[Concluding our trip into the past where I was 18 and apparently had an odd obsession with comic book creator underwear. And "chicks." Again, I would like to apologise to all those involved--and thank those who had no tolerance for my jackassery.]
Interview With . . . Peter David!
If you know me, then odds are you’ve heard me talk about Peter David. To put it mildly, I love his novels. I think the first book I read of his was his Hulk novel, and that was because it was comic related. Eventually, my love of Star Trek led me to start picking up some of those novels. I recognized David’s name from comics and such, so I read Q-Sqaured (the fact that I like Q didn’t hurt). It blew me away. It was a work of genius, so I quickly read everything else the library had to offer me of his, and I have been since.
Me: Tell us a little about yourself.
David: Peter David is a prolific author whose career, and continued popularity, spans nearly two decades. He has worked in every conceivable media: Television, film, books (fiction, non-fiction and audio), short stories, and comic books, and acquired followings in all of them. In the literary field, Peter has had over fifty novels published, including numerous appearances on the New York Times Bestsellers List. His novels include Sir Apropos of Nothing (A “fast, fun, heroic fantasy satire”--Publishers Weekly), Knight Life, Howling Mad, and the Psi-Man adventure series. He is the co-creator and author of the bestselling Star Trek: New Frontier series for Pocket Books, and has also written such Trek novels as Q-Squared, The Siege, Q-in-Law, Vendetta, I, Q (with John de Lancie), A Rock and a Hard Place and Imzadi. He produced the three Babylon 5 Centauri Prime novels, and has also had his short fiction published in such collections as Shock Rock, Shock Rock II, and Otherwere, as well as Isaac Asimov's Science Fiction Magazine and the Magazine of Fantasy and Science Fiction.
Peter’s comic book resume includes an award-winning twelve-year run on The Incredible Hulk, and he has also worked on such varied and popular titles as Supergirl, Young Justice, Soulsearchers and Company, Aquaman, Spider-Man, Spider-Man 2099, X-Factor, Star Trek, Wolverine, The Phantom, Sachs & Violens, and many others. He has also written comic book related novels, such as The Hulk: What Savage Beast, and co-edited The Ultimate Hulk short story collection. Furthermore, his opinion column But I Digress has been running in the industry trade newspaper The Comic Buyers’ Guide for nearly a decade, and in that time has been the paper's consistently most popular feature and was also collected into a trade paperback edition.
Peter is the co-creator, with popular science fiction icon Bill Mumy (of Lost in Space and Babylon 5 fame) of the Cable Ace Award-nominated science fiction series Space Cases, which ran for two seasons on Nickelodeon. He has written several scripts for the Hugo Award winning TV series Babylon 5, and the sequel series, Crusade. He has also written several films for Full Moon Entertainment and co-produced two of them, including two instalments in the popular Trancers series as well as the science fiction western spoof Oblivion, which won the Gold Award at the 1994 Houston International Film Festival for best Theatrical Feature Film, Fantasy/Horror category.
Peter's awards and citations include: the Haxtur Award 1996 (Spain), Best Comic script; OZCon 1995 award (Australia), Favourite International Writer; Comic Buyers Guide 1995 Fan Awards, Favourite writer; Wizard Fan Award Winner 1993; Golden Duck Award for Young Adult Series (Starfleet Academy), 1994; UK Comic Art Award, 1993; Will Eisner Comic Industry Award, 1993. He lives in New York with his wife, Kathleen, and his three children, Shana, Gwen and Ariel.
Me: What was your first big break of sorts in the writing field?
David: Writing Peter Parker, the Spectacular Spider-Man.
Me: What have you written? And try to keep it under a 1000 words ;)
David: See #1.
Me: What are you currently writing?
David: Responses to this interview.
Me: What do you think of Enterprise so far?
David: Could be better, could be worse.
Me: You ever notice how the ending to Q-Squared could be modified slightly so that all the problems with Brent Spiner and make-up not covering his age would no longer be an issue?
David: Hadn't really given it much thought.
Me: Boxers or briefs?
David: Depends if you're fighting a pugilist or an attorney.
Me: Summer or winter?
David: Summer. Less clothing on women.
Me: Cats or dogs?
David: Cats.
Me: Any cool stories involving a chick?
David: I once stood at an incubator and watched a whole bunch hatch. That was cool.
Me: I just gave you a 100 untraceable bullets, who or what do you use them on?
David: The guy who thought of this question.
Me: Who are some of your favourite writers?
David: Neil Gaiman, Harlan Ellison, Robert Crais, David McCullough.
Me: Who is your hero?
David: My wife.
Me: Who are some of the artists that you really want to work with?
David: Alex Ross. That'd be cool. Dave McKean. Adam Hughes.
Me: Did you design New Frontier as a possible TV series or was the use of pre-existing characters just because you thought them to be interesting? Not to mention the little one-liners about Morgan Lefler looking like Majel Barret Roddenbery . . .
David: No, it was always designed to be a book series. Using some pre-existing characters was suggested by John Ordover.
Me: Are you going to be doing any more B5 work? For novels, TV, movies, comics, anything?
David: Dunno.
Me: You've written numerous Q novels, do you find the way he's been portrayed to be contrary to the way that you view the character?
David: Sometimes. Wasn't wild about any of his Voyager appearances.
Me: Can you tell people, who won't listen to me, why they should read New Frontier?
David: Nah. If they won't listen to you, who has no vested interest, why would they listen to me?
Me: Who do you love?
David: My wife and children.
Me: Any final words?
David: Well, no, what with not dying anytime soon.
Showing posts with label chads jackass comic creator interviews from 2001. Show all posts
Showing posts with label chads jackass comic creator interviews from 2001. Show all posts
Friday, February 15, 2008
Wednesday, February 13, 2008
Chad's Jackass Comic Creator Interviews from 2001: John Layman
[After this interview, there's only one more left from the archives. Anyway, this is another interview I conducted with a comic creator in late 2001 where the questions are a lovely mix of intelligence and "stories about chicks." What the fuck, man? What the fuck. Also, I don't know if any of the links John mentions here still work, but I've kept them just in case. Final post in this series will be up on Friday. Who will the final interview subject be? Start guessing now!]
Interview With . . . John Layman!
When the whole thing was going on with The Authority, people were talking shit about anyone and everyone at DC and Wildstorm. Well, everyone except for writer Mark Millar and this man, the title’s editor, John Layman. Okay, some people tried to talk shit about Layman, but they were quickly silenced. Layman, from what I’m told, has fought for the book harder than anyone. He is a fan first, and an editor/employee second. I respect this guy for that. And for the fact that I look at many of my favourite books and see his name attached. That must mean something. I don’t know how much input he has, but whatever is his must be great. And without further ramblings by me, here is my interview with John Layman.
Me: Tell us a little about yourself.
Layman: I was born and raised in Marysville, California, a little town 40 miles above Sacramento. Went to college at CSU Long Beach and graduated with an English degree from Chico State, emphasis on creative writing and Victorian literature.
Me: How did you get interested in writing?
Layman: When you're an only child living on the outskirts of a small town, prior to the advent of cable TV and video games, you read a lot, and after I while you try to write. I'd wanted to write comic books for as long as I can remember. Did little mini-comics before I could even write in cursive. All have since been destroyed, thank God.
Me: How did you become an editor?
Layman: Before coming on at WildStorm, I worked at the San Diego Union-Tribune. On the side I wrote freelance stories, and I would always pitch comic-book and sci-fi related stories. After covering the San Diego Con for a few years, I got to know some of the people from WildStorm. I jumped at the chance to be an assistant editor for Jonathan Peterson. After a few months, the paper lured me back with an offer of a monthly comic book column, and a year later Scott Dunbier called me up, this time with an offer of a full-editorship. Kinda a long, weird, story, but the bottom line is there is no ONE way to become an editor.
Me: What titles do you edit right now?
Layman: Astro City, The Authority, The Monarchy, Planetary, Steampunk. A LOT of upcoming projects, including: Batman/Deathblow, Wildcats version 3.0, Matador, a few top secret Warren Ellis projects, a “revamp” that some people have speculated about lately and a few other goodies and one-shots. I'm also quite involved with the Left Behind books for Tyndale House Publishers.
Me: What have you written?
Layman: I've written probably more than a 100 reviews, op-ed, features and interviews for the San Diego Union-Tribune and various web sites (most of the web sites have since imploded.) I've had fiction published a of couple magazines, Into the Darkness and Hot Lava. Most recently, I shared a by-line with my girlfriend, who is a reporter, writing on article on “TV Girls Who Kick Ass” for a magazine called Strong. I've also have three novels and a fantastic screenplay sitting in a drawer, but I'm kinda lazy when it comes to sending stuff out.
As far as comics go, my first published work was a DV8 short story in the WildStorm Thunderbook one-shot a couple summers ago. I did some Gen13 scripting and fill-in work. Of course, my favourite creative project was last year's Bay City Jive. It didn't get a lot of readership, presumably because of the oddball subject matter, but writing and lettering that was certainly the high point of many high points here at WildStorm.
Since then, I've adapted Left Behind for Tyndale House. Got a few things cooking on the distant horizon, but editing takes a pretty decent chunk of time, so creative projects are few and far between.
Me: Ever had to hunt down a creator and use physical force to get their work?
Layman: No, only because I'm a wuss. I have carried art literally across continents, and have driven more than 50 miles in the middle of the night to pick up or drop off stuff.
Me: Boxers or briefs?
Layman: Humility prevents me from answering this question, so I can only point you to the following link: http://hometown.aol.com/themightylayman/erotic.htm
Me: Cats or dogs?
Layman: For more than you ever really wanted to know on that subject you can go here, here, and here.
Me: Summer or winter?
Layman: Both! Once per year.
Me: Got any cool stories involving you and a chick?
Layman: Again, propriety prevents me from answering that, and yet still I will refer you to this link: http://hometown.aol.com/themightylayman/erotic.htm.
Me: I just handed you a gun and a case full of 100 untraceable bullets. Who or what do you use them on?
Layman: Probably nothing. Unless I'd hire a hit man to do my dirty work.
Me: What are some of the comics you are currently digging?
Layman: Stray Bullets is my absolute favourite comic, 100 Bullets is my favourite things coming out of DC/Vertigo, The Establishment is my favourite WildStorm title which I don't edit. I'm reading more Marvel stuff than I have in the past; a couple years ago I'd scoff at the idea of picking up an X-Men title. I'm nuts over anything by Kyle Baker, and I've credit Cerebus for bringing me into comic book stores, month-in, month-out, for more than almost 240 months.
Me: Any cool titles coming up that you can share any info on?
Layman: Just that Batman/Deathblow is going to be phenomenal. And some of the Warren Ellis stuff we got cookin’.
Me: What creator has been the worst with deadlines in your experience?
Layman: A piece of advice I got when I first came on board here is: “All artists are liars.” I wouldn't go that far, but I would say many are clearly delusional and many of them are insane. However, some of the craziest ones I count among my best friends, so there is nobody I could clearly point out as “the worst.” Cracking the whip is part of my job.
Me: Do you know how Planetary's going to end?
Layman: No, and neither does John Cassaday. Part of the fun for us is getting the script, and finding out what Warren has up his sleeve. John and I go back and forth about it. I mean, I should clarify: we have a rough idea, but both like to be surprised to we try not to know more than we need to. However, I will say this, and with considerable relish: I KNOW MORE THAN YOU!
Me: What has been your favourite moment in comics?
Layman: It has to be when I get an advanced copy of a truly beautiful book, when a Planetary hardcover is hot of the presses and delivered into my hands. Or an issue of The Authority or Astro City. Moments like that make all the BS and frustrations melt away, and is the euphoric moments that really propel you in this job.
Me: What do you think of Bob Harras coming into Wildstorm and Chris Claremont doing Gen13?
Layman: I think Bob has a good track record, and I think while other editors are concentrating on other lines, like Cliffhanger, Homage and ABC, or new lines like Eye of the Storm, it's reassuring to have somebody to shore up the core WildStorm Universe. I look forward to seeing what he's got planned.
Me: The Authority . . . whatever you feel like saying on the subject.
Layman: The Authority was (and is) a phenomenal ride. I took over for departing editor Rachelle Brissenden as of issue #14, and while each and every issue was a challenge, I'm proud of the end result of all of it. I think Authority was groundbreaking, and in the years to come people will remember the “Authority era” like I look back on my senior year of high school, when Watchman and Dark Knight Returns were coming out. It's nice to be a part of something like that. I always compare making Authority to trying to create a gourmet meal with an ever-shifting assortment of ingredients. Still, I believe the end result was pretty tasty, which is what matters the most.
Me: Who do you love?
Layman: ebay, Alice Donut, Homer Simpson, Lego, designers the makers of Grand Theft Auto 3 for PS2, mrcranky.com
Me: Any final words?
Layman: John McCrea threatened to punch me in the face because I kept insisting he, John Cassaday and myself ride the Stratosphere roller coaster at 8 in the morning. I don't remember much about that night, but I do remember John wanting to kill me by the time it was over. It was also one of the two wildest nights of the last decade for me. Oddly enough, Cassaday was involved in my other wild night. Mental note to self: Stay away from John Cassaday.
Interview With . . . John Layman!
When the whole thing was going on with The Authority, people were talking shit about anyone and everyone at DC and Wildstorm. Well, everyone except for writer Mark Millar and this man, the title’s editor, John Layman. Okay, some people tried to talk shit about Layman, but they were quickly silenced. Layman, from what I’m told, has fought for the book harder than anyone. He is a fan first, and an editor/employee second. I respect this guy for that. And for the fact that I look at many of my favourite books and see his name attached. That must mean something. I don’t know how much input he has, but whatever is his must be great. And without further ramblings by me, here is my interview with John Layman.
Me: Tell us a little about yourself.
Layman: I was born and raised in Marysville, California, a little town 40 miles above Sacramento. Went to college at CSU Long Beach and graduated with an English degree from Chico State, emphasis on creative writing and Victorian literature.
Me: How did you get interested in writing?
