: How did you come up with the idea for Teenagers From Mars?
RS: It all started with Mike Diana’s comic book censorship case and a quote by Frank Miller somewhere that suggested that when dealing with censorship comic book creators, retailers and fans should start acting like the heroes they create, read and sell. From there, I threw in a bunch of punk rock, zombies and John Hughes type shit and we were off.
DMH: What’s your personal creative process when writing a story? Have the stories you’ve written required much research?
RS: I just have these images and themes that keep recurring in my head. Things I can’t shake and I write to try to figure out why are these things so important to me. TFM was my first stab at working some of that out of my head but I’m not there yet. I’m currently working on 2 more scripts that are a lot like TFM, but also very different. Basically I’m still working off the same core ideas, but I wanted to take a different angle and stretch it to see what happens.
As for research, I like to find neat little facts and bits that can make a story a little more real or personal, but I don’t like doing a lot of research. I like to stick to writing about things I know and have experienced. I also find research is a great way of NOT WRITING. I’ll research something forever and tell myself I’m working, but I’m not. I’m just procrastinating and using research as an excuse.
DMH: Your book shows your belief in freedom of speech and protecting comics from censorship, why is this so important to you?
RS: Comic books are an easy target for censorship because of the misconception that they are exclusively for children. When comics have been targeted, people have lost their jobs, their businesses and their life savings. People have been ruined all because of this outdated and false assumption. Comics are not just for kids, in fact the average age of comic buyers is now like 30 something. We have great organizations like the CBLDF (Comic Book Legal Defense Fund) fighting the good fight, but it’s up to the comics community as a whole to stand up for itself and educRate the mainstream to what comics really are and all the diversity that they offer.
DMH: What's next for the series?
RS: In TFM #6 pressure continues to mount from the events of issue #5, as the police come to arrest Macon for obscenity, which pushes him to his breaking point and a fateful decision must be made.
Then in TFM #7, coming soon, everything hits the fans as Macon, with nothing to lose, decides that he will recover his comic…by any means necessary.
DMH: How did you get interested in reading/writing comics?
RS: In 6th grade I moved to a new town. The kids in my new neighborhood were all into comics. There was this cheap taco delivery place and we befriended the delivery guy so he would buy us beer and deliver it and tacos to the house. We would play cards and gamble with comics and then late night sneak out and meet up with the girls. In high school, comics slid away as my time became more monopolized by the pursuit of girls and trouble, but in college I came back and I’m here to stay.
DMH: Who has influenced your writing? (In and out of comics.)
RS: Dan O’Bannon, Tod Browning, John Carpenter, Wong Kar-Wai, George Romero, Philip K. Dick, Will Eisner, Frank Miller, Mobius, Alan Moore, Joey Ramone, Frank Black, Kathleen Hanna, Jello Biafra, Joe Strummer, Glenn Danzig.
DMH: How do these influences show up in your writing? What types of things are you doing to improve your writing? (Classes, just writing a lot, etc)
RS: I think all of these people make very interesting choices in their work. I like to look at the choices they’ve made and try to figure out why they did it the way they did. The number one thing I do to improve is just spending more time on task. Not just writing more, but thinking more, talking to people more, reviewing the work I’ve done more. One of the big things is I letter the book myself. I get to go back and really look at what I wrote again, see what works what doesn’t and think about it. I also like to watch movies and pay attention to how the story unfolds how long the acts are how things are introduced and how important things are hidden and foreshadowed for later. I also highly recommend reading STORY by Robert McKee- best book I’ve ever read on writing.
DMH: What do you think needs to happen for comics to become a greater part of mainstream American culture?
RS: The evolution of the graphic novel and returnable book store distribution, both are starting to happen right now and the next few years should produce some very interesting changes in how comics are perceived in America.
DMH: What do you think the next step for comics is?
RS: Diversity. Every story ever told could be a comic. We have to be more than underoos and capes.
DMH: What pisses you off about comics?
RS: People trying to get rich – Speculation - Variant covers - Over written dialogue - Exposition.
DMH: What do you love about comics?
RS: Wednesdays. Reprints of old, out of print stuff. The new friends I’ve made. Independent Cons. Sitting down with Rob and hashing out some crazy new story that will be the greatest comic ever.
DMH: What’s your favorite books on the stand right now? Why? What’s your favorite trade/hardcover?
RS: #1 The League of Extraordinary Gentlemen. I’m also reading Blue Monday, Fight For Tomorrow , Paul Pope’s 100%, The Tank Girl reprints. My favorite trades: Dark Knight and Watchmen of course but also Art Adam’s Creature Feature, The Spirit reprints and the Hellboy books.
