Gregg Schigiel Interview

Gregg Schigiel at TCAF 2015

Originally published in March of 2000. Gregg had recently left Marvel Comics and I decided to interview him in an effort to get some behind the scenes information about a recent controversy there. Rumor had it John Byrne wrote and drew a Hulk vs. Wolverine story but produced something that he knew Marvel wouldn’t like. His method of trying to get it published was to hand it in so close to the absolute deadline that Marvel would have to make a choice in either publishing it as is, or pay for a costly re-write/draw and publishing it late. As the story goes, editor Tom Brevoort chose to fire John Byrne from the book and pay for the re-do of the issue.

Gregg was professional and didn’t reveal anything when asked, but he did talk a lot about his time at Marvel and the things that he contributed, his love of comics and his future. At this time Gregg is doing a creator owned comic through Image Comics called PIX, which sounds like the idea he describes in this interview. I have since met Gregg at conventions and he’s always fun to talk to and tells me he still fondly remembers doing this interview.

 

An Interview With Gregg Schigiel

Wow, are you in for a treat this month. Gregg Schigiel was an assistant editor at Marvel Comics. You probably know his work from the ‘Fast Lane’ inserts he penciled for Marvel Comics and many other magazines. Others might recognize his work from various What If? issues. In this interview he tells us a lot of information and opinions about comic books, both as a fan and as someone who worked in the industry. He also tells us about the Starfox one shot, other ideas he has and a whole lot more!

 

Jamie: I assume you’re a comic book fan. When did you start reading comics? What were the first issues you bought and titles you got into?

Gregg Schigiel: Yeah, I am a comic fan. I started “reading” comics probably around the time I was seven or eight years old, or thereabouts; hard to remember exactly when. Amazing that I can’t remember the general stuff, but I remember a lot of otherwise insignificant details as you’ll soon see. But anyway, I remember my older brother and one of my cousins were into comics and I used to sort of look on. I definitely remember looking at the old Marvel collections like ORIGINS OF MARVEL COMICS and MARVEL’S GREATEST SUPERHERO BATTLES. They were these great, big collections published by Simon and Schuster. I still have the copy of SUPERHERO BATTLES and you can see the spine breaks on the stories I was entranced by; the X-Men vs. the Blob being the big one. I thought the Beast was the coolest thing, and Iceman and Angel. They were amazing to me. I mean, to have WINGS!? Are you kidding me? That’s great.

But anyway, I remember looking at those books a lot. I put “reading” in quotes above because I never really READ them. I just looked at the pictures…a lot. For example, I loved looking at the Silver Surfer/Thor fight by John Buscema, and there was a Daredevil/Sub-Mariner story by Wally Wood that really caught my eye. So yeah, I did a lot of looking at pictures.

Before that, I definitely watched cartoons. Cartoons are what probably got me into the whole idea of superheroes, especially Batman stuff. Loved Batman. Watched the cartoon (remember that from when I was a wee tike, round about 2 years old), the Adam West show (ran in syndication everyday after school on WDZL Channel 39 in North Miami Beach, FL), and Superfriends. I loved that stuff.

As I was getting older I got more into comics myself. We used to stop at a drug store before going to sleep at my grandparent’s house and buying two or three comics and some Presto-Magic packs, which I wish they still made. Those and shrinky-dinks. The earliest books I remember buying were BATMAN stuff, GREEN LANTERN and an issue of CAPTAIN CARROT AND THE AMAZING ZOO CREW (vs. the Justa Lotta Animals…it was so cool to me, the superheroes as animals). Eventually I started going to a local comic book store with my brother. And while he was regularly buying Marvels and DC, I used to fish in the 10 cent bins for anything with Batman in it, or any of the Superfriends. I ended up with a lot of BRAVE AND THE BOLD, DC COMICS PRESENTS, and other DC stuff, SUPER-SPECIALS and what-have-you. Really fun, superhero stuff.

Eventually, I started to buy ongoing series. The first books I can distinctly recall consciously picking up and trying out and getting hooked on was POWER PACK. I was really into POWER PACK, it was my little discovery. I picked up the current issue at the time (it had Dragon Man in it, who I didn’t much like) and the first issue. I was hooked. I still love the premise of kids with super powers. It’s almost perfect. POWER PACK and G.I. JOE. G.I. JOE was big.

Anyway, for a time, my brother and I actually fazed out of buying and reading comics. Not sure why, but it happened. Every now and then I’d pick up a book here or there (the new FLASH series being a perfect example), but it wasn’t regular. However, one day I was looking at the newspaper and saw an article about a new comic book that was out that had some controversy. Apparently, characters were cursing, and there was some intense, more mature material in it. I was about 11 or 12 years old at the time and well, that’s all I needed to hear. I asked my mom to take me to the comic store, plunked down my four bucks and walked out with a comic that had (and still does have) one of the coolest covers ever: BATMAN: THE KILLING JOKE. I took it home, read it, and was back in the comic book habit. Years later I re-read that book and it actually made sense to me. But man, when you’re 11 and you read that…

My brother and I got back into the comic scene with vigor. We made lists of what we were gonna collect (so as to not double up) and filled our back issue lists. I was buying BATMAN stuff, FLASH, AVENGERS, THOR, POWER PACK, X-FACTOR (the original X-Men…the Beast, for crying out loud), the HULK, the new ongoing WOLVERINE series had just started, and all sorts of stuff. So yeah, we were really into comics. Bought ’em by the bushel and spent summers reading them just as fast. And that was it.

So there’s my probably over-long explanation of my early history with comics. Basically, I just loved superheroes, be it from TV or other exposure, I found them cool, and from there I got into comics. Eventually, that turned into a fascination with the medium itself, and so on and so on. But, let me get to the next question already…

 

Jamie: What did you do before you started at Marvel?

Gregg Schigiel: In the months before I was on staff at Marvel I was in college. In the summer before my senior year I interned at Marvel. I went back to school after that and graduated from the University of Florida with a degree in advertising in May of 1997. Shortly thereafter I tried to get freelance work as a penciler. I showed my work at Marvel, got positive response (but no work) and went back to the boards to work up new samples. Matt Idelson, who was then an editor at Marvel gave me a DEADPOOL plot to work from. I did five pages and sent them in. Kelly Corvese called me the morning he got the samples and offered me an issue of WHAT IF?. I remember that day, hell, that week, vividly. It turned out to be WHAT IF? #104, starring the Silver Surfer and the Impossible Man (What if the Impossible Man had the Infinity Gauntlet?). I worked on that between August and September of 1997. My brother got married in September, and by the end of the month Tom Brevoort called me about an assistant editor job. I started as Tom’s assistant editor at Marvel in October of 1997. 1997 was a big year.

 

Jamie: Did you always want to work in comics or is this something you just happened to luck into?

Gregg Schigiel: Never planned on anything else. I decided I wanted to make comic books when I was in about fourth or fifth grade. Around that age it was a decision between comic books, comic strips or animation. I decided comic books was right for me, for the type of work I wanted to do.

Yeah, I’ve always wanted to work in comics. I love comics.

 

Jamie: How did you become an Assistant Editor?

Gregg Schigiel: Well, as I mentioned, I was an intern at Marvel. I worked in the Tom Brevoort/Glenn Greenberg office. After the internship I kept in touch with people at Marvel, visited when I could fly up from Florida, and generally kept up appearances. I also must have been a pretty decent intern in that Tom called me up an offered me the opportunity for the job. I flew up, interviewed, and within a month I was on staff, hired right smack dab in the midst of Marvel’s bankruptcy. Talk about a career move.

 

Jamie: What duties does an Assistant Editor do anyway?

Gregg Schigiel: Every office breaks their responsibilities down differently, and that could change depending on who the assistant is, who the editor is, etc. The easy answer to the question is, “whatever the editor tells them to do.” But that’s dramatically oversimplifying things.

In general, an assistant editor at Marvel is an editor’s right hand man. You make phone calls, check in and work with talent, work within Marvel and the different departments (Production, Manufacturing, Accounting, other Editorial Offices, Creative Services and Licensing, Legal, Sales, etc, etc.), deal with schedules, run material around, deal with letters pages, and more. You help your editor with whatever, all in an effort to put the best book together in a timely fashion.

In my experience with Tom, I tended to deal more with art related concerns. I worked with the Bullpen (production) putting covers together (picking colors for logos and cover copy, placement of those things, etc), worked with artists on cover sketches, followed work through the production process, and calling a lot of folks a lot of times to check on stuff or just talk shop. It was really quite cool. I learned a lot.

But honestly, I can only speak for myself in terms of what I did. Again, every office has a different breakdown. I was horrible with schedules. I didn’t keep track of them. Tom dealt with the writers more. I spoke to writers from time to time. I speak Spanish, so I worked with Carlos Pacheco quite a bit on AVENGERS FOREVER, and Leo Manco and Jose Ladronn on BLAZE OF GLORY and THOR stuff, respectively. I certainly can’t say that’s something on the list of assistant editorial responsibilities.

And even then, depending on the individual project, responsibilities broke down differently. The work split on AVENGERS wasn’t the same as it was on AVENGERS FOREVER, or AVENGERS 1 & 1/2, or AVENGERS: DOMINATION FACTOR, you know? So, there’s no list I can give you: I did this, Tom did that, assistants do this, editors do that. It’s definitely a team situation. You just work together to get the books done, as best as possible, as much on time as possible. I like to describe the job as the same thing every month, different every day. That is to say, every month the books had to go out (to the printers), but every day brought new challenges or what-have-you to getting that done.

 

Jamie: Spill the beans time, what editor’s office is the most cluttered and who’s is the cleanest?

Gregg Schigiel: By far, without question, without even a doubt in my mind, without ANY second thought, can tell you, in all honestly, that I was most assuredly the winner of “messiest desk and office” award. Ask anyone on editorial row. I many times proposed not even having a desk, because I couldn’t see it anyway, and just working on the floor. I had toppled stacks of paper surrounding my chair…it was like a coral reef. Tom’s a patient, patient man in that respect. But I could find anything…in about five minutes.

The cleanest desk…that’s probably a toss up between Bobbie Chase and Mike Marts. Their offices are kept in nice, clean, orderly fashion. I could never do it.

 

Jamie: Do you know if you want to become an editor or a freelancer?

Gregg Schigiel: Well, seeing as I am no longer an assistant editor, I’m gonna go with freelancer. My last day at Marvel was January 28th. I was offered a job working as an illustrator at Nickelodeon and accepted. It certainly wasn’t an easy decision.
But, even if that weren’t the case, my answer would be the same. I’ve always wanted to eventually do my own thing. I’d love to write and pencil material (and if I ever learn to ink, that too). I always had that in the back of my mind, even as an assistant.
I remember before I started working at Marvel, some of the other folks on staff were telling me not to do it. They thought I’d be throwing my freelance career to the wind. I even made a deal with one of them that if I didn’t get freelance work within a year, I had to quit. And I’m pretty sure I would have done just that…had I not gotten freelance work. Phew! In the end though, no, I have no real interest in being an editor at Marvel.

 

Jamie: Do you have any specific goals for the future? Titles or characters you really want to do, or some self published character?

Gregg Schigiel: Oh, jeez, this is a HUGE question. Honestly, I could go on longer than I did about how I started reading comics.

I have very specific goals for the future. I have a definite career plan mapped out in my head. So far, everything’s going pretty well according to that plan. But this is far-reaching stuff, that honestly, for now, I don’t want to totally get into (if anything because it’ll take too damn long). In the end though, my most important goal as far as this business goes is to do what I can to keep the medium of comic storytelling, sequential art, as a viable, and profitable means of expression, entertainment, and communication. Lofty? Yes. Achievable? That’s what I’m saying. How? I’m working on it.

The second part of that question is easier to answer. If you’d have asked me four or five months ago, the answer point blank would have been POWER PACK. Before I started working at Marvel I’d developed a pitch for them that I’m still very pleased with and proud of. Since then, other folks have taken the PP reins, so my stuff will have to stay in a drawer, or find another outlet.