Layman: When you're an only child living on the outskirts of a small town, prior to the advent of cable TV and video games, you read a lot, and after I while you try to write. I'd wanted to write comic books for as long as I can remember. Did little mini-comics before I could even write in cursive. All have since been destroyed, thank God.
Me: How did you become an editor?
Layman: Before coming on at WildStorm, I worked at the San Diego Union-Tribune. On the side I wrote freelance stories, and I would always pitch comic-book and sci-fi related stories. After covering the San Diego Con for a few years, I got to know some of the people from WildStorm. I jumped at the chance to be an assistant editor for Jonathan Peterson. After a few months, the paper lured me back with an offer of a monthly comic book column, and a year later Scott Dunbier called me up, this time with an offer of a full-editorship. Kinda a long, weird, story, but the bottom line is there is no ONE way to become an editor.
Me: What titles do you edit right now?
Layman: Astro City, The Authority, The Monarchy, Planetary, Steampunk. A LOT of upcoming projects, including: Batman/Deathblow, Wildcats version 3.0, Matador, a few top secret Warren Ellis projects, a “revamp” that some people have speculated about lately and a few other goodies and one-shots. I'm also quite involved with the Left Behind books for Tyndale House Publishers.
Me: What have you written?
Layman: I've written probably more than a 100 reviews, op-ed, features and interviews for the San Diego Union-Tribune and various web sites (most of the web sites have since imploded.) I've had fiction published a of couple magazines, Into the Darkness and Hot Lava. Most recently, I shared a by-line with my girlfriend, who is a reporter, writing on article on “TV Girls Who Kick Ass” for a magazine called Strong. I've also have three novels and a fantastic screenplay sitting in a drawer, but I'm kinda lazy when it comes to sending stuff out.
As far as comics go, my first published work was a DV8 short story in the WildStorm Thunderbook one-shot a couple summers ago. I did some Gen13 scripting and fill-in work. Of course, my favourite creative project was last year's Bay City Jive. It didn't get a lot of readership, presumably because of the oddball subject matter, but writing and lettering that was certainly the high point of many high points here at WildStorm.
Since then, I've adapted Left Behind for Tyndale House. Got a few things cooking on the distant horizon, but editing takes a pretty decent chunk of time, so creative projects are few and far between.
Me: Ever had to hunt down a creator and use physical force to get their work?
Layman: No, only because I'm a wuss. I have carried art literally across continents, and have driven more than 50 miles in the middle of the night to pick up or drop off stuff.
Me: Boxers or briefs?
Layman: Humility prevents me from answering this question, so I can only point you to the following link: http://hometown.aol.com/themightylayman/erotic.htm
Me: Cats or dogs?
Layman: For more than you ever really wanted to know on that subject you can go here, here, and here.
Me: Summer or winter?
Layman: Both! Once per year.
Me: Got any cool stories involving you and a chick?
Layman: Again, propriety prevents me from answering that, and yet still I will refer you to this link: http://hometown.aol.com/themightylayman/erotic.htm.
Me: I just handed you a gun and a case full of 100 untraceable bullets. Who or what do you use them on?
Layman: Probably nothing. Unless I'd hire a hit man to do my dirty work.
Me: What are some of the comics you are currently digging?
Layman: Stray Bullets is my absolute favourite comic, 100 Bullets is my favourite things coming out of DC/Vertigo, The Establishment is my favourite WildStorm title which I don't edit. I'm reading more Marvel stuff than I have in the past; a couple years ago I'd scoff at the idea of picking up an X-Men title. I'm nuts over anything by Kyle Baker, and I've credit Cerebus for bringing me into comic book stores, month-in, month-out, for more than almost 240 months.
Me: Any cool titles coming up that you can share any info on?
Layman: Just that Batman/Deathblow is going to be phenomenal. And some of the Warren Ellis stuff we got cookin’.
Me: What creator has been the worst with deadlines in your experience?
Layman: A piece of advice I got when I first came on board here is: “All artists are liars.” I wouldn't go that far, but I would say many are clearly delusional and many of them are insane. However, some of the craziest ones I count among my best friends, so there is nobody I could clearly point out as “the worst.” Cracking the whip is part of my job.
Me: Do you know how Planetary's going to end?
Layman: No, and neither does John Cassaday. Part of the fun for us is getting the script, and finding out what Warren has up his sleeve. John and I go back and forth about it. I mean, I should clarify: we have a rough idea, but both like to be surprised to we try not to know more than we need to. However, I will say this, and with considerable relish: I KNOW MORE THAN YOU!
Me: What has been your favourite moment in comics?
Layman: It has to be when I get an advanced copy of a truly beautiful book, when a Planetary hardcover is hot of the presses and delivered into my hands. Or an issue of The Authority or Astro City. Moments like that make all the BS and frustrations melt away, and is the euphoric moments that really propel you in this job.
Me: What do you think of Bob Harras coming into Wildstorm and Chris Claremont doing Gen13?
Layman: I think Bob has a good track record, and I think while other editors are concentrating on other lines, like Cliffhanger, Homage and ABC, or new lines like Eye of the Storm, it's reassuring to have somebody to shore up the core WildStorm Universe. I look forward to seeing what he's got planned.
Me: The Authority . . . whatever you feel like saying on the subject.
Layman: The Authority was (and is) a phenomenal ride. I took over for departing editor Rachelle Brissenden as of issue #14, and while each and every issue was a challenge, I'm proud of the end result of all of it. I think Authority was groundbreaking, and in the years to come people will remember the “Authority era” like I look back on my senior year of high school, when Watchman and Dark Knight Returns were coming out. It's nice to be a part of something like that. I always compare making Authority to trying to create a gourmet meal with an ever-shifting assortment of ingredients. Still, I believe the end result was pretty tasty, which is what matters the most.
Me: Who do you love?
Layman: ebay, Alice Donut, Homer Simpson, Lego, designers the makers of Grand Theft Auto 3 for PS2, mrcranky.com
Me: Any final words?
Layman: John McCrea threatened to punch me in the face because I kept insisting he, John Cassaday and myself ride the Stratosphere roller coaster at 8 in the morning. I don't remember much about that night, but I do remember John wanting to kill me by the time it was over. It was also one of the two wildest nights of the last decade for me. Oddly enough, Cassaday was involved in my other wild night. Mental note to self: Stay away from John Cassaday.
Monday, February 11, 2008
Chad's Jackass Comic Creator Interviews from 2001: Kurt Busiek
[The first in our final week of interviews from 2001 where I walk that fine line between "Cool, insightful questions, man!" and "Why the fuck are you asking Kurt Busiek about his underwear?" Goddamn you, 18-year-old Chad... won't you ever learn? The final two posts on Wednesday and Friday.]
Sunday December 2, 2001
Interview With . . . Kurt Busiek!
I don’t remember Kurt for Marvels or Astro City or even his run on Avengers. I remember Kurt for Untold Tales Of Spider-Man and the first issue. I was about 12 at the time when the first issue came out and one Saturday when I was at the comic book store with my dad, he said I could get a comic. Remember, this was when I was in that “gotta get every number 1” stage that most of us were going through at the time (early-middle nineties), so I saw issue one and saw Spider-Man and then I saw the price: 99 cents US or $1.38 Canadian. So I got it and read it on the car ride home. I was blown away. I was used to the clones and the wife and the dead aunt and here was Spidey as I had read about in magazines and the occasional reprint. I was so excited about it, too. I remember telling my mom all about it, the writing, the art, the classic Spider-Man, and of course, the price. I picked up issue two after that, too, but sadly my interest went off in another direction and I stopped buying it. Since then I’ve bought a few issues here and then, and if I see a back-issue, I’ll pick it up. I’ve read a lot of Kurt’s work, but that’s what I think of when I think of him.
Me: Tell us a little about yourself.
Busiek: Born in Boston, September 16, 1960 -- grew up in the area, mostly in Lexington. Four sisters, no brothers. Got interested in comics first through strip collections (Pogo, Dennis the Menace, Peanuts) and European albums (Tintin, Asterix) that my parents had, and discovered American comic books at the barber shop and at the homes of friends. Decided I wanted to be a comics writer during high school, and wrote (and sometimes drew) amateur comics with my friend Scott McCloud until we'd pretty well figured out how to do it. Sold first script to DC Comics several days before graduating from college, first script to Marvel a month or so later. Married for 12 years, two daughters. Spend too much time on the Internet.
Me: How did you get into writing?
Busiek: I always wanted to be a writer of some sort, going back to my first efforts to write my own Oz novels in elementary school, which tended to peter out after a couple of paragraphs. But writing a novel or a screenplay seemed intimidating -- all that work, and it might turn out that once you're done, it sucks. So I never got around to doing much until I realized that comics were written and drawn by real people who made a living at it. And with comics, at least, they weren't all that long -- 17 pages, when I made the realization. If you sucked, at least you'd be done sooner . . . ! As I practiced, figuring out how to write comics, I found out I liked a lot more than just the length -- I liked the storytelling, the way the words and pictures combined to do something neither could do on their own. So I found out it was something I loved doing, and kept at it. I've been doing it professionally over 20 years now, and I'm not ready to stop anytime soon. While I was in college, I interviewed Dick Giordano, then the editor in chief at DC, for a term paper on magazine publishing. I told him I was hoping to be a comic writer when I graduated college, and he suggested I send in script samples. So I wrote four sample scripts and sent them to him. He parceled them out to the editors of the books they were written for, and one of them -- a Flash script -- got me an invitation to pitch “Tales of the Green Lantern Corps” backups from the editor of FLASH, who also edited GREEN LANTERN. That led to my first pro sale, in GREEN LANTERN #162. While I was working on another GLC story, I noticed that over at Marvel, POWER MAN & IRON FIST was running a lot of fill-ins, so I sent in a story outline to the editor there, including a note saying I was already writing professionally for DC. I was invited to flesh it out into a script, so I did that -- and wound up writing the book regularly for a year.
Me: What have you written?
Busiek: All kinds of stuff, from MICKEY MOUSE to VAMPIRELLA. Highlights include THE LIBERTY PROJECT, which I co-created, THE LEGEND OF WONDER WOMAN, RED TORNADO, MARVELS, UNTOLD TALES OF SPIDER-MAN, THUNDERBOLTS, AVENGERS and ASTRO CITY.
Me: What are you working on right now?
Busiek: I'm wrapping up over four years on AVENGERS, starting off a new project, THE POWER COMPANY, co-writing DEFENDERS, writing ASTRO CITY as my health allows, and writing the long-awaited JLA/AVENGERS project.
Me: How big of chunks are you having to write the Avengers/JLA scripts, page-wise?
Busiek: I'm not sure what you mean. I turned in the first plot in chunks -- first ten pages or so, then twenty, then the whole thing -- just to get some stuff in George could start on. With the second issue, which I'm working on now, I'll have the whole plot done before George begins on it. In dialoguing them from George's pencils, I'll write each issue all at once.
Me: What are some of the upcoming Astro City stories about?
Busiek: The next one's about a girl who lives in Astro City and is sent to live on a farm for the summer, and what she finds there, in a place she expects to be nowhere near as exciting as home. After that, we'll do a story about a superhero's girlfriend and her unceasing attempts to uncover his secret identity, and what that leads to -- then a story about a lawyer trying to win a case by arguing that the murder victim's not dead but in a death-like coma -- and a story about a retired superhero's last case. After that, we'll start in on another extended story, but I'm not 100% sure which one it'll be yet.
Me: What's the creative process with George Perez like? I remember Warren Ellis, who hates the Marvel style of scripting, saying that doing that style with George was an enjoyable experience. So, is it that good?
Busiek: I have no problem writing plot-style, myself -- I write in whatever format best serves the artist and the project. But working with George is great. He's an inventive and terrific storyteller, always eager to do new things, and he's a nut for excess -- ask him how many Avengers he wants to draw, and his immediate answer is “All of them.” One of the biggest thrills of working on AVENGERS was getting new pages in from George. When I wrote the plot, I generally thought it worked fine -- I was happy with it as a story, happy with the characterizations, that sort of thing. But it was just a story, something I'd written. Once it came back from George, though, it was an _Avengers_ story -- it had that majesty and larger-than-life oomph that I've always associated with the book and with George. You could practically hear trumpets in the background. So George takes a story, and he makes it sing. He makes it magic. That's what's so good about it.
Me: Boxers or briefs?
Busiek: Almost always, yes.
Me: Cats or dogs?
Busiek: I've owned both -- don't have either now, but we're planning to get a new dog. My wife is allergic to cats, so I doubt I'll be a cat-owner again. But I grew up with six of them . . .
Me: Winter or summer?
Busiek: Depends where I am. Summer here in the Pacific Northwest is wonderful. But in general, I'd rather be cold than hot, so winter, I guess, if I have to choose. But my favourite season is fall.
Me: Any cool stories involving a chick?
Busiek: Yes.
Me: I just handed you gun and 100 untraceable bullets. Who or what do you use them on?
Busiek: Nobody. I don't have murder in my heart, and I wouldn't want to shoot anyone, even if I despised them. Besides, you're just some guy on the Internet. Why would I believe you?
Me: What comics are you currently digging?
Busiek: Favourites include KANE and JACK STAFF by Paul Grist, USAGI YOJIMBO by Stan Sakai, SAVAGE DRAGON by Erik Larsen, Chuck Dixon's NIGHTWING, CASTLE WAITING by Linda Medley, ROB HANES ADVENTURES by Randy Reynaldo and a bunch of other stuff that isn't leaping to mind right now.
Me: Do you find it hard to use certain characters in team books when their regular series are taking unexpected turns? For example, the Hulk's book now and The Defenders. Any conflicts?
Busiek: Haven't had any problems so far. The only difficulty -- and it was a minor one -- was when Captain America kept changing his shield, and they'd forget to tell us until we'd gotten it wrong . . .
Me: What artists do you really want to work with that you haven't yet?
Busiek: Lots of 'em, from Alex Toth to Walt Simonson to Claire Wendling to Bryan Hitch to Dave Gibbons to Steve Sadowski to Michael Golden to Mike Wieringo to Yanick Paquette to Lee Weeks and many, many, many more.