DMH: Talk about your con experiences. What are those like? Any crazy going-ons? Which ones would you recommend to comic readers?
RS: Cons are a blast. We mainly stick to the indie cons like APE, SPX and the MOCCA and I highly recommend everyone go to them. (They’re on the Internet, look them up pack your buddies in the car and GO!) Cons are always fun. I mean put a bunch of highly motivated highly caffeinated kids in one room and it gonna rock. The indie cons are my favorite because most of the creators their publish there own stuff and you can hang out and talk and if you’re interested in doing your own book it’s a great way to learn the ropes. We’ve met a ton of cool people and are making some good friends.
DMH: Do you have any other projects lined up?
RS: Well, Rob just had The Couriers with Brian Wood come out from AiT/PlaNetLar and we are doing an OGN called Filler for them as well.
We are also doing doing a 4 month long Batman back-up story for Detective Comics starting in issue #785 on sale August 6th.
And we are working on The Curse of the Teenagers From Mars.
DMH: How did the deal with DC come about?
RS: Rob and I were at the super awesome MoCCA con here in NYC last June (2002). I guess DC and Marvel folks were trolling incognito cause the week after I got a call from DC on Monday and a call from Marvel on Thursday. Marvel didn’t work out and DC did.
DMH: Why Batman? What was it about this character that made you want to write him?
RS: Batman’s what they offered, we just said sure. But I grew up on Batman he was always the coolest of the capes.
DMH: Can you tell us anything about your upcoming story?
RS: Well the story is about a dogcatcher in Gotham. He catches a very special dog that leads him into a world of trouble.
DMH: How did the idea generate?
RS: Same as all our other ideas, Rob and I talked about it out and we knocked out some rough ideas and then I sit down and work‘em over and flesh it out.
DMH: Do you think you are going to lose any "street cred" with the indie readers who might think you are wasting your time on telling stories about perverts in spandex suits?
RS: We’re already getting some flack, but whatever. Rob and I aren’t stupid we know what work for hire means. We understand the advantages and all the disadvantages and we’re going into this with our eyes open. If people get mad at us, so be it. If we get burned then lesson learned. But we see this as an opportunity. An opportunity to find some new readers and a chance to get retailers that might not carry TFM to check it out. The whole point is to help Teenagers From Mars and hopefully everyone will understand that.
DMH: What goals have you set for yourself in this industry?
RS: I’d like to turn comics into a full-time career and push the limits of my storytelling.
DMH: What changes are you trying to bring about in this industry?
RS: I want to help protect comics from censorship and turn more people on to comics.
DMH: How important was Larry Young's endorsement of Teenagers From Mars for you guys?
RS: Larry’s on par with the electric light bulb. He’s is a cool stand up guy. He was the first to point us out to the world and he’s dedicated to making comics better. We are lucky to have him in our corner.
DMH: I think the comic industry is lucky to have you guys around, you add a new voice that is much needed. I highly recommend anyone who hasn’t picked up TEENAGERS FROM MARS to give it a try, good luck in tracking down the issues though -- the first three issues have sold out.
www.teenagers-from-mars.com
Tuesday, July 15, 2003
Geisha, Geisha, Geisha!
by Denny Haynes
GEISHA is the story of Jomi Sohodo, an android adopted into a loving family, who lives in a world that looks down on "synths" trying to make it in the art world, but has to take a job in the family business, security, to pay her bills...until she's approached by an art dealer (among other unsavory business dealings), Peck, to fake...ahem, reproduce a painting.
Her first security job sees her having to protect one of the highest paid super models, Natasha Hostynek, from ex-manager turned psycho stalker, George Brant who tries to sell candid pictures of them to Peck. But when Peck shows no interest Brant snags an important item from Peck's office who sets his bodyguards, Glock & Spiel, on him.
This is an intricately designed, intertwining, action-packed, chase story with absolutely stunning artwork by Andi Watson. You can see how Andi's art has developed and evolved from the mini to the one-shot, but his intelligent storytelling whether writing or illustrating remains.
Andi knows what to tell and what to illustrate to move the story along. You have to pay attention when you read an Andi Watson book because he inserts so many subtle clues that if you read it too fast you might not get it; facial features, hand gestures, clues in the background, all move the story along. Slow down and enjoy the show.
I forgot how much I liked Geisha and how much was going on in this book until I reread it. The best part about the Complete Geisha is not only do you get the 4-issue mini series, but also the one-shot and short stories in one well designed package.
Be sure to read Andi Watson's Dumped, Breakfast After Noon, and Love Fights from Oni Press as well as Slow News Day and Skeleton Key from Slave Labor Graphics!
