1st Mark Waid Interview

Originally published in February 2000. Mark Waid is almost always a great interview. He can be funny and snarky. It’s too bad Gorilla Comics (referenced heavily in this interview) did not pan out as planned. I should note the $400,000 number referenced in this interview came from a magazine article that looked into how much creative people in different industries get paid. Waid was featured for comic book writer and the article said he made that amount of money.

 

An Interview With Mark Waid

 
Mark Waid is known for many successful comics including Flash, Kingdom Come, Captain America and more. In the future he will be taking over DC Comics top comic, JLA and is starting up a new imprint with Kurt Busiek called Gorilla Comic. This month we were able to get plenty of information about Gorilla Comics and his new series EMPIRE! Plus we get some answers about JLA, Flash, Impulse, his short Avengers run, Hypertime and how much money he makes.
 

Mark Waid at 2012 New York Comic Con

Jamie: When I heard the rumors about the Gorilla imprint, it seemed a forgone conclusion that it would be done through Image Comics. What took so long to finally get the deal through?

Mark Waid: It never seemed like a foregone conclusion to US. We had companies vying for the rights to distribute what we published almost from the get-go, and it took us a while to winnow our choices down to the best–the fine folks at Image, who’ll back us all the way.

 

Jamie: The Gorilla line has been called Comics worst kept secret for several months now. Did the news/rumor leaks through Rich Rumblings website bother you in any way?

Mark Waid: Nah. That’s not to say I haven’t been pissed off by a thousand OTHER things Rich has reported, but this isn’t one of ’em. Besides, it was fun to see all the misinformation fly (“Bulldog” Comics?)

 

Jamie: There was a rumor of an editor, specifically Matt Idelson, helping oversee the Gorilla imprint. If there is an editor helping out the imprint can you tell us who s/he is?

Mark Waid: We are in the process of hiring a coordinating editor, but please, no resumes — we’ve already set our sights and are in preliminary negotiations.

 

Jamie: Is the editor you have your sights set on currently working at Marvel or DC?

Mark Waid: No comment. Sorry!

 

Jamie: What books will be coming out through the Gorilla imprint and what are they about? Can you give us details about the book(s) you and your collaborators will be working on?

Mark Waid: By now, you know about Kurt Busiek and Stuart Immonen’s SHOCKROCKETS; I can’t at this stage really give much information about my own launch the following month other than to say that, yes, it’s the long-promised EMPIRE, by myself and Barry Kitson.

 

Jamie: What is EMPIRE? What’s it about, the characters, setting, etc.. I want to know everything!

Mark Waid: Bone-chilling action coupled with satanic soap opera. EMPIRE is the near-future story of Golgoth, the first super-villain to actually WIN and conquer the Earth. Unfortunately, winning the crown and keeping it are two different things altogether. Now Golgoth must constantly watch out for traitors, for terrorists, even for extraterrestrials who were biding their time until he gathered all the reins of power. It’s also the story of his Cabinet of Ministers–evil and twisted all–and how they interact and scheme to gain the Empire themselves. This is not a bright, happy super-hero story. There are no heroes in EMPIRE. Only villains. Monthly beginning in May from myself, Barry Kitson, and colorist Chris Sotomayor.

 

Jamie: Will the Gorilla line be superhero comics only?

Mark Waid: Hell, no. We’re building a home where we can publish whatever the market will bear, and while I’ll probably never get tired of writing super-hero comics, I’ve always made an effort to write other genres–I loved writing the few Archie stories I had a hand in, and to me, IMPULSE was never a super-hero comic but rather a sitcom on paper.

 

Jamie: Will Gorilla comics be available on the newsstand market?

Mark Waid: No immediate plans, but we’d sure love to get there sooner than later.

 

Jamie: Will anybody be allowed to join the Imprint at a future date or just big name comic professionals?

Mark Waid: Who knows? Let’s just get off the ground first and see what the future holds. There’s no official membership “cap,” though a partnership of 27 isn’t exactly gonna be a Swiss watch.

 

Jamie: Don’t you find it ironic that an “Hot writer” based line is being publishing through a company founded by “Hot Artists”? Especially when some of which didn’t put quality writing as a priority in their own comics?

Mark Waid: Oh, I guess, but to be honest, I haven’t really thought about it much. The broader commonality is that none of us wanted/want to spend forever in work-for-hireland.

 

Jamie: Creator owned comics have a bad reputation for blowing deadlines. Can you give us any assurances that Gorilla books will come out on time?

Mark Waid: Without a crystal ball at my side, no–all I can assure you is that, if you look at our roster, Gorilla is clearly made up of industry professionals who’ve been hard at work for anywhere from five to (hi, George!) twenty-five years. We know what deadlines are, and we know how important they are.

 

Jamie: You and Kurt Busiek are DC and Marvel fans respectively. Will your Gorilla comics have homage’s from those universes?

Mark Waid: Can’t speak for Kurt, but mine won’t; with all due respect to the many talented people who’ve headed that way in recent years with some fun and excellent product, if I read another “homage” series, I’m gonna go postal. If I wanted to write Superman, I’d write Superman. If I wanted to write Dial H for Hero, I’d write Dial H for Hero. If I want to write something NEW, I go to Gorilla.

 

Jamie: Do you have any new work lined up with other publishers?

Mark Waid: Other than Black Bull’s GATECRASHER, nothing at the moment.

 

Jamie: I hear there will be some changes to the JLA lineup when you take over as the titles writer. Can you tell us what the changes are, why you want them and what characters will be in the new lineup?

Mark Waid: I’ve made no secret of the fact that I can’t juggle 14 JLAers without having an embolism. The core seven are what everyone expects, and I think Plas is iconic enough to have earned a slot beside them. That said, expect plenty of guest-shots, as needed, from everyone from Steel to Atom.

 

Jamie: Grant Morrison had a philosophy of JLA being something like The 12 Knights of the Round Table. How you do see the team?

Mark Waid: Like an All-Star baseball team.

 

Jamie: What would you have done with Avengers if your run lasted longer than 3 issues?

Mark Waid: Demanded an artist who could tell a story.

 

Jamie: During the 3 issues you introduced MASQUE and BENEDICT, two plot lines that are still left dangling. Who were these characters and what were they to do or become?

Mark Waid: Hell if I know. Don’t you know the Marvel Marching Drill by now? “I was just following orders.” Jesus, even I don’t remember someone named “Benedict”…guess it’s time to crack open the back issues…

 

Jamie: Do you have any consultation or input in Impulse’s own title or his use in Young Justice?

Mark Waid: In his own title, yes; each month, editor L.A. Williams extends me the unheard-of courtesy of sending me black-and-white advances for my comments, and I’d like to give him his public props for that. I don’t, however, have much TO say–writer Todd DeZago, besides being a good friend of mine, has a terrific handle on the character. And with YOUNG JUSTICE, I trust Peter.

 

Jamie: Some people reading your and Brian Augustyn current Flash now assume Hypertime’s purpose is to write stories that don’t have to adhere to continuity. Is that Hypertime’s purpose?

Mark Waid: Ghaaaaaaaaaaaaaaaaaaah.

No. Hypertime has no “purpose” any more than the color red has a “purpose.” Hypertime was introduced both as a way of expanding the ever-shrinking, ever-regulated, ever-constricting DCU and as a way of tipping the hat to old-time readers who are tired of being told the stories they read and loved “never happened.” It was introduced to remind people that comics aren’t about rules, they’re about flying. And don’t draw ANY conclusions from the current FLASH run yet–there ARE purposes to the STORY, and only Brian and Grant and I as yet know what they are….

 

Jamie: You have been one of the writers credited with digging comic books out of the Grim and Gritty heroes. Then you and Brian write a Flash who is very grim and gritty. Why?

Mark Waid: Just pitching a change-up, man. Gotta stay versatile. Gotta keep you on your toes.

 

Jamie: Hey, last year you made around $400,000! Did you make that kind of money again this year?

Mark Waid: My accountant would be stunned to hear that. If by “around,” you mean “way, way, way, way less than,” then I guess so. Believe me, I NEVER made 400 grand in a year, not even close. I did have a couple or three really good years for which I’m really grateful, but salaries and royalties across the board have been a lot more realistic for quite a while, my friend….

 

Peter David Interview

Originally published in January 2000. I have to give Peter David credit. Around this time there was a big Peter David vs. Erik Larsen war that was being fought both online and within Erik’s Savage Dragon and Peter’s Incredible Hulk titles. I was firmly on the Erik Larsen side and on occasion gave Peter a hard time. Still, I very much enjoyed his run on the Hulk (specifically the Dale Keown/Gary Frank years), Spider-Man 2099 and Young Justice, so I wanted to interview him. I suspected when I sent him the request he would (deservedly) blow me off. Instead he accepted and he’s always been really nice to me in person whenever we’ve met at conventions.

 

An Interview With Peter David

 
If you have been reading Marvel or DC Comics you probably know who Peter David is. If you read Star Trek and other sci-fi books, pay attention to who writes certain TV shows, movies, cartoons, etc.. you also probably know who Peter David is. He is all over the place with his written work and has gained a fan following and an alt.fan newsgroup devoted to him. Today he talks to us about the comic titles he writes and his other media work.
 

Peter David at 2010 C2E2

Jamie: Will the first year of Captain Marvel stories be earth bound or more in space?

Peter David: A balance of both. I think I’ve actually hit upon a way to do a combination of adventures that is going to be rather unique. Most of the time when you’re dealing with a character who is earthbound but with space roots, it’s an either/or proposition. And while you’re busy doing one, people crab that you’re not doing the other. I’ll actually be doing both: Earthbound activities and visits to far off worlds.

 

Jamie: Why is Moondragon in the Captain Marvel series? Was there a particular reason you chose her?

Peter David: I wanted someone with no sense of humor to play against Rick Jones and Genis.

 

Jamie: What villains will be popping up in Captain Marvel? Any chance that Thanos will appear?