Me: What one book would you write if you could, ideally?
Busiek: ASTRO CITY. But assuming you're not talking about health, and you mean something I didn't create . . . KAMANDI. I'd love to write KAMANDI someday.
Me: Are you reading Thunderbolts? And if so, how do you like it under Fabian?
Busiek: I read it off and on -- it's always hard to read a book you've been heavily involved in writing, because every time the characters do something you wouldn't have had them do, you tend to think, “Hey, they wouldn't do that . . . !”, whether it's a good idea or a bad one. It just doesn't fit your own internal conception -- and since the new writer, whoever it is, can't possibly have your particular perception -- however close they are, it's still different -- it's impossible to read it the way an ordinary reader would. So I pay attention, but I find I don't read every issue. Still, what I've read, I've thought Fabian has done a good job on, even if it's not what I would've done . . .
Me: How do you respond to sceptics who think that your upcoming Defenders storyline is just a rip-off of The Authority?
Busiek: I laugh. First off, how would they know? It isn't out yet. Second, once they read it (if they read it), they'll realize they were wrong. It's a big ol' splashy superhero story, but it's not Authority-like. It's about character and the curse and warmth and humour and creepiness from characters who have often been presented as scary long before the Authority came along -- or, heck, before Warren was born.
Me: Who do you love?
Busiek: Not Levon Helm and Robbie Robertson, no matter how often they ask me to take a little walk with them . . .
Me: Any final words?
Busiek: I've always been fond of George Orwell's final words, which were reputedly, “God damn you all, I told you so!”
Sunday December 2, 2001
Interview With . . . Kurt Busiek!
I don’t remember Kurt for Marvels or Astro City or even his run on Avengers. I remember Kurt for Untold Tales Of Spider-Man and the first issue. I was about 12 at the time when the first issue came out and one Saturday when I was at the comic book store with my dad, he said I could get a comic. Remember, this was when I was in that “gotta get every number 1” stage that most of us were going through at the time (early-middle nineties), so I saw issue one and saw Spider-Man and then I saw the price: 99 cents US or $1.38 Canadian. So I got it and read it on the car ride home. I was blown away. I was used to the clones and the wife and the dead aunt and here was Spidey as I had read about in magazines and the occasional reprint. I was so excited about it, too. I remember telling my mom all about it, the writing, the art, the classic Spider-Man, and of course, the price. I picked up issue two after that, too, but sadly my interest went off in another direction and I stopped buying it. Since then I’ve bought a few issues here and then, and if I see a back-issue, I’ll pick it up. I’ve read a lot of Kurt’s work, but that’s what I think of when I think of him.
Me: Tell us a little about yourself.
Busiek: Born in Boston, September 16, 1960 -- grew up in the area, mostly in Lexington. Four sisters, no brothers. Got interested in comics first through strip collections (Pogo, Dennis the Menace, Peanuts) and European albums (Tintin, Asterix) that my parents had, and discovered American comic books at the barber shop and at the homes of friends. Decided I wanted to be a comics writer during high school, and wrote (and sometimes drew) amateur comics with my friend Scott McCloud until we'd pretty well figured out how to do it. Sold first script to DC Comics several days before graduating from college, first script to Marvel a month or so later. Married for 12 years, two daughters. Spend too much time on the Internet.
Me: How did you get into writing?
Busiek: I always wanted to be a writer of some sort, going back to my first efforts to write my own Oz novels in elementary school, which tended to peter out after a couple of paragraphs. But writing a novel or a screenplay seemed intimidating -- all that work, and it might turn out that once you're done, it sucks. So I never got around to doing much until I realized that comics were written and drawn by real people who made a living at it. And with comics, at least, they weren't all that long -- 17 pages, when I made the realization. If you sucked, at least you'd be done sooner . . . ! As I practiced, figuring out how to write comics, I found out I liked a lot more than just the length -- I liked the storytelling, the way the words and pictures combined to do something neither could do on their own. So I found out it was something I loved doing, and kept at it. I've been doing it professionally over 20 years now, and I'm not ready to stop anytime soon. While I was in college, I interviewed Dick Giordano, then the editor in chief at DC, for a term paper on magazine publishing. I told him I was hoping to be a comic writer when I graduated college, and he suggested I send in script samples. So I wrote four sample scripts and sent them to him. He parceled them out to the editors of the books they were written for, and one of them -- a Flash script -- got me an invitation to pitch “Tales of the Green Lantern Corps” backups from the editor of FLASH, who also edited GREEN LANTERN. That led to my first pro sale, in GREEN LANTERN #162. While I was working on another GLC story, I noticed that over at Marvel, POWER MAN & IRON FIST was running a lot of fill-ins, so I sent in a story outline to the editor there, including a note saying I was already writing professionally for DC. I was invited to flesh it out into a script, so I did that -- and wound up writing the book regularly for a year.
Me: What have you written?
Busiek: All kinds of stuff, from MICKEY MOUSE to VAMPIRELLA. Highlights include THE LIBERTY PROJECT, which I co-created, THE LEGEND OF WONDER WOMAN, RED TORNADO, MARVELS, UNTOLD TALES OF SPIDER-MAN, THUNDERBOLTS, AVENGERS and ASTRO CITY.
Me: What are you working on right now?
Busiek: I'm wrapping up over four years on AVENGERS, starting off a new project, THE POWER COMPANY, co-writing DEFENDERS, writing ASTRO CITY as my health allows, and writing the long-awaited JLA/AVENGERS project.
Me: How big of chunks are you having to write the Avengers/JLA scripts, page-wise?
Busiek: I'm not sure what you mean. I turned in the first plot in chunks -- first ten pages or so, then twenty, then the whole thing -- just to get some stuff in George could start on. With the second issue, which I'm working on now, I'll have the whole plot done before George begins on it. In dialoguing them from George's pencils, I'll write each issue all at once.
Me: What are some of the upcoming Astro City stories about?
Busiek: The next one's about a girl who lives in Astro City and is sent to live on a farm for the summer, and what she finds there, in a place she expects to be nowhere near as exciting as home. After that, we'll do a story about a superhero's girlfriend and her unceasing attempts to uncover his secret identity, and what that leads to -- then a story about a lawyer trying to win a case by arguing that the murder victim's not dead but in a death-like coma -- and a story about a retired superhero's last case. After that, we'll start in on another extended story, but I'm not 100% sure which one it'll be yet.
Me: What's the creative process with George Perez like? I remember Warren Ellis, who hates the Marvel style of scripting, saying that doing that style with George was an enjoyable experience. So, is it that good?
Busiek: I have no problem writing plot-style, myself -- I write in whatever format best serves the artist and the project. But working with George is great. He's an inventive and terrific storyteller, always eager to do new things, and he's a nut for excess -- ask him how many Avengers he wants to draw, and his immediate answer is “All of them.” One of the biggest thrills of working on AVENGERS was getting new pages in from George. When I wrote the plot, I generally thought it worked fine -- I was happy with it as a story, happy with the characterizations, that sort of thing. But it was just a story, something I'd written. Once it came back from George, though, it was an _Avengers_ story -- it had that majesty and larger-than-life oomph that I've always associated with the book and with George. You could practically hear trumpets in the background. So George takes a story, and he makes it sing. He makes it magic. That's what's so good about it.
Me: Boxers or briefs?
Busiek: Almost always, yes.
Me: Cats or dogs?
Busiek: I've owned both -- don't have either now, but we're planning to get a new dog. My wife is allergic to cats, so I doubt I'll be a cat-owner again. But I grew up with six of them . . .
Me: Winter or summer?
Busiek: Depends where I am. Summer here in the Pacific Northwest is wonderful. But in general, I'd rather be cold than hot, so winter, I guess, if I have to choose. But my favourite season is fall.
Me: Any cool stories involving a chick?
Busiek: Yes.
Me: I just handed you gun and 100 untraceable bullets. Who or what do you use them on?
Busiek: Nobody. I don't have murder in my heart, and I wouldn't want to shoot anyone, even if I despised them. Besides, you're just some guy on the Internet. Why would I believe you?
Me: What comics are you currently digging?
Busiek: Favourites include KANE and JACK STAFF by Paul Grist, USAGI YOJIMBO by Stan Sakai, SAVAGE DRAGON by Erik Larsen, Chuck Dixon's NIGHTWING, CASTLE WAITING by Linda Medley, ROB HANES ADVENTURES by Randy Reynaldo and a bunch of other stuff that isn't leaping to mind right now.
Me: Do you find it hard to use certain characters in team books when their regular series are taking unexpected turns? For example, the Hulk's book now and The Defenders. Any conflicts?
Busiek: Haven't had any problems so far. The only difficulty -- and it was a minor one -- was when Captain America kept changing his shield, and they'd forget to tell us until we'd gotten it wrong . . .
Me: What artists do you really want to work with that you haven't yet?
Busiek: Lots of 'em, from Alex Toth to Walt Simonson to Claire Wendling to Bryan Hitch to Dave Gibbons to Steve Sadowski to Michael Golden to Mike Wieringo to Yanick Paquette to Lee Weeks and many, many, many more.
Me: What one book would you write if you could, ideally?
Busiek: ASTRO CITY. But assuming you're not talking about health, and you mean something I didn't create . . . KAMANDI. I'd love to write KAMANDI someday.
Me: Are you reading Thunderbolts? And if so, how do you like it under Fabian?
Busiek: I read it off and on -- it's always hard to read a book you've been heavily involved in writing, because every time the characters do something you wouldn't have had them do, you tend to think, “Hey, they wouldn't do that . . . !”, whether it's a good idea or a bad one. It just doesn't fit your own internal conception -- and since the new writer, whoever it is, can't possibly have your particular perception -- however close they are, it's still different -- it's impossible to read it the way an ordinary reader would. So I pay attention, but I find I don't read every issue. Still, what I've read, I've thought Fabian has done a good job on, even if it's not what I would've done . . .
Me: How do you respond to sceptics who think that your upcoming Defenders storyline is just a rip-off of The Authority?
Busiek: I laugh. First off, how would they know? It isn't out yet. Second, once they read it (if they read it), they'll realize they were wrong. It's a big ol' splashy superhero story, but it's not Authority-like. It's about character and the curse and warmth and humour and creepiness from characters who have often been presented as scary long before the Authority came along -- or, heck, before Warren was born.
Me: Who do you love?
Busiek: Not Levon Helm and Robbie Robertson, no matter how often they ask me to take a little walk with them . . .
Me: Any final words?
Busiek: I've always been fond of George Orwell's final words, which were reputedly, “God damn you all, I told you so!”
Friday, February 08, 2008
Chad's Jackass Comic Creator Interviews from 2001: Jeph Loeb
[And we continue looking at the jackassery of my 18-year-old self. Okay, it's probably hard to see it still because we're all used to the lame questions involving underwear and women, but it's still there. Unedited. New posts Monday, Wednesday and Friday.]
Thursday November 30, 2001
Interview With . . . Jeph Loeb!
Jeph was my very first “favourite writer” when it came to comics. I had a subscription to Cable and he was writing it and he was amazing. He and Ian Churchill were doing all sorts of crazy things: going to the future, fighting clones from another dimension, fighting the Hulk, hanging out with the X-Men. I even sent him a letter care of Marvel for a school project in grade 7 (which odds are he never got--damn you, Marvel!). After a year of reading his Cable, I also picked up his X-Force, which was great too, but it didn’t compare to his work on Cable. He made me the big Cable fan I am today--well, except for that patch where Liefeld came back and Casey and Ladronn left. And, I can’t figure out a graceful way to go into the interview after that, so here it is...
Me: Tell us a little about yourself.
Loeb: I was found in a field by a pair of mid-western farmers... wait... that's... Um... Live in Los Angeles, write and produce movies and television, currently writing Superman monthly and Daredevil: Yellow.
Me: How did you get into writing?
Loeb: I started in high school. It was easier than math. I could never understand math. Math bad. Writing good.
Me: What have you written?
Loeb: Movies, television, comics, magazine articles, the occasional poem, a terrible musical, animation. I can tell you what I DON'T do is write to Mother enough. Actually, I don't think there is any way I could write to her enough, so I pretty much just gave up.
Me: How was it working with Ian Churchill on Superman 176, since you two have a history of working together on Cable, Avengers and at Awesome Entertainment?
Loeb: The best. Ian and I have been friends since our Cable days. He is a tremendous talent. It was a very big change from the “McGuinness” look of Superman and I was a bit worried that the fans wouldn't take to him -- but, Superman fans never cease to amaze me. They loved him. I guess there is always an appetite for a more “realistic” (that's a funny way to look at it for me) interpretation of Superman and that's what Ian delivered on. He is also doing Superman #180 which features Dracula (yes, THAT Dracula). His artwork is quite spectacular.
Me: Have you found it difficult to write Daredevil: Yellow, while not just repeating the origin laid out by Stan Lee and later by Frank Miller?
Loeb: I write comics the best I can. I hope folks enjoy the work; some do and some don't. I usually write what I feel my artist can best deliver on. Daredevil: Yellow was a love letter to my father and to Karen Page and Tim Sale delivered above whatever I could have dreamed of -- so, I guess the answer is no.
Me: What did you think of Warren Ellis and Steven Grant's X-Man?
Loeb: I never read them. When I walk away from book, that's usually the end for me. I know what I would have done and that's enough. X-Man, which I co-created with Steve Skroce was a particularly unpleasant experience since Steve and I had one vision for the book and (then, Marvel Editor-in-Chief) Bob Harras had another. Bob was wrong. That book went from selling a 500,000 copies and in the top ten to a book that was ultimately cancelled.
Me: Would you ever want to do Cable or X-Force again?
Loeb: I'd never say never. Marvel is a completely different place now. Joe Quesada runs a very different ship. Much, much better. But both Cable and X-Force are very different too. So, the subject is fairly moot.
Me: In an interview you did for an issue of Cable (#37), you mentioned how your son loved X-Men and such. Does he find it cool that his dad is working on Superman do you think?