The Complete Geisha is available at local comic stores, bookstores, and Amazon.com.
Price: $15.95
Diamond Star Code: MAR03 2357
ISBN: 1929998511
by Denny Haynes
GEISHA is the story of Jomi Sohodo, an android adopted into a loving family, who lives in a world that looks down on "synths" trying to make it in the art world, but has to take a job in the family business, security, to pay her bills...until she's approached by an art dealer (among other unsavory business dealings), Peck, to fake...ahem, reproduce a painting.
Her first security job sees her having to protect one of the highest paid super models, Natasha Hostynek, from ex-manager turned psycho stalker, George Brant who tries to sell candid pictures of them to Peck. But when Peck shows no interest Brant snags an important item from Peck's office who sets his bodyguards, Glock & Spiel, on him.
This is an intricately designed, intertwining, action-packed, chase story with absolutely stunning artwork by Andi Watson. You can see how Andi's art has developed and evolved from the mini to the one-shot, but his intelligent storytelling whether writing or illustrating remains.
Andi knows what to tell and what to illustrate to move the story along. You have to pay attention when you read an Andi Watson book because he inserts so many subtle clues that if you read it too fast you might not get it; facial features, hand gestures, clues in the background, all move the story along. Slow down and enjoy the show.
I forgot how much I liked Geisha and how much was going on in this book until I reread it. The best part about the Complete Geisha is not only do you get the 4-issue mini series, but also the one-shot and short stories in one well designed package.
Be sure to read Andi Watson's Dumped, Breakfast After Noon, and Love Fights from Oni Press as well as Slow News Day and Skeleton Key from Slave Labor Graphics!
The Complete Geisha is available at local comic stores, bookstores, and Amazon.com.
Price: $15.95
Diamond Star Code: MAR03 2357
ISBN: 1929998511
Monday, July 14, 2003
This interview first appeared in Comics Spotlight on Spider-Man, the premier issue of Comics Spotlight. I thought I'd make the interview available for those who might have missed it the first time around.
Brian Michael Bendis – Comics Spotlight Interview
By Denny Haynes
Brian Michael Bendis became an overnight sensation, ten years in the making, with the release of Ultimate Spider-Man #1, redefining and making Marvel’s flagship character more accessible to new readers in this new Ultimate Universe. His fan base has grown with each subsequent work: Fire, Goldfish, Jinx, Torso, Fortune & Glory, Sam & Twitch, Powers, Ultimate Spider-Man, Ultimate Marvel Team-Up, Elektra, Daredevil, and Alias. Bendis is a very busy man, writing no less then four titles for two years now. He’s able to do this because of an amazing work ethic. His humility and friendly personality make him a fan favorite at the conventions. Brian was nice enough to take time out of his busy schedule to sit down and talk with me.
CS: How did it feel to watch the Spider-Man movie with Stan Lee?
BMB: I felt like I shouldn’t be there, like I was intruding and it made me reflect on how I got to this point. Stan was very pleasant and cordial; it was a surreal moment. I didn’t know what to watch, Stan or the movie. I was very interested in what was going on in Stan’s head and seeing his reactions. I can’t even imagine what that must feel like.
I was very impressed with Sam Raimi, as a human being and creative person, but I’ve always been a big fan of his. I’ve tried to shy away from meeting people I’m a fan of because I’ve found that nine out of ten times I’m very disappointed in them as a human being, and it ruins it for me.
I saw the movie from beginning to end. I saw a version that you probably won’t see - one that’s still in production - but I can’t talk too much about it.
CS: Do you think that movies based on comics draw people to the comics?
BMB: Well, it brings some people in, but not the ratio we want, of course. At The Lord of the Rings movie they had the Spider-Man trailer, and it was cool to see the people’s reactions to it. They were hooting and hollering, just really excited about it, and it got my wife and I excited. But towards the end of the trailer, I was getting angry with the people. I wanted to stand up and yell, “Well, if you love this so much, why don’t you buy the comics!
I just feel that the comics are so good right now you have to buy them. It’s funny because people will drop $10 on popcorn and a movie when for $2 you can read a comic and keep it. And then you have trade paperbacks that are very affordable.
CS: What do you think needs to happen for comics to become a greater part of mainstream American culture?
BMB: I don’t know. It’s weird because what more can we possibly do at this point? I sometimes think it’s our perception of ourselves that stops us. We’re embarrassed by ourselves. There have been situations where I find myself hiding that I’m reading a comic book, and I’m so happy with my job and my chosen medium, and it’s weird that it’s something I do to myself. So it may have something to do with our pride.
Beyond that, it really boggles my mind. I guess we just have to keep yelling and screaming from the rafters.