Beyond them, there are certain characters I’d love to have a chance to work with. I have a take on Ultragirl that I’d LOVE to have see the light of day. She’s a wonderful character with a veritable blank slate. I have stuff I’d love to do there. I’d like to do something with Peter Porker, the Spider-Ham and the litany of Marvel Funny Animals out there (in fact, they’re part of my Ultragirl proposal). I have an Avengers story I’d live to do, moreso as a What If? because it’d literally change the Avengers completely. It would be amazing to work on something with Batman, sure, but I don’t think my take on Batman is in line with the current approach. I have some new characters and stuff I’d like to try out as well. And I’d love to do some humor stuff, and some non-superhero, human drama pieces. I’m very interested in doing DIFFERENT sort of material. I like characters that are otherwise not cared about or paid attention to. Ultragirl being the perfect example. Dazzler being another. These characters get moans and groans or a unanimous “huh?” when mentioned. I like that. It gives you a lot more freedom to do something creative and different. The problem with that, though, is that I’m still pretty green in this business, so I’m not really “bankable”. I won’t get the chance to do much of this stuff, if any of it. But that’s a whole other issue.

And absolutely, I will do some sort of self-published comics work. Yes. I have ideas for formats, content, all sorts of stuff that Marvel certainly would never do, nor DC as far as I can tell, or any of the companies currently publishing, that I’m aware of. So, I’ll do it my way by myself. I know it’s do-able. And you know what they say, if you want something done right…

 

Jamie: Tom Brevoort has credited you with coming up with the Marvel Militia. Where did you get the idea for that?

Gregg Schigiel: First, I thank Tom for that. In the end, he had to say, “Yes, Gregg, go for it.” So I’d like to volley back some credit to him.

But, yes, the Marvel Militia… I conceived the Marvel Militia out of several things, most importantly my passion for comics. Other factors were things like declining sales and what I consider less than stellar marketing strategy in comics. So, taking the “one man against the world” stance, I came up with THE MARVEL MILITIA. The alliteration and all was in the tradition of F.O.O.M (Friends of Old Marvel) and the M.M.M.S. (The Merry Marvel Marching Society). I considered it a modern update thereof.

At Marvel we often talked about what brings people into comics, how we got into them, etc. I know I got into them through my brother and cousin and cartoons. Others though friends, or hearing about them. Comics have for many many years been a grass-roots scene. There are no TV, radio, or print ads for comics as there are for toys, or movies, or soap. People share comics, turn people onto them. The Militia was an effort to remind people of that, to put the power to “save comics” into the hands of those who care enough to do so.

It’s a funny thing, the Militia, in that it totally didn’t get the response I was going for. Just after the first one hit, people were calling it a sales ploy and a gimmick and all this stuff. I could no believe how misinterpreted my words were. I specifically mentioned comics from DC and Image and such in that column to make it clear that it was about comics, not MARVEL comics, per se. Sure, we wanted Marvel books to do well. But that’s not what was at the heart of it. We even got some folks objecting to the use of the word Militia, in that it denoted a military, extreme group. As far as my intentions were, a militia was a group of citizens who rose up to defend themselves, their land, their stake, if you will. I thought the parallel was pretty good. A pretty simple metaphor, I thought.

Then, with other columns, the message got even more distorted. I wrote one in AVENGERS about how that title was the third highest selling Marvel book, and how we could get to number one. That would mean outselling the two main X-MEN titles (at the time we were out-selling WOLVERINE). I even said hey, don’t stop buying X-MEN! But we were accused of being jealous, playa’ hating, all sorts of stuff. Eventually, it lead to a long, fairly dramatic column once again explaining the purpose of the Militia. I call that the “LOVE” column.

Interestingly, my favorite column got no response, and that was my “Summer Movie” schtick. I talked about how with the onset of the summer movie season, comics fans could get people into comics that were similar, if not better than, movies they enjoyed. But yeah, we got no feedback on that bad boy.

In the end though, there were people that got it, and sent us their stories. I printed some in the various letters pages I worked on. I enjoyed doing it, that’s for sure. At least a little part of me felt like I wasn’t just sitting by on the sidelines.

Now that I’m gone I’d like to think that someone might take up the “mantle of the militia”, but who knows. Originally, I tried to make it something that could appear in any letters page for any book. You know, like an umbrella idea. Grass-roots stuff. But nobody ever took it up and joined me. Oh, well. But who knows, the little green camo box is still saved as a digital file, so the Militia could always come back.

 

Jamie: Let me be the first fan to ask this. How do you pronounce your last name? ;D

Gregg Schigiel: The spelling is totally whack, I know, but the Schigiel is pronounced SHEE-GULL. And Mjolnir is pronouced MI-YOL-NIR.

 

Jamie: Hey, you were around when Byrne suddenly left the Hulk. Do you know why that happened?

Gregg Schigiel: Yes, I was indeed around for that, and I do know why that happened. However, out of respect for Tom and John, and how they treated the whole situation, I’d rather not address it. I just don’t think it’s my place, or the right time. Suffice it to say, it wasn’t an amicable working situation, so it was definitely for the best, as far as I’m concerned.

But beyond that, I have a problem with the increased “insider” feelings that a lot of comics fans have come to “expect”. With the ease of information, it’s become much easier for folks to know what happens behind the scenes. Now, while much of it is very interesting and fascinating in many cases, I think it’s come to the point where too many people’s opinions are colored by that information.

I prefer that the material, the comics, stand for themselves. I think any sort of “true story” or muckraking certainly affects fan response to stories.

This was especially clear to me in October of 1998. I had been working at Marvel for a year. I, along with my fellow assistants, had been doing an online chat on AOL, and otherwise having a good time. And then, at the end of the month, a third of editorial, production, and various other departments at Marvel were laid off. Friends of mine lost their jobs. It was a horrible, horrible couple of weeks. I do not recommend such an experience for anyone. So within days, the message boards were abuzz, with such claims as, “why did they fire this one and that one? I hate that one!” And “that one” happens to be a good person, a human being, you know, who wasn’t happy that “this one” got fired. There was a lot of survival guilt in those weeks, and reading this stuff didn’t help. Hell, I heard there was a poster who said one of the people at Marvel should quit their job and kill themselves because the poster didn’t like a comic book they worked on. This is a horrible thing to say, to even suggest. That sort of thing bothers me quite a bit. I don’t purport to get along with everyone, but I certainly don’t say that about people I know, let alone someone I’ve never met or talked to who’s comic book I’m not fond of. Do you see what I mean? The stories that SHOULD be most important are the ones on the page. One day maybe I’ll tell the John Byrne story, but for now, again, I’d rather not. I don’t think it’s my place.

 

Jamie: Right now you’re probably best known as the artist of the Fast Lane inserts. How did you get that job?

Gregg Schigiel: Ah, yes, the FAST LANE inserts…
Very basically, I approached the people in Marvel’s Licensing and Creative Services department about possibly doing some work. I showed them samples of my older work and the current work I was doing and told them I’d love to do something with them, whatever it might be. I did some spot illustrations for them and that worked out, and then I was offered the FAST LANE gig. It was too sweet a deal to say no.

The people in Creative Services were wonderfully accommodating. They let me pick the inker, gave me a wonderful deadline, let me check things out at each stage of production (a definite advantage of being there). It was a great experience. But yeah, I got the job the way you get any freelance work, really. I looked for the opportunity, showed my work, and there you go.

 

Jamie: Some online fans and even Wizard has complained about the Fast Lane inserts. How do you react to that?

Gregg Schigiel: It doesn’t really bother me all that much. I have a pretty good sense of humor about a lot of this stuff. I know it wasn’t ground-breaking. But it wasn’t supposed to be. It’s a public service announcement, you know? It’s a “One to grow on” or “The More you know” bit.

What did bother me was the constant complaints about it from people who refused to just ignore it or tear it out. It’s four sheets of paper! Just rip it out. I know I did. Yep, AVENGERS #1 & 1/2 had it in there, and I ripped it out proudly, and asked others to do the same. Why? It had nothing to do with not liking it or having a problem with the insert. No. Not at all. It just wasn’t supposed to be there. Tom and I tried to get it so that the insert would not appear in that comic book. Unfortunately, that didn’t happen and the insert appeared. Now, that book is one I’m particularly proud of and happy with, and I just didn’t think the insert was right for it, so I took it out. I even rolled my copy up and put it in my pocket for much of the day, just to make it as authentic as possible.

But that was the thing that got me most, the constant complaints about it being there, period. That was made even better by the continued complaints when part 2 came along. It was like, “What? There’s MORE?! ARRGGHH!!” The first one ends with a “to be continued…” You’re gonna get part 2, you know.

In the end it just got funnier and funnier to me, to the point where Chris Giarrusso, who does the great Bullpen Bits strips on the Bullpen Bulletins page, and I worked up a gag for the Bullpen Bits. That was a lot of fun to do. I kept intending to call WIZARD as well, to see if they might be interested in putting an insert in there too, you know, something funny, just for WIZARD, but I didn’t.

Only comic book readers get so vehement about such a thing. Those inserts have appeared in various mainstream magazines, GIRLS’ LIFE, BOYS’ LIFE, MUSE, SCOLASTIC, and I’m sure kids either read it or move on. Sure, it’s in the magazine, but you just move on, you know?

But again, at a certain point I do find it all very funny, especially the online stuff, newsgroups and whatnot. People are very fearless and mean and pig-headed when they get behind their keyboard. One of my favorite online posts ever was a review of GENERATION X #51, which I’d guest-penciled. It read, and I quote, “That art sucked. What happened to Dodsen.” Everything about that was funny to me. The pointlessness of it, the lack of genuine opinion, the misspelling of Terry Dodson’s name. People online can be whoever they want, say whatever they want. And that’s fine. I just don’t take it terribly seriously.

 

Jamie: Marijuana is somewhat popular with the Gen-X crowd. There is even a push to get it legalized. What’s your opinion on Marijuana?

Gregg Schigiel: Look at that, GEN X to Gen-X, now THAT’S a transition!
I honestly don’t know enough about the stuff to give a proper, official stance. I know for me, personally, I don’t smoke it or anything else and never have. I know the smell of it makes me ill, so I’m not a fan of that. I also know people who were really into it and I can’t say I was impressed at the effects on those people. At the same time I know people who are perfectly good people, people I like, good friends, who are or were into it, and I have nothing but good things to say about them. I know there are people that feel very passionately about it. Again, I can’t relate, so I’d rather not, you know, put out a position statement about it.

 

Jamie: Did you get any formal art training? If so, where and for how long?

Gregg Schigiel: Now that’s changing the subject!
OK, art training. I’ve been drawing since I was about five years old. I remember drawing Flintstones characters in kindergarten…or at least what I claimed were Flintstones characters (I couldn’t tell you if they were any good). From that point I just drew all the time. I took art classes in junior high school and high school as well, but in a lot of ways that was essentially more practice, you know? However, a great experience in high school was when Ted McKeever came to speak to our art class. As it turns out, he went to the same high school I did. Someone got in touch with him and he came and talked to us for like three hours. It was tremendous…and very encouraging.

After high school I attended School of Visual Arts for a whopping month before I realized it wasn’t where I wanted to be. I wanted the college experience and I wasn’t getting that at SVA, so I left. I ended up going to the University of Florida. I took no art classes there. But I did continue to do artwork, especially for my classes. I took advertising classes and literature classes and tried as often as possible to incorporate art and comics into my work, writing papers in comic form and stuff like that.

Before I started at UF and after SVA I did have one of the most important training experiences ever. I took an eight week workshop taught by Will Eisner. It was fascinating, educational, inspiring, everything I could have ever wanted. I learned so much in that eight weeks about storytelling and the comics medium. I wouldn’t even know where to start. It was amazing.

Then, I learned a great deal as an intern with Marvel, showing work to editors and getting critiques. In fact, critiques were quite helpful to me.