Loeb: Superman MUCH cooler. Batman nearly as cool. Spider-Man close too. When the movie comes out, I'm fairly sure that Spidey will crawl up closer to Superman. But, Superman is the best.
Me: Boxers or briefs?
Loeb: Dogs or legal papers? What an odd question. I guess I prefer the dogs, since legal papers bore the hell out of me...
Me: Cats or dogs?
Loeb: Again with the dogs? Okay. I'll play. Dogs.
Me: Winter or summer?
Loeb: Summer. I live in Los Angeles. I used to live in New York. Pretty easy to figure out why. Cold bad. Hot good.
Me: Any cool stories involving a chick?
Loeb: Please. I work with Joss Whedon (Buffy, Angel, Fray). Chicks flock to him. I get to stand near his aura.
Me: I just handed you a gun and a case full of 100 untraceable bullets. Who or what do you use them on?
Loeb: Give them back. I want nothing to do with either.
Me: Do you find working with four others on Superman (including editor Eddie Berganza) to be difficult creatively sometimes? I mean, what happens if there's a big argument over the next storyline and how the big blue is portrayed?
Loeb: Hasn't happened. That's what makes working with Eddie so cool. He runs a great ship. We're all pals. I've never had a working experience like it and suspect I never will again. Eddie is the best.
Me: I know you've most likely been asked this far too many times, but are you and Tim going to do another Batman mystery mini?
Loeb: Yes.
Me: That one dollar you got paid for writing Fantastic Four with Carlos Pacheco: was it for the entire run or per script? And, was your wife a little peeved that you were writing a comic for only a buck?
Loeb: I think what folks didn't understand was I got paid a dollar for WRITING the comic, but I also now own the Fantastic Four and the trademark. So, I was paid ten million dollars for the movie rights alone. My wife couldn't be happier. She has a house the size of the Baxter Building. Oh, and my daughter can now turn invisible.
Me: Are you afraid that after you, Joe (Kelly), Joe (Casey) and Mark (Schultz) move on that a lot of the changes you made will be reversed and ignored the way changes in Superman often are?
Loeb: It's not my character. I get to play with someone else's toys. They're the best toys in the box, but they still belong to someone else. If I want to make sure nobody plays with what I've done, there is a wonderful creator owned market out there. DC has given all of us every chance to tell the stories that WE wanted to tell. If they afford that luxury to the next team, good for them. Hopefully, they'll tell stories that are about NEW subjects -- at least that's what we're trying to do. I mean, look at the last two years. We didn't UNDO what came before us. Yes, Lex Luthor is President of the United States -- but that hadn't been done before. We have brought back Bizarro #1 and Krypto -- but they hadn't been seen in 15 years. I think in many ways we’re remarkably sensitive to the previous team’s efforts.
Me: Any tidbits from upcoming issues you can talk about here. You know, help a long-time fan get some publicity, maybe?
Loeb: Only that Superman #178, January 2002 will change Superman's life forever. Last year, it was his origin we threw into question. This year... well... it's not very long to find out. But RESERVE a copy now. That book is woefully under-ordered. Or don't and you'll wind up paying $15.00 for it in March. Tee-hee.
Me: Who do you love?
Loeb: My wife and kids. And that question. That question is a very close second.
Me: Any final words?
Loeb: Thanks for giving me the time and a big THANKS to all the fans and readers who let me do this incredibly cool job.
Thursday November 30, 2001
Interview With . . . Jeph Loeb!
Jeph was my very first “favourite writer” when it came to comics. I had a subscription to Cable and he was writing it and he was amazing. He and Ian Churchill were doing all sorts of crazy things: going to the future, fighting clones from another dimension, fighting the Hulk, hanging out with the X-Men. I even sent him a letter care of Marvel for a school project in grade 7 (which odds are he never got--damn you, Marvel!). After a year of reading his Cable, I also picked up his X-Force, which was great too, but it didn’t compare to his work on Cable. He made me the big Cable fan I am today--well, except for that patch where Liefeld came back and Casey and Ladronn left. And, I can’t figure out a graceful way to go into the interview after that, so here it is...
Me: Tell us a little about yourself.
Loeb: I was found in a field by a pair of mid-western farmers... wait... that's... Um... Live in Los Angeles, write and produce movies and television, currently writing Superman monthly and Daredevil: Yellow.
Me: How did you get into writing?
Loeb: I started in high school. It was easier than math. I could never understand math. Math bad. Writing good.
Me: What have you written?
Loeb: Movies, television, comics, magazine articles, the occasional poem, a terrible musical, animation. I can tell you what I DON'T do is write to Mother enough. Actually, I don't think there is any way I could write to her enough, so I pretty much just gave up.
Me: How was it working with Ian Churchill on Superman 176, since you two have a history of working together on Cable, Avengers and at Awesome Entertainment?
Loeb: The best. Ian and I have been friends since our Cable days. He is a tremendous talent. It was a very big change from the “McGuinness” look of Superman and I was a bit worried that the fans wouldn't take to him -- but, Superman fans never cease to amaze me. They loved him. I guess there is always an appetite for a more “realistic” (that's a funny way to look at it for me) interpretation of Superman and that's what Ian delivered on. He is also doing Superman #180 which features Dracula (yes, THAT Dracula). His artwork is quite spectacular.
Me: Have you found it difficult to write Daredevil: Yellow, while not just repeating the origin laid out by Stan Lee and later by Frank Miller?
Loeb: I write comics the best I can. I hope folks enjoy the work; some do and some don't. I usually write what I feel my artist can best deliver on. Daredevil: Yellow was a love letter to my father and to Karen Page and Tim Sale delivered above whatever I could have dreamed of -- so, I guess the answer is no.
Me: What did you think of Warren Ellis and Steven Grant's X-Man?
Loeb: I never read them. When I walk away from book, that's usually the end for me. I know what I would have done and that's enough. X-Man, which I co-created with Steve Skroce was a particularly unpleasant experience since Steve and I had one vision for the book and (then, Marvel Editor-in-Chief) Bob Harras had another. Bob was wrong. That book went from selling a 500,000 copies and in the top ten to a book that was ultimately cancelled.
Me: Would you ever want to do Cable or X-Force again?
Loeb: I'd never say never. Marvel is a completely different place now. Joe Quesada runs a very different ship. Much, much better. But both Cable and X-Force are very different too. So, the subject is fairly moot.
Me: In an interview you did for an issue of Cable (#37), you mentioned how your son loved X-Men and such. Does he find it cool that his dad is working on Superman do you think?
Loeb: Superman MUCH cooler. Batman nearly as cool. Spider-Man close too. When the movie comes out, I'm fairly sure that Spidey will crawl up closer to Superman. But, Superman is the best.
Me: Boxers or briefs?
Loeb: Dogs or legal papers? What an odd question. I guess I prefer the dogs, since legal papers bore the hell out of me...
Me: Cats or dogs?
Loeb: Again with the dogs? Okay. I'll play. Dogs.
Me: Winter or summer?
Loeb: Summer. I live in Los Angeles. I used to live in New York. Pretty easy to figure out why. Cold bad. Hot good.
Me: Any cool stories involving a chick?
Loeb: Please. I work with Joss Whedon (Buffy, Angel, Fray). Chicks flock to him. I get to stand near his aura.
Me: I just handed you a gun and a case full of 100 untraceable bullets. Who or what do you use them on?
Loeb: Give them back. I want nothing to do with either.
Me: Do you find working with four others on Superman (including editor Eddie Berganza) to be difficult creatively sometimes? I mean, what happens if there's a big argument over the next storyline and how the big blue is portrayed?
Loeb: Hasn't happened. That's what makes working with Eddie so cool. He runs a great ship. We're all pals. I've never had a working experience like it and suspect I never will again. Eddie is the best.
Me: I know you've most likely been asked this far too many times, but are you and Tim going to do another Batman mystery mini?
Loeb: Yes.
Me: That one dollar you got paid for writing Fantastic Four with Carlos Pacheco: was it for the entire run or per script? And, was your wife a little peeved that you were writing a comic for only a buck?
Loeb: I think what folks didn't understand was I got paid a dollar for WRITING the comic, but I also now own the Fantastic Four and the trademark. So, I was paid ten million dollars for the movie rights alone. My wife couldn't be happier. She has a house the size of the Baxter Building. Oh, and my daughter can now turn invisible.
Me: Are you afraid that after you, Joe (Kelly), Joe (Casey) and Mark (Schultz) move on that a lot of the changes you made will be reversed and ignored the way changes in Superman often are?
Loeb: It's not my character. I get to play with someone else's toys. They're the best toys in the box, but they still belong to someone else. If I want to make sure nobody plays with what I've done, there is a wonderful creator owned market out there. DC has given all of us every chance to tell the stories that WE wanted to tell. If they afford that luxury to the next team, good for them. Hopefully, they'll tell stories that are about NEW subjects -- at least that's what we're trying to do. I mean, look at the last two years. We didn't UNDO what came before us. Yes, Lex Luthor is President of the United States -- but that hadn't been done before. We have brought back Bizarro #1 and Krypto -- but they hadn't been seen in 15 years. I think in many ways we’re remarkably sensitive to the previous team’s efforts.
Me: Any tidbits from upcoming issues you can talk about here. You know, help a long-time fan get some publicity, maybe?
Loeb: Only that Superman #178, January 2002 will change Superman's life forever. Last year, it was his origin we threw into question. This year... well... it's not very long to find out. But RESERVE a copy now. That book is woefully under-ordered. Or don't and you'll wind up paying $15.00 for it in March. Tee-hee.
Me: Who do you love?
Loeb: My wife and kids. And that question. That question is a very close second.
Me: Any final words?
Loeb: Thanks for giving me the time and a big THANKS to all the fans and readers who let me do this incredibly cool job.
Wednesday, February 06, 2008
Chad's Jackass Comic Creator Interviews from 2001: Joe Casey
[Another interview where I ask about underwear and "chicks." *sigh* New posts Monday, Wednesday and Friday.]
Monday November 12, 2001
Interview With . . . Joe Casey!
I remember a few years ago I had a subscription to Cable and was enjoying James Robinson's run on the title, only to have it interrupted by some guy named Casey. I mean, I had heard of fill-in artists, but when I saw Casey's name on the cover, well, I thought it had to be a mistake. But, no, it wasn't a mistake, a hereto unknown named Joe Casey was writing my favourite comic. Since then Casey has written many comics that, because of him, I considered my favourite comic at the time. From Cable to Deathlok to Mr. Majestic to Wildcats, the guy has impressed me with some kickass writing. Casey is also a writer who has been controversial at times. Especially in regards to those of us who visit message boards. Now, of course I was offended a little, but does that affect his writing or how I view it? Nope. That's something people sometimes get mixed up, but that's another discussion for another time. Without further ramblings, I present my interview with Joe Casey.
Me: Tell us a little about yourself.
Casey: I was born, I got taller, I got a job writing comic books, and here I am today.
Me: How did you get interested in writing?
Casey: When I was growing up, there was no shortage of great books and movies, all of which I devoured. Those things inspired me to want to tell my own stories. I truly believe that the best stories told are interactive... they fire the reader's imagination to such a degree that they're practically writing the story along with the storyteller as they're reading it (or watching it, in
the case of a film). That's what I did as a reader (and as a viewer)... at some point I decided to try and get paid for doing it.
Me: What have you written?
Casey: Too many books to list here. I had a good run on Cable with Ladronn a few years ago. Mr. Majestic was a fun book, too. X-Men: Children Of The Atom was a mini-series I wrote that was recently collected in a mass-market trade paperback edition. Sean Phillips and I just finished our run on Wildcats Vol. 2.
Me: What are you working on right now?
Casey: Uncanny X-Men and Adventures Of Superman, both monthly for the two big publishers. Next year, Wildcats VERSION 3.0 and Automatic Kafka, both part of Wildstorm's mature readers line. Codeflesh (co-created with artist Charlie Adlard) is currently appearing in Funk-O-Tron's Double Take book. Some other top-secret stuff is coming up, but it's too soon to talk about.
Me: Tell everyone a little about Man Of Action.
Casey: I'd rather everyone find out for themselves. Go to www.manofaction.tv and all questions will be answered.
Me: Is Wildcats going to change much in Vol. 3, in relation to the tone and feel of Vol. 2? It's not going to become like most other superhero comics, is it?
Casey: I sure as hell hope not. I have no interest in my books being like most other superhero books. VERSION 3.0 will have a different focus than Vol. 2, but the level of characterization will remain (I hope!).
Me: You've hinted that Poptopia was similar to previous X-Men stories on purpose. Did you really do that on purpose, as a theme of pop recycling itself?
Casey: As a reader, you have the absolute right to read any interpretation into the books you read. I'd hate to spoil that with whatever my interpretation might be. I wrote the story... that's how I fulfill my end of the bargain. For those who buy it and read it, I'm definitely grateful. At that point, they've more than fulfilled their end of the bargain. Now, if they actually liked what they read... great. If they didn't... well, you can't please everybody. Nor do I particularly want to.
Me: Do you find that writing Superman with three other guys to be constraining, at times, creatively?
Casey: Not at all. We all get along great (the four writers and editor, Eddie Berganza). That solves a lot of problems before they even occur. The real question is one that I get much more often... "Is writing a corporate icon that's been around for sixty plus years creatively constraining?" It's a valid question, because the Superman legend is pretty much set in stone. Not a lot of room to maneuver there. But think about how many great, different and original rock n' roll songs were written with the same three or four chords. With Superman stories, you just need to pick the right three or four chords and play the hell out of 'em. Right now we've got a pretty good band going.
Me: Boxers or briefs?
Casey: Boxers, definitely. Briefs are fine for the kiddies.
Me: Cats or dogs?
Casey: Either or neither, depending upon the personality of the animal.
Me: Winter or summer?
Casey: I live in Los Angeles, a place where there is no winter. What does that tell you...?
Me: Any cool stories involving chicks?
Casey: Plenty.
Me: I just handed you a gun with 100 untraceable bullets, who or what do you use them on?