Sometimes I think, and this will sound like I think people are really shallow, but every time something breaks through the barrier like Maus and Jimmy Corrigan, they are such maudlin, serious books that I don’t know if people understand how much fun comics can be. They get a hold of Maus, and Maus is about as devastating a story that’s been told, and a movie like that you have to be in the mood to be brought to a place like that.
This year the big break-through book was From Hell, and it sold a lot of copies outside of the comics industry, and, again, that’s a very dark, very cool read that I absolutely adore, but I have to be in the mood for it. When I pick up comics, I pick up a lot more fun stuff. I read the darker stuff like Azzarello, but there’s a fun, hipness to his work.
I even see that online with me. People love my darker stories, but give me crap when I write the lighter stuff - that somehow it’s easier to write the light stuff, or I’m taking it less seriously. It’s funny because when you write dark, you win awards, and when you write light, you sell more.
For example, the Chynna issue of Team-Up – I spent a lot of time writing it and was very pleased with it, yet many people didn’t see that when they read it and think it’s this story I breezed through.
CS: What do you think the next step for comics is?
BMB: I think sales-wise things are picking up - we are in a good place. I think this summer a lot of things are in motion in a positive way, so I think the Spider-Man movie will catalyst a big resurgence; I’m proud to be a part of that.
CS: What are your thoughts about people’s tendency to be elitist, to want to keep things to themselves? It seems that once you broke into the mainstream you started receiving a lot more personal criticism.
BMB: I’ve found that to be going on this year with me. In my personal career, when I was selling 2,000 comics some people were nicer, and now that I’m selling more (Thank god, because I was starving to death) somehow I’m a big jerk. And even though I know I’m not, and I know that I’m treating my work as seriously if not more seriously, then I did before I got in the mainstream, it is just very funny because that happens so often. I think it’s a cycle that people aren’t even aware of.
CS: Do you think this is due to your larger audience or high profile status now?
BMB: I don’t want to be, “poor me and my high-class problems,” but I think it may be because there are more people reading my work, and not everyone likes the same types of comics. I don’t write comics the same way others write comics. There is a voice of conversation, that theater kind of storytelling, and it has a tendency to throw off a couple of people. It throws them off in a way that annoys them, in a way that I can’t even imagine why it’s annoying them. They ask me stuff like, “Why can’t you have a fight scene in every issue like everyone else?” Well, everyone else has it; here is one comic that won’t. Do you really need a fight scene in every issue? Then I point out all the stuff that happened, and they say, “Yeah, all that other stuff was great, but where’s the fight?” Overall, people have been pretty accepting of me, my style, and that I do take my writing seriously. But if someone doesn’t like something, they think that I just hacked it out, and that’s not the case at all.
I feel all the books I am a part of are delivering, that they are living up to their expectations, and that they are getting exactly what we promised.
CS: There has been a lot of controversy and complaints surrounding Ultimate Spider-Man. What are your thoughts on this?
BMB: I actually enjoy the complaints about Ultimate Spider-Man. I didn’t at first, but by issue 3 I realized that this is a book that half the people are really enjoying it and the other half are trying to second guess it or how they would handle it. So they are reading it and enjoying it on a “What would I do?” level. And I can’t think of another book like that. No one does that with Alias. They have no preconceived notions about the book. But with Spider-Man every issue brings about questions. I got a ton of questions on my board when Gwen Stacy first appeared. It’s great, I love it, it’s an interactive thing, and I’m available to talk about it on my board.
CS: Do you feel as though the fans are second-guessing you?
BMB: It doesn’t bother me because they are reading it. They don’t have to agree with everything I do, and this is the kind of book it is.
CS: There have been some questions about your style of laying out books, sometimes even causing confusion to the reader.
BMB: Yeah, the double-page spread. I do the layouts for Alias, but not Powers or Ultimate Spider-Man. I kind of did do them at first, but as we grew comfortable in our collaboration I’ve not needed to. You’ll see a lot of definite page breaks especially in the Marvel books as I’m trying to control the ad placements. I’ve found the placements of the ads at times to be annoying and hindering the pacing of the story, particularly in Daredevil. This is, in part, to keep the scenes together until it’s over and then you can have the commercial break.
I think as far as confusing the readers, that overall they must be understanding it, or I’d see sales drop, which hasn’t been the case.
CS: I’ve never heard anyone else talk about ad placements in comics before.
BMB: Well, I do find the ads to be very annoying, because you know when you are watching TV they have that “we’ll be right back” or the fade out, but we don’t have that in comics. We’ll be right in the middle of the scene and all of a sudden SKITTLES! There was one ad in particular that I put my foot down - the tobacco smoking one - and people were getting confused because it looks like a comic, so I told Marvel to put it on the back or inside covers.