But in the end, at least for me, it’s been just a constant drawing, lots and lots and lots of practice. I draw every day, to this day, continually working to get better.

 

Jamie: Who are your inspirations for writing and art?

Gregg Schigiel: On the art end, there are a bunch of different influences an inspirations. Certainly what I learned in Eisner’s class was major. The first artist whose work I recognized and followed was Alan Davis, and I’m still a huge admirer of his work. Without question, John Buscema is one of my heroes. I got the opportunity to work with him when I was at Marvel and every moment of that experience was a pleasure. In fact, both he and Sal are wonderful, wonderful people, and quite possibly the most professional people I’ve come across in the comics business. Amazing. Anyway, I must have read HOW TO DRAW COMICS THE MARVEL WAY I don’t know how many times. That book was huge. I still have my dog-eared copy.

Mike Wieringo’s work has definitely been an influence on my work. I remember his work on FLASH and ROBIN and then SPIDER-MAN. I loved it. In a lot of ways it was influential in terms of being artwork I admired. On the other side of the coin, he was being published, and popular, doing the kind of work I did; cartoony stuff. I’ve always had a cartoony style. I love the look of a simpler image. I think it’s more visually powerful in a subdued way, much like Scott McCloud talks about in UNDERSTANDING COMICS, when he discusses icons. Anyway, yeah, Mike’s stuff has influenced me, especially in the past five years. Same with Carlos Pacheco, who as far as I’m concerned, is the best gesture/body language guy in the business, in addition to being a fantastic storyteller.

But, above and beyond that, on the artistic end, I cannot explain how much the work of the Walt Disney Studios has influenced and inspired me. Just in the past year, after I saw Tarzan, I was drawing every acrobatic character I could think of in all sorts of new and interesting poses. It definitely shows, I think, in the FAST LANE stuff, especially the last page of Chapter 3. I was all kinds of Tarzan-inspired. But, beyond that, the work they do, cartoons used to tell stories that people get into and care about. Their commitment to overall design and art. From Pinocchio to the Lion King, the work is art. Not only that, but it’s beloved by the masses. People get attached to these drawings, you know? What amazes me is that if you drew a comic book in that style it’d immediately be dismissed as “kiddie stuff”. And then I’ll watch Beauty and the Beast (again) and note that these are drawings, iconic images, cartoons of people. Gaston. Are you kidding me? He’s not “realistic” by any comic book standard. But in that movie he goes from being a comic figure to a pretty frightening bad guy. Again, this is a cartoon drawing, you know? And we follow him, and his change, and totally buy it. This is a movie that got nominated for an Academy Award! If it got published as a comic and came out in the direct market, (a) it wouldn’t sell for beans and (b) it would be passed off as a kid’s book. That’s a shame. It shouldn’t be that way.

I’ve been trying to slowly make my work more cartoony, actually, more in that model, the Disney way, if you will. But it’s very difficult to convince comics people to go for it. “What? Thor’s chin is too big, his nose too round.” You know? It’s really very screwy, I think. Again, look at Archie. It’s totally cartoony, but totally representative and accepted by mainstream audiences. Peanuts. Look at it. Those kids’ heads are HUGE! But who doesn’t love Peanuts? The world is mourning Charles Shultz, and rightly so. But do you see what I’m saying?

Yeah, I know, I’ve veered off topic. Let me get back to the question at hand.
I’d say in terms of inspiration, well, beyond the people mentioned above, and Disney stuff, I mean, there are people whose work I see and am inspired by. People whose work I’m generally excited by. Mike Mignola’s work, Paul Smith’s LEAVE IT TO CHANCE, STRAY BULLETS by David Lapham, anything by Kyle Baker, Jeff Smith’s BONE, Jill Thompson’s SCARY GODMOTHER books, David Yurkovich’s DEATH BY CHOCOLATE and THRESHOLD, recently the work of Jules Feiffer has been blowing my mind, and MAUS, by Art Spiegelman (in my estimation the best comic ever, for many many reasons). I look at that stuff and get inspired.

And then, as different artists came into my reading world, I certainly was influenced. Basically, anything I read and liked I learned from. I could go on and on and on forever listing names. And then within the past two years I’ve learned more and more. Working with George Perez’ll learn ya quite a bit. And what hasn’t been said about John Romita, Jr., you know? Jerry Ordway, Ron Garney, etc. I mean, without even trying I’m sure I’ve been inspired by whatever I’ve seen. I remember Todd McFarlane and Jim Lee’s stuff being like nothing I’d ever seen, you know? I have old sketch books from junior high and high school where that influence is certainly clear. And then there’s the non-comics influences. Children’s books are surely an influence. Dr. Suess, Lane Smith, Shel Silverstein, Maira Kalman.

Honestly, the artistic influences are all over the map. Heck, Jeff Dee’s work in the Dungeons and Dragons book DIETIES AND DEMIGODS was influential when I was in junior high school. His drawings of the Norse Gods were amazing to me. I definitely remember copying those.

On the writing the end, the influences and inspirations are different. In terms of comic writers, again, I point to any of those mentioned above in terms of writer/artists. Alan Moore’s done amazing comics work, but it seems everyone knows that.

Most of my writing inspirations and influences come from outside comics, though. Outside the genre even. I’ve always admired the work of Mark Twain, with Huckleberry Finn being a wonderful book. A Connecticut Yankee in King Arthur’s Court being another. I’ve really enjoyed the work of Tom Perrotta, and I’ve liked what I’ve read of Kurt Vonnegut.
Television and movies and plays have influenced and inspired me as well. David Kelly’s work, specifically PICKET FENCES, was an influence. That show totally made me re-think the approach to genre and what a story can be about.

PICKET FENCES, for me, showed me that good characters could let you tell any kind of story. I mean, just because Batman’s a detective and a superhero in the archetypal way, that doesn’t mean the potential isn’t there, somewhere in the Batman mythos, to tell ANY story. Even a story about getting old could be told. With characters like Alfred, or Dr. Leslie Tompkins, or even Commissioner Gordon, you know? And you can still make it a Batman story, you know? It just got me to look harder at the potential for characters and stories. A great show.

Plays, especially stuff by David Mamet; that’s great stuff. There’s a musical called Into the Woods that’s amazing, totally fun and original and interesting as a story. The only musical I genuinely like.

Movies have also been big for me. Definitely. When I see a good movie I’m definitely inspired. A good film, a good screenplay. Anything. A good book or play or even a song; these things make you look up and take note of the potential of creativity. It’s a kick in the ass. It’s like someone saying, “HEY, look at what’s been done! YOU can do this! DO THIS!!” Spielberg certainly, the Star Wars and Indiana Jones films, Woody Allen stuff, and more recently the films by P.T. Anderson, the good Quentin Tarantino stuff, Wes Anderson and Owen Wilson, all sorts of things.

So many things can do that when it comes to creativity. Anything funny, you know, a good comedian or comedy. Hell, a good conversation can do it. The people you spend time with. All that stuff.

Finally, a huge influence on my writing and my approach to stories and the kinds of stories I like to tell has been children’s literature. My favorite book/story ever is ALICE’S ADVENTURES IN WONDERLAND. I love it. It’s brilliant. That, PETER PAN, fairy tales, all that stuff. This is the very basics of story. The plots are rich in their simplicity, the characters are full in their seeming lack of depth. There’s so much to them…but that’s brought to the story by the reader. Hansel and Gretl are kids on the run. Now, I’ve never been on the run, but all I need to hear is that premise and I bring those feelings, of being on the run, of being unloved, to the table. I bring that by way of imagination, or finding that feeling within you. It’s the same thing in comics. And then there’s the sense of magic, of fantasy. No one’s explaining this stuff. It just happens. BUT, in the scope of the story, it all makes sense. You suspend all disbelief. You accept it. I love children’s literature. From ALICE and PAN to more modern stuff, like MATILDA or THE PHANTOM TOLLBOOTH, or two AMAZING books by Jules Feiffer, THE MAN IN THE CEILING and A BARREL OF LAUGHS, A VALE OF TEARS. I read this stuff and I get excited to write. I want to be a part of that. I want to create that same feeling I felt for someone else.

I realize I’ve talked about a lot of stuff there, but I did answer the question, right?

 

Jamie: In What If #114, you and Jay Faerber designed a bunch of neato characters that were kids of various superheroes. If you were allowed, would you make those relationships and characters come about?

Gregg Schigiel: First, thanks. I thought those characters were pretty neato, too.
Now, I assume you’re asking if I’d make those relationships and resulting kids actually happen in “real” continuity, right?

Um, probably not. I’m not a huge follower of continuity. I like it when it helps a story. I like it when it’s a special treat for the reader who’s been faithful enough to follow along. But I don’t like it when it forces you to bend a story so it’ll “fit”. I just want to write and read and draw good stories. I think continuity has in some cases taken over these characters’ lives and limited the stories you can tell. That’s not a good thing.

I like the Creeper. I think he’s a wild, interesting character. BUT, if I wanted to do a Creeper story, people would expect me to address what Len Kaminsky did, and what Ditko did, and what happened in ECLIPSO. Why can’t I just tell a story about the Creeper being crazy and creepy, you know?

Only in comics is this the case, too. Arthur Conan Doyle killed Sherlock Holmes…a few times, I believe. He kept bringing him back. How about THAT continuity? I’m a huge SEINFELD fan. I’ve seen ’em all multiple times. I remember in an earlier episode Kramer says he only takes baths. In a later season, he’s got issues with shower water pressure. In another he’s living out of his shower, eating, making calls, etc. The continuity be damned. Why? Because they had a funny bit. I say better to do the funny bit, the better story, then throw it away because in this fictional world, where everything is made up, where creators decide what happens, it was said otherwise by people writing FICTIONAL characters.
Now I’m not saying continuity is evil or wrong. It DOES help build a sense of reality and believability. But after 30, 40, 50 years, well, it can become an obstacle that’s not always worth jumping over.

I remember mentioning Dazzler a few times as a character with potential. And the response, aside from moans and groans, was “how will you explain this, that and the other about Allison Blair?” I was like, why explain any of it? It has nothing to do with the ideas that are currently being proposed for this character. Besides, if our target market is 11 to 15 years olds, let say, they’ve probably never read a Dazzler story. They don’t know that Dazzler’s name is Allison Blair! And for those die hard Dazzler fans, what would they rather see, a Dazzler story that doesn’t explain details that aren’t integral to said story, or no Dazzler story at all? See what I mean? And then there are those who say the character is dated, that she’s a product of the time. That holds no water. What, there’s no music nowadays? She couldn’t have adapted and moved from disco to something else? The Beatles didn’t forever play poppy, sugar-coated stuff and love songs. Look at Madonna! And what, the Fantastic Four, or Spider-Man, or the Hulk, they weren’t products of the time, of a time where radiation was an unknown quantity? People create obstacles. Continuity potentially being one of them.

Anyway, once again, I’ve meandered off topic.To make that story happen, the Secret Wars kids, in this day and age, would require jumping a LOT of hurdles. I liked it as a What If? concept. I think the idea had a lot of potential, but as an alternate world thing, like M2 or Mutant X, you know?. I know my mind was racing with ideas for those characters. But I think the time for those characters, the window of opportunity, has passed. I hope it’s a story that remains as well-liked as it seems to be. I think it’s nice that way, as a simple story.

I do like those kids, though. They are pretty neato. I loved drawing Crusader. She’s a fun character to draw. And I was honored when Carlos and Kurt and Roger included them in the end of AVENGERS FOREVER. That was a nice treat, a good use of continuity.

 

Jamie: You have a Starfox One shot coming out soon, can you tell us about it?

Gregg Schigiel: Oh, sure I can tell you about it.
The first thing I can tell you is that it looks like it might not be coming out after all. Actually, that might be an exaggeration. I’ve just recently learned that the marketing/sales folks at Marvel have decided they “can’t sell” a Starfox one-shot, and that it’d lose money, so it’s been put on indefinite hold. Suffice it to say, I’m not thrilled by the news. It’s a project I’ve been wanting to do for years now and it was happening. Now, it apparently is not. Then again, I haven’t given up on it. I’m still gonna see what I can do with it, see if there’s some way to have it see print. I mean, I’ve talked to Mark Powers about it and he feels the same way I do. We want this thing to happen.