Casey: Well, I'd shoot you first. I'd have to. Anyone who has access to guns and untraceable bullets is too dangerous to let live. Not to mention anyone that would be dumb enough to hand them over to me...
Me: What comics are you currently digging?
Casey: Besides the occasional original graphic novel, I follow what my industry friends are doing, mainly. The usual suspects. I'm looking forward to the other books in the Wildstorm mature readers line. And once all the guys currently doing Marvel superheroes get back to their creator-owned passions, I predict we're going to see some fantastic, groundbreaking stuff.
Me: What are you in your band?
Casey: Often, I'm an unwilling participant. Other times, I'm steering the ship. The Sellouts are a constantly evolving beast and thank God for that. We're back at the Whisky A Go-Go on Sunset Blvd. on Dec. 15th.
Me: Using up some of your unused ideas for Mr. Majestic on Superman?
Casey: No way. On Superman, I could never get away with the things we did in the Mr. Majestic book.
Me: With the amount of sex you are putting in X-Men, you really are trying to appeal to the fanboys, aren't you?
Casey: I dunno... what's a fanboy?
Me: Still want to The Secret Society Of Super-Villains?
Casey: I don't think so. That was one of my first proposals and since then I've strip-mined most of those ideas and concepts and used them in other books.
Me: Who do you love?
Casey: Why do you ask?
Me: Any final words?
Casey: Not for a long time, I hope.
Monday November 12, 2001
Interview With . . . Joe Casey!
I remember a few years ago I had a subscription to Cable and was enjoying James Robinson's run on the title, only to have it interrupted by some guy named Casey. I mean, I had heard of fill-in artists, but when I saw Casey's name on the cover, well, I thought it had to be a mistake. But, no, it wasn't a mistake, a hereto unknown named Joe Casey was writing my favourite comic. Since then Casey has written many comics that, because of him, I considered my favourite comic at the time. From Cable to Deathlok to Mr. Majestic to Wildcats, the guy has impressed me with some kickass writing. Casey is also a writer who has been controversial at times. Especially in regards to those of us who visit message boards. Now, of course I was offended a little, but does that affect his writing or how I view it? Nope. That's something people sometimes get mixed up, but that's another discussion for another time. Without further ramblings, I present my interview with Joe Casey.
Me: Tell us a little about yourself.
Casey: I was born, I got taller, I got a job writing comic books, and here I am today.
Me: How did you get interested in writing?
Casey: When I was growing up, there was no shortage of great books and movies, all of which I devoured. Those things inspired me to want to tell my own stories. I truly believe that the best stories told are interactive... they fire the reader's imagination to such a degree that they're practically writing the story along with the storyteller as they're reading it (or watching it, in
the case of a film). That's what I did as a reader (and as a viewer)... at some point I decided to try and get paid for doing it.
Me: What have you written?
Casey: Too many books to list here. I had a good run on Cable with Ladronn a few years ago. Mr. Majestic was a fun book, too. X-Men: Children Of The Atom was a mini-series I wrote that was recently collected in a mass-market trade paperback edition. Sean Phillips and I just finished our run on Wildcats Vol. 2.
Me: What are you working on right now?
Casey: Uncanny X-Men and Adventures Of Superman, both monthly for the two big publishers. Next year, Wildcats VERSION 3.0 and Automatic Kafka, both part of Wildstorm's mature readers line. Codeflesh (co-created with artist Charlie Adlard) is currently appearing in Funk-O-Tron's Double Take book. Some other top-secret stuff is coming up, but it's too soon to talk about.
Me: Tell everyone a little about Man Of Action.
Casey: I'd rather everyone find out for themselves. Go to www.manofaction.tv and all questions will be answered.
Me: Is Wildcats going to change much in Vol. 3, in relation to the tone and feel of Vol. 2? It's not going to become like most other superhero comics, is it?
Casey: I sure as hell hope not. I have no interest in my books being like most other superhero books. VERSION 3.0 will have a different focus than Vol. 2, but the level of characterization will remain (I hope!).
Me: You've hinted that Poptopia was similar to previous X-Men stories on purpose. Did you really do that on purpose, as a theme of pop recycling itself?
Casey: As a reader, you have the absolute right to read any interpretation into the books you read. I'd hate to spoil that with whatever my interpretation might be. I wrote the story... that's how I fulfill my end of the bargain. For those who buy it and read it, I'm definitely grateful. At that point, they've more than fulfilled their end of the bargain. Now, if they actually liked what they read... great. If they didn't... well, you can't please everybody. Nor do I particularly want to.
Me: Do you find that writing Superman with three other guys to be constraining, at times, creatively?
Casey: Not at all. We all get along great (the four writers and editor, Eddie Berganza). That solves a lot of problems before they even occur. The real question is one that I get much more often... "Is writing a corporate icon that's been around for sixty plus years creatively constraining?" It's a valid question, because the Superman legend is pretty much set in stone. Not a lot of room to maneuver there. But think about how many great, different and original rock n' roll songs were written with the same three or four chords. With Superman stories, you just need to pick the right three or four chords and play the hell out of 'em. Right now we've got a pretty good band going.
Me: Boxers or briefs?
Casey: Boxers, definitely. Briefs are fine for the kiddies.
Me: Cats or dogs?
Casey: Either or neither, depending upon the personality of the animal.
Me: Winter or summer?
Casey: I live in Los Angeles, a place where there is no winter. What does that tell you...?
Me: Any cool stories involving chicks?
Casey: Plenty.
Me: I just handed you a gun with 100 untraceable bullets, who or what do you use them on?
Casey: Well, I'd shoot you first. I'd have to. Anyone who has access to guns and untraceable bullets is too dangerous to let live. Not to mention anyone that would be dumb enough to hand them over to me...
Me: What comics are you currently digging?
Casey: Besides the occasional original graphic novel, I follow what my industry friends are doing, mainly. The usual suspects. I'm looking forward to the other books in the Wildstorm mature readers line. And once all the guys currently doing Marvel superheroes get back to their creator-owned passions, I predict we're going to see some fantastic, groundbreaking stuff.
Me: What are you in your band?
Casey: Often, I'm an unwilling participant. Other times, I'm steering the ship. The Sellouts are a constantly evolving beast and thank God for that. We're back at the Whisky A Go-Go on Sunset Blvd. on Dec. 15th.
Me: Using up some of your unused ideas for Mr. Majestic on Superman?
Casey: No way. On Superman, I could never get away with the things we did in the Mr. Majestic book.
Me: With the amount of sex you are putting in X-Men, you really are trying to appeal to the fanboys, aren't you?
Casey: I dunno... what's a fanboy?
Me: Still want to The Secret Society Of Super-Villains?
Casey: I don't think so. That was one of my first proposals and since then I've strip-mined most of those ideas and concepts and used them in other books.
Me: Who do you love?
Casey: Why do you ask?
Me: Any final words?
Casey: Not for a long time, I hope.
Monday, February 04, 2008
Chad's Jackass Comic Creator Interviews from 2001: Gail Simone
[Continuing my series of posts of old interviews with comic creators from late 2001 where I was a bit of a douche. This one almost redeems my 18-year-old self as I didn't ask the "Any good stories involving a chick?" question (surprisingly), but fucked it up with my variations on the "Boxers or briefs?" one. So close to not being a bit of a douche. Dammit. New posts Monday, Wednesday and Friday.]
Friday November 2, 2001
Interview With . . . Gail Simone!
Gail Simone is a funny person. I was introduced to her writing via various message boards, all living their highest recommendation that I read her column called You'll All Be Sorry. I did and I laughed my ass off. Since then I've been a big fan of the column and always read it first on Tuesday mornings. This went on for a month or two and then it happened: Gil announced she was quitting the column to pursue her other writings. This kind of got me down until I realized that I had only been reading for a couple months, but she had been writing the column for two years. Now I've got an entire archive to go through, so Tuesday morning will still be YABS morning.
Me: Tell us a little about yourself.
Gail: Hmmm. Well, I've done sales and sales management in the past, but I'm also a licensed cosmetologist, and that's my day job. I love it, actually. Happily married, and living in a small coastal Oregon town. Pretty content in all ways.
Me: How did you get interested in writing?
Gail: Sort of by accident. Some joke letters to friends got circulated as Spam, and became popular enough that I was asked to do a humour column at www.comicbookresources.com. Before that, some regular posters there had a shared universe fiction thing going, and I dabbled in that a little bit.
Me: Tell everyone what you've written, and what you are going to write.
Gail: Two years of You'll All Be Sorry at CBR, lots and lots of Simpsons things for Bongo Comics, some gag things for CrossGen, Killer Princesses with art by co-creator Lea Hernandez for Oni Press, Night Nurse and Deadpool for Marvel, and some other stuff I can't say yet!
Me: Night Nurse? What's that about?
Gail: Sort of a B-movie medical drama comedy about addiction and flying body parts. It's good fun. Art by multiple Eisner winner Jill Thompson, which is going to be incredible.
Me: How does one stay so funny, week in and week out?
Gail: Thank you! Well, first, you have to keep trying new things, to keep surprising the readers. Routine is dull, surprise is fun. Lots of YABS weren't 100% successful, but the best ones took you by surprise, I think.
Me: Has anyone ever gotten mad at some of your friendly joking? Cause I could see Rob Liefeld e-mailing you hateful letters.
Gail: Rob Liefeld actually congratulated me on my last parody of him, and wished me good luck on Deadpool. To my knowledge, I've only really angered one pro, a good friend of mine. That piece never ran, because it was apparently a lot meaner than I thought. Normally, I wasn't trying to be mean--just to poke fun.
Me: Okay, I tried coming up with the female equivalent of "boxers or briefs", as I usually ask, but couldn't. Any ideas on how I could rephrase that question? And could you answer it after, too?
Gail: No. :)
Me: Cats or dogs?
Gail: Allergic to cats, I'm very sorry to say. We have a great dog named after Static, the Milestone character.
Me: Summer or winter?
Gail: Heat, baby. I live in Oregon, so I'm always missing the sun.
Me: I just gave you an untraceable gun and 100 bullets, who or what do you use them on?
Gail: Terrorists.
Me: Who is your hero?
Gail: Anybody who does something good for the first time always impresses me. There's plenty of
exploration to be done out there, if one is looking.
Me: What comics are you currently digging?
Gail: Tons. Ruse, Strangers In Paradise, pretty much any Garth Ennis, Warren Ellis, Mark Millar, Alan Moore, Greg Rucka and Grant Morrison. Scary Godmother. Berlin, JLA, Marvel's Max line, almost everything Oni puts out, the Bongo comics, and especially Hopeless Savages, Blue Monday and Whiteout.
Me: If you could write any one comic, what would it be?
Gail: Almost any project is fun, if you get free rein or close to it. I like writing hard-boiled characters because the speech patterns are fun. I love writing horror, and of course comedy. A dream project would be Mary Marvel. I think she's just a terrific character, part progressive and part throwback.
Me: Will your Deadpool be "the merc with a potty mouth" as Marvel doesn't use the code anymore?
Gail: It's not Marvel Max, and there are still lots of young readers. Great freedom doesn't necessarily mean you should push every limit and forget who the audience is. Deadpool was most popular under Joe Kelly, as an all-ages character. Actually, this brings up shock value as a topic. I don't curse much in my real life, but in Killer Princesses, the girls curse a lot (and badly!) because it makes sense to their characters. It's not shockery, it's mockery. But in Night Nurse, I purposely avoided the "f" word just to be contrary.
Me: What YABS have you been most proud of? The one that turned out "just right?"
Gail: There are several I'm proud of; either because they were nuts or they just make me laugh. I love the Alan Moore parody, the Punisher piece, Prince Namor, and the Lovecraft pastiche. Those are probably my current faves. [*Note: I
tried to find the last two she mentioned, but couldn't. I suggest you just go and read them all.*]
Me: Do you mind that I did my own Condensed Comics for a column on comics?
Gail: Of course not. I've been informed the idea didn't originate with me. And I say, the more humour out there, the better.
Me: What's the funniest thing in comics right now?
Gail: Let's see . . . Barry Ween, probably. That's the first thing that comes to mind. HATE is always brilliant.
Me: Do you ever see yourself doing some more humour columns in a few years?
Gail: No, done that. I may do a couple for fun.
Me: Who do you love?
Gail: Great song.
Me: Any final words?
Gail: Not really. I hope people give my books a shot. I'm striving mostly for big entertainment value. Thanks for reading all these months!
Friday November 2, 2001
Interview With . . . Gail Simone!
Gail Simone is a funny person. I was introduced to her writing via various message boards, all living their highest recommendation that I read her column called You'll All Be Sorry. I did and I laughed my ass off. Since then I've been a big fan of the column and always read it first on Tuesday mornings. This went on for a month or two and then it happened: Gil announced she was quitting the column to pursue her other writings. This kind of got me down until I realized that I had only been reading for a couple months, but she had been writing the column for two years. Now I've got an entire archive to go through, so Tuesday morning will still be YABS morning.
Me: Tell us a little about yourself.
Gail: Hmmm. Well, I've done sales and sales management in the past, but I'm also a licensed cosmetologist, and that's my day job. I love it, actually. Happily married, and living in a small coastal Oregon town. Pretty content in all ways.
Me: How did you get interested in writing?
Gail: Sort of by accident. Some joke letters to friends got circulated as Spam, and became popular enough that I was asked to do a humour column at www.comicbookresources.com. Before that, some regular posters there had a shared universe fiction thing going, and I dabbled in that a little bit.
Me: Tell everyone what you've written, and what you are going to write.
Gail: Two years of You'll All Be Sorry at CBR, lots and lots of Simpsons things for Bongo Comics, some gag things for CrossGen, Killer Princesses with art by co-creator Lea Hernandez for Oni Press, Night Nurse and Deadpool for Marvel, and some other stuff I can't say yet!
Me: Night Nurse? What's that about?
Gail: Sort of a B-movie medical drama comedy about addiction and flying body parts. It's good fun. Art by multiple Eisner winner Jill Thompson, which is going to be incredible.
Me: How does one stay so funny, week in and week out?