CS: There have been a lot of questions and concern about your take on costumes due to what fans have read in Alias 6 and Ultimate Spider-Man 18, in part due to comments by Quesada & Jemas about taking super-heroes out of their costumes. What is your philosophy on costumes?
BMB: I don't hold to any philosophy other than going with whatever feels right for the scene. I tend to lean on a more realistic approach, so I usually give a lot of thought to whether a costume is the way to go.
I have no anti-costume policy. I just think that putting on a costume is a big deal, and it is not always the most logical answer to the characters day. As in Ultimate Spider-Man, I love Spider-Man and love him in the costume, but if we go a couple of issues without it, it’s because the thought of him putting on the costume really has to be spurred on and not an everyday event. It should be special.
And in Daredevil - with the very moody noir look- it brings out the idea that a costume would really stand out like a bright sore thumb, nothing but a target for Daredevil. And on a misty New York day in the middle of the day, like issue 28, even if the costume were a big part of the 'act'- they would still put on the jacket for a good many reasons.
I also think that, visually, the blood red costume being the only full costume and only color red in the entire book has created a powerful visual statement. Alex and Matt give me chills; issue 31 is a perfectly rendered comic.
CS: You seem to be telling a larger story in Ultimate Marvel Team-Up then I was initially led to believe.
BMB: Yeah, and I think people are seeing more of this larger story now that The Ultimates is out and are seeing that Mark and I had this planned out from the beginning. I don’t see what the hurry is, but people seem to want everything wrapped up in five issues. We are just trying to pace the book, but everyone seems to just want the money shot.
CS: There has been a lot of talk about Ultimate Marvel Team-Up. What’s the status of the book, and would you like to clear up some of the online rumors?
BMB: Yes, it is true. Ultimate Marvel Team-Up will end, on a high note, with issue 16 being the final regular issue. Truth be told, I was going for a 25 issue run, but a LOT of things made that goal impossible for me on this book.
UMTU was pitched and conceived as a finite series. Joe and I discussed very early on that, when I run out of characters, innovative artists, or inspiration, that we would fold it. Anthologies are incredibly difficult to produce, and even the series this one was modeled after, Marvel Fanfare, slid in quality after a while. We all agreed that getting off stage before that happened to this book was learning a lesson from the past and very much in tune with what the Ultimate Marvel line is meant to be.
The first is the work on the cartoon. It was a lot of work to get the series in gear. Clearly one of the titles I write was going to have to go on without me for a while.
Also, and this is a big one, when I was lucky enough to get the mainstream opportunities that I have, my intention was never to be the ‘wow, he can write a lot of comics’ guy. It just happened to pan out that way because I love comics. Even though I can and do enjoy writing the variety of titles and I think I proved that I could do it, I also enjoy other aspects of comic creation. When my work on the cartoon is done, I will use my free time to get back to drawing and focus on the other books I write.
Joe Quesada felt that instead of refocusing the book with another writer, it just makes more sense to end it on a high note and make way for another writer to start another type of project with his own voice and criteria. And certainly I agree and am flattered that they held to their word on that, but really, this book was a bitch to produce every month, and Marvel knows it. Getting the artists and finding the right character for them then altering my style to compliment their style while at the same time anchoring the book with my own tastes was a dizzying experience- and one worth every second of effort that was put forth.
So, if you add all these things up you can see that if I had to make a hard choice on which book to bow off of... Team-Up was the one. Of all these books I am working on Team-Up was the one I felt I had come closest to accomplishing my personal goals. And my personal goals are a lot higher than any goal put on me by anyone else. But it does make me sad that just as people were beginning to see the scope of the book artistically… it ends. But oh well, I’ve had worse problems.
CS: So what’s going on with this special Team-Up issue?
BMB: The Ultimate Spider-Man Special, which is soliciting in May, is the all-star gala of Spidey Team-Ups that has literally grown to the size of a graphic novel. It will wrap up a lot of the themes of Team-Up, and may be considered by fans of the series to be the big finale. While others, who were just casual readers of Team-Up, but hard core readers of USM, can see the special as their chance to see our biggest and best effort and how the events of Team-Up affected Peter Parker as a character.
Also, any dangling plot points, ideas, and conspiracies will be sucked into the Ultimate Spider-Man series. Nothing is being tossed out.
Are there untold tales of Ultimate Team-Up? Yes. I’m leaving the door open for more specials in the future if the time and talent is there.
CS: What’s going on with the Spider-Man cartoon on MTV that was recently announced?