Barring that, I can say that the story is something different, a type of story Marvel hadn’t done in a LOOONG time. A lot of fun. It’ll catch all the online folks by surprise, definitely. I want the people who’ve been talking about it to actually see it, you know? I’ve been reading the posts, I’ve been seeing what people have been saying about how I described the one-shot. I want desperately to read those same people’s comments after this thing comes out…whenever it comes out.

But anyway, just for the sake of answering the question, I can tell you the one shot stars Starfox and Thanos, predominantly. Avengers, X-Men and members of the Fantastic Four appear and play a role as well. But even with all these characters, it’s a very basic, simple story, something I think a lot of people would relate to in some way, and enjoy, even if they don’t necessarily agree with it.

Basically, I look at the character and I think one thing, and that’s the thing everyone thinks of him. I took that one thing and spun a story out of it. Again, it’s a different kind of story. It’s NOT traditional. It’s NOT typical. It’s, well, again, I don’t want to give anything away with it. Within the first five pages though, the premise is well established and all the mysteries will fall away. It’s gonna be a scene, baby, a straight up scene. People will love it or hate it, but this book’s got merit. Now if only the people that can help prove that would get off this “unsellable” kick. It’s not a good thing.

It presumes that something IS “sellable”. Now, I don’t mean to be a pessimist, honestly. I love comics, I hate saying this stuff myself, but here it is. Basically, the claim is that a one-shot starring Starfox won’t sell, or rather, won’t make money. OK, that presumes SOMETHING can sell. I’ve seen the numbers. I know how they’re going. They’re going down, some more drastically than others. There was a time when books were selling, easily, in the multi-100,000 copy range. Heck, books were breaking a million copies sold! Now, a #1 issue opens at MAYBE 50 to 60,000 copies. Even books like X-MEN or AVENGERS have declining sales. It’s a slowly slipping slope, and it’s scary. But the point is that how can one claim to not be able to sell something when there’s not really proof that they can sell ANYTHING?

Kyle Baker did an interview in The Comics Journal recently, a decent interview. But the stuff I found most fascinating was him talking about sales and how it worked over at DC. It’s the same deal. He talked about how the Warner Brothers and Cartoon Network books barely sell. He’s like, that’s Bugs Bunny, you know? Everyone knows Bugs Bunny. He’s on TV every day, he’s in commercials and films with Michael Jordan, but they can’t sell him in a comic book. People will buy him as a salt shaker or a backpack or a toilet brush, but no, his comics don’t sell.

These things do not sell themselves. Just putting a solicitation in PREVIEWS and a blurb in Wizard ain’t gonna do it. But that’s just the tip of the iceberg, really. Distribution, pricing, format, all that stuff. It’s not right.

Anyway, I’m still trying to figure out a way to get this book done. I’m VERY happy with the six pages that are drawn, and I was just putting tweaks on the script which I was having a lot of fun with. Hopefully, one day, folks will get to see all this stuff.

 

Jamie: Is Tigra going to be in the One Shot? What will she be doing?

Gregg Schigiel: Tigra is NOT in the one-shot. She’s got nothing to do with the story at hand. It’s a Starfox one-shot. It’s about Starfox and Thanos. Tigra’s got no place there. The ONLY reason for Tigra to appear is because she was last seen with him in AVENGERS, Vol. 3, #4. That’s exactly the sort of thing I’m talking about with continuity. I have a Starfox story. Tigra’s not involved at all. Her life is totally unaffected by this story. She has NOTHING to do with it. But everyone expects her life and recent travails to be explained. It’s a wrong-headed approach. I’d just as soon not address her at all. I’ll leave her life to another story, or another writer, you know? If I HAD to put her in the story, I’d have Starfox kill her within the first two pages, just to prove a point. Maybe by page three he’d wake up from a dream, or in an intergalactic prison, or in a pool of kitty blood or something. But man, wouldn’t those pages make people stop in their tracks. It’s funny, when Newsarama first approached me to comment on the Starfox one-shot, I told them what I wanted to say about it. I was amazed at how people added meaning and stuff to what I said. They really made some bold conclusions. The best part was that they were getting so upset that I had ideas for Tigra and the aquatic Stingray.

I worked in the Avengers office for over two years. I cannot remember EVER reading a letter or e-mail requesting Starfox or Stingray to show up, EVER. These were characters that as far as I could tell, were as well loved as Gilgamesh, you know? So I come up with this story, and say what I said to Newsarama, and suddenly everyone’s worried about what I’m gonna do to Stingray! Well, here’s a tidbit about my plans for Stingray. I have none. I think the character is funny. He makes me chuckle. I said that to raise an eyebrow or two, to make me giggle when I read the article, and to make people wonder, what could he POSSIBLY have in mind for Stingray?! After I SAID I had plans for him, I DID come up with one idea for the character, and that idea is so far gone that people would lose their minds reading it. Something very existential, Metamorphosis-like in tone and feel. Totally non-mainstream comic booky. The more I think about it, the more I’d like to do it, just to see if it can be done, but that story will never happen, so don’t anybody worry about it. Stingray’s gonna be just fine there in limbo. So everyone that never cared about him can continue not to care about him. It still cracks me up how upset people got about the aquatic Stingray.

I DO have an idea for Tigra, though. And guess what? It’s has .6% to do with Starfox in any way, surprise, surprise. Her adventures with would be mentioned within the first page and not discussed any more, to set up a premise moreso than to establish continuity. The idea I have for her is not about that. It’s about her, as a character. There are no fights of the superhero variety. There’s no jumping over things or crawling under stuff. My premise for Tigra is basically a new-fangled romance book, a soap opera style story, about a woman who’s had an extraordinary life so far who wants to try and be normal. Which would be fine, you know, since she’s a strong-willed woman with set goals. Except, she’s covered in tiger fur and has a tail. How does a woman deal with sexual harassment when she’s always walking around in a catsuit, you know? That’s very interesting to me right now, more so than her fighting, you know, The Dogmen, or whatever. But at the same time, there’s nothing wrong with that sort of thing either. I don’t know if my Tigra premise works for what’s the generally considered target comic audience, young adolescent boys (though I highly doubt that’s the actual market these days). I don’t argue that. I think Tigra versus the Dogmen could be a lot of fun, full of high action and adventure. BUT, that’s not the story I’d like to tell (though, the more I think of it, I would have loved such a story when I was 12).

And before everyone starts saying I have no regard for superhero comics and what they should or should not be, let me say that I DO have ideas for “real” superhero comics, too. You just asked me about Tigra, so I answered. I would love there to be a book called MARVEL HEROES AND VILLAINS, which would essentially be SECRET WARS, the series; a sort of Challenge of the Superfriends starring Marvel characters. No real-world angst, no Peter Parker and the Daily Bugle. Nope, just a group of ten to twelve heroes every month dealing with ten to twelve villains. Superheroes doing cool, superheroic stuff. Flying and blasting and lifting and running. As a kid, that’s what’s cool. Kids like Aquaman and Hawkman. I know I loved Hawkman. But the second I actually read a Hawkman story I was bored to tears. He was in a museum with old stuff and who knows what. Dude, just give me a guy with wings, a mace, and an awesome helmet, you know? I remember this kid, Marvin, from elementary school, who LOVED Aquaman. Loved him. Did he know he was a king whose wife went nuts and whatever? No. He was a guy who could breathe underwater and talk to fish. Superheroes have a great range for stuff. You can tell a story about Aquaman talking to a snapper or you can tell a story about the history of Atlantis, and both can be excellent. BUT, neither of these would sell worth a damn these days. People outside of comics would find stuff about Atlantis interesting. Kids would find a talking fish interesting. But comics folks — nah. I find THAT interesting.

Harry Potter wouldn’t sell as a comic book. Just look at the BOOKS OF MAGIC. Is anyone, kids or adults, lining up by the thousands to have Neil Gaiman sign their copies of that? No. Does Neil get featured in People Magazine? Does Timothy Hunter show up on the cover of Time? No. But Neil does get mentioned in Entertainment Weekly as the “winner of the week.” Why? Because he made a deal to write books and films instead of comics. Because, you know, “comics are for losers…but hey, did you read yesterday’s Dilbert! He’s hilarious.” It’s a funny and tragic and sad dichotomy. Anyway, Tigra does not appear in the one-shot.

 

Jamie: You are both writing and drawing the Starfox one shot. Do you prefer doing one over the other?

Gregg Schigiel: I prefer drawing my own material. I’ve never had anyone draw one of my stories, so I can’t relate that experience, but I have worked off other plots. I found in nearly every case, even though I enjoyed the story, I wanted to change the pacing, the page breaks, suggest dialogue, tweak a scene or an ending. One of the advantages of working the “Marvel Method” was that I got to do some of that, pacing-wise and stuff. But, even so, with just six pages of STARFOX done I think the work is stronger in terms of technical drawing, the storytelling is more cohesive, the facial expressions are “on”, the scripting will be punchy, etc, etc. I think the fact that it’s MY story makes it more fun to draw, more personal. It’s one of the beauties of comics, that you can present an almost pure creative vision. I love that. It’s that sort of attitude that’ll surely get me in trouble one day, though.

I remember just after WHAT IF #114, the Secret Wars story, we were thinking of doing a follow-up. I brought a bunch of ideas to the table, new characters, possible story lines, etc. I talked to Jay about a bunch of stuff and he put his story together. That was still very early in both our careers, but I remember getting a little frustrated by it. These were characters that were in my head too, that I had a take on, but I wasn’t always seeing that on paper, you know? It was being filtered through another mind. But I had the same frustrations as an assistant editor. We’d be working on THOR and I’d have an idea for something, and then Dan Jurgens would come up with something else. Certainly something good, yeah, but there’s still gonna be that frustration creatively. I had a screenwriting teacher in college who called that “killing your babies.” That is, letting your pet ideas, the stuff you’re really attached to, die for the sake of the story or the project or whatever. No one likes to do that, and therein lies frustration. In the end, the sequel What If? project would have been a lot of fun, really very cool, but I think it’s fine as a story in our heads, too.

 

Jamie: Do you have any future work coming up?

Gregg Schigiel: Well, I have a lot of ideas for stuff I’d like to do. I’d love to do some humor comics. I have an idea for an Avengers comedy book that’d be really fun and funny and timely. Right now though, I’m just trying to get some sort of confidence built up about me, something that’ll allow me to do some of this stuff. It’s VERY difficult. I worked at Marvel. People know me there. As far as I could tell, people liked me there. But it ain’t about that, you know? I’m not a name. And these days its names that apparently sell comic books. Garth Ennis could sell Starfox. Warren Ellis can maybe sell X-MAN. It’s a different market these days, a different way of doing business. I can’t say I’m terribly fond of it. But that’s the price of doing business…at least for now.

But I still want to draw stuff. I’d love to get a shot to write something that’d be published. I like doing covers. I’d love to do a cover for BUFFY THE VAMPIRE SLAYER, just to have done it and been a part of that show in a roundabout way. I’d love to do my Ultragirl stuff. I’d like to draw the Beast, and Batman, and I’d like to draw the Hulk for something. But this is just a wish list, you know? Right now I’m working over at Nickelodeon drawing Spongebob Squarepants a lot. If I can make Starfox work, then that’ll be next. Otherwise, I’m gonna try for this Avengers thing I have cooking. Maybe that has a better chance, you know, in that it’s AVENGERS, which is a name. Only time will tell.

And then, further down the line, like, much farther down, I’ll definitely be doing my own thing. It’ll be good.

 

Jamie: How did you get work at Nickelodeon and what kind of cartoon(?) is Spongebob Squarepants? (and exactly what kind of work are you doing on it?)