Peter David: I’d have liked to use Thanos, but he’s just finishing with an extended stay in Thor. I think if he immediately jumps over to Captain Marvel, it’d be overdoing it. Wendigo is in issue #2, then Drax shows up and his appearance winds up triggering an unexpected series of events. The Hyssta will be back, the Surfer will probably be showing up, as will Starfox. Possibly Terrax. Probably Comet Man, who hasn’t been seen for a while. And Super Skrull would be kinda cool.

 

Jamie: What’s happening with Dark Horse’s SpyBoy? It got very little publicity.

Peter David: Actually, Dark Horse has been promoting the hell out of it. It’s been heavily publicized in the Diamond Catalogue, in CBG. They did a big push for it at San Diego with promotional material, and there’s a website. The problem is that retailers have given it little-to-no support, which is somewhat annoying. Here on the one hand I’ve got fans always saying I should branch out, work for publishers other than Marvel and DC, try characters off the beaten track. And then the retailers order bare minimum. They don’t order it as they would, say, “Young Justice.” They order it like a low-end Dark Horse book.

 

Jamie: We don’t hear too much about your own independent title, Soulsearchers and Co. What is going on with that?

Peter David: Claypool Press doesn’t exactly have a huge promotional budget. Look at your own questions: Dark Horse has been promoting the heck out of Spyboy, and you say it gets no publicity. So here’s Claypool which doesn’t even have Dark Horse’s resources, even though ads run for them regularly in CBG. Trying to get the attention of fans and retailers is a full time job. In terms of the book itself, we’re getting up to issue #40. It really kills me: Fans say to me, “Write a humorous book for a small indy publisher, something you have total control of.” And I say, “Soulsearchers and Company. Been doing it for about seven years now.” And they say, “What’s that?” Retailers swear we don’t exist.

 

Jamie: You would think that Captain Marvel Jr. would fit in perfectly with Young Justice. Why is he not on the team?

Peter David: Too much stylistic overlap with Superboy. But he will become an integral part of the book, at least for a little while.

 

Jamie: Will there be any line up changes in Young Justice after the Arrowettte story is over?

Peter David: Mebbe.

 

Jamie: You’ve mentioned that you have a major Supergirl story arc coming up with issues #45 to 50. Can you give us any information on it?

Peter David: Matters with Carnivean are going to come to a head, leading to confrontations between the three Earth Angels, and a showdown between Carnivean and God with most unexpected results.

 

Jamie: You also let it known publicly that this story could be used for a major company event. Has there been any development on that yet?

Peter David: No, and I haven’t been pressing it. I’m still shellshocked after “Sins of Youth.” If I’m just able to go ahead and tell my story and be left alone, I’ll be a happy camper.

 

Jamie: I have to wonder, was the decision to turn Supergirl into an angel an attempt to get some religious comic readers to try out the title?

Peter David: No, it was an attempt to give the book a unique and different tone and feel.

 

Jamie: Do you plan on keeping Supergirl an Angel for the rest of your run?

Peter David: That would be telling.

 

Jamie: Are you at all worried about Supergirl’s future with the Siegel’s Superman and all related characters copyright ownership legal situation?

Peter David: I try not to worry about things over which I have absolutely no influence whatsoever.

 

Jamie: What is your opinion on the Copyright Termination going on with the Siegel’s and now Joe Simon?

Peter David: Well, I figure writers have little enough protection. If the law is designed in a way that they’re able to use it legitimately to their advantage, go right ahead.

 

Jamie: When the Image founders put out a press release talking about ‘Holding Back’ their better characters for creative controlled work you blasted them. Now that this seems to be happening all over again but with a new set of big name creators, do you still feel the same way?

Peter David: I didn’t blast them for “Holding Back” their better characters for creative controlled work. I blasted them for putting out a press release so badly written that any reasonable reading of it made them look like complete assholes. I also said that friends and business made a volatile mix, and that they should either hire or appointment someone to be the single spokesman. In the subsequent months and years, Image (a) admitted that the press release was not well worded, (b) forced out founding members, and (c) hired a single spokesman. In other words, everything I said was true…but oooo, I “blasted Image.” Gimme a break. As for Gorilla, shock of shocks, their publicity statements and press releases have been flawless. So what’s to complain about?

 

Jamie: Is there any chance you will join Gorilla/Image with your own creator owned series sometime down the line?

Peter David: I have my standards. I would have strict requirements for joining Gorilla. First, they’d have to ask me to join. Second…uhm. No, that’s pretty much it. But they haven’t asked. Never heard boo from them, actually. I figure they probably feel that the last thing they need when launching a new imprint is to have some loudmouth schmuck as a loose cannon associated with them.

 

Jamie: With all your writing in comics and other media you must be a very busy man. How long does it take you to write an issue and how do you write it?

Peter David: Most of the time, Marvel style. Takes a few hours to write a plot. A few more to write the dialogue.

 

Jamie: Your writing often uses many popular media references/jokes. Do you think they’ll ever be a time where the audience won’t find that stuff funny anymore?

Peter David: I don’t necessarily use it for humorous effect. I use popular media references to give the stories–which frequently have a very unreal feel to them–some degree of reality. As for jokes, I don’t think it’s necessarily that what I write is funny. It’s just that so many other books have little-to-no humor in them that my stuff is a contrast. I don’t say that to knock other writers: Whatever works for them, more power to them. But there’s plenty of funny lines and situations in, say, the average “Spenser” novel. No one says, “Whoa, do your read those hilarious Spenser books?” The average Indiana Jones movie has tons of hysterical bits occurring at even the most serious of moments. People don’t consider those comedic. But throw a few gags into a comic and people think the whole book is humorous. Usually I use gags to set up something serious. Hopefully that will never go out of style.

 

Jamie: Something you wrote must be coming out soon. Any comic titles, books, TV shows, movies, etc.. you can tell us about?

Peter David: More New Frontier books, the three books in the Centauri Prime trilogy. A short film that Bill Mumy and I are working on. Berkley Books is rereleasing the Psi-Man books under my own name in the genre of SF, which is how the damned things should have been released in the first place. That should be enough to keep folks happy.

 

Joe Simon Interview

Originally published in December 1999. Joe Simon was the first golden age creator I interviewed. Being a comics historian I was happy to have interviewed him. He was able to clear up a question I had regarding Kirby’s claim of Spider-Man’s co-creation. I did this interview via fax machine, which was a mistake. I sent a list of questions and Joe wrote brief answers in whatever space there was between the questions and sent it back. With one exception (Dave Sim) I never did another interview via fax machine again.

 

An Interview With Joe Simon

 
Hello everyone. I’m back and this month I have an interview with Joe Simon! For those that don’t know, Joe Simon is one of the Golden Age creators that laid the foundation of the comic book industry. He is the co-creator of Captain America and *many* other hot selling titles and characters in the Golden Age. The amount of successful comics he did with and without partner Jack Kirby would take up a monster amount of space. You’ll just have to trust me when I say he’s done some good comics. Anyway, most of these responses were given to us via fax machine. Enjoy!
 
Jamie: Two years ago, the wife and daughter of Jerry Siegel filed copyright papers to get Jerry Siegel’s half of the copyright back in regards to Superman and related characters. In April of this year the copyright office awarded the Siegel heirs, saying they now regain their half of Superman, meaning profits from all new Superman products should be split 50/50 between Time Warner (DC Comics) and the Siegel heirs. As a golden age creator, what is your opinion on this?

Joe Simon: Good for the Siegels!

 

Jamie: Apparently the copyright law for cases like the Siegel heirs are for characters that were created before they began freelancing with a publisher. How often was it that a freelancer created a character and “shopped around” to find a publisher for it?

Joe Simon: I can’t speak for other creators. No one ever offered such a project to me – None that was credible, anyway –

 

Jamie: There seems to be a long standing dispute about you and Jack Kirby getting released as Editors at Marvel back in the 40’s. Has either Stan Lee or Martin Goodman fessed up to how Goodman found out you were working for DC on the side?

Joe Simon: Not that I know of – This was over 55 years ago, Stan told me he can’t remember last week.

 

Jamie: Which editors did you enjoy working with the most over the years?

Joe Simon: Which editor? I can’t think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.

 

Jamie: Do editors still ask you to do fill in stories for them?

Joe Simon: No. I get many requests to do articles + reminiscences – I’ve been too busy –

 

Jamie: Today your involved with licensing characters you created. How did you manage to get ownership of these characters considering the time period they were created in?

Joe Simon: Through contractual agreements

 

Jamie: The most famous licensing agreement you have is over Fighting American, which Rob Liefeld uses for his Awesome Comics line. Have you read the Fighting American comics he’s produced and what do you think of them?

Joe Simon: They are pretty exciting, graphically – Nicely printed. Great coloring

 

Jamie: Do you have any other characters licensed out? If so which ones and where to?

Joe Simon: Yes. Several Including the Fly to Batfilms

 

Jamie: What is Batfilms and how will the characters be used?

Joe Simon: Batfilm Productions are executive producers for the Batman films. The Fly is expected to be used as he was in the comic books.

 

Jamie: What is the craziest character you created?

Joe Simon: Craziest character? Jamie, they were all crazy. Who else would fly around in colored underwear? I think the cutest was Angel in Boys Ranch. Did you know that we never got around to revealing or determining the real name of Speedboy in Fighting American. I like The Geek, a rag-doll pretending to be human. The Prez, an adolescent in the White House, just like the current occupant.

 

Jamie: Do you know why Captain America became so successful when the Shield, a similar character appeared first?

Joe Simon: In my opinion, Cap was far superior

 

Jamie: Have you been reading Captain America comics over the years? If so which writer/artists team is your favorite?

Joe Simon: No – Sorry I haven’t been reading them –

 

Jamie: On your webpage, Simoncomics.com you say you created the original Spider Man which was then used by Jack Kirby, and later re-done by Steve Ditko into the character we know today. Can you explain how all this happened?