BMB: I wrote the pilot, and I’m the executive producer of the series. I’m writing three of the first six and two or three of the next six of the first season. It is in production and it’s kind of a cross between Ultimate and the movie. It’s the movie continuity, but utilizing all the really good Ultimate ideas like Kraven the Hunter.
CS: What do you have planned for future issues of Ultimate Spider-Man?
BMB: The big thing in Ultimate Spider-Man is the return of the Green Goblin in issue 22, which is a double sized issue, and I think we’re bringing him back in a big, interesting way. Hopefully, Peter will be able to handle him. Our first original villain of the series will be appearing after that, and then we’ll be doing Venom. I’m not a Venom fan at all, but I think Joe, Bill, and I came up with something very different and interesting, and not at all what people will expect. This will be so far from Venom that it’s almost a tease to call him that.
CS: Any final comments?
BMB: I just wanted to say that the artists I'm working with are producing some of the best pages ever!
CS: Thanks Brian!
Denny Haynes is a freelance writer living in Lexington, KY.
Brian Michael Bendis – Comics Spotlight Interview
By Denny Haynes
Brian Michael Bendis became an overnight sensation, ten years in the making, with the release of Ultimate Spider-Man #1, redefining and making Marvel’s flagship character more accessible to new readers in this new Ultimate Universe. His fan base has grown with each subsequent work: Fire, Goldfish, Jinx, Torso, Fortune & Glory, Sam & Twitch, Powers, Ultimate Spider-Man, Ultimate Marvel Team-Up, Elektra, Daredevil, and Alias. Bendis is a very busy man, writing no less then four titles for two years now. He’s able to do this because of an amazing work ethic. His humility and friendly personality make him a fan favorite at the conventions. Brian was nice enough to take time out of his busy schedule to sit down and talk with me.
CS: How did it feel to watch the Spider-Man movie with Stan Lee?
BMB: I felt like I shouldn’t be there, like I was intruding and it made me reflect on how I got to this point. Stan was very pleasant and cordial; it was a surreal moment. I didn’t know what to watch, Stan or the movie. I was very interested in what was going on in Stan’s head and seeing his reactions. I can’t even imagine what that must feel like.
I was very impressed with Sam Raimi, as a human being and creative person, but I’ve always been a big fan of his. I’ve tried to shy away from meeting people I’m a fan of because I’ve found that nine out of ten times I’m very disappointed in them as a human being, and it ruins it for me.
I saw the movie from beginning to end. I saw a version that you probably won’t see - one that’s still in production - but I can’t talk too much about it.
CS: Do you think that movies based on comics draw people to the comics?
BMB: Well, it brings some people in, but not the ratio we want, of course. At The Lord of the Rings movie they had the Spider-Man trailer, and it was cool to see the people’s reactions to it. They were hooting and hollering, just really excited about it, and it got my wife and I excited. But towards the end of the trailer, I was getting angry with the people. I wanted to stand up and yell, “Well, if you love this so much, why don’t you buy the comics!
I just feel that the comics are so good right now you have to buy them. It’s funny because people will drop $10 on popcorn and a movie when for $2 you can read a comic and keep it. And then you have trade paperbacks that are very affordable.
CS: What do you think needs to happen for comics to become a greater part of mainstream American culture?
BMB: I don’t know. It’s weird because what more can we possibly do at this point? I sometimes think it’s our perception of ourselves that stops us. We’re embarrassed by ourselves. There have been situations where I find myself hiding that I’m reading a comic book, and I’m so happy with my job and my chosen medium, and it’s weird that it’s something I do to myself. So it may have something to do with our pride.
Beyond that, it really boggles my mind. I guess we just have to keep yelling and screaming from the rafters.
Sometimes I think, and this will sound like I think people are really shallow, but every time something breaks through the barrier like Maus and Jimmy Corrigan, they are such maudlin, serious books that I don’t know if people understand how much fun comics can be. They get a hold of Maus, and Maus is about as devastating a story that’s been told, and a movie like that you have to be in the mood to be brought to a place like that.
This year the big break-through book was From Hell, and it sold a lot of copies outside of the comics industry, and, again, that’s a very dark, very cool read that I absolutely adore, but I have to be in the mood for it. When I pick up comics, I pick up a lot more fun stuff. I read the darker stuff like Azzarello, but there’s a fun, hipness to his work.
I even see that online with me. People love my darker stories, but give me crap when I write the lighter stuff - that somehow it’s easier to write the light stuff, or I’m taking it less seriously. It’s funny because when you write dark, you win awards, and when you write light, you sell more.
For example, the Chynna issue of Team-Up – I spent a lot of time writing it and was very pleased with it, yet many people didn’t see that when they read it and think it’s this story I breezed through.