Gregg Schigiel: The work at Nickelodeon came from someone over there looking for people to do artwork for their Product Services division. I did some samples figuring it’d be a nice opportunity for freelance work, some extra bread and some new exposure and experience. They guys at Nick dug my samples enough to ask me to come on board full time. They made me an offer, I considered it, and accepted.

Spongebob Squarepants is one of the NickToons which is on Saturday Mornings on Nickelodeon. It’s actually pretty funny. It’s about Spongebob, who’s a sponge, who wears square pants. He’s sort of this geeky, nerdy fellow. His good buddy is Patrick the starfish. His neighbor gets annoyed by him, and he’s got some sort of friendship/relationship with this female squirrel that lives underwater in an air-bubble biodome thing and walks around in a scuba suit thing. Spongebob works at a undersea fast food joint. It’s fun. Give it a watch. It’s very much a Nickelodeon cartoon. If you’ve seen some of ’em, you’ll know what that means.

What I’m doing at Nickelodeon is working with the NickToons team in the Product Services division. That means I’ll be doing illustrations that’ll go in style guides and stuff for use in consumer products, be they lunchboxes, underoos, toy packaging, cereal boxes, whatever. NickToons covers SpongeBob, CatDog, Hey Arnold, and the Angry Beavers. Right now SpongeBob is big stuff, so that’s what I’m working on. I have nothing to do with the cartoon itself, but moreso the licensing thereof. Yeah, not nearly as exciting sounding as the comic book stuff, but there you go.

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….

 

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.

 

Stuart Moore Interview

Originally published in August 1999. Stuart had been an editor with DC/Vertigo and had recently left. I often try to grab interview with those people because sometimes they’ve got an ax to grind and reveal some behind the scenes info when asked. I also wanted to interview Stuart because he came across as an intelligent guy in my online dealings with him and Vertigo was such a popular line at the time.

 

An Interview With Stuart Moore

Stuart Moore was an editor for DC’s Vertigo books and was also behind the Helix line that brought us Warren Ellis’s Transmet. He has recently resigned from DC and is now working on a new venture. In this interview, we get Stuart to answer some questions about recent Vertigo controversies and get some info about the job of an an editor.

Jamie: What are the differences between editing a Vertigo book vs. a normal superhero comic?

Stuart Moore: I’ve only ever edited a handful of superhero comics, so I may not be the best person to ask. You certainly have to put on a different set of mental filters when you’re editing a “mature readers” book, because different kinds of material are allowable and appropriate. There are all kinds of superhero comics, and I don’t like to generalize about them too much, but certainly the subject matter dictates that there’ll be more action and usually a faster pace than in Vertigo titles. Vertigo books are also almost always written full-script, as opposed to the Marvel-style plot-first method used often in superhero titles.

 

Jamie: Some retailers report that Vertigo gets more female readers than normal superhero comics. Did you plan or foresee this?

Stuart Moore: I’ve always wanted that and worked toward it, and I know Karen Berger has. To be honest, though, I’m not sure it’s true, except for a few books like SANDMAN which clearly have large female readerships.

 

Jamie: Preacher is very far away from typical mainstream comics, how did it manage to get approved?

Stuart Moore: I walked straight into management with the proposal in my hand and four big guys with boards and rusty nails behind me, and I said, “Boys, we got somethin’ to discuss.”

Seriously…it’s an extreme title in many ways, and that was clear from the start. But Garth Ennis and Steve Dillon were coming right off a highly acclaimed and commercially successful run on HELLBLAZER, so everybody trusted them to produce a good book. It’s very much to DC’s credit that they both approved a title like that in the first place, and stuck with it.

 

Jamie: It’s known that Garth Ennis does not use the internet. Does this make things more difficult for an editor?

Stuart Moore: Actually, no. Garth’s an extremely conscientious guy and he faxes most of his scripts in. He’s always accessible.

 

Jamie: Some editors at Marvel have to handle several titles all at once, what do you think is the ideal number a books for an editor to take on?

Stuart Moore: There’s no simple answer to that, because each book takes up a different amount of time (if you’re doing your job right). Rule of thumb at DC is that an editor should be producing about four books a month. That seems right to me; I’ve done more, and it gets a little hairy, but I could handle it when I had a really good assistant who was up to speed on everything, like Julie Rottenberg was for a while and like Cliff Chiang was for a year or so before I left. It’s kind of tricky at Vertigo, though, because the imprint is more heavily weighted toward miniseries than most comics operations — so you can have a hell of a lot of minis in the works for a long time without much actually coming out, and then everything gets published at once.

 

Jamie: As an editor you must get a large number of proposals for new series pitched to you by professionals. How do you decide which ones will become published?

Stuart Moore: Well, obviously you look for something interesting, something with a point, something different. I’ve always liked fiction of any kind — movies, books, TV, comics — where there’s an author showing me something I’ve never seen before, or telling me something I’ve never thought of. Recently I was also trying to keep an eye on what might be commercial, how to establish a GOOD writer as a COMMERCIAL writer, how to get new readers in to Vertigo.

I also place a lot of importance on people who want to work together; if I can see that a writer and an artist are clicking on something, that means a lot to me. Beyond that, Karen does all the approvals at Vertigo, and she has some very specific ideas about what’s appropriate for the imprint, so that was always foremost in my mind.

 

Jamie: How do you deal with the ‘slush pile’; the submissions and proposals mailed in from comic fans?

Stuart Moore: Well, I always meant to be better about that than I was. I instituted something we used to do in book publishing called a “slush party,” where we’d all stay late and go through a big pile of submissions, but in practice what it meant was you’d end up putting aside anything interesting and never getting to it anyway. You always want to be good about this stuff, but in practice it becomes a very low priority because your first job is to put the books out — and that work expands quickly to fill the available time. That said, the internet’s been a big help to me. We never accepted e-mailed submissions at Vertigo, but it sure made it easier to jot off a quick note in reply.

 

Jamie: Have there been any titles published at Helix or Vertigo that came about through mail-in proposals?

Stuart Moore: That’s a tough one…I was developing one, but I never got it together. I’m sure there have been, but I can’t think of any off the top of my head.

 

Jamie: I know editors don’t read fan fiction, but does doing it and meeting deadlines help writers when looking for freelance work?

Stuart Moore: If by fan fiction you mean prose works about comics characters, probably not (at least in the kind of comics I do). If you mean small press or self-published comics, definitely yes. I always encourage prospective writers to just get something published, even if you do it yourself and even if you’re not working with the best artist in the world. It gives you something to show around that shows you can work in the medium, and it’s a hell of a lot easier to get an overworked editor to read a comic book than to read a script or a proposal.

 

Jamie: Was there any cancelled Helix or Vertigo book that you thought was well above average and should have done really well?

Stuart Moore: Well, most of the Helix line was pretty dear to me. I had really high hopes for VERMILLION — I think the second half of that run, in particular, holds up beautifully — and GEMINI BLOOD was really hitting its stride, too, after a slightly shaky start.

 

Jamie: If you had total control over the Vertigo line, would you have removed the letter pages for more ad space?

Stuart Moore: Well, I understand the move, but no. I think the space could have been made available on a when-necessary basis. But the ads are crucial these days.

 

Jamie: Should the industry move towards doing returnable comics for the direct market?

Stuart Moore: That’s a big question. The direct market’s a funny beast; it wasn’t designed to function under the current market conditions. I think there’s probably a sort of record-industry-style middle ground of partial returnability that might benefit everyone in the long run; but with most publishers scraping by, it’s understandable that they don’t want to give on this. People think the major publishers are short-sighted, but — well, Marvel’s a whole unique, weird situation, but I don’t think that’s a fair description of DC at all, otherwise they wouldn’t be publishing the variety of material they do.

I think it’s probably a better use of everyone’s time to explore alternative distribution and delivery systems than to try to “fix” the direct market. There are a lot of great retailers, and they’re absolutely crucial to comics publishing. But you also need to think about other ways of getting comics out to people. Of course, there are also direct market retailers involved in internet sales ventures themselves, and that’s great too.

 

Jamie: Recently there have been a number of changes on both DC and Vertigo books because of a possible media/public backlash. Would you have made those same changes? (why or why not?)

Stuart Moore: I haven’t read Warren Ellis’s unpublished HELLBLAZER issue, so I can’t really comment on that. I thought the decision to replace the PREACHER cover made sense — it wasn’t exactly a crucial scene in the series, and given the timing, it’s an image that very easily could have been taken out of context. And I’ve said repeatedly, as have the creators, that the FINALS situation has been blown way out of proportion – the editor suggested a change based on how the book would be perceived in the light of the Columbine shootings, the creators agreed, and the creators came up with a scene that worked better for the book.

In a larger sense, though, I certainly wouldn’t shy away from controversy the way DC management does. But they also have pressures on them that I, or a smaller company, wouldn’t. It’s the tradeoff you make for working at, or being published by, a company with deep pockets and a reliable record of actually publishing your work.

 

Jamie: Did the decision to make a 5th week event featuring pre-Vertigo characters as a superhero team influnce your decision to leave?

Stuart Moore: Considering it was my idea, no. Actually, the fifth-week event, V2K, is a series of millennial-themed one-shots and miniseries, of which the book you’re talking about, TOTEMS, is one. (The others are creator-owned.) TOTEMS is great; Tom Peyer really came through on the script, and Duncan Fegredo and Richard Case are doing the art. It’s sort of a gift to Vertigo’s long-time fans. Tom jumped at it, since he was one of the founding Vertigo editors. (And the characters aren’t EXACTLY a superhero team.)

 

Jamie: Some people worry about the fate of Vertigo once Preacher ends. Do you think another key title will be found in time to draw readers to the line?

Stuart Moore: The big gamble about a line like Vertigo is that its success is tied very strongly to specific projects controlled by specific creators. There’s no X-MEN franchise to keep it going once Garth and Steve decide PREACHER is over. That said, Vertigo’s had a pretty strong record, and there are a lot of new monthlies about to start up, so there are a lot of possibilities.

 

Jamie: Can you tell us about what freelancing projects you still have left at DC.

Stuart Moore: I’m working on a miniseries I can’t talk about yet. I just wrote the chapter introductions for the MYSTERY IN SPACE trade paperback, reprinting old DC sf stories. That was a fun little gig.

 

Jamie: You’ve already said the new venture your working on will be doing comics and multimedia, will the comics be similar content to the Vertigo and Helix books you edited at DC Comics?

Stuart Moore: I can’t really talk about the new venture yet.

 

Jamie: What do you think the likelihood is of a Vertigo comic being made into a movie?

Stuart Moore: There are a hundred answers to that. About a year ago, there was a lot of motion on various Vertigo projects; then they all seemed to kind of stall, all for different reasons. But as I always tell people, even when I was on staff at Vertigo, I would usually find out about this stuff from WIZARD or ENTERTAINMENT WEEKLY.

I do hope Garth and Steve can pull off that PREACHER movie, though they don’t seem too optimistic about it right now. And Warren Ellis has had some very promising interest in TRANSMET. But you never know. If there’s a crazier business than comics, it’s got to be Hollywood.

 

Marc Fleury Interview

Originally published in June 1999. Most of my interviews had been with well known creators and editors. I learned of a local creator self publishing a comic and thought it would be interesting to get a different perspective. Marc provided that with hard numbers and harsh reality. To my knowledge, only 2 issues of his comic came out and nothing else after it.

 

An Interview With Marc Fleury
Marc Fleury is a familiar name for those of you who read the rec.arts.comics newsgroups. He recently started self-publish an all ages comic series called John & Cori. Marc was kind enough to tell us the nitty gritty details about both his comic book and self publishing.

 

Jamie: For those that don’t know, explain what your book John & Cori to us.

Marc Fleury: Well, let’s see. It’s a humor / adventure comic along the lines of classic Warner Brothers animation. It’s suitable for all ages, but a lot of the gags will go right over a kid’s head. It’s a little like Tintin meets Calvin and Hobbes. Or maybe the Monty Python version of Muppet Babies.