Joe Simon: It’s in the website. Click on Web Magazine

 

Jamie: Do you believe that Jack Kirby pitched the idea of Spider Man to Stan Lee?

Joe Simon: Yes. He admitted to it – Ditko confirmed it.

 

Jamie: Today comic fans are learning about the behind the scenes politics and editorial/writer/artist disagreements within comic companies, and how they are affecting stories. Was that present back in the golden age as well?

Joe Simon: Constantly.

 

Jamie: In a book called Comics: Between the Panels they have a quote from you where you say all History of Comics are crap. Can you explain why?

Joe Simon: I don’t believe I said that. What I meant was they’re all derived from hearsay and old clippings –

 

Jamie: The Comic Book Makers seemed to be a big success for you and your son Jim. Do you plan on doing any more comic history books?

Joe Simon: Possibly. We may do a second version.

 

Jamie: here are a number of comics with a “Suggested for Mature Readers” label on them, telling non-typical types of stories in them. Do you think this is a good thing?

Joe Simon: We did it first with Young Romance – But it was just a cover gimmick to entice buyers. The contents were very tame –

 

Jamie: What do you think is missing from today’s comics that would really entertain the readers?

Joe Simon: I haven’t read them. Haven’t seen any for years. DC and Marvel stopped sending them.

 

Mark Bagley Interview

Originally published in October 1999. I was a really big fan of Thunderbolts as I was an old Avengers fan and seeing those Masters of Evil villains come back as heroes in disguise was a big fanboy moment for me. So I wanted to talk to the artist, whom I’ve long enjoyed from his Spider-Man and New Warriors work. I made the mistake of making assumptions in this interview, something that’s gotten me in ‘trouble’ before and since.

 

An Interview With Mark Bagley

 
If you love Marvel, you probably know who Mark Bagley is. His pencils have graced the pages of Amazing Spider-Man, New Warriors and currently, Thunderbolts. This issue we get Mark to reveal his beginnings, weaknesses, where he swipes from, what offends him, and more!
 

Mark Bagley at 2010 C2E2

Jamie: What did you do before you started penciling professionally?

Mark Bagley: Let’s see, I was in the Army for 3 years during which time I had a top secret code word security clearance. I’d tell you what I did but then, well you know. I went to art school for a few years, got married, worked construction for a few years and then got a job at Lockheed doing technical illustration for about three years. All the while I was trying to break into comics.

 

Jamie: When did you know that you wanted a career in drawing comics?

Mark Bagley: I’ve wanted to draw comics since I was a kid. I really think that the first time I picked up a comic I thought, “Man I’d love to do this!” I think I was around 9 years old. I finally got my first break when I was 27 (I’ve always been sorta determined).

 

Jamie: How did you break into Marvel?

Mark Bagley: This is kind of an old story, I won the Marvel Try-Out Contest. I was working at Lockheed at the time and about ready to give up trying to do comics for a living and get on with my life, when the contest came out. I thought that it was just a Jim Shooter gimmick and I wasn’t going to do it. Luckily, a friend of mine who owns the Dr. No’s comic store, Cliff Biggers, gave me the contest book and said if I didn’t do it, I’d hate myself. Well a few months later, I got the phone call saying I’d won first place! Marvel flew me to New York and I met a bunch of editors and one gave me a shot (thanks Mike) and I spent the next year and a half working at Lockheed during the day and drawing funny books until 3 or 4 every night. Just about the time Lockheed started laying people off, I was getting enough work from Marvel to quit and do comics full time. A scary thing when you’ve a wife and new baby, to go freelance, but it’s been 16 or so years and I’ve never regretted it.

 

Jamie: What title did/do you enjoy penciling the most and why?

Mark Bagley: It’s never been the title so much as the people I happen to be working with. Doing Spidey was a dream job, my goal since I was a kid. But New Warriors was a blast with Fabian, and the T-Bolts with Kurt has been awesome fun.

 

Jamie: What art supplies do you use?

Mark Bagley: As a penciler my tools are pretty basic. I use drafting pencils, Pink Pearl erasures, triangles and the like. I think that the only tool I use that may be out of the ordinary for a penciler is a drafting arm instead of a T-square. I first used one at Lockheed and realized how much easier it made life at the board.

 

Jamie: What is the most difficult thing for you to draw?

Mark Bagley: I don’t think that I do crowd scenes, automobiles or women particularly well. Plus I’ve always felt my faces were not very strong. Aw Hell, I think that I could improve every area of my drawing. I may have a lot of people fooled but I always think that I need a lot of work. There are so many guys out there (and I use the term “guys” in it’s non-gender specific aspect) who are so terrific and I see their stuff and go “Man, I wish I could do that”. I don’t get jealous or envious (O.K. maybe a little), but it sure does challenge me to keep working on my craft, and trying to improve my skills.

 

Jamie: What do you do when you get stuck for drawing ideas?

Mark Bagley: I swipe from John Buscema or Alan Davis (Heh Heh!)

 

Jamie: Outside of comics, what are your hobbies?

Mark Bagley: I like to watch baseball, exercise (lift weights, run, hike), I shoot a pretty mean game of 8-ball, I love to read and go to the movies. I’m not a big outdoors type, but I do love rock climbing. Lastly, but not leastly, I enjoy hanging with my homies (my wife and daughter).

 

Jamie: I know you like Pro-Wrestling. You keep adding wrestling references into the Thunderbolts artwork. Which federation do you like the most and who are your favorite wrestlers?

Mark Bagley: I’m seriously not sure what your talking about. I do try to throw some cultural references into my drawing, but I don’t really know much about Pro-Wrestling. Sorry. (though Goldberg is a monster!)

 

Jamie: How are things going so far with Fabian Nicieza with him taking over Thunderbolts?

Mark Bagley: I hate him. If he lived near me I’d kill him. As it is, I’m thinking of sending a couple of my brother-in-laws up to Jersey to rough him up.

 

Jamie: Is there a copy of the original Hawkeye/Moonstone drawing that you had to change because it was too raunchy? If so, can you send it our way?

Mark Bagley: Yes and no.

 

Jamie: With the Thunderbolts, you gave complete makeovers to villains. How did you come up with the different looks and costumes to those characters?

Mark Bagley: Costume design is just a lot of fun. Each character was so distinctive that it wasn’t hard to come up with a look, especially given Kurt’s pretty clear ideas on the direction we were heading. Plus, Kurt sent me a sketch of a possible Citizen V costume which I basically just tweaked a bit.

 

Jamie: Did you have any input into the who the New Warriors and Thunderbolt members would be?

Mark Bagley: Really, no. Both books were pretty much established, structure wise by the time that I came aboard.

 

Jamie: What is your opinion of the relaunched New Warriors?

Mark Bagley: Like the old expression goes, If you want my opinion on that subject you’ll have to beat it out of me.

 

Jamie: Thunderbolts seem to be one of the few new titles launched by Marvel in the last few years that has succeeded without any nagging cancellation rumors. What’s the secret to launching a successful new title?

Mark Bagley: Beats me. Kurt’s a terrific writer and I’m a solid, consistent penciler who cares about his craft. T-Bolts was, and continues to be, a very story driven book with interesting characters and well thought out story’s, but I also thought Heroes For Hire and Kazar were great books. Maybe we manage to keep our readers because no one is yet sure how these guys are going to end up, and the journey there is the real hook that keeps the fans buying the book.

 

Jamie: You were the penciler when the controversial story lines surrounding Spider-Man started. Those being the Clone Saga and the Death of Aunt May. At the time, did you feel that mistakes were being made? Was it difficult to draw those issues?

Mark Bagley: I thought the clone saga was a gamble, but a good one. I think the results would have been a lot more satisfying but for a number of editor changes and some bad decisions upstairs. It lost focus and direction, went on way too long, and just became a mess (and Aunt May is REALLY dead, damn it!). It did become less fun to draw those issues, although I think the stories I did with Mark DeMattais were actually my best drawn issues (damn, but he is good).

 

Jamie: Your best known for your Marvel work. Did you do anything for other publishers?

Mark Bagley: Nope, Marvel been very, very good to me.

 

Jamie: If you had a choice of working a monthly title with any DC character, which would you choose?

Mark Bagley: Probably the big cheese, Superman. He and Batman are the icons. I’ve also always had a soft spot for The Martian Manhunter. Once again, the most important ingredients would be my writer and editor.

 

Jamie: Have you ever thought about breaking away from publishers and doing some creator owned work? (Why or Why not?)

Mark Bagley: Nah, I’m a coward. Besides I grew up on mainstream Marvel and DC, I really do love their universes.

 

Jamie: I hear you are a Georgia Cracker. Is that true? 😉

Mark Bagley: A piece of advice: Much like only a black guy can call another black guy the “N” word and get away with it, so to only one Georgian should call another Georgian a cracker. I’m an Army brat, and as such I’ve lived everywhere from Hawaii to Germany to Korea. But I’ve lived in Georgia for over half my life and I call it home.

 

Jamie: Anything else you would like to add?

Mark Bagley: Nah, it’s 12:35 in the a.m. and I’m getting up at 6:00 a.m. so I’m going to bed. Will just thank everyone for buying T-bolts and sticking with it, you are all very appreciated and Fabe and I hope you will continue to enjoy it.

 

Tom Brevoort Interview

Originally published in September 1999. Around this time I was on an Avengers mailing list with a bunch of other die hard Avenger fans (some of whom are still my friends today). Also on that list was Kurt Busiek (whom I already interviewed) and Tom Brevoort. It is interesting to see that he’s still at Marvel today and how he’s evolved along the way, particularly on the idea of diluting a concept title with multiple similar titles.