CS: What do you think the next step for comics is?
BMB: I think sales-wise things are picking up - we are in a good place. I think this summer a lot of things are in motion in a positive way, so I think the Spider-Man movie will catalyst a big resurgence; I’m proud to be a part of that.
CS: What are your thoughts about people’s tendency to be elitist, to want to keep things to themselves? It seems that once you broke into the mainstream you started receiving a lot more personal criticism.
BMB: I’ve found that to be going on this year with me. In my personal career, when I was selling 2,000 comics some people were nicer, and now that I’m selling more (Thank god, because I was starving to death) somehow I’m a big jerk. And even though I know I’m not, and I know that I’m treating my work as seriously if not more seriously, then I did before I got in the mainstream, it is just very funny because that happens so often. I think it’s a cycle that people aren’t even aware of.
CS: Do you think this is due to your larger audience or high profile status now?
BMB: I don’t want to be, “poor me and my high-class problems,” but I think it may be because there are more people reading my work, and not everyone likes the same types of comics. I don’t write comics the same way others write comics. There is a voice of conversation, that theater kind of storytelling, and it has a tendency to throw off a couple of people. It throws them off in a way that annoys them, in a way that I can’t even imagine why it’s annoying them. They ask me stuff like, “Why can’t you have a fight scene in every issue like everyone else?” Well, everyone else has it; here is one comic that won’t. Do you really need a fight scene in every issue? Then I point out all the stuff that happened, and they say, “Yeah, all that other stuff was great, but where’s the fight?” Overall, people have been pretty accepting of me, my style, and that I do take my writing seriously. But if someone doesn’t like something, they think that I just hacked it out, and that’s not the case at all.
I feel all the books I am a part of are delivering, that they are living up to their expectations, and that they are getting exactly what we promised.
CS: There has been a lot of controversy and complaints surrounding Ultimate Spider-Man. What are your thoughts on this?
BMB: I actually enjoy the complaints about Ultimate Spider-Man. I didn’t at first, but by issue 3 I realized that this is a book that half the people are really enjoying it and the other half are trying to second guess it or how they would handle it. So they are reading it and enjoying it on a “What would I do?” level. And I can’t think of another book like that. No one does that with Alias. They have no preconceived notions about the book. But with Spider-Man every issue brings about questions. I got a ton of questions on my board when Gwen Stacy first appeared. It’s great, I love it, it’s an interactive thing, and I’m available to talk about it on my board.
CS: Do you feel as though the fans are second-guessing you?
BMB: It doesn’t bother me because they are reading it. They don’t have to agree with everything I do, and this is the kind of book it is.
CS: There have been some questions about your style of laying out books, sometimes even causing confusion to the reader.
BMB: Yeah, the double-page spread. I do the layouts for Alias, but not Powers or Ultimate Spider-Man. I kind of did do them at first, but as we grew comfortable in our collaboration I’ve not needed to. You’ll see a lot of definite page breaks especially in the Marvel books as I’m trying to control the ad placements. I’ve found the placements of the ads at times to be annoying and hindering the pacing of the story, particularly in Daredevil. This is, in part, to keep the scenes together until it’s over and then you can have the commercial break.
I think as far as confusing the readers, that overall they must be understanding it, or I’d see sales drop, which hasn’t been the case.
CS: I’ve never heard anyone else talk about ad placements in comics before.
BMB: Well, I do find the ads to be very annoying, because you know when you are watching TV they have that “we’ll be right back” or the fade out, but we don’t have that in comics. We’ll be right in the middle of the scene and all of a sudden SKITTLES! There was one ad in particular that I put my foot down - the tobacco smoking one - and people were getting confused because it looks like a comic, so I told Marvel to put it on the back or inside covers.
CS: There have been a lot of questions and concern about your take on costumes due to what fans have read in Alias 6 and Ultimate Spider-Man 18, in part due to comments by Quesada & Jemas about taking super-heroes out of their costumes. What is your philosophy on costumes?
BMB: I don't hold to any philosophy other than going with whatever feels right for the scene. I tend to lean on a more realistic approach, so I usually give a lot of thought to whether a costume is the way to go.
I have no anti-costume policy. I just think that putting on a costume is a big deal, and it is not always the most logical answer to the characters day. As in Ultimate Spider-Man, I love Spider-Man and love him in the costume, but if we go a couple of issues without it, it’s because the thought of him putting on the costume really has to be spurred on and not an everyday event. It should be special.
And in Daredevil - with the very moody noir look- it brings out the idea that a costume would really stand out like a bright sore thumb, nothing but a target for Daredevil. And on a misty New York day in the middle of the day, like issue 28, even if the costume were a big part of the 'act'- they would still put on the jacket for a good many reasons.