 

Jamie: I noticed in John & Cori #1, you added a prose story, and games for kids (colouring page and spot the difference panels). Why?

Marc Fleury: The target audience for the comic, really, is me. And I enjoy stuff like that. I think that there are a few people out there who have roughly the same interests and senses of humor as I do, so producing a book that *I* would enjoy seems like a reasonable idea.

The prose stories add a little more substance to the book, and the games are just for fun. I tried to make the games a little more interesting than those you see in, say, Archie, because those are pretty boring for us older “kids.” So John & Cori #1 has a game for kids, and a game for experienced puzzle solvers as well. (Nobody has solved the hard one, which is pretty much what I expected.)

 

Jamie: When did you meet up with artist Giorgio Giunta and what propelled the both of you to do your own comic book?

Marc Fleury: The series existed in my mind first. I was interested in publishing a comic, and this one seemed like a fun book to do, so I started looking around for artists. Giorgio was one of the people to send in samples. He had a style that worked well with the ideas I had for the book, and he is very dependable, so I signed him up for it.

 

Jamie: Will you be making John & Cori TPB’s?

Marc Fleury: The short answer is yes. The long answer is . . . I’m not sure that it’s possible to produce John & Cori at a profitable level in the direct market. I have a number of ideas for the future of the series, but most of them involve spreading outside of comic book stores. Right now, it looks like I’m going to repackage it as a children’s book. It will still be a comic, but squarebound, and distributed through stores instead of comic shops. The market is much bigger, and the interest in this kind of material, I think, is much higher.

So, yes, I’ll be doing trade paperbacks, but they won’t be collected editions (they’ll be originals) and they will mostly sell outside of the Direct Market.

 

Jamie: John & Cori is a very kid friendly comic, why did you opt to this instead of more mainstream type comics.

Marc Fleury: It’s just one of my interests. At any moment, I have a number of projects in development. At the time that I decided to take the plunge into publishing, John & Cori was the series I was most deeply into developing.

It seemed like a good idea, because the book was different than everything else out there I figured that I could fit into a niche that nobody else was taking. Unfortunately, it seems like the current comic book market is too small for such a strategy. The reason that those niches are unfilled is that the people who are interested in that material simply don’t read comics.

It’s a bit of a vicious circle. There aren’t enough all-ages comics being published. Those that do start up don’t sell very well, because not many kids buy comics anymore. And those kids don’t buy comics because there’s nothing being published that interests them.

 

Jamie: Will Abdo Entertainment be doing other titles? If so can you tell us about them?

Marc Fleury: Yep. One advantage is that I have many interests, so if something doesn’t work out, I have tons of stuff to fall back on. There’s a comic called On The Lamb that will be coming out through Abdo next year. It’s another odd little book, this time aimed at a slightly older audience — teens and up. It’s about Jesus. If Jesus was a teenager today. It’s a comedy.

 

Jamie: Do you plan on getting another artist for your other titles or will Giorgio be able to do them?

Marc Fleury: I’ll be working with others. I enjoy seeing my writing transformed by various artists, and I’d like to work with as many artists as possible. On The Lamb, though, will be illustrated by me. I used to write and draw a comic strip for a local entertainment magazine, and I’ve really missed that. So I decided it’s time to go back and draw my own stuff. I was just waiting for the right project — I can’t draw very well, so it has to be something where the humor carries the comic. I figure that I can draw as well as Sam Henderson or Matt Groening.

 

Jamie: What are your long term plans for Abdo Entertainment? Do you plan to build it up into a full fledged publishing company or are you hoping to make a reputation as a writer and get work in corporate comics.

Marc Fleury: Both. I’m still working and developing stuff for other publishers. And I also plan (in the long term) to publish the work of others through Abdo. If James Kochalka told me he had a comic for me, I’d publish it.

The company is more than just for publishing comics, though. That’s why it’s Abdo Entertainment and not Abdo Comics. I’m developing a store on the web, I have my Writing for Comics column, my brother and I are making short films (we won some dinky award at some dinky film festival last year), and there’s a bunch of other stuff that it’s too early to talk about. Basically, Abdo Entertainment is the company I set up to deal with all the entertainment-related, hopefully-profit-making stuff that I do. Right now, the main business it publishing John & Cori, but it’s growing.

 

Jamie: Where did you go to find out how to self publish a comic book?

Marc Fleury: Dave Sim’s columns started me off. I asked a few questions on the comics-pro mailing list. I got a book called How To Self-Publish Your Own Comic Book by Tony Caputo.

Actually, it’s pretty easy stuff. There’s not enough to fill a whole book, which is why Caputo’s book has a lot of information that most self-publishers will never use. Everything you need to know is on the web, and anything that’s not clear can be cleared up by asking about it in a relevant forum (the comicon.com boards, the rec.arts.comics.misc newsgroup, or one of the mailing lists for comics creators).

 

Jamie: With the comic market is the shape that it is, why did you decide to do a comic book at all?

Marc Fleury: I’m insane.

Actually, I think this is a very exciting time for comics. I’m glad to be working in the industry right now, because the *real* mainstream is on the rise — comics designed to appeal to the general population. It’s going to take a lot of work, and even more sweat, but I think that the medium will come out of its funk in a few years. I’m thrilled to be a part of the transformation of the industry.

 

Jamie: I understand you had some difficulty getting Diamond Comics to distribute it. Can you tell us about that?

Marc Fleury: Oy. Way back in July of 1998, I printed up thousands of copies of John & Cori #0 — an 8-page promo comic — and mailed them out to hundreds of retailers. In big letters on the back cover, it says “Issue 1 comes out in OCTOBER from ABDO Entertainment”. At the same time, I sent out the solicitations to Diamond.

A little while later, I hear back from Diamond. They aren’t interested in carrying the book. I was stunned, and rather crushed. Not only were they saying that my work wasn’t good enough, but I had just wasted a couple of grand promoting a book that would, essentially, be unavailable to most retailers.

I then recontacted all the retailers that I had originally mailed out the promos to, and told them they could order from Abdo directly.

A few months go by, and then I get a call back from Diamond. It seems that they passed the book on to their retailer review board, and the retailers said they *did* want to carry the book. So Diamond was calling back to change their mind — they’d carry John & Cori after all. They ran it as a February release. Four months after I had announced it would come out. I have no doubt that the low orders on #1 are related to that delay. The retailers that I had contacted were told that the book was coming out in October, but Diamond forced me to ship the book 4 months later.

 

Jamie: I know you are using FM International to distribute John & Cori, how much does smaller distributors help overall sales?

Marc Fleury: For me, a lot. I did an informal survey of some other publishers, and sales through FMI are about 5-8% of those through Diamond. For John & Cori #1, FMI’s order was 35% of the size of Diamond’s. I’m selling seven times more comics than I should be through FMI. It doesn’t make sense. Until you take into account the screw-up with the initial release date through Diamond. It’s not that I’m selling seven times more than I should be through FMI, it’s that I’m selling seven times LESS than I should be through Diamond. I’m certain that, had Diamond been able to see the quality in John & Cori that their retailer review board obviously did, then they would have carried the book when it was first solicited, and the sales would have been seven times what they are now.

Now I have to scramble to bring up the sales before Diamond drops the book for selling poorly.

 

Jamie: You have made a webpage that gives previews and ordering info for your comic. I’ve always wondered how much does that help?

Marc Fleury: Although I have information posted on how to order direct, the real hope for the site is to give people a taste of the book, and then they can order it through their store. Unfortunately, I don’t have any real way to measure the site’s success on that level.

 

Jamie: Promotion and buzz is very important to getting retailers and readers to try your comic. What did you do to try and get the word out about your book?

Marc Fleury: I sent out those promo copies, which turned out to be a disaster. Although, I still think it’s a good way to get the word out (and I got a lot of positive feedback from that issue. I know that some people ordered #1 on the strength of the promo issue). I wish I had made sure that Diamond was carrying the book before printing up all those promotional copies.

Other than that, I try to mention it in relevant discussions on the internet. I would have liked to get out to some conventions, but it’ll have to wait until next year.

 

Jamie: Can you give us an idea of how much it costs to self publish a comic book and where those costs come in?

Marc Fleury: Printing is the big thing. You can shop around, but the best deal I found was Preney, in Windsor Ontario. The paper isn’t great, but I’ve never much cared about that. And they printed my #1 for 50 cents a copy, which includes shipping and taxes. (Those are Canadian cents for you Americans. About 35 cents US at the current exchange rate.)

Setting up your business is pretty cheap. Hiring the talent can be expensive, but if you want to avoid that cost, either draw it all yourself or agree that people only get paid if the book turns a profit. (Put it in writing, so that everyone is clear about what is being agreed to.)

 

Jamie: Can you also give us an idea of how much money one could expect to make by self publishing, and how that money comes in through distribution?

Marc Fleury: You sell the book to Diamond for 40% of the cover price. A $2.95 cover price pulls in $1.18 when you sell it to the distributor. If you figure that it costs a bare minimum of $1000 for 2000 copies after you add in all the incidentals, you see you need to sell 850 copies to make back your investment. Unfortunately, in this market, that’s not necessarily easy.

 

Jamie: What do you think is the biggest barrier in the comic industry for selling indy comics?

Marc Fleury: Retailers are afraid to try new products because they’re non-returnable.

 

Jamie: If you had to do this all over again what would you do differently?

Marc Fleury: A bunch of stuff. Luckily, I *am* doing it all over again, with my next series. I’ll be fixing the problems that have plagued my first attempt.

1) I’ll build the audience for the book before it gets released, by running a strip on the web for a few months.

2) I’ll make sure my distribution deals are in place before sending promo material and

3) I’ll cut down on my costs by drawing it myself.

 

Jamie: Has publishing your own comic changed your opinions about the comic industry?

Marc Fleury: It’s easier to publish a book than I thought it was, but it’s harder to make money at it than I thought it was.

 

Jamie: What advice can you give to people thinking about self publishing?

Marc Fleury: Ask yourself this: Is the publishing part as important to you as the creating part? If designing letters pages and indices, dealing with distributors and retailers, promoting your work and yourself, and handling orders and balancing the books doesn’t give you as much pleasure as writing and drawing comics, then self-publishing probably isn’t for you. You have to be both a creator and an entrepreneur.

That, and make sure you have at least $10,000 to risk.

Click here to learn more about JOHN & CORI [link disabled as it’s no longer active]

 

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!

 

Devin Grayson Interview

Originally published in March 1999. This was the first female comic creator I interviewed and I again wince at some of my questions. I was very happy to be interviewing her as all of my previous interviews were with men. For those with short memories Devin was in a relationship with Mark Waid at the time and she was falsely accused of getting and keeping work at DC Comics because of that relationship by assholes back in the day. Devin stopped writing comics after a while and I can’t say I blame her. I hope she’s happy doing whatever it is she’s doing today, she deserves it.

 

An Interview with Devin Grayson

The fastest rising hot writer in DC Comics is here. Devin Grayson has been wowing people with her Catwoman work and has recently gotten more spotlight with her JLA/Titans crossover, the new Titans series, and her upcoming work involving the Batman’s No Man’s Land event. With this interview we find out who Devin is, how she sees things and what she’s up to.
 
Jamie: You’ve said in the past you didn’t get interested in comics until you saw the Batman Adventures cartoon. What did you do before becoming a comic writer?

Devin Grayson: I went to college and took some post-graduate courses in writing while working on a novel which I have yet to complete (I got sidetracked by the comics!) and I had a day job as a project manager in the research division of a large Northern California HMO.

 

Jamie: Before breaking into DC Comics, what comics did you write?

Devin Grayson: None, actually. My interest was pretty limited to the Bat-verse (that is – I didn’t really want to “be a comic writer” I just wanted to write Batman and Nightwing and all of the cool Gothamites), and “Like Riding a Bike” in The Batman Chronicles #7 was my first professional work in comics.