 

An Interview With Tom Brevoort

 
Tom Brevoort is one of Marvel’s most respected editors by online fandom. Fans that frequent the usenet rec.arts.comics.marvel.universe group will often see him answering questions by readers and correcting false information. Currently he is editing Avengers, Avengers Forever, Avengers #1 1/2, Avengers / FF Domination Factor, Avengers: United They Stand, Blaze of Glory, Captain Marvel, Heroes Reborn: Doomsday, Marvel Mystery Comics, Hulk, Timely Presents All-Winners, Thor, and Thunderbolts. As you can see he’s a busy guy! I’ve made it my goal to try and get through this interview without any “Wait and See” responses, as online fans know he does so often. Wish me luck!
 
Jamie: What did you do before becoming an editor at Marvel?

Tom Brevoort: I was a college student.

 

Jamie: How did you break into the editing biz?

Tom Brevoort: I started out as a college intern in the summer of 1989, and ended up hired as an assistant editor in December of the same year.

 

Jamie: Did you ever want to become a freelance writer or artist? If so will you ever try again?

Tom Brevoort: I’ve written a number of stories for Marvel, and have no doubt that I will eventually do more in the future. And my background is as an artist–I was an illustration major, though I’m not good enough to do monthly work for Marvel. But I like the structure of a regular 9 to 5 work-week, so I’m not really looking to go freelance.

 

Jamie: Unlike most editors, you hang out online answering readers comments and even debating with us once in a while. Why?

Tom Brevoort: When I was simply a fan, if access to the internet was as easy as it is now, I would have been on those boards constantly. That being the case, it seems like the right thing to do to make my self available, and try to eliminate some of the more egregious misinformation that gets disseminated through the electronic forums.

 

Jamie: Where do you get your assistant editors from?

Tom Brevoort: There’s a company in Iowa–three for a dollar.

 

Jamie: How do you decide on which freelancers will do fill ins or take over a title?

Tom Brevoort: There’s not a formula to it. I determine who’s around who can bring something to the series–either by being similar to the guys they’re subbing for, or by being radically different, or by having some sort of historic connection to the character, or by just being cool–and then I call them. It’s all gut-level instinct.

 

Jamie: Has there been any changes to the writing situation on Hulk and Iron Man?

Tom Brevoort: I don’t edit IRON MAN, but the plan is still for Joe Quesada to take over with #26 in January and do at least 4 issues–more, if things work out to everyone’s satisfaction. As of this writing, there is still no regular writer on HULK–Ron Garney and Jerry Ordway will be co-plotting #9-11, with Jerry scripting, however.

 

Jamie: It’s well known that Erik Larsen really wanted to be the Hulk’s regular writer. Why hasn’t he gotten the job?

Tom Brevoort: I try not to hand out assignments in an off-handed way. Erik has certainly made his desire known, and has sent me a treatment. Whether or not he gets the series depends on what he wants to do, what ideas get pitched by others, where I think the book should go, and how strongly the sales and marketing guys feel about the pluses and minuses of any given approach. But Erik is hardly out of the running, and he’s writing #8.

 

Jamie: I understand that Busiek and Perez were picked for the Avengers before you became the titles editor. If you were the editor first and had to pick a creative team for the Avengers, what freelancers would you have tried to get?

Tom Brevoort: Probably Kurt and George. I wasn’t the one who called George, but I was involved in the discussion before the call was made. And I became involved again when George asked about Kurt writing the series–since we were already working together, Kurt sent me his AVENGERS treatment to get some feedback before it went in.

 

Jamie: Practically all the books you edit have high or stables sales. To what do you owe to your success?

Tom Brevoort: Um…people reading the books, mostly. There are some really terrific people working on those titles, and I’m glad that the audience is enjoying their work. But I don’t think it’s any sort of “golden touch” or anything.

 

Jamie: There was a Great Lakes Avengers (or Lighting Bolts) mini series planned. Is it still coming out?

Tom Brevoort: Not to my knowledge. That was something that Matt Idelson wanted to do with Joe Kelly. Now that Matt is at DC, it seems unlikely that this project will happen.

 

Jamie: Hey, who keeps sticking in the Pro Wrestling references in Thunderbolts? Is it Kurt Busiek or Mark Bagley?

Tom Brevoort: Kurt if they’re in the script, Mark if they’re in the artwork.

 

Jamie: You mentioned that you were interested in bringing back the Official Marvel Universe Handbook in one form or another. Has there been any progress on that?

Tom Brevoort: None to speak of. We’ve got around two and a half issues finished at this point, but the market is simply too weak for us to proceed with it–I don’t want to bring the book out and have it get canceled with ‘L’. Until the market improves, the HANDBOOK is on hold.

 

Jamie: Between The Essential Volumes and various reprint TPB’s you’ve been in control of re-selling Marvel’s past. What other projects are coming up?

Tom Brevoort: I think this is a misreading of the situation, as I’ve never edited any of the ESSENTIALS books (though I do consult on things like mistakes that were made in the MASTERWORKS printings so they can be fixed for ESSENTIALS.) But in the immediate future–October–I’m doing both TIMELY PRESENTS ALL-WINNERS, which reprints the first appearance of the All-Winners Squad, Marvel’s first super-team, in a format like that of the recent HUMAN TORCH reprint, and MARVEL MYSTERY COMCIS, and 80-page comic-book collection of golden age stories. And there’s some initial talk about producing new MASTERWORKS volumes, although it remains to be seen if that’ll work out.

 

Jamie: With the popularity of Avengers, we’ve seen several spin off titles like Avengers Forever and the soon to be published Domination Factor. But we don’t see more ongoing Avengers title’s like Spider-Man or X-men have. Why?

Tom Brevoort: I think regular secondary titles tend to dilute the core concept of a series, so I’m adamantly opposed to there being another regular, ongoing AVENGERS title. We’ll do limited series and one-shots when we have interesting ideas for them, but I think the Avengers are better served by only headlining in one title. One team, one book.

 

Jamie: Why was Black Panther moved from the Marvel Knights group and brought into normal Marvel Publishing?

Tom Brevoort: Jimmy and Joe want to do other things, and there are only so many hours in the day. but PANTHER is still selling decently, so there’s no reason to just cancel it. So it’s moving over to mainstream editorial–which shouldn’t really impact on it too much, in that Priest will remain as writer.

 

Jamie: Who will be the editor for Black Panther when it comes to the normal Marvel publishing? Any idea on if it will keep it’s ‘almost vertigo’ style stories?

Tom Brevoort: Ruben Diaz is editing PANTHER. I don’t expect that it’ll change from what it’s been up till now.

 

Jamie: Avengers Forever #8 was loaded with retcons and changing Marvel History, what was your reaction when you saw the script? Was their any uneasiness? Did you have to request any changes?

Tom Brevoort: First off, I don’t think FOREVER #8 was “loaded” with retcons and changes to history–there’s only one major one that I can think of. And I was involved in the conception of that issue, so I didn’t have any problem with anything that was in it.

 

Jamie: With much of the comic industry news being so glum, how do you stay positive?

Tom Brevoort: There are more good comics available today, from a variety of publishers, than ever before. So yeah, there’s a lot of crap, and sales could certainly be better. But how bad can it be when I can get a hardcover volume of the earliest PLASIC MAN stories?

 

Jamie: Who came up with the idea for the Marvel Militia? How can you gauge if it’s working?

Tom Brevoort: The Marvel Militia was conceived and largely executed by my assistant, Gregg Schigiel. I don’t know that you can tell if it’s working–but doing something is better than doing nothing. And anything that helps bring readers into the hobby is something to be encouraged.

 

Jamie: Where do you see the comic industry 5 years from now?

Tom Brevoort: Hopefully still around, and expanding in new directions.

 

Erik Larsen 2nd Interview

Originally published in July 1999. If you’ve been reading my republished interviews you can probably tell I was big on asking about controversies and conflicts that were going on in comics at the time. One of the reasons being was that Wizard Magazine (the most popular comic magazine at the time) wouldn’t cover those topics, even when the creators wanted to address it. I guess that’s one of the drawbacks of being dependent on big publisher advertising. CollectorTimes was an all volunteer organization and I took advantage of not having those constraints. Erik was one of those creators who wasn’t dependent on the big publishers and was willing to talk.

 

An Interview With Erik Larsen (Again)

 
In April 1998, we kick started Collector Times Online with a short interview with Erik Larsen. It’s 15 months later and boy, have things changed! Erik has gone from just submitting two proposals to Marvel and DC to starting and leaving a couple of titles due to either editorial interference or low sales and he’s picked up Wolverine along the way. This time around we get Erik to discuss good and bad editors, Jim Lee and Image, Savage Dragon, Superman, Spider-Man, Wolverine, Nova, Marvel Knights and more!

 

Erik Larsen at 2009 San Diego Comic Con

Jamie: Previously you said that DC editor Kevin Dooley asked you to rip off other peoples stories for Aquaman. Can you tell us what stories?

Erik Larsen: He asked me to do variations on a Batman story where a bunch of kids sitting around a campfire tell stories about what Batman looks like– I refused but he had somebody else write the story anyway for inclusion in Aquaman Secret Files. He also suggested that “we” rip off Frank Miller’s story where Stick gives Daredevil back his powers to give Aquaman back his powers– as luck would have it, he left before I actually had to write that story.

 

Jamie: Over the last 10 years you’ve gone through having normal editors, to having no editors, sometimes being an editor at Image, and then working under some free hand and heavy handed editors. In all what are your opinions on editors after all this?

Erik Larsen: It varies a great deal– I think those editors who actually trust the people they hired to do the job end up with better comics. Glenn Greenberg was great on Nova– he asked the right questions and his input made the story better, not worse. For the most part, however– I can’t say I’m too impressed.

 

Jamie: 6 years ago, in your famous “name withheld” letter you railed against mediocre writers. Now that your writing and dealing with editors and such, do you still feel the same way?