Gail: Thank you! Well, first, you have to keep trying new things, to keep surprising the readers. Routine is dull, surprise is fun. Lots of YABS weren't 100% successful, but the best ones took you by surprise, I think.
Me: Has anyone ever gotten mad at some of your friendly joking? Cause I could see Rob Liefeld e-mailing you hateful letters.
Gail: Rob Liefeld actually congratulated me on my last parody of him, and wished me good luck on Deadpool. To my knowledge, I've only really angered one pro, a good friend of mine. That piece never ran, because it was apparently a lot meaner than I thought. Normally, I wasn't trying to be mean--just to poke fun.
Me: Okay, I tried coming up with the female equivalent of "boxers or briefs", as I usually ask, but couldn't. Any ideas on how I could rephrase that question? And could you answer it after, too?
Gail: No. :)
Me: Cats or dogs?
Gail: Allergic to cats, I'm very sorry to say. We have a great dog named after Static, the Milestone character.
Me: Summer or winter?
Gail: Heat, baby. I live in Oregon, so I'm always missing the sun.
Me: I just gave you an untraceable gun and 100 bullets, who or what do you use them on?
Gail: Terrorists.
Me: Who is your hero?
Gail: Anybody who does something good for the first time always impresses me. There's plenty of
exploration to be done out there, if one is looking.
Me: What comics are you currently digging?
Gail: Tons. Ruse, Strangers In Paradise, pretty much any Garth Ennis, Warren Ellis, Mark Millar, Alan Moore, Greg Rucka and Grant Morrison. Scary Godmother. Berlin, JLA, Marvel's Max line, almost everything Oni puts out, the Bongo comics, and especially Hopeless Savages, Blue Monday and Whiteout.
Me: If you could write any one comic, what would it be?
Gail: Almost any project is fun, if you get free rein or close to it. I like writing hard-boiled characters because the speech patterns are fun. I love writing horror, and of course comedy. A dream project would be Mary Marvel. I think she's just a terrific character, part progressive and part throwback.
Me: Will your Deadpool be "the merc with a potty mouth" as Marvel doesn't use the code anymore?
Gail: It's not Marvel Max, and there are still lots of young readers. Great freedom doesn't necessarily mean you should push every limit and forget who the audience is. Deadpool was most popular under Joe Kelly, as an all-ages character. Actually, this brings up shock value as a topic. I don't curse much in my real life, but in Killer Princesses, the girls curse a lot (and badly!) because it makes sense to their characters. It's not shockery, it's mockery. But in Night Nurse, I purposely avoided the "f" word just to be contrary.
Me: What YABS have you been most proud of? The one that turned out "just right?"
Gail: There are several I'm proud of; either because they were nuts or they just make me laugh. I love the Alan Moore parody, the Punisher piece, Prince Namor, and the Lovecraft pastiche. Those are probably my current faves. [*Note: I
tried to find the last two she mentioned, but couldn't. I suggest you just go and read them all.*]
Me: Do you mind that I did my own Condensed Comics for a column on comics?
Gail: Of course not. I've been informed the idea didn't originate with me. And I say, the more humour out there, the better.
Me: What's the funniest thing in comics right now?
Gail: Let's see . . . Barry Ween, probably. That's the first thing that comes to mind. HATE is always brilliant.
Me: Do you ever see yourself doing some more humour columns in a few years?
Gail: No, done that. I may do a couple for fun.
Me: Who do you love?
Gail: Great song.
Me: Any final words?
Gail: Not really. I hope people give my books a shot. I'm striving mostly for big entertainment value. Thanks for reading all these months!
Friday, February 01, 2008
Chad's Jackass Comic Creator Interviews from 2001: Doselle Young
[Another in my series of amateurish interviews I did with various comic creators back in 2001. Oh, was I ever so young that I thought that some of these questions were appropriate? Goddamn. As always, the interview has not been edited since it was originally posted online in 2001 and it includes the intro I wrote for it then. New posts Monday, Wednesday and Friday.]
Interview With . . . Doselle Young!
This guy is a fucking great writer. He writes books for smart people by a smart person. You can’t go in expecting the story to be spoon fed to you. You have to read the issue numerous times. You have to think for yourself a bit.
So naturally, the general audience hates what he writes. But I don’t. It is great. Doe challenges me, and many others, to bring something with me to the comic shop: my brain. Only a few writers do that these days.
Doe also gets involved with his fans with his monthly chats on the Monarchy boards. And his wife Janine is always there (yes, fanboys, he‘s found a woman who is actually into comics! That is so cool!) =, talking to the fans and torturing us with a few comments every once in awhile about how good the next issue is. A month or two ahead of time.
This is the new generation of comics. Thanks, Doe.
Me: Tell us a little about yourself.
Young: Honestly, the older I get, the more absurd it seems to try and encapsulate who I am in a brief, witty piece of prose. I was born in a suburb of Los Angeles that was settled by African-American soldiers after World War 2. After that, the neighbourhood became a magnet for rural folk seeking to re-invent themselves in Los Angeles. How does that impact who I am and what I write? That's a good question I suppose. Finding a substantial answer is likely going to take a lifetime.
Me: How did you get involved in writing?
Young: I broke in with a crowbar and a smile. But seriously, I've been writing quite a while. Since I was a kid, truthfully. Always. I was also drawing and designing toys for myself, gadgets, Rube Goldbergs and such. Making things out of other things has always been an obsession. If you're asking about writing on the professional level, see my first answer.
Me: What have you written?
Young: Stories I've written have appeared in Gangland 1, Hearthrobs 2, Strange Adventures 3, and Superman 80 Page Giant 2000. Complete comics include Wonder Woman Annual 99, Wonder Woman 154 and 155, Authority 21, and Monarchy.
Me: How did you get the Monarchy gig?
Young: I have pictures of key people at Wildstorm in compromising positions.
Me: Do you ever see some people finding meaning in the book that you didn't even mean to put there?
Young: No. What have you been smoking? Everything is there on purpose. And if it wasn't, no artist in his or her right mind would tell you anything different. This is ART we're talking about, remember? It’s about the interaction between the artist, the work and the audience.
Me: You do have a plan with Monarchy, don't you?
Young: Yeah. I do. I think too many comics spoon feed readers information like its been scraped from the bottom of a pail of gruel. I'm not into that. Never will be. I have a plan. If anyone wants to know what it is: READ THE BOOK. Nuff said.
Me: Boxers or briefs?
Young: Neither. Ever. Deal with it.
Me: Cats or dogs?
Young: If you're asking my preference, it depends. I'll eat anything if I'm starving. I have a cat, if you're asking about pets, not meat.
Me: Summer or winter?
Young: It's all good in Southern California. Why anyone would live anywhere else is beyond my understanding.
Me: Got any cool stories about a chick?
Young: Hell yeah! Plenty. Thing is: I AIN'T telling you. All apologies, but I don't even KNOW your punk ass.
Me: I just gave you a case full of 100 untraceable bullets, who or what do you use them on?
Young: Brian Azzarello. Heheh. That way, I can do something with Eduardo Risso instead.
Me: Favourite writers?
Young: Whoever writes the blurbs in T.V. Guide really blows my mind. That guy is AWESOME. Seriously though, there are so very many creative minds wandering the planet, to state a preference for a select few would take more time than I'll likely find in my life. There's inspiration and insight available at every turn. That's how I see it anyway. No need to wear those like some sort of badge...
Me: Who is your hero?
Young: My mother.
Me: What comic do you really want to write?
Young: Green Lantern is the only existing character that I'd be interested in writing without starting from scratch. I have a ton of new characters and concepts that I plan to play with. Pre-existing universes come with too many preconceptions, constraints and bother.
Me: What artists do you really want to work with?
Young: Dean Ormston (Again). Warren Pleece (again). Frank Quitely (again). Garry Leach (always). Mark Buckingham. Steve Rude. Goran Sudzka. Eduardo Risso. Duncan Fregredo. Mike Lark. Richard Case. Kelly Jones. Sean Phillips.
Me: How long does it take for you to write a Monarchy script, as it's been said online that you go over it numerous times to get it just right?
Young: As long as it takes. People online talk about things sometimes as if they have more information than they really do. Don't believe the hype, boyyeeeee!
Me: How cool is it to have your wife be so involved with the comic?
Young: You tell me.
Me: I've heard that you're a minister. What sect?
Young: U.L.C.
Me: Who do you love?
Young: My wife. My family and friends. Same as everybody else, I suppose.
Me: Any final words?
Young: Yeah. I have a few, but likely too many to place on the page at this very moment. I'll simply say that there are more things in heaven and earth than are spoken of on the Internet.
Interview With . . . Doselle Young!
This guy is a fucking great writer. He writes books for smart people by a smart person. You can’t go in expecting the story to be spoon fed to you. You have to read the issue numerous times. You have to think for yourself a bit.
So naturally, the general audience hates what he writes. But I don’t. It is great. Doe challenges me, and many others, to bring something with me to the comic shop: my brain. Only a few writers do that these days.
Doe also gets involved with his fans with his monthly chats on the Monarchy boards. And his wife Janine is always there (yes, fanboys, he‘s found a woman who is actually into comics! That is so cool!) =, talking to the fans and torturing us with a few comments every once in awhile about how good the next issue is. A month or two ahead of time.
This is the new generation of comics. Thanks, Doe.
Me: Tell us a little about yourself.
Young: Honestly, the older I get, the more absurd it seems to try and encapsulate who I am in a brief, witty piece of prose. I was born in a suburb of Los Angeles that was settled by African-American soldiers after World War 2. After that, the neighbourhood became a magnet for rural folk seeking to re-invent themselves in Los Angeles. How does that impact who I am and what I write? That's a good question I suppose. Finding a substantial answer is likely going to take a lifetime.
Me: How did you get involved in writing?
Young: I broke in with a crowbar and a smile. But seriously, I've been writing quite a while. Since I was a kid, truthfully. Always. I was also drawing and designing toys for myself, gadgets, Rube Goldbergs and such. Making things out of other things has always been an obsession. If you're asking about writing on the professional level, see my first answer.
Me: What have you written?
Young: Stories I've written have appeared in Gangland 1, Hearthrobs 2, Strange Adventures 3, and Superman 80 Page Giant 2000. Complete comics include Wonder Woman Annual 99, Wonder Woman 154 and 155, Authority 21, and Monarchy.
Me: How did you get the Monarchy gig?
Young: I have pictures of key people at Wildstorm in compromising positions.
Me: Do you ever see some people finding meaning in the book that you didn't even mean to put there?
Young: No. What have you been smoking? Everything is there on purpose. And if it wasn't, no artist in his or her right mind would tell you anything different. This is ART we're talking about, remember? It’s about the interaction between the artist, the work and the audience.
Me: You do have a plan with Monarchy, don't you?
Young: Yeah. I do. I think too many comics spoon feed readers information like its been scraped from the bottom of a pail of gruel. I'm not into that. Never will be. I have a plan. If anyone wants to know what it is: READ THE BOOK. Nuff said.
Me: Boxers or briefs?
Young: Neither. Ever. Deal with it.
Me: Cats or dogs?
Young: If you're asking my preference, it depends. I'll eat anything if I'm starving. I have a cat, if you're asking about pets, not meat.
Me: Summer or winter?
Young: It's all good in Southern California. Why anyone would live anywhere else is beyond my understanding.
Me: Got any cool stories about a chick?
Young: Hell yeah! Plenty. Thing is: I AIN'T telling you. All apologies, but I don't even KNOW your punk ass.
Me: I just gave you a case full of 100 untraceable bullets, who or what do you use them on?
Young: Brian Azzarello. Heheh. That way, I can do something with Eduardo Risso instead.
Me: Favourite writers?
Young: Whoever writes the blurbs in T.V. Guide really blows my mind. That guy is AWESOME. Seriously though, there are so very many creative minds wandering the planet, to state a preference for a select few would take more time than I'll likely find in my life. There's inspiration and insight available at every turn. That's how I see it anyway. No need to wear those like some sort of badge...
Me: Who is your hero?
Young: My mother.
Me: What comic do you really want to write?
Young: Green Lantern is the only existing character that I'd be interested in writing without starting from scratch. I have a ton of new characters and concepts that I plan to play with. Pre-existing universes come with too many preconceptions, constraints and bother.
Me: What artists do you really want to work with?
Young: Dean Ormston (Again). Warren Pleece (again). Frank Quitely (again). Garry Leach (always). Mark Buckingham. Steve Rude. Goran Sudzka. Eduardo Risso. Duncan Fregredo. Mike Lark. Richard Case. Kelly Jones. Sean Phillips.
Me: How long does it take for you to write a Monarchy script, as it's been said online that you go over it numerous times to get it just right?
Young: As long as it takes. People online talk about things sometimes as if they have more information than they really do. Don't believe the hype, boyyeeeee!
Me: How cool is it to have your wife be so involved with the comic?
Young: You tell me.
Me: I've heard that you're a minister. What sect?
Young: U.L.C.
Me: Who do you love?
Young: My wife. My family and friends. Same as everybody else, I suppose.
Me: Any final words?
Young: Yeah. I have a few, but likely too many to place on the page at this very moment. I'll simply say that there are more things in heaven and earth than are spoken of on the Internet.
Wednesday, January 30, 2008
Chad's Jackass Comic Creator Interviews from 2001: Steven Grant
[Continuing my embarrassing series where I post interviews I did with comic creators in late 2001. I was 18 and kind of a douche, okay? I really like this interview, because Grant has no patience for my idiocy. New posts Monday, Wednesday and Friday.]
Interview With . . . Steven Grant!
This is the guy who wrote, under Warren Ellis at first and later on his own, one of my favourite titles from Marvel ever: X-Man after Ellis did his Counter-X thing. “Finally!” I said, “Something new and different.” It was out with the old and in with the Shaman for Mutanity. I highly recommend everyone go out and get it. I’ve also been a fan of Grant’s Master of the Obvious column over at www.comicbookresources.com. It’s good and just ended, with Grant now starting a new column entitles Permanent Damage.
Me: Tell us about yourself.