I also think that, visually, the blood red costume being the only full costume and only color red in the entire book has created a powerful visual statement. Alex and Matt give me chills; issue 31 is a perfectly rendered comic.
CS: You seem to be telling a larger story in Ultimate Marvel Team-Up then I was initially led to believe.
BMB: Yeah, and I think people are seeing more of this larger story now that The Ultimates is out and are seeing that Mark and I had this planned out from the beginning. I don’t see what the hurry is, but people seem to want everything wrapped up in five issues. We are just trying to pace the book, but everyone seems to just want the money shot.
CS: There has been a lot of talk about Ultimate Marvel Team-Up. What’s the status of the book, and would you like to clear up some of the online rumors?
BMB: Yes, it is true. Ultimate Marvel Team-Up will end, on a high note, with issue 16 being the final regular issue. Truth be told, I was going for a 25 issue run, but a LOT of things made that goal impossible for me on this book.
UMTU was pitched and conceived as a finite series. Joe and I discussed very early on that, when I run out of characters, innovative artists, or inspiration, that we would fold it. Anthologies are incredibly difficult to produce, and even the series this one was modeled after, Marvel Fanfare, slid in quality after a while. We all agreed that getting off stage before that happened to this book was learning a lesson from the past and very much in tune with what the Ultimate Marvel line is meant to be.
The first is the work on the cartoon. It was a lot of work to get the series in gear. Clearly one of the titles I write was going to have to go on without me for a while.
Also, and this is a big one, when I was lucky enough to get the mainstream opportunities that I have, my intention was never to be the ‘wow, he can write a lot of comics’ guy. It just happened to pan out that way because I love comics. Even though I can and do enjoy writing the variety of titles and I think I proved that I could do it, I also enjoy other aspects of comic creation. When my work on the cartoon is done, I will use my free time to get back to drawing and focus on the other books I write.
Joe Quesada felt that instead of refocusing the book with another writer, it just makes more sense to end it on a high note and make way for another writer to start another type of project with his own voice and criteria. And certainly I agree and am flattered that they held to their word on that, but really, this book was a bitch to produce every month, and Marvel knows it. Getting the artists and finding the right character for them then altering my style to compliment their style while at the same time anchoring the book with my own tastes was a dizzying experience- and one worth every second of effort that was put forth.
So, if you add all these things up you can see that if I had to make a hard choice on which book to bow off of... Team-Up was the one. Of all these books I am working on Team-Up was the one I felt I had come closest to accomplishing my personal goals. And my personal goals are a lot higher than any goal put on me by anyone else. But it does make me sad that just as people were beginning to see the scope of the book artistically… it ends. But oh well, I’ve had worse problems.
CS: So what’s going on with this special Team-Up issue?
BMB: The Ultimate Spider-Man Special, which is soliciting in May, is the all-star gala of Spidey Team-Ups that has literally grown to the size of a graphic novel. It will wrap up a lot of the themes of Team-Up, and may be considered by fans of the series to be the big finale. While others, who were just casual readers of Team-Up, but hard core readers of USM, can see the special as their chance to see our biggest and best effort and how the events of Team-Up affected Peter Parker as a character.
Also, any dangling plot points, ideas, and conspiracies will be sucked into the Ultimate Spider-Man series. Nothing is being tossed out.
Are there untold tales of Ultimate Team-Up? Yes. I’m leaving the door open for more specials in the future if the time and talent is there.
CS: What’s going on with the Spider-Man cartoon on MTV that was recently announced?
BMB: I wrote the pilot, and I’m the executive producer of the series. I’m writing three of the first six and two or three of the next six of the first season. It is in production and it’s kind of a cross between Ultimate and the movie. It’s the movie continuity, but utilizing all the really good Ultimate ideas like Kraven the Hunter.
CS: What do you have planned for future issues of Ultimate Spider-Man?
BMB: The big thing in Ultimate Spider-Man is the return of the Green Goblin in issue 22, which is a double sized issue, and I think we’re bringing him back in a big, interesting way. Hopefully, Peter will be able to handle him. Our first original villain of the series will be appearing after that, and then we’ll be doing Venom. I’m not a Venom fan at all, but I think Joe, Bill, and I came up with something very different and interesting, and not at all what people will expect. This will be so far from Venom that it’s almost a tease to call him that.
CS: Any final comments?
BMB: I just wanted to say that the artists I'm working with are producing some of the best pages ever!
CS: Thanks Brian!
Denny Haynes is a freelance writer living in Lexington, KY.