 

Jamie: Did you ever have any association with the Friends of Lulu and do you have any opinions of female focused groups like that?

Devin Grayson: I am not a member of the Friends of Lulu, and don’t intend to become one, nor would I presume to generalize about female-focused groups (they can be assumed to vary widely, both in intent and effectiveness). All I can say is that for myself, personally, there’s a danger in joining such groups. My fear is that instead of actively doing things that challenge gender-bias, I would let “being a member” serve as my “good deed” – that is, I could begin to assume that my membership in and of itself was what I was doing to promote healthy gender politics and – let me emphasize this again — for myself, personally, that’s not the best way to effect change.

 

Jamie: Who are your writing influences?

Devin Grayson: In comics the writers I turn to most frequently for inspiration are Alan Moore, Neil Gaimen, and Frank Miller, though there are certainly a whole bunch of other people I admire and have learned from, including, among many others, Dennis O’Neil, Terry Moore, Chuck Dixon, Scott McCloud, and Mark Waid.

In other media, I’m deeply influenced by Milan Kundera, A.S. Byatt, Stendhal, James Baldwin, Tom Stoppard, David E. Kelly, Steinbeck, Shakespeare, Rilke, Anne Rice, Nabokov, Tori Amos, Terry Gilliam and then also by people like Jung, Joseph Campbell, Thomas Moore, and more recently Buddhist scholars like Pema Chödrön and Thich Nhat Hanh.

Really, though, the lovely thing about writing is that you’re constantly influenced by absolutely everything. My own psyche influences my writing more than anything else, and my psyche is a magpie.

 

Jamie: Are there any particular artists that you would really like to work with?

Devin Grayson: I’ve been very fortunate with artists. I’d love to do more with Greg Land and Brian Stelfreeze someday soon, and there are some wonderfully talented people out there who would be a lot of fun to work with, but I enjoy coming across people by chance – there’s no one in particular that I’m obsessing over right now.

 

Jamie: Are there any characters that you haven’t written yet that you want a crack at?

Devin Grayson: There really aren’t. Again, I’ve just been so tremendously fortunate. The characters I feel most attached to are the Bat-characters and the Titans- characters, and I’m lucky enough to have the opportunity to work closely with both.

 

Jamie: Avengers fans are confused as to why a new Black Widow is being created when there is a perfectly good one already in existence. Can you tell us the reason for the new Black Widow?

Devin Grayson: Um… because it’s a story element? Tell you what — a good remedy for being confused about something is to check it out. This would make more sense to discuss AFTER the miniseries comes out, no? 😉

 

Jamie: After reading The Titans it’s pretty clear you really know these characters and how they think and feel. But you’re not a long time comic fan, how did you “catch up”?

Devin Grayson: I read a whole bunch of stuff at once, instead of having to wait for the monthly to come out. It was great! I just brought up all the back issues I could get my hands on, until eventually I had them all, and then I read them straight through (after reading them out of order, actually, which was another thrilling exercise). What I lost was the anticipation of waiting for the next installment to come out, but the end result is that it’s probably fresher in my mind than in yours. You were probably reading The New Titans in the eighties, I was reading The New Titans two years ago!

 

Jamie: Now that the Titan lineup has been revealed, who are your favorite members?

Devin Grayson: Oh, I really can’t answer that, I’d make the characters jealous. 😉 The truth is that it’s a lot of fun to play with all of them, to juggle and watch them have their moments and shine in different stories.

 

Jamie: Comic fans on Usenet have been a hot topic lately, do you lurk on the newsgroups and have any opinions on them?

Devin Grayson: I don’t lurk, I don’t read newsgroup boards, and I have a personal policy against posting. I also don’t coddle professional friends who go onto the boards and then get upset about something they read there, I just tell them to get off the boards. I do have a website (2KComics.COM) where you can get information about what I’m working on, and an active email address that seems to allow people to contact me with relative ease (you had no trouble tracking me down for this interview, for example!).

As a newcomer to all of this, I find it a little disturbing just how accessible so many of the comic pros are, and accordingly, how entitled many fans feel to their attention – you don’t get mad at screenplay writer when he won’t show up in a chat to discuss his latest work, and you don’t demand that novel writers read your opinion of, or riffs on, their stories. I guess it stems from the fact that the majority of comic professionals were once fans themselves, so there’s a slightly more natural mutuality there than in the other media I mentioned, but that relationship also seems to foster some real serious jealousy and nastiness that really is a little bizarre when you step back from it. I think there are a group of pros who really like getting “strokes” from fans, so they put themselves out there, and after awhile that breeds familiarity and expectation. And if it works for them, great, but I don’t want to be held accountable to that. Personally, I don’t like receiving feedback about the work I’m doing while it’s still in progress, except from the editors, whose job it is to guide me and assess my work. I’d much rather do the work than talk about doing the work. And personally, I do find negative feedback hurtful to receive, and positive feedback distracting. Not to mention that so much of it gets so unnecessarily personal – after Wizard magazine ran a picture of me, a well-intentioned friend forwarded me some posts about whether or not I was “doable” and whether or not I needed to lose weight, and whether or not I could possibly actually be in love with my boyfriend. I mean, these were “threads”! And all I could think was, would these people say this stuff to my face? It’s not all like that, obviously, and I feel bad for all of the truly kind, well-meaning fans who get drowned out by this cacophony, but I’ll tell you – if even one person is posting things of that nature, why on god’s earth should I be held responsible for checking it out to “be in touch with my fans”? I absolutely refuse. There’s nothing in my job contract that says I have to be subjected to that. I’d rather do interviews like this, and enjoy the really nice experiences I have meeting fans in person at conventions, or receiving the frequently very kind and encouraging emails and letters they send.

I’ve always felt very grateful for the level of enthusiasm present is so much of comic fandom, but I think that there needs to be some space for fans to discuss whatever they want to discuss WITHOUT fear of hurting anyone’s feelings, and message boards seem like a good place for that. So I give myself the space I need to work and the fans the space they need to comment by staying away from all of it.

 

Jamie: Has your The Weinbergs been given a new title yet? If not what are some of the alternatives being suggested?

Devin Grayson: No, alas, we’re still in flux, and the book has now been pushed back for a December release –which is disappointing for me, since I’m excited about it and I really want it to be out there, but is in the long run a huge show of faith by DC. They want more time to market it, and also, our artist, Yvel Guichet, got the chance to work on a high-profile No Man’s Land assignment (the two-parter which introduces Harley Quinn which I saw some sketches for today – it’s amazing!), so I’m excited for him and pleased that more people will get a chance to see how remarkable his work is before The Weinbergs comes out.

The one other title we played around with was RV5: Relative Velocity, but I think somebody somewhere had concerns about that, so I’m not quite sure where we are now.

 

Jamie: How will The Weinbergs be different than other ‘kids with powers’ book like Power Pack?

Devin Grayson: As much as I enjoyed Power Pack, I don’t feel that the series have anything in common. I’ve been struggling to find an eloquent was of explaining this, but The Weinbergs doesn’t fit into any pre-existing genre I’m aware of. The Power Pack was an utterly charming tale of innocence wading through polarized alien forces of good and evil. The Weinbergs is very human, gently making fun of the superhero genre while absolutely revering and empowering it. The Weinys aren’t kids who find themselves suddenly blessed with magical powers – their powers are their PROBLEMS, they’re unhealthy manifestations of social dysfunction, and to top it off, these kids aren’t particularly good at using them on command anyway. They set off on their mission for all the wrong reasons, pursued by all the wrong factions (including the police, Child Protection Services, and the D.E.O.) and are very much their own worst enemies. Yet I don’t want the story to sound overly dark or, well, grim and gritty. It’s a very personal piece of fiction, and these kids have managed to utilize a lot of my humor and a lot of my pain. The Weinys have powers the way we all have powers – these weird things we can do that we’re not always comfortable with, like manipulating people (Allure), or bullying them (Temper). Instead of having to learn to be better superheroes, these kids really need to learn to be better people. Fighting supervillains may be the easiest part of their day.

As I’ve said in other interviews, in a very real sense, The Weinbergs is my way of using some of my pre-comic-reading-days sensibilities about characters and story-telling to celebrate my newfound love of the medium. When working on JLA/Titans, I was very aware that the project was something of a love-letter to the die-hard fans – it’s not a book I would hand to someone unfamiliar with comics. But The Weinbergs was crafted with my non-comic-book-reading friends and family very much in mind – it’s meant to be accessible to a very wide audience, and it’s the kind of project that really makes me wish there were easier ways to get information about comics out to people who don’t normally read them. It was so excited to “discover” comics in my early twenties, and then to watch my friends and family start to get turned on by them. My mom, a family therapist, now takes comic books to meetings of the American Psychological Association, and reports that they love them there – I just think that’s so cool, and as hard a time as the industry is having, I truly believe that the medium is viable, young, and nowhere near to having maxed out on its audience potential. The Weinbergs is my way of saying, look, this stuff’s not so scary, it’s not all “super” this and “uncanny” that – the stories can be character-driven, you may find you can relate to some of them, and its totally worth checking out. And that this is a DCU book, and I’m able to say all of this from WITHIN the superhero genre, is really exciting to me.

 

Jamie: Your new Vertigo mini called MUN deals with role playing games. Is this something you did in the past?

Devin Grayson: Actually, I had a bad month with titles. 😉 “MUN” is now called “USER.” And to answer your question, yes, I did do role playing in the past, particularly online role playing, which is what “USER” covers. Offline, I had friends who sort of made up their own games – funky amalgamations of different series – so I don’t know what they would properly be called (well, I do, but it wouldn’t mean anything to anyone but my gaming buddies – a shout to all of you Sapien gamers!). Online, I was part of the AOL “Rhydin” community, which I think now has a fancier name, but at the time was basically (and delightfully) free- form.

 

Jamie: Can you give us some details on what the book is about?

Devin Grayson: User is about a mun in trouble. “Mun,” short for “mundane,” is a term online role-playing gamers use to refer to their real selves when they’re IC (in character). For those unfamiliar with the concept, online role-playing is a lot like traditional role playing (Dungeons & Dragons being perhaps the best known example), except that it’s all done through computers, with players using screen names to portray fantasy characters that then interact over the course of fairly unstructured, spontaneous adventures. There are ways to roll dice online to help determine the winner in “combat” situations, but unlike live role-playing games where you play in person with a group of friends, in online gaming you might never know the real identities – the “muns” — behind the other characters you play with.

The story is about a young woman who, when threatened by a dangerous family situation, manages to challenge her own faulty self-preservation instincts through the medium of online role-playing. Though the fantasy world she explores turns out to be easily as fragile and damaged as her day-to-day reality, the ability to learn to honor the archetypal masquerades chosen by herself and the other players in the fictional world awakens her own sense of empathy and competence in the real one. In my time with online RPing a couple of years ago, I was really struck with how creative and powerful some of it is. I mean, yes, there’s also the more obvious flip side about how some people take it much too seriously, and initially the protagonist of “USER” is using it in an unhealthy way for escapism. But she soon learns that slaying dragons is the easy part. It’s making sense of the little evils of everyday life that’s almost impossible.

We have John Bolton on board to paint the “virtual world” scenes, and Sean Phillips to pencil the “real world.” I’m really looking forward to seeing what they come up with!

 

Jamie: Do you prefer to write established characters or your own creations?

Devin Grayson: It’s so different, it really is. I guess, from a technical point of view, I prefer my own characters, because frankly, it’s easier. It’s easier politically (no editorially forced crossovers or the like), it’s easier in terms of reader response (fans can’t say you’re “wrong” about your own creations), and it’s easier in terms of not tripping over stories that have already been told. And there is no rush like watching an idea turn into a character right in front of you – that moment when the character transcends the little notes you’ve been scratching onto an index card or whatever, and steps forward and introduces themselves (and then immediately starts bossing you around :: laughs: :).