Grant: Born Madison, Wisconsin; grew up in the late 60s with lots of involvement in sex, drugs, rock’n’roll & politics; went to University of Wisconsin and became a film and music critic for local papers. Moved to NYC in 1978, started doing odd jobs for Marvel Comics while working as writer for Trouser Press magazine. Moved around, both my home and my career, ever since: Los Angeles, Seattle, Las Vegas, DC, First, Dark Horse, TSR, Vortex, Wildstorm, Eclipse, Tekno, Capital, Chaos, etc. etc. I can no longer keep track of all the companies I've written for. It's been an interesting enough life to live, but it's pretty dull to talk about.
Me: How did you get interested in writing?
Grant: Dunno. Just always did it. Certainly reading comic books from an early age helped. But I was always reading books; I started reading novels before I started reading comics. If you're around stories enough you start generating stories.
Me: What have you written?
Grant: Gobs of work for Marvel, DC, Dark Horse and others over the years. Let's stick with what I've created: WHISPER at Capital (which went to First). BADLANDS at Vortex (which went to Dark Horse). ENEMY and OUT FOR BLOOD at Dark Horse. DAMNED at Wildstorm/Vertigo. PSYCHOBLAST and TWILIGHT MAN at First. MANHUNTER (a later version) at DC. Also did X at Dark Horse and the last year of X-MAN at Marvel, but I didn't create either of those.
Me: What are you currently working on?
Grant: Two graphic novels for AIT/PlanetLar Books, including a WHISPER graphic novel. Three graphic novels for Platinum Books: SOCORRO; PALADINS; and GUILTY. A Superman graphic novel at DC that was begun with Gil Kane -- it was Gil's idea -- and is now being drawn by John Buscema. Odd jobs at Marvel and DC. I've been doing some film work and prose fiction as well lately. And I'm writing the new column PERMANENT DAMAGE at CBR.
Me: Did you find it weird that Joe Quesada came into Marvel speaking of doing comics differently and then
cancelled X-Man, which was probably the most different title Marvel had at the time?
Grant: Not really. While I probably would've kept it around, I understood the reasoning behind it. Bill and Joe are rebuilding the company around the X-books. If I'm trying to get people involved in the X-books and I drop something in front of them like X-MAN that's totally removed from the X-books, it's just going to bewilder them. So I don't really fault their decision, though I wish they'd made a different one. X-MAN was being done differently, but it wasn't being done in the way Joe and Bill meant differently. A subtle but important distinction.
Me: In one of your Master of the Obvious columns you made several predictions and later when it was re-ran asked the readers to judge how right you were. How right do you think you've been so far?
Grant: I haven't really been keeping track. Besides, it doesn't matter what the score is at halftime, it matters what the score is when the game's over, and the game isn't anywhere near over yet.
Me: How far ahead of posting do you generally write a column?
Grant: 3-6 hours, usually.
Me: Boxers or briefs?
Grant: None of your business.
Me: Cats or dogs?
Grant: At this stage in my life, I'd just as soon have no pets at all. Saying “cats or dogs?” is like saying “blondes or brunettes?” Depends on the specific blonde or brunette.
Me: Summer or winter?
Grant: Autumn.
Me: Any cool stories involving a chick?
Grant: Except that we don't call them “chicks” anymore, sure.
Me: I just gave you a case full of 100 untraceable bullets, who do you use them on?
Grant: Untraceable bullets only exist in fiction. Anyway, I'd never shoot anybody. Even my worst enemies I don't have any great compulsion to shoot, and I don't believe in restructuring governments through the barrel of the gun, so who else is there? I like target shooting, though. I'd riddle a handful of targets on a firing range with them.
Me: Who are some of your favourite writers?
Grant: My favourite comics writer these days is probably Warren Ellis. I find pretty much anything Warren writes tremendously entertaining. William Gaddis is my favourite novelist. J.G. Ballard, James Ellroy, Malcolm Lowry. I don't really follow authors much anymore. I read specific books for specific information or other purposes, but usually not solely because I like the author's work. Most modern fiction is pretty pathetic, really.
Me: Who is your hero?
Grant: Phil Ochs is the closest anyone comes to being my hero.
Me: If you could have one person, living or dead over to supper, who would it be?
Grant: What are you, Barbara Walters? Why not just ask what my favourite color is? I don't even like to eat with people I know. You never know what anyone's table manners will be like. For that reason, probably Gandhi, since odds are he wouldn't eat.
Me: How much of X-Man was you and how much Warren?
Grant: Warren conceived the new direction, loosely outlined it, pretty tightly wrote out the opening sequence with Mr. Scratch and Mr. Forge, though I shuffled the dialogue around and added some of my own. The rest was fairly sketchy, with Warren setting up specific dialogue here and there, but he really didn't have much input past the first issue of the second arc, and no input at all into the final arc and the final issue. But it was his idea, and it was a great idea.
Me: What's the one comic you want to work on?
Grant: The next one I think up. And I want to work on it within a month of thinking it up, not three or four years. As for other people's characters, I'll work on them, but I don't have any crushing urge to work on any specific one. I'd rather create my own.
Me: Which artists do you really want to work with that you haven't already?
Grant: Oh, gobs of those. Anyone whose work has intelligence and distinctive style, really. That's what I look for in comics art, since storytelling is really a function of intelligence. Smarter artists may not necessarily draw better, but they tell stories better.
Me: Who do you love?
Grant: Again, none of your business. I don't really discuss my personal life.
Me: Any final words?
Grant: Not really, thanks. After writing MASTER OF THE OBVIOUS (soon to be collected by Larry Young at AIT/PlanetLar) for two years, I've pretty much said everything I can say about comics.
Interview With . . . Steven Grant!
This is the guy who wrote, under Warren Ellis at first and later on his own, one of my favourite titles from Marvel ever: X-Man after Ellis did his Counter-X thing. “Finally!” I said, “Something new and different.” It was out with the old and in with the Shaman for Mutanity. I highly recommend everyone go out and get it. I’ve also been a fan of Grant’s Master of the Obvious column over at www.comicbookresources.com. It’s good and just ended, with Grant now starting a new column entitles Permanent Damage.
Me: Tell us about yourself.
Grant: Born Madison, Wisconsin; grew up in the late 60s with lots of involvement in sex, drugs, rock’n’roll & politics; went to University of Wisconsin and became a film and music critic for local papers. Moved to NYC in 1978, started doing odd jobs for Marvel Comics while working as writer for Trouser Press magazine. Moved around, both my home and my career, ever since: Los Angeles, Seattle, Las Vegas, DC, First, Dark Horse, TSR, Vortex, Wildstorm, Eclipse, Tekno, Capital, Chaos, etc. etc. I can no longer keep track of all the companies I've written for. It's been an interesting enough life to live, but it's pretty dull to talk about.
Me: How did you get interested in writing?
Grant: Dunno. Just always did it. Certainly reading comic books from an early age helped. But I was always reading books; I started reading novels before I started reading comics. If you're around stories enough you start generating stories.
Me: What have you written?
Grant: Gobs of work for Marvel, DC, Dark Horse and others over the years. Let's stick with what I've created: WHISPER at Capital (which went to First). BADLANDS at Vortex (which went to Dark Horse). ENEMY and OUT FOR BLOOD at Dark Horse. DAMNED at Wildstorm/Vertigo. PSYCHOBLAST and TWILIGHT MAN at First. MANHUNTER (a later version) at DC. Also did X at Dark Horse and the last year of X-MAN at Marvel, but I didn't create either of those.
Me: What are you currently working on?
Grant: Two graphic novels for AIT/PlanetLar Books, including a WHISPER graphic novel. Three graphic novels for Platinum Books: SOCORRO; PALADINS; and GUILTY. A Superman graphic novel at DC that was begun with Gil Kane -- it was Gil's idea -- and is now being drawn by John Buscema. Odd jobs at Marvel and DC. I've been doing some film work and prose fiction as well lately. And I'm writing the new column PERMANENT DAMAGE at CBR.
Me: Did you find it weird that Joe Quesada came into Marvel speaking of doing comics differently and then
cancelled X-Man, which was probably the most different title Marvel had at the time?
Grant: Not really. While I probably would've kept it around, I understood the reasoning behind it. Bill and Joe are rebuilding the company around the X-books. If I'm trying to get people involved in the X-books and I drop something in front of them like X-MAN that's totally removed from the X-books, it's just going to bewilder them. So I don't really fault their decision, though I wish they'd made a different one. X-MAN was being done differently, but it wasn't being done in the way Joe and Bill meant differently. A subtle but important distinction.
Me: In one of your Master of the Obvious columns you made several predictions and later when it was re-ran asked the readers to judge how right you were. How right do you think you've been so far?
Grant: I haven't really been keeping track. Besides, it doesn't matter what the score is at halftime, it matters what the score is when the game's over, and the game isn't anywhere near over yet.
Me: How far ahead of posting do you generally write a column?
Grant: 3-6 hours, usually.
Me: Boxers or briefs?
Grant: None of your business.
Me: Cats or dogs?
Grant: At this stage in my life, I'd just as soon have no pets at all. Saying “cats or dogs?” is like saying “blondes or brunettes?” Depends on the specific blonde or brunette.
Me: Summer or winter?
Grant: Autumn.
Me: Any cool stories involving a chick?
Grant: Except that we don't call them “chicks” anymore, sure.
Me: I just gave you a case full of 100 untraceable bullets, who do you use them on?
Grant: Untraceable bullets only exist in fiction. Anyway, I'd never shoot anybody. Even my worst enemies I don't have any great compulsion to shoot, and I don't believe in restructuring governments through the barrel of the gun, so who else is there? I like target shooting, though. I'd riddle a handful of targets on a firing range with them.
Me: Who are some of your favourite writers?
Grant: My favourite comics writer these days is probably Warren Ellis. I find pretty much anything Warren writes tremendously entertaining. William Gaddis is my favourite novelist. J.G. Ballard, James Ellroy, Malcolm Lowry. I don't really follow authors much anymore. I read specific books for specific information or other purposes, but usually not solely because I like the author's work. Most modern fiction is pretty pathetic, really.
Me: Who is your hero?
Grant: Phil Ochs is the closest anyone comes to being my hero.
Me: If you could have one person, living or dead over to supper, who would it be?
Grant: What are you, Barbara Walters? Why not just ask what my favourite color is? I don't even like to eat with people I know. You never know what anyone's table manners will be like. For that reason, probably Gandhi, since odds are he wouldn't eat.
Me: How much of X-Man was you and how much Warren?
Grant: Warren conceived the new direction, loosely outlined it, pretty tightly wrote out the opening sequence with Mr. Scratch and Mr. Forge, though I shuffled the dialogue around and added some of my own. The rest was fairly sketchy, with Warren setting up specific dialogue here and there, but he really didn't have much input past the first issue of the second arc, and no input at all into the final arc and the final issue. But it was his idea, and it was a great idea.
Me: What's the one comic you want to work on?
Grant: The next one I think up. And I want to work on it within a month of thinking it up, not three or four years. As for other people's characters, I'll work on them, but I don't have any crushing urge to work on any specific one. I'd rather create my own.
Me: Which artists do you really want to work with that you haven't already?
Grant: Oh, gobs of those. Anyone whose work has intelligence and distinctive style, really. That's what I look for in comics art, since storytelling is really a function of intelligence. Smarter artists may not necessarily draw better, but they tell stories better.
Me: Who do you love?
Grant: Again, none of your business. I don't really discuss my personal life.
Me: Any final words?
Grant: Not really, thanks. After writing MASTER OF THE OBVIOUS (soon to be collected by Larry Young at AIT/PlanetLar) for two years, I've pretty much said everything I can say about comics.
Monday, January 28, 2008
Chad's Jackass Comic Creator Interviews from 2001: Mark Millar
[I continue to post interviews with comic creators that I conducted in late 2001. The "jackass" in the title refers to me as I was a jackass. I mean, look at some of those questions! What the fuck, people? I tell you, 18-year-old Chad? Bit of a jackass. Each interview is presented in full along with the introduction I wrote for it at the time. Enjoy. New posts Monday, Wednesday and Friday.]
Wednesday September 5, 2001
Interview With . . . Mark Millar!
Anybody remember back when the comic community considered Mark Millar, for the most part, to be Grant Morrison’s “sidekick?” I do. See, I was just coming into full comic awareness while reading JLA, you know, entered high school, growing up a bit, mocking Rob Liefeld. Morrison was one of the big names in comics and occasionally you’d see the name Mark Millar attached to it, so one could only infer that Millar was Morrison’s friend, but possibly not a strong enough writer to stand on his own (and I know you all might be getting mad at me, but I’m going somewhere with this). Then I read JLA #27 and I threw away that image. The story was un-fucking-believable! It had witty dialogue, a great plot, kick ass characterization and the best way to defeat a villain I had seen in a long time. To this day it’s my favourite issue of JLA and one of my top five comics. Millar then went on to prove himself to everyone else with The Authority and Ultimate X-Men. Then I saw pictures of him with his thin moustache and wearing women’s underwear . . . but I still enjoy the writing.
Me: Tell us a little about yourself.
Millar: Born young, educated poorly and married at twenty-three. Dropped out of university and desperately needed to find some kind of job. Couldn't believe my luck when this materialized as a comics career and people were actually buying my little black and white indie comics. Worked in newspapers and TV too, but comics are the only thing which give me the full, three-inch hard-on.
Me: How did you get involved in comics?
Millar: Black and white Indo stuff here in the UK. I did a book called Saviour about a superhero secretly being the Antichrist and it won me a couple of awards. This led to work for 2000AD; which has long been established as the direct route to DC Comics as we saw with Grant, Alan Moore, etc. It's basically DC's boot camp.
Me: What have you written?
Millar: Judge Dredd, Big Dave, Sonic The Hedgehog (to pay for my wedding which I hadn't saved up for), Swamp Thing for Vertigo, Superman Adventures and JLA for DC, The Authority for Wildstorm, the Ultimate [Ultimate X-Men and The Ultimates] stuff for Marvel . . .
Me: What are you currently working on?