Erik Larsen: Sure. I think people misunderstood what that letter was about– it was in reaction to a writer bitching about artists! My basic point was– geez, guy– we don’t need you– we can do this fine without you. Now, people have taken it to mean NO artist needs to work with any writers but they’re missing the point– certainly there are artists who don’t write– who don’t want to write or am incapable of it– the point is some of us CAN do it and if it’s an option of mediocre stuff from established writers or something from a fresh perspective– I’d like to see that artist given a shot at it.

 

Jamie: What is your relationship like with Jim Lee? Has the Wildstorm split caused any friendship riffs between Jim and the other Image founders?

Erik Larsen: It’s no different than it was. People may get the impression that we always hang out together but in reality, all of the Image partners live nowhere near each other. I see these guys at shows and Image partner meetings– but it ends up just being a couple times a year.

 

Jamie: Some fans felt Wildstorm leaving Image would hurt the company. Economically speaking, what effect has the split had on Image Comics?

Erik Larsen: Each book Image publishes kicks in dough to run the office. Since Jim split, there haven’t been those books to help support the company. That’s about it– we did pick up some new books so it hasn’t affected us THAT much but initially it was a problem because the books were there one month and gone the next with no warning so that we could prepare for it.

 

Jamie: If returnables were a distributing option do you think Image Comics and other publishers would use it?

Erik Larsen: I can’t speak for the company but I’d use it.

 

Jamie: What’s the latest status of the Superman / Savage Dragon crossover?

Erik Larsen: Karl Kesel and Jon Bogdonove’s is nearing completion– mine has barely been started.

 

Jamie: What the status of the Mighty Man mini series? Have you given up on Gil Kane yet?

Erik Larsen: It’s stalled. The thing was written for Gil– if he’s not interested in doing it, I may just have it appear in Savage Dragon instead and do it myself– I’m not that pumped on just getting any guy off the street to do it.

 

Jamie: In both Savage Dragon and Aquaman, you’ve added pregnancies galore. Why do you keep using that as a surprise / story?

Erik Larsen: Planting seeds for the future. In a book like Dragon, which is set in real time, I need to prepare for the future. It may seem like overkill but if you’re that age, it’s not uncommon to have any number of your friends have kids. Since Savage Dragon started, I’ve gotten married, Reuben Rude (SD colorist) has gotten married and Chris Eliopoulos (SD letterer) has gotten married– My wife and I have had two kids, Reuben’s wife spit out one and as I write this, Chris’ wife is a few weeks from having twins– and that’s just people who work on Savage Dragon! I’ve got a number of friends who have popped out kids over the last few years. It’s far from unrealistic but it’s pretty rare in comics, I must admit.

 

Jamie: Many self publishers seem to be having trouble doing a monthly comic book. Yet you kept Savage Dragon monthly or almost monthly for 6 years now. How do you do it?

Erik Larsen: I’m on a roll. It can be mind-boggling at first to set things up but by now it comes pretty easily. You’ve just got to sit down and DO THE WORK. There’s no big secret here– you just have to work on your book rather than play video games, watch videos and screw off.

 

Jamie: With Savage Dragon, the types of stories have ranged from gritty cop stuff to Kirby style sci-fi stuff. What kind of stories will readers see in the future?

Erik Larsen: More of the same– I like getting in a lot of variety on this book– I don’t feel the need to restrict myself in any way.

 

Jamie: Would you do Savage Dragon in black & white if the sales dropped too low?

Erik Larsen: I’d certainly rather not. The next step would be to raise the cover price. Right now, I’m hoping to hang in there for a while longer.

 

Jamie: Do you think Marvel should consider doing ongoing titles in black and white?

Erik Larsen: It’s not my call.

 

Jamie: Spider-Man fans want to know when is the next time you are going to work on him?

Erik Larsen: In Nova #5– I wouldn’t work on one of the regular books unless it was “my” book– I like to do long runs on titles– I’m not interested in doing a story arc.

 

Jamie: In Wolverine #140 we saw ‘you’ as the big thug getting clobbered by Logan. Who were the other people in the scene?

Erik Larsen: That wasn’t supposed to be me as far as I know. The character designs are Leinil’s department.

 

Jamie: What does the future hold for Wolverine?

Erik Larsen: I have no clue– I’m just trying to keep the editors happy– my agenda keeps getting pushed back– I’m not sure when I’ll ever get to do stuff that I want to do.

 

Jamie: How much input do you have on the Wolverine getting his adamantium bones back story?

Erik Larsen: Zero. I told them that it was my priority but the actual story will be done in another book by somebody other than me.

 

Jamie: Nova has made some dumb mistakes in his first couple issues. Will he always make dumb mistakes are will he learn over the issues?

Erik Larsen: He’ll learn– but the book is just going to #7 so there won’t get to be THAT much learning! Obviously, had it continued I’d have the character grow and change but it was taken away from me.

 

Jamie: Who came up with the “Blast it to Buckethead” letter column name?

Erik Larsen: Me. I’ve wanted to use that for years.

 

Jamie: You’ve said Nova might not make it past issue 7. What would readers be seeing if Nova does make it past issue 7?

Erik Larsen: No point in going over it. I’ll try to work some of my plans into other books. We’ll see.

 

Jamie: You mentioned that if Nova does get cancelled, you would probably look for another book to write. If you were asked to do a Marvel Knights title in a super serious fashion, would you accept?

Erik Larsen: No.

 

Jamie: Anything else you want the world to know about?

Erik Larsen: I think Nova’s New Warriors costume is really awful just like the rest of you.

 

Dan Jurgens Interview

Originally published in May 1999. I went a little more fanboy-ish with this interview, but I did ask him some questions about editors and got answers that I probably should have expected.

 

An Interview With Dan Jurgens

 

Dan Jurgens is best known for his work on Superman, but today he is working on other books like Thor, and has just been announced as the new writer for Aquaman. He, along with Jerry Ordway, will also be doing a Fantastic Four/Avengers mini-series. Dan answers questions on all three projects and more!

 

Mike Carlin and Dan Jugens at 2013 San Diego Comic Con

Jamie: When will the Fantastic Four/Avengers mini series be out?

Dan Jurgens: Plans call for us to ship the book in September.

 

Jamie: I’m assuming we’ll see the traditional FF line up, but what will the Avengers line-up be?

Dan Jurgens: Jerry Ordway will be writing and drawing the Avengers book and the line-up will primarily consist of the traditional core group.

 

Jamie: What will the story be about and is it in current continuity?

Dan Jurgens: The story places the FF and Avengers together in an epic adventure featuring a new villain and a fun trip through Marvel’s past.

 

Jamie: Both you and Jerry Ordway are writer/artists. Who will be writing and who will be drawing, and how did you guys decide to divide the responsibilities?

Dan Jurgens: I’ll be writing and drawing a 4 issue mini-series called Fantastic Four: The Domination Factor. Jerry will write and draw a companion series called Avengers: The Domination Factor and the books will intertwine to tell the whole story.

 

Jamie: Erik Larsen and other former Aquaman writers have complained about “creative difficulties” with editor Kevin Dooley, even saying Dooley asked them to rip off other stories. How will you respond if you have similar problems?

Dan Jurgens: I’ll leave the book. Fortunately, I don’t anticipate those problems coming up.

 

Jamie: Will there be any changes to Aquaman’s appearance or his powers?

Dan Jurgens: Not his powers, though I would like to change his hair and costume. Stay tuned.

 

Jamie: You mentioned that you would be creating new villains for Aquaman, can you tell us about them?

Dan Jurgens: Sorry, it’s a bit early.

 

Jamie: What do you plan on doing with Tempest and other Aquaman supporting characters?

Dan Jurgens: Turn them from supporting characters into core characters. Aquaman will be a book about a majestic, royal family. That family happens to be Aquaman, Mera, Tempest and Dolphin.

 

Jamie: Is there a new artist for Aquaman yet? If so, who, and can you describe their work for us?

Dan Jurgens: There will be a new artist but I can’t announce who it is yet.

 

Jamie: Erik Larsen said he’s leaving Dolphin’s pregnancy to the next writer. How do feel about it and what do you intend to do with it?

Dan Jurgens: I don’t think Garth should have slept with someone who is essentially his step mother. His relationship with Arthur would never allow that to happen. But I have no say in that now, it’s done, and I’ll deal with it appropriately.

Unfortunately, it symbolizes the continued erosion of the heroic qualities of DC’s heroes.

 

Jamie: Is there any chance you will draw a fill in for either Aquaman or Thor?

Dan Jurgens: Nothing’s planned but it’s always possible.

 

Jamie: Roger Stern and Peter David reportedly both sent in proposals to become Thor’s writer, how did you beat them for the coveted job?

Dan Jurgens: I honestly have no idea. I don’t know what they wrote and have no concept about how any of their thoughts compared with my own. I consider them friends and talented writers and would have looked forward to reading their work on Thor.

 

Jamie: When preparing for Thor, what kind of research did you do?

Dan Jurgens: Jumped into Norse mythology big time!

 

Jamie: What was the inspiration of the Dark Gods?

Dan Jurgens: Tough question. It started with trying to create a pantheon of gods based on today’s thoughts and values, or lack of them.

 

Jamie: What is it like working with John Romita Jr.?

Dan Jurgens: John’s absolutely brilliant and incredibly well suited to this book. It’s a treat to see what he does each and every month.

 

Jamie: Do you have any plans on drawing a regular series again?

Dan Jurgens: I’d like to at some point. I’m not avoiding it at all. Just seems to have developed into a situation where I’m writing the monthly stuff and drawing special projects.

 

Jamie: What tools do you use when penciling?

Dan Jurgens: I draw on the board Marvel and DC supply me with, using a .05 mm mechanical pencil, HB lead.

 

Jamie: After the Fantastic Four/Superman crossover will you try to get any more comics published in the Treasury Sized format?

Dan Jurgens: I’d love to do a Superman/Thor book in that format.

 

Jamie: Who is the easiest editor you have worked for?