But on the other hand, comics is a highly interactive medium, and part of the special thrill of the job is getting to work with what I call “communal characters” and icons. The first time I wrote the word “Batmobile” in a script – a professional script I was getting paid for – I had to stop to let an absolute laughing fit pass over me. It was just too cool. And when I was done laughing I sat back and really felt just awed and proud for a sec. I was putting words in Batman’s mouth. That can be pretty heady stuff. I don’t think I could stand to do either exclusively though, so right now I’m really enjoying moving back and forth between the two.

 

Jamie: How much detail do you give your artists when you write?

Devin Grayson: Judging on what I’ve seen of other professional’s scripts, my panel descriptions are pretty detailed. In my first year of writing comics, I spent a lot of energy researching and choreographing fight scenes, and I soon realized that that was actually something a lot of artists prefer to have less direction on, and I was fine with that and I pulled back a little. I think you know, when you’re writing, how important any given detail is. Sometimes a lot of details really are important to set-something up or communicate a plot point, and other times, there’s some room for the artist to come in and let their style shine through. So in any given script I’ll have several dense three paragraph panel description and a page or two full of: “he arches an eyebrow.”

 

Jamie: What comics are you currently reading?

Devin Grayson: One of the downsides of being a relatively new comics fan is that I’m not in the habit of reading titles on a regular monthly basis. More often than not, I let some stuff accumulate, and then read it all in one sitting. So there are a bunch of books I enjoy, but none that I’m reading in the traditional sense of remembering to run down to the comic store every Wednesday and scoop up the next installment. The exceptions are stuff I have to read for work, like the Bat-titles, for example, which I often read in the script or Black and White phase because I have to be current, and stuff my friends do, which they make sure I have.

 

Jamie: I can’t help but think that you and Mark Waid read, discuss, and influence each others work. How much influence do you think you’ve had on Waid’s work, and vice versa?

Devin Grayson: Let me say straight off that it makes me uncomfortable to be asked about my private life in a casual way. I understand that since Mark and I have the same profession, it makes the relationship seem like a part of my working life, and therefore fair game for questions. But actually, the relationship is part of my personal life, and isn’t an appropriate subject for professional or causal conversations. That said, in the interest of clarifying: Mark and I actually have very well delineated boundaries around work issues. We have separate offices, separate jobs, separate editorial contacts, and with one or two exceptions, spend more energy on staying out of each other’s ways professionally than on working collaboratively. We also have very different thematic sensibilities, and are invested in very different kinds of material – I really love the dark, reality-based Bat-stuff, for example, and he’s much more into the shiny, happy side of heroing, which I don’t relate to as well. Obviously, it’s great to have someone around who you can run things by, and we have a lot of respect for each other’s work – I think he’s certainly one of the contemporary masters of story structure, exposition, and clarity – but overall, I think that’s one of the least valuable parts of the relationship, especially when put into perspective with the costs of trying to share a life, and a professional field, in public. Every now and then Mark and I manage to be really helpful to one another – clarifying a plot point, or offering up an observation on characterization or some such, but there are a lot of pros I do that with – and actually, Mark has his own little cabal that he tends to turn to, and I have mine (chiefly Jay Faerber and Brian Vaughan, my 2KCOM brethren), since Mark and I kind of come from different comic-writing “generations.”

 

Jamie: You said you got interested in Comics in your early 20’s, what do you think is needed to attract other adults to comics books?

Devin Grayson: Creative, accessible, contemporary material that doesn’t rely on nostalgia for the medium or the assumption of previous reading experience. Sandman was one of the first comics I became seriously enamored of – by the time I started reading it, it was already partly in trade paper back, so it felt familiarly “book-like” to me, and the story didn’t presuppose that I’d read anything other than the story itself.

 

Jamie: Currently you’re writing Titans and you have Black Widow (Marvel), Mun (Vertigo), The Weinbergs (DC) mini series, and a 4 part Huntress/Scarecrow arc coming out in the Batman books. Is there anything else?

Devin Grayson: Well, “Mun,” as I said, is now called “User,” and I’m also working on a thirty-eight page No Man’s Land one-shot for The Batman Chronicles about Leslie Thompkins and her “hospital zone.” I added a few small contributions to the Nightwing Secret Files, and co-wrote JLA #32 with Mark Waid — one of two exceptions to my let’s-keep-our-professional-lives separate rule! The story deals with the JLA’s response to No Man’s Land, so I came in to that project as sort of a Bat-representative. And I’m discussing a Legends of the DCU story with a couple of different editors, and also still hoping to do a Nightwing/Oracle miniseries, and perhaps more Bat-work down the line.

 

Paul Levitz Interview

Originally published in February of 1999. I did this interview in part because my editor Sheryl Roberts was a big Legion of Superheroes and Paul Levitz fan. After I e-mailed it in she thought I was hard on Paul (brutal was the word I recall) and she told me she e-mailed him an apology for the interview. Every time I re-read this interview I cannot find what I asked that was so hard, except perhaps some industry ‘comics not selling as well as they used to’ stuff and getting him on record on Bill Finger Bat-Man co-creator credit (which I think even Paul is happy has changed for the better). I’m not sure how Paul felt about it and I haven’t bothered to ask him either. I think this was the first ‘online’ interview that Paul did and if I remember right it would be several years before he did another.

 

An Interview with Paul Levitz

For those who don’t know who Paul Levitz is, look inside your DC Comics. You’ll see his name in the fine print beside the title ‘Executive Vice President and Publisher of DC Comics’. So he’s a big chief, but he was also a comic pro – best known for writing the Legion of Superheroes. He talks to us today about the state of the industry, current goings-on at DC, and his former work on LSH.
 

Paul Levitz at 2016 San Diego Comic Con

Jamie: Exactly what does the Executive Vice President and Publisher of DC Comics do? What is your job description?

Paul Levitz: The job is basically to supervise the day to day operations of the company. I spend the majority of my time on our publishing business, and the balance working with our product, promotional and media licensing.

 

Jamie: What was the path that took you from lowly fanboy to VP of DC? What kind of educational preparation did you get and how did you get hired at DC initially, and what did it take to stay there and to move up?

Paul Levitz: The path is mostly luck, I suspect, and being in the right place at the right time. I was going to NYU’s business school while I was working as an assistant editor at DC (two days/wk of one, three days of the other–the work providing the means for me to pay for school, obviously). Joe Orlando had hired me to do his text pages freelance while I was in high school, having decided from my fanzines that I could be a writer before I thought I could be, and later asked me to come on staff. Over the next few years, when more business/editorial opportunities opened up as Jenette arrived at DC, I was one of the rare folks with some knowledge of both.

 

Jamie: What is your opinion on the current comic market? Some people say it’s been niggling upwards since February ’98. Is this true?

Paul Levitz: I think the market’s fairly stable. The better retailers’ sales are rising, but we’re still losing some of the weaker ones.

 

Jamie: What do you think is needed to improve the comic industry?

Paul Levitz: More great comics, more places to buy comics.

 

Jamie: Some people think we need to change the 32 page pamphlet format to something else. Do you think we would gain readers if they were in Archie style digests or in magazines?

Paul Levitz: All depends on where you can offer those formats for sale. For example, the Archie digests are perfect for young girls with their supermarket display space, but I doubt that would work for super hero material…and Vertigo-type material wouldn’t even be allowed in the door.

 

Jamie: How is DC trying to get non-comic readers buying comics?

Paul Levitz: We did a major cross-promotion with Cartoon Network last year, giving away hundreds of thousands of comics and advertising this on tv. We’re also reaching out thru bookstores for our paperback formats.

 

Jamie: Over the last few years we have seen a number of quality books come out from DC like Chase and Young Heroes in Love but they soon get canceled. Do you have any idea why these books don’t succeed?

Paul Levitz: Not enough people think they’re great.

 

Jamie: Looking back on those titles, is DC going to do anything different with Keith Giffens new title Vext?

Paul Levitz: It’s different type of material, and perhaps that will help.

 

Jamie: What new titles and Archives can we look forward to in 1999?

Paul Levitz: I can never keep track of what stage we’re at in making announcements, so I don’t do them. Watch DC OnLine.

 

Jamie: Now that Hypertime is established in the DC Universe, will the Elseworlds label still be used?

Paul Levitz: Yup.

 

Jamie: Hypertime has been called a continuity mistake fixer by some fans. Do you agree with this?

Paul Levitz: Time will tell.

 

Jamie: Continuity has been a hot topic as of late. Some pro’s say it hinders the the industry, while others seem to revel in it. What’s your opinion on continuity?

Paul Levitz: I loved playing with continuity as a writer.

 

Jamie: Will there be any more Kingdom related story lines?

Paul Levitz: Yup.

 

Jamie: Does DC already have something planned for the next ‘skip week’? If so, what?

Paul Levitz: Next one is a JSA stunt.

 

Jamie: Is there any chance Bill Finger will be credited as Batman’s co-creator in the Bat-books?

Paul Levitz: Not likely. Bill was technically Bob’s ghost writer rather than the co- creator, so for a host of legal reasons it’s unlikely to ever happen.

 

Jamie: What titles do you read that are not published by DC Comics?

Paul Levitz: Varies with the month…the new Spirit, Cerebrus, any of the classic Marvel titles when written by a writer I enjoy (I’m dipping into Thor and Avengers occasionally these days).

 

Jamie: What do you think caused the shift from dark/grim hero comics to bright/fun comics, and how long do you think it’s going to last?

Paul Levitz: The tide seems to shift with the mindset of the major writers working at a time. The grim/gritty crew had the tail end of Vietnam and Watergate as their childhood worldview, and that probably showed in the work. I’m not certain what the next generation responded to–maybe Reagan?

 

Jamie: Do you think this shift to bright/fun comics has hurt the Vertigo line?

Paul Levitz: Nope.

 

Jamie: Paul, you are certainly considered *the* writer of The Legion of Superheroes by the majority of fans. Here are some questions related to the Legion: How did you get the writing assignment the first time? How did you get the writing assignment the second time?

Paul Levitz: I was a lifetime Legion fan, and at the time Jim gave up the book for a staff gig at Marvel (1976) I had a fair amount of influence over assignments, and must have begged/pleaded/persuaded Denny to give me the chance.

Second time out, Mike Barr was editing the series and talked me back on when I was between major assignments and the book came open.

 

Jamie: You’re work on the second run is far better than the first run. What changed to make you a better writer?

Paul Levitz: Mostly me. I had the maturity to stick to assignments I could do, instead of overcommitting my writing time and spreading myself too thin (result: fill- ins, sloppy work, etc.). Plus the great advantage of the long collaboration with Keith, at the peak of his fecundity.

 

Jamie: Speaking of writing, who were your mentors and what did they teach you?

Paul Levitz: Joe Orlando taught me the most about comics writing and editing. My creative inspirations as a writer came from Roy Thomas’ work, particularly on the Avengers, and therefore at one remove from Stan Lee’s. Denny was particularly helpful in teaching me how to tighten and edit my copy.

 

Jamie: It was fairly common knowledge in fan circles that you used cards to keep track of the characters in your second stint as LSH writer. How exactly did that work?

Paul Levitz: Never used cards, actually. Probably comes from a remark about using a SCORECARD to keep track. Basically, a column down the left spelled out the plotlines I had in works. Sequential columns were labelled by upcoming issues, and indicated the developments I expected.

 

Jamie: We know that you were for the reboot of the series when it happened. As a fan instead of “The Boss,” what do you think of the post boot Legion now?

Paul Levitz: Couple of good stories–particularly the riff on xenophobia–but I’m a harsh judge because I can’t help seeing it through the eyes of my personal preferences. It’s not a title I can judge objectively.

 

Jamie: What can fans do to show their commitment to the Legion if they don’t feel the current books are worth buying?

Paul Levitz: Write MacAvennie and Carlin, tell them.

 

Jamie: What conditions would have to be in place for you to consider a third stint at writing the Legion books?

Paul Levitz: Never thought I’d do a second run, so I certainly don’t expect to do a third. When I’m done with the day job, who knows…

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.

 

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