Millar: I'm writing a TV show called Sikeside and keeping busy with my two monthlies, Ultimate X-Men and The Ultimates. However, at some point in the near future, I'm going to get my two adult creator-owned things up and running. Expect an announcement around the end of the year, if not before.
Me: Was Warren Ellis’ description of you at the beginning of his interview with you for his Come In Alone column accurate?
Millar: Precisely accurate.
Me: What do you friends and family think of some of the content you include in your comics? Any problems with some people's reactions?
Millar: Absolutely none of my friends or family read comics. Sure, I've got my pals in the industry, but nobody I grew up with or generally socialize with read comics. Not even my wife. They're all too grown-up.
Me: Boxers or briefs?
Millar: Definitely briefs. If you have any kind of testicles or dick whatsoever, boxers are literally impossible to wear without dangling like a pound of grapes.
Me: Summer or winter?
Millar: Both.
Me: Cats or dogs?
Millar: Both.
Me: Do you have any cool stories involving a chick?
Millar: I saw a girl partially naked once. Does that count?
Me: I just gave you a case full of 100 untraceable bullets, who do you use them on?
Millar: I'd shoot country star Garth Brooks in the head for starters . . . and then shoot him another ninety nine times to make sure he was definitely dead.
Me: Who are your favourite writers?
Millar: Warren Ellis, Grant Morrison and Kevin Smith are doing the best work in the business at the moment. I also check out Mark Waid, Garth Ennis, Joe Casey, Tom Peyer and, of course, (insert your own name here so I'm not embarrassed when I bump into you at a convention).
Me: Who is your hero?
Millar: Me.
Me: If you could write any comic, what would it be?
Millar: I'm pretty much writing all the ones I've ever wanted to write so I suppose creator-owned would be my side-stepped answer. In terms of company characters, I've always liked Batman. It would be interesting to do something like that for a year at some point.
Me: What artists do you really want to work with that you haven't already?
Millar: Again, I'm really lucky. The guys I've been working with recently have been Bryan Hitch, Frank Quitely and Los Bros Kubert. It really doesn't get much better than that, but my hit-list definitely includes Steve Dillon, Dean Ormston (who's ridiculously underrated), Marcelo Frusin, Richard Corben, Terry and Rachel Dodson, Bill Sienkiewicz and the brilliant Johnny Jr. [John Romita Jr.].
Me: You were involved with that Superman pitch a couple years back, right? We know that Morrison and Waid were really hurt by DC's rejection, but what was your take on it?
Millar: We were all pretty devastated because it was such a weird, messy, political situation. There was a real communication problem and everyone kind of came out of that damaged. That said, it's all water under the bridge now and I know that there's no enmity on either side. Eddie's editing the books now and doing a really good job. The Superman titles haven't been this good in fifteen years.
Me: In your first Authority arc you pretty much had them kick the shit out of the Avengers and X-Men and here you are writing the same characters for Marvel. Does this mean that the Authority are going to show up in some form to get wasted by them?
Millar: Hmm. Never thought of that. Might do now, of course, but I'll never give you the credit.
Me: Describe your visions of comics in the future as I know you have a pretty upbeat one.
Millar: I think it's impossible to work in the business and not assume things will get better. Basically, regardless of what field you're in, if you have an enthusiasm for your craft and do the best possible job success is virtually inevitable at some point. Naturally, you're always going to get shit at some point, but it's worth it. This is a really, really hard job, but it's a great one. The numbers are getting better every month and, I think, the overall quality is improving too. I've always maintained that we'll be bigger than we've ever been around 2006-2010 and I still say. What we're going through right now is just the beginning of an incredible upswing.
Me: Who do you love?
Millar: Wife, daughter, friends, family, humanity, etc . . .
Me: Any final words?
Millar: Final words come at the END of your career, baby.
Wednesday September 5, 2001
Interview With . . . Mark Millar!
Anybody remember back when the comic community considered Mark Millar, for the most part, to be Grant Morrison’s “sidekick?” I do. See, I was just coming into full comic awareness while reading JLA, you know, entered high school, growing up a bit, mocking Rob Liefeld. Morrison was one of the big names in comics and occasionally you’d see the name Mark Millar attached to it, so one could only infer that Millar was Morrison’s friend, but possibly not a strong enough writer to stand on his own (and I know you all might be getting mad at me, but I’m going somewhere with this). Then I read JLA #27 and I threw away that image. The story was un-fucking-believable! It had witty dialogue, a great plot, kick ass characterization and the best way to defeat a villain I had seen in a long time. To this day it’s my favourite issue of JLA and one of my top five comics. Millar then went on to prove himself to everyone else with The Authority and Ultimate X-Men. Then I saw pictures of him with his thin moustache and wearing women’s underwear . . . but I still enjoy the writing.
Me: Tell us a little about yourself.
Millar: Born young, educated poorly and married at twenty-three. Dropped out of university and desperately needed to find some kind of job. Couldn't believe my luck when this materialized as a comics career and people were actually buying my little black and white indie comics. Worked in newspapers and TV too, but comics are the only thing which give me the full, three-inch hard-on.
Me: How did you get involved in comics?
Millar: Black and white Indo stuff here in the UK. I did a book called Saviour about a superhero secretly being the Antichrist and it won me a couple of awards. This led to work for 2000AD; which has long been established as the direct route to DC Comics as we saw with Grant, Alan Moore, etc. It's basically DC's boot camp.
Me: What have you written?
Millar: Judge Dredd, Big Dave, Sonic The Hedgehog (to pay for my wedding which I hadn't saved up for), Swamp Thing for Vertigo, Superman Adventures and JLA for DC, The Authority for Wildstorm, the Ultimate [Ultimate X-Men and The Ultimates] stuff for Marvel . . .
Me: What are you currently working on?
Millar: I'm writing a TV show called Sikeside and keeping busy with my two monthlies, Ultimate X-Men and The Ultimates. However, at some point in the near future, I'm going to get my two adult creator-owned things up and running. Expect an announcement around the end of the year, if not before.
Me: Was Warren Ellis’ description of you at the beginning of his interview with you for his Come In Alone column accurate?
Millar: Precisely accurate.
Me: What do you friends and family think of some of the content you include in your comics? Any problems with some people's reactions?
Millar: Absolutely none of my friends or family read comics. Sure, I've got my pals in the industry, but nobody I grew up with or generally socialize with read comics. Not even my wife. They're all too grown-up.
Me: Boxers or briefs?
Millar: Definitely briefs. If you have any kind of testicles or dick whatsoever, boxers are literally impossible to wear without dangling like a pound of grapes.
Me: Summer or winter?
Millar: Both.
Me: Cats or dogs?
Millar: Both.
Me: Do you have any cool stories involving a chick?
Millar: I saw a girl partially naked once. Does that count?
Me: I just gave you a case full of 100 untraceable bullets, who do you use them on?
Millar: I'd shoot country star Garth Brooks in the head for starters . . . and then shoot him another ninety nine times to make sure he was definitely dead.
Me: Who are your favourite writers?
Millar: Warren Ellis, Grant Morrison and Kevin Smith are doing the best work in the business at the moment. I also check out Mark Waid, Garth Ennis, Joe Casey, Tom Peyer and, of course, (insert your own name here so I'm not embarrassed when I bump into you at a convention).
Me: Who is your hero?
Millar: Me.
Me: If you could write any comic, what would it be?
Millar: I'm pretty much writing all the ones I've ever wanted to write so I suppose creator-owned would be my side-stepped answer. In terms of company characters, I've always liked Batman. It would be interesting to do something like that for a year at some point.
Me: What artists do you really want to work with that you haven't already?
Millar: Again, I'm really lucky. The guys I've been working with recently have been Bryan Hitch, Frank Quitely and Los Bros Kubert. It really doesn't get much better than that, but my hit-list definitely includes Steve Dillon, Dean Ormston (who's ridiculously underrated), Marcelo Frusin, Richard Corben, Terry and Rachel Dodson, Bill Sienkiewicz and the brilliant Johnny Jr. [John Romita Jr.].
Me: You were involved with that Superman pitch a couple years back, right? We know that Morrison and Waid were really hurt by DC's rejection, but what was your take on it?
Millar: We were all pretty devastated because it was such a weird, messy, political situation. There was a real communication problem and everyone kind of came out of that damaged. That said, it's all water under the bridge now and I know that there's no enmity on either side. Eddie's editing the books now and doing a really good job. The Superman titles haven't been this good in fifteen years.
Me: In your first Authority arc you pretty much had them kick the shit out of the Avengers and X-Men and here you are writing the same characters for Marvel. Does this mean that the Authority are going to show up in some form to get wasted by them?
Millar: Hmm. Never thought of that. Might do now, of course, but I'll never give you the credit.
Me: Describe your visions of comics in the future as I know you have a pretty upbeat one.
Millar: I think it's impossible to work in the business and not assume things will get better. Basically, regardless of what field you're in, if you have an enthusiasm for your craft and do the best possible job success is virtually inevitable at some point. Naturally, you're always going to get shit at some point, but it's worth it. This is a really, really hard job, but it's a great one. The numbers are getting better every month and, I think, the overall quality is improving too. I've always maintained that we'll be bigger than we've ever been around 2006-2010 and I still say. What we're going through right now is just the beginning of an incredible upswing.
Me: Who do you love?
Millar: Wife, daughter, friends, family, humanity, etc . . .
Me: Any final words?
Millar: Final words come at the END of your career, baby.
Friday, January 25, 2008
Chad's Jackass Comic Creator Interviews from 2001: Tom Peyer
[The first in a series of posts containing old interviews I did with comic creators in late 2001. New posts Monday, Wednesday and Friday.]
Okay, this is the first interview I've posted. Back in 2001, I had begun writing an online column each week called "Shut Up and Listen." At some point, I had the bright idea of seeing if comic creators would let me interview them. It turns out that getting a comic creator to answer your questions is pretty easy: you e-mail them and they say yes (except for a few who declined). As you will see, I had a lovely balance of almost-insightful question and just pure jackassery. I find these interviews a little embarrassing (particularly two question that I always asked--I was 18 and stupid), but, hey, that's what the internet is for, right?
I'm presenting these interviews in the rough order in which they happened, complete with my original introductions. Enjoy.
***
Interview With . . . Tom Peyer!
I was bored one night so I thought I’d e-mail a few famous writers and ask if they wouldn’t mind me interviewing them. Then it came down to which writers’ e-mails I knew. Tom’s is easy enough to find what with his forum on www.silverbulletcomicbooks.com and his monthly chats on the Authority boards. I asked him and he said yes. When I got the answers to my questions back I noticed in one I may have offended Tom, that and I wanted a better answer, so I resent the question and rephrased it. You can see the results in the interview, but the best part was when he sent back that question again he called me Craig. I love that! Now I can say a famous writer got my name wrong. It’s so cool. And now for the interview.
Me: Tell us a little about yourself.
Peyer: Born in Syracuse, NY. Moved to NYC to edit comics for DC; went freelance and moved to South Florida. Hated it there. Came back to Syracuse, a great place.
Me: How did you become a writer?
Peyer: I was a newspaper cartoonist locally, and a comic book writer, Roger Stern, followed my stuff. When he found himself over committed at one point, he asked me to help him get the work out. Being a great guy, he talked me up to his editor and helped me get work of my own.
Me: What have you written?
Peyer: Hourman, The Authority, DC 2000, Justice Leagues (the bookends to a recent JLA stunt-month), Smash Comics, Cruel & Unusual, Totems, Doom Patrol (for last year's Silver Age month at DC), Magnus Robot Fighter, Legion of Super-Heroes, Legionnaires, L.E.G.I.O.N., R.E.B.E.L.S., The Atom, Marvel Team-Up, Quicksilver, X-Nation 2099, Doom 2099, Titans, the odd Impulse, Supergirl and Superman stories, some 80-Page Giant shorts . . . Quite a bit of stuff, I guess.
Me: How did you land the Authority gig?
Peyer: Mark Millar recommended me.
Me: What are you working on right now?
Peyer: The Punisher.
Me: Do you find it intimidating to be following writers like Garth Ennis and Mark Millar on books?
Peyer: I find it stimulating. When I come onto an existing series I have to read the back issues. It really helps if they're fun to read, and Garth and Mark in particular write funnier stuff than nearly anyone.
Me: Boxers or briefs?
Peyer: Cellophane.
Me: Summer or winter?
Peyer: We have hot & humid summers here that would peel the paint off a house, and winters a person is lucky to get out of alive. Like I said, Syracuse is a great place.
Me: Cats or dogs?
Peyer: I like them both, but I love my dog, Lucy.
Me: Got any cool stories involving a chick?
Peyer: Queen Victoria was never let out of anyone's sight until she became queen at age 18. The first thing she did as queen was get her own room.
Me: I just gave you a case full of 100 untraceable bullets like in 100 Bullets, who do you use them on?
Peyer: 100 cans of Utica Club beer, previously emptied by yours truly and several chosen pals.
Me: What comics are you currently digging?
Peyer: Outlaw Nation, New X-Men, X-Force, Punisher, JLA, Authority. And I loved the Atom Archives.
Me: Who are your favourite writers? Comics, prose, whatever.
Peyer: Alan Moore, Jamie Delano, Mark Waid, Grant Morrison, Peter Milligan, Mark Millar, Steve Gerber, Arnold Drake, Bob Haney, William Burroughs, P.G. Wodehouse, Ishmael Reed, Christopher Hitchens. My God . . . they're all men. I've got to read some women writers and fast.
Me: What is the one comic you desperately want to do?
Peyer: I've always wanted to take a crack at the Fantastic Four, particularly Ben Grimm, who is one of the greatest characters of all time. But the word “desperately” doesn't really fit.
Me: Who is your hero?
Peyer: The late I.F. Stone, last of the great American journalists. He had the skill to work for anyone and make as much money as he wanted, but instead he published himself in this rinky-dink little newsletter, I.F. Stone's Weekly, just so no employer could keep him from telling the truth as he saw it. Journalism is in such bad shape right now (in fact, by comparison, comics are