Dan Jurgens: Hard to say, though it should be noted the easiest editors aren’t necessarily the best. I like working with editors with whom I share a vision of what the book should be.

 

Jamie: What caused you to leave the Spectacular Spider-Man book?

Dan Jurgens: Mostly the fact that the editor and I had profound differences on what a good Spider-Man story was.

 

Jamie: What other projects will you be doing in the future?

Dan Jurgens: That covers it for now!

 

Jerry Ordway Interview

Originally published in January 1999. I ask some questions that make me wince, but also asked about some controversial stuff that was going on at the time and re-discovered a new reason to not like editor Eddie Berganza.

 

An Interview with Jerry Ordway

 

For years now Jerry Ordway has been known as the guy doing Superman, and lately the Power of Shazam. He was recently fired off Superman, and decided to tell us why and how. He also let us know about his future plans at Marvel and possibly Image Comics. On with the interview!

 

Mike Carlin and Jerry Ordway at the 2013 San Diego Comic Con

Jamie: Where did you get your first break in comics and how did you end up working at DC and Marvel?

Jerry Ordway: My first break came when I got work through a talent search DC did at the 1980 Chicago Comicon! Mark Silvestri, and Larry Malstadt were the other “finds.” DC was first to hire me, so I stayed with them, only leaving twice, to work on Fantastic Four. Now make that three times, as I left them after being fired from Adventures of Superman recently.

 

Jamie: How does one get the much desired job of working on Superman?

Jerry Ordway: I worked my way up, like any job, til I felt I’d earned a shot at either Batman or Superman. Dick Giordano, VP of DC at the time, (1985) thought I’d be more suited to Supes. I also drew tremendous inspiration from the first Superman Movie!

 

Jamie: Why do you think Superman has been so successful for the last 60 years?

Jerry Ordway: Mainly because it’s a terrific character, with a great back story! Partly because DC has a strong vested interest in keeping it going, and the money to do carry it for periods of time when it’s not doing so well. Without a corporate sponsor, it could have fallen by the waysides in the eighties, I think.

 

Jamie: Do you think Captain Marvel-Shazam will ever be as popular as he was in the 1940’s?

Jerry Ordway: I don’t see it happening, for much the reason I used in the Superman answer. Cap hasn’t received the same commitment from DC that Superman has, and they’re not willing to treat it like a staple as they do Wonder Woman,Flash, etc– keeping the title in print through good and bad times. Maybe this attitude is a holdover to the great legal battles DC had with Fawcett, I don’t know. They own this big Icon, and they just don’t push it! It’s frustrating.

 

Jamie: What are your opinions on Rob Liefeld’s Supreme?

Jerry Ordway: Hey, I thought Alan Moore made that book special. Sure it’s a take off on Superman, but what about all the all too obvious clones of the Xmen that are published? Moore invested a personality into Supreme, and made it work.

 

Jamie: You’re best known for your Superman and Shazam work, what else have you done?

Jerry Ordway: I’ve done All Star Squadron, Infinity Inc (which I co-created for DC) inked Fantastic Four, half of Crisis, Co creatd WildStar for Image, plus done characters of my own. Currently I’m writing and drawing 3 issues of the Avengers!

 

Jamie: Are you at all interested in doing another creator owned project through Image or Wildstorm?

Jerry Ordway: Absolutely, though I would rather do it for Image. The problem I have is, I can’t afford to draw several issues for free, and hope to earn a royalty after the book comes out. I’d hoped to attempt that this next year, if I still had the Superman writing gig to bring in some money every month, while I worked on “Proton” a character I created. It’s a liberating experience, working for nothing! Ask any small press guys!

 

Jamie: What about doing some non-superhero work through Dark Horse or Vertigo?

Jerry Ordway: Again, I’d rather do my own stuff,like “the Messenger” which is more sci-fi based, but I have no interest in Vertigo. I don’t need to swear that badly in print.

 

Jamie: There have been some rumors around you and Dan Jurgens being fired from the Superman books. One rumor says two big name writers were interested in doing the books and the new editor fired the two of you to get them. Then the powers that be came down on the new editor and asked him to hire the both of you back. Is this what happened?

Jerry Ordway: Kind of. I was told that Berganza had no authorization to fire me, but did so on his own while Mike Carlin was away on vacation. When Mike got wind of it, he offered me the job back, but by this time, I had already accepted the Marvel assignments, and I didn’t think it would make for a good working relationship to write for Berganza, an editor who wanted me gone. Dan’s exit was apparently approved, as he had been on Superman for like ten years straight, and they wanted new blood. In my case, I’d only been dialoguing Kesel’s plots for a year, and hadn’t been to a Superman story conference in over five years, so they couldn’t blame me for what was going on in the books! I was looking forward to a fresh start on the character, and Cavalieri had given me a year’s commitment, which I think DC should have honored! They offered me nothing in exchange. This, after twelve years being loyal to them (WildStar notwithstanding).

 

Jamie: So if DC offered you work on another one of their other titles, would you take it?

Jerry Ordway: I want an apology from a higher-up there. None has been forthcoming, despite the fact that I was fired without authorization, in some botched scheme of Berganza’s. I know that Waid, who was apparently offered the book, and then had the offer rescinded, got an apology from DC. Why not me? So no, I won’t work for them, until they treat me with some respect.

 

Jamie: We know you’re doing the inks to Thor #9 and filling in for Avengers #16-18. Anything else coming up?

Jerry Ordway: Dan Jurgens and I have got an idea for a project that Jurgens and I would both work on– two separate titles, four issues each, involving the Avengers and the Fantastic Four. Marvel’s probably going to green light it for the fall of 1999. Besides that, I’d like to work on my own characters!

 

Jamie: Speaking of your Avengers fill in, you said you were doing a ‘Marvel Family’ of sorts by bringing in Warbird (formerly Ms. Marvel) and Photon (formerly Captain Marvel II). Will you also be bringing in Quasar and Genis due to their relationship to the Captain Mar-vel name?

Jerry Ordway: Editor Tom Brevoort said I had too many characters already for my 3 issues, so no Quasar or Genis. sorry. Maybe they’ll find their way into the new project? Who knows.

 

Jamie: Did Avengers editor Tom Breevort ask you do fill in for Avengers or did you come up with the idea first and pitch it to him?

Jerry Ordway: I got the call for them to do it about three days after I was off Superman, and it was their idea. I was already committed to do the inking on the Thor issue, so it was just good luck on my part. I’m not a good one to write proposals and such. I just like to have stuff pop up, which I then can pour my energies into!

 

Jamie: Will you also be inking your Avengers fill in?

Jerry Ordway: The Avengers stuff is being inked by my WildStar collaborator, Al Gordon! Al Vey, an old friend, may ink the last one, depending on his schedule, otherwise Al will do that too.

 

Jamie: Are there any Marvel characters you would really enjoy working with, obscure or major?

Jerry Ordway: Daredevil, Spider-man, you name it! I grew up on the core books, and loved them all!

 

Jamie: If you had the chance to do another comic book in the ‘Power of Shazam’ style would you do it?

Jerry Ordway: Probably, even though it would be creative suicide. I like all-ages stuff. I have young children of my own, and there’s very little wholesome stuff for them to read. I’m not a prude, but I think comics in general are way too skewed to the older readers these days. It takes some of the fun out of it for me. I have enjoyed more adult material myself, but I think comics are slowly dying because they can’t appeal to kids– and then if something comes out that is kid-friendly, like Batman or Superman Adventures, they can’t get them into the mass market! Believe me, I love comic stores, but they aren’t as accessible as drugstores were in my childhood.

 

Jamie: Which is a stronger. Your desire to draw or write?

Jerry Ordway: I like to write stories, but the artistic side of me fights to draw them! Really, I’ve enjoyed collaborations in the past, but there’s nothing like having the pressure resting firmly on one back (mine) to get your heart pumping!

 

Jamie: What tools do you use when drawing and inking?

Jerry Ordway: I use mechanical pencils, HB lead in the summer, 2H lead in the winter. I prefer the rougher finish strathmore drawing paper, and ink with a Hunt #102 crow quill pen, along with a Grumbacher #2 brush dipped in Pelikan ink. For my color work, I use Dr Martin’s Transparent Watercolor Dyes, which are increasingly hard to find!

 

Jamie: How do you fix your mistakes?

Jerry Ordway: I use white-out, or sometimes an electric eraser.

 

Jamie: When you write and draw a comic, how much do you put into the writing part? Do you make a full script first or do you make basic plot and go on from there?

Jerry Ordway: I either do a really detailed plot, or break the story down in small layout form. I like to indicate dialogue in my plots, as a way to help me when I dialogue the pages faster.

 

Jamie: As an artist working with other writers, how much detail do you like? Lots or little?

Jerry Ordway: I like a fair amount of description, but hate when the writer can’t rein it in to six panels or less.

 

Jamie: Who are your inspirations as both an artist and writer?

Jerry Ordway: Artistic inspiration comes from everyone who ever put pencil or pen to paper, but especially, Kirby, Wood, Ditko, John Buscema, Alex Raymond, Neal Adams, Byrne, Zeck, Romita– and more! Writing comes from Kirby, Stan Lee, Roy Thomas, John Byrne, Mike Carlin, Raymond Chandler, Stephen King, Alan Moore, Grant Morrison, and lots more!

 

Jamie: Have you been contacted about doing Marvel Knights or Marvel Tech related work?

Jerry Ordway: I was contacted about a year ago to see if I was interested in doing the Punisher, which I was not. I think Grant and Zeck said the last word on that character.

 

Jamie: Anything you want to say to your fans?

Jerry Ordway: Thanks for the support. This wouldn’t be much fun without an interactive audience! People have followed my work right from the beginning, and I owe my livelihood to them! I hope I can keep them entertained.

 

Kurt Busiek Interview

Originally published December 1998. This is the first of I believe 3 interviews I did with Kurt. He was my favourite writer during this interview. He’s still one of my favourites today.
 

Kurt Busiek 2009 San Diego Comic Con

Kurt Busiek 2009 San Diego Comic Con

An Interview with Kurt Busiek

 
Kurt Busiek is the hottest writer in comics today. Currently his busy schedule includes mega hits like Avengers, Iron Man, and Avengers Forever, the successful new comic Thunderbolts, and his critically acclaimed Kurt Busiek’s Astro City. Now on with the interview.

 

Jamie: I’m told writing Iron Man was one of your dream jobs. How do you think you’re doing on the title so far?

Kurt Busiek: I’m really not the guy to review my own work; I have no perspective on it. I’m certainly having fun, and I don’t think I’m screwing up too bad. I generally see more faults in my own work than virtues, but that’s not a bad thing, since it means I’m always trying to improve. But I’m reasonably pleased.

 

Jamie: Why did you ask Roger Stern in particular to help you with Iron Man and Avengers Forever?

Kurt Busiek: Aside from the fact that he’s a terrific writer, Roger and I collaborate well together, Roger’s sensibilities and mine are close enough so that we’re pulling in the same direction, as it were, and Roger’s got great strengths in continuity and research, which is a big help on FOREVER.

 

Jamie: Out of curiosity, was there a request to have someone (Jerry Ordway) fill in a few issues of Avengers for you and George Perez?

Kurt Busiek: There was certainly pressure from above to get the books back on schedule. Tom and George and I discussed it, and we realized that the only solution that would work swiftly was getting someone to fill in. Tom had been wanting to get Jerry to do something for him, so it looked like the obvious choice.

 

Jamie: What do you think makes Avengers and Iron Man the success it is today?

Kurt Busiek: I would hope it’s that they’re solid, accessible, exciting superhero comics that deliver an enjoyable package in every issue, without making you wait until next month to see if you liked what you just read. That’s certainly what I’m striving for.

 

Jamie: Why did you choose to take Hawkeye out of Avengers and into Thunderbolts?

Kurt Busiek: I can answer that, but not for a few weeks. The story’s not over yet, and I won’t spoil how it wraps up.

 

Jamie: Why did you have Baron Zemo pull the plug on Thunderbolts deception so quickly?

Kurt Busiek: I didn’t see any reason to drag it out until people were sick of it. I thought it’d make more sense to play with the deception for a while, and then change direction when people weren’t expecting it — it’d be more surprising that way.

 

Jamie: What makes Thunderbolts unique from other ‘villain go straight’ comic books?

Kurt Busiek: Depends on the book, I’d say. In SUICIDE SQUAD, they were being forced into it. In LIBERTY PROJECT, they were being reformed by the authorities. In THUNDERBOLTS, what they do is their own choice. They haven’t fully gone straight yet, and may never do so. The book could just as easily turn back into a book about a group of villains, after all — so I think its unpredictability is a big part of it.

 

Jamie: Describe how you write Astro City differently than your Marvel titles?

Kurt Busiek: Well, I write it full-script, for one thing. But beyond that, it’s not an easy answer — not because there isn’t much difference (there is!) but because it’s not something I find easy to articulate. The Marvel titles operate off of the basic question. “What happens next?” ASTRO CITY doesn’t — its basic question is more, “So, how do you feel about that — ?” The Marvel books are the best examples of the superhero genre I can muster, while ASTRO CITY is exploring the genre and its implications, and seeing what can be done with it beyond general genre expectations. That’s not to say that AVENGERS, IRON MAN and T-BOLTS don’t defy expectation — but I’m trying to tell good, fun, involving, exciting superhero stories in those books. In ASTRO CITY, I’m looking to see what else I can do with the superhero as a story vehicle. I hope that makes some sort of sense.

 

Jamie: Why do you choose to write Astro City using unrelated short stories?

Kurt Busiek: They’re all related, in the sense that they take place in the same context and build a history that affects what takes place within it. But I don’t see any other way to do it — if I picked one set of leads and followed them on an ongoing basis, it wouldn’t be ASTRO CITY, it’d be HONOR GUARD, or JACK-IN-THE- BOX, or SAMARITAN, or whatever. Being able to jump from protagonist to protagonist gives me much more freedom to explore the genre through different viewpoints and different conflicts, to tell a variety of human stories by focusing on different humans, depending on the story I want to tell.

 

Jamie: Astro City has a unique perspective on superheroes. How did you develop it and what is your philosophy regarding it?

Kurt Busiek: I thought about superheroes for twenty-plus years, mostly. I’m not really sure what you mean by my philosophy regarding my perspective on superheroes; I don’t know what such a thing would be. But I see superheroes, as a concept, as a rich metaphorical genre in which ideas, conflicts and more can be personified by iconic beings, and the human experiences they resonate with can be played out on a broad, almost fairy-tale like canvas in a way that can’t quite be done with any other genre. This fascinates me, so ASTRO CITY is my way of creating a context in which I can play with that idea and see what can be made of it, without limiting myself to a single character or group of lead characters. It’s an engine of exploration. I don’t think that’s what you were asking, but maybe the answer’s in there somewhere.

 

Jamie: Would you prefer to do Astro City on a monthly or bimonthly schedule?

Kurt Busiek: Monthly.

 

Jamie: Now that Astro City is being done “under” DC Comics will there be any advertising within or changes to the paper stock?

Kurt Busiek: There’s always been advertising in ASTRO CITY; I can’t see why DC would change that. The paper stock has changed several times, too, depending on what paper balances economy and good reproduction best at any given time. Image had its economies of scale and used gang-bought paper over most of its line, and ASTRO CITY used whatever the “standard” was at the time. I assume that’ll be the same at DC, and any changes will be dictated by DC’s line-wide choices.

 

Jamie: Why do you bring back a lot of largely forgotten characters in your Marvel titles?

Kurt Busiek: Why not? I like ’em, and if I have fun stuff I can do with ’em, why not do it?

 

Jamie: How do you feel about writers changing the history of Marvel characters?

Kurt Busiek: Writers have been changing Marvel history at least since Stan Lee retconned Captain America disappearing toward the end of WWII and Bucky dying into Cap’s history in AVENGERS #4. I don’t object to it in principle — I’ve done a bit of it myself, here and there. What matters is what comes out the other end — is it good or bad? And that’s a subjective judgment that each creator, editor or reader is likely to have his own views on.

 

Jamie: Some people don’t think continuity is all that important and should be disregarded in order to get new readers. Do you think maintaining accurate continuity is important?

Kurt Busiek: I like exploring the characters’ histories, so I think it’s valuable for them to have a consistent history to explore. But I don’t see it as a necessity — certainly, there are plenty of great MICKEY MOUSE stories without much story- to-story continuity, and even wild shifts in tone and setting, as Mickey might be a young suburbanite in one story, a daring barnstorming pilot in another and a sorcerer’s apprentice in a third. There are many, many ways to tell good stories, and a consistent continuity is only one of them. I like it, myself, but it’s a choice, not a rule.

I do think that the publisher of a shared-universe line of titles should make a choice as to how continuity will be treated, so that choice can be consistent across the line instead of varying from creator to creator — but then, I guess that, too, is a choice…

 

Jamie: How much research did you do before starting your Marvel titles?

Kurt Busiek: Tons. I filled in the gaps in my collection so that I have complete runs of AVENGERS, AVENGERS WEST COAST, CAPTAIN AMERICA, IRON MAN, THOR, WAR MACHINE, WONDER MAN, THUNDERSTRIKE, MS. MARVEL, VISION/SCARLET WITCH and just about every other series that could be considered part of the “Avengers” family of titles. Then I reread them all, and keep them all close to hand for easy reference.

 

Jamie: In your opinion, what does a story need to be successful?

Kurt Busiek: Define “successful.” If you mean, what does a story need to be aesthetically satisfying, I think it needs to be well-structured, involving, with characters you can be drawn to care about struggling for something that matters, and it should reach a conclusion that seems fitting, even if the characters fail. It should be well-crafted and have some emotional resonance, and should deliver whatever effect the creators intended, whether that effect is instilling a particular theme or intellectual idea, or merely evoking a memory of a particular time and place.

On the other hand, if you mean, what does a story need to be commercially successful, that’s something that varies depending on the audience. Cool poses and lots of detailed inking could be enough one year, and a dismal flop in a later era.

 

Jamie: Have you ever re-read something you wrote and hated it? If so, what?

Kurt Busiek: Sure. I did an Arsenal story in SECRET ORIGINS that I thought was nicely understated in the script, but none of it worked on the page; it’s flat, bland and empty. I think SPIDER-MAN/X-FACTOR: SHADOWGAMES is a wretched mess. But in both cases, I tried my best under the circumstances, and just missed the ball. It happens.

 

Jamie: What comic books do you read?

Kurt Busiek: Tons. These days, favorites include KANE, USAGI YOJIMBO, SUPERBOY, SAVAGE DRAGON, CASTLE WAITING, MAISON IKKOKU and AKIKO, to name a few.

 

Jamie: What do you think is necessary to bring comic sales back to it’s former glory?

Kurt Busiek: I think we’ve got to do good, accessible stuff that’ll appeal to whatever audience it is we’re choosing to shoot for, we have to package that material in a format that target audience is willing to pick up and look at, we have to sell it in places that target audience actually shops, and we have to promote it in such a way that the target audience knows its there. I think this means rethinking the packaging and distribution of comics, as well as the content — it’s no good trying to attract more women by beefing up the romance content in a standard superhero comics and assuming that women will come flooding into comics shops to buy a product they’ve never been interested in and don’t, on the surface of it, have any interest in now, just to discover that there’s some minor alterations to the material that they might like if it didn’t come wrapped in spandex and fight scenes. I don’t see any reason to cling to the 32-page pamphlet, to gear everything for the audience that comes into comics shops first and foremost, or to assume that there’s any one approach that’ll please all audiences. Hundreds of thousands of readers buy FOR BETTER OR FOR WORSE and CATHY collections — those readers are just as much comics readers as fans of SPAWN and HULK. And there are more of them.

However, I don’t expect publishers to do the kind of drastic rethinking and retooling it would take to produce mass-market-friendly comics packages; it’s very expensive to do so, and nobody wants to risk that kind of capital these days.

 

Jamie: Do you ever get the urge to write something that doesn’t have to do with superheroes? If you wanted to write within another genre what would it be?

Kurt Busiek: Sure. In the past, I’ve written JONNY DEMON (fantasy adventure), RANSOM (high adventure), WIZARD’S TALE (fantasy), MICKEY MOUSE (funny animals), VAMPIRELLA (horror), ELVIRA (humor) and more. I love superheroes, but that doesn’t mean I’d never want to write anything but superheroes.

I’d like to write all kinds of stuff, from space opera to mystic adventure to slice-of-life human drama to historical comics and more. I like telling stories, and there’s all kinds of stories to tell; why limit myself?

 

Jamie: Not including the artists you’re working with now, what artists would you like to team up with in the future?

Kurt Busiek: There are plenty of them, from Jerry Ordway and Alan Davis to Stu Immonen and Walt Simonson, from Lee Weeks to Alex Toth, Steve Leialoha, Bruce Timm, and countless others.

 

Jamie: Do you like to read novels? Do you have any favorite authors?

Kurt Busiek: sure. I’ve been reading since I was 3, and I’m not done yet. Favorite authors include Nevil Shute, Walter Tevis, Lawrence Block, Dick Francis, Madeleine L’Engle, James Thurber and more.

 

Jamie: Do you have any desire to write a novel or a screenplay?

Kurt Busiek: Sure, someday — not that I have any time at the moment…

 

Jamie: I hear your going to be a daddy soon. When is the baby due?

Kurt Busiek: December 7th.

 

Jamie: Superhero books often shy away from having characters turn into parents, and then having them raise their kids over the long haul. Do you think superhero books ought to explore this area of life?

Kurt Busiek: I don’t think it’s a question of “ought to.” Superhero comics have no particular responsibility to do so, though FANTASTIC FOUR comes to mind as a book that’s dealt with that area for decades now. I think that if writers can get good stories out of it, then great — but if they’re not interested there’s no reason to push them into it. At both of the major, long-lasting hero universes, they have a policy about time crawling along very slowly to keep the characters young, which makes it very difficult for babies to age normally — every year Franklin Richards grows is another year older the X-Men and Spider-Man get, and Marvel would rather keep those characters young, for commercial reasons. So there are logistical problems in the major universes; it might be easier to explore in a continuity that doesn’t have this kind of time policy. I’ve touched on the subject in ASTRO CITY, and I’m sure I’ll return to it in the future; I set the time policy there, after all, so I don’t have to consider the repercussions of my decisions on the stories and series of other writers…

 

Jamie: You used to be a well known letter hack. Has the urge to write a letter and see it printed disappeared?

Kurt Busiek: Pretty much. Writing stories and having them printed is a much bigger thrill.

 

Joe Kelly Interview

Originally published November 1998. Huh, apparently I could occasionally be decent at asking questions to get to the heart of a controversy regarding writers leaving titles. Of course it helps when your interviewee is willing to talk about that stuff and thankfully Joe Kelly was. At this point Joe was mainly known as a comedy writer for his great work on Deadpool. Now that he’s done a variety of more serious/normal comic work he doesn’t gives such jokey answers to interview questions anymore.

 

An Interview with Joe Kelly

The most wild and zany writer on the block has come to Collector Times. Joe Kelly (after some whip cracking) gave us this wonderful interview about Deadpool, the X-men fiasco, and other neeto stuff. Read on!

 

Jamie: How do you keep coming up with the gags for Deadpool?

Joe Kelly: I have vast library of demented childhood experiences to draw from, and a closet full of lines I SHOULD have said when some jerk put me down in High School, both of which serve me well on Deadpool. Also, I watched way too much TV as both a child and an adult, so I STEAL STEAL STEAL from my favorite shows!

I’m not a well boy.

 

Jamie: Are you reminded of the CCA by your editor when writing Deadpool? Does the CCA force you to cut or tone down some things?

Joe Kelly: Absolutely, Matt does a very good job of reminding me that there is a code to be followed, and when I’ve pushed a border unnecessarily. However, we’re not slaves to the code, either. If we have a really good reason to push the limits, he lets he go for it. As a general rule, we don’t need to break the code. There’s plenty of latitude within it, if you’re clever and a little naughty.

 

Jamie: After reading the Deadpool/Death annual, I wonder if you had a crush on Death when you were young?

Joe Kelly: Nope. I’ve always been fascinated by the Death visual- The hood, the bones, scary! However, I’ve never had a crush on death, nor do I support Death as a recreational activity in any of her many forms.

 

Jamie: Will Thanos be angry at Deadpool for his relationship with Death?

Joe Kelly: I hope so! makes for a cool story, no?

 

Jamie: How long before Deadpool breaks away from the “saviour” storyline and starts interacting with the rest of the Marvel Universe?

Joe Kelly: JANUARY! The DEAD RECKONING story arc ends in December, and then Deadpool has a lot of issues to face in the rest of the MU.

 

Jamie: When will we see T-Ray and Typhoid Mary again?

Joe Kelly: We’ll definitely see T-Ray in 1999. As to Typhoid, I’m not so sure… Maybe next year too, but probably not in the same capacity.

 

Jamie: What’s the current status of Deadpool? Heard any news, good or bad?

Joe Kelly: As of this writing, Deadpool’s sales are actually UP, and we are NOT being canceled! Yay! I have no idea how long this reprieve is going to last, but we’ll make the most of it.

 

Jamie: What do you think about John Byrne’s retconing the Concentration Camp out of Magneto past?

Joe Kelly: I honestly don’t have an opinion on that.

 

Jamie: Rumor is you and Seagle quit the X-books because of the editors. Is this true?

Joe Kelly: It was a variety of reasons. To put it concisely, The editors had a certain vision about the X-Men and the way they should be written. We had a different vision. As a result, the final product fell somewhere in the middle, and therefore short for both sides. We left because we didn’t want to do half-baked work.

 

Jamie: What exactly did the editors do to you and Seagle that drove you off?

Joe Kelly: Like I said, it wasn’t so much a matter of what they did to us, It was more a matter of us not clicking as a group. This, coupled with the fact that everyone at Marvel is concerned about losing their job right now, causes people to make bad choices. This got frustrating, so we all agreed it was time for a break. I DO NOT HATE ANYONE IN THE X-OFFICE! Just wanted to make that clear.

 

Jamie: What was the straw that broke the camel’s back, so to speak?

Joe Kelly: Steve and I were told that we weren’t going to be involved in the long term planning and outlining of the next story arc, but were still expected to write the issues based on someone else’s template. If that had always been the case, if we were “dayplayers” on the X-Men from the beginning, this wouldn’t be such a big deal. However, in light of the events leading up to it, it was obvious this was a last ditch attempt to try and “fix”” something that was way too broken, so we left. That being said, I’d also like to clear up another internet rumor- I DO NOT HATE ALAN DAVIS!!! People have been paraphrasing things that Steve and I said in Australia, and putting it in direct quotes. I have nothing against Alan, and wish him all the best on the X-Men.

 

Jamie: Is the problem the same all across Marvel or is just with the X-books?

Joe Kelly: The X-Men is Marvel’s number one franchise, so naturally there is more scrutiny on those books than some of the others.

 

Jamie: Which X-characters did you enjoy writing the most?

Joe Kelly: Marrow, Maggott, Doc, Phoenix, Storm, Wolverine, and Beast.

 

Jamie: Do you prefer to write team books or individual titles?

Joe Kelly: Team books is hard!!! I’d like to try another team book, but not as big as the X-men. Maybe three characters, or four.

 

Jamie: If you had the chance to write for DC, what characters or titles would you choose?

Joe Kelly: Hmmm… That’s a toughie. I’m partial to Green Lantern, maybe Batman, The Phantom Stranger, Martian Manhunter, and the Spectre.

 

Jamie: Writing wise, who are your influences?

Joe Kelly: Kafka, a bunch of screenwriters including Richard LaGravenese, Terry Gilliam, Robin Williams, Frank Miller, Surrealistic playwriting.

 

Jamie: How exactly do you write your comics? How much detail do you give the penciler?

Joe Kelly: I tend to put in a lot of description, but with the intent that it can all be thrown out so long as a) The storytelling comes across, and b) the artist comes up with a cooler way to show something. My scripts are almost full script style, but only because I’m trained as a screenwriter, and that’s more comfortable to me.

 

Jamie: Outside of writing comics, what do you do with your time?

Joe Kelly: Take care of my new house, my new wife, and plan for my soon to be new baby. I do a lot of work around the home, play videogames, read comics, ride my mountain bike. Sometimes, I pretend to be a cop and shake down druggies for needles, which I then make into sculptures of the Eiffel tower.

 

Jamie: What kind of music do you listen to? Who are your favorite bands/singers?

Joe Kelly: I listen to everything. At the moment, I’m into lounge music, but I listen to Nirvana, Sublime, the Doors, Jazz, Punk, PJ, Billie Holiday… Everything!

 

Jamie: What advice can you give to writers trying to get work at Marvel Comics?

Joe Kelly: BE PERSISTENT, BUT NOT ANNOYING. Right now, the entire industry is shrinking. It’s going to be very difficult for new writers to get in the front door at Marvel. So what folks should do is a) Attack smaller companies and try to build a name for themselves, b) Send in Springboards and 1 page story ideas to editors with a SASE for feedback, but without expectations, and c) try to self-publish, so that they can send in a finished product to be read over a script. Write every day, and try to get a job that will support you while you try to hammer your way into Marvel. That way, if the industry collapses, you can give me a job!

 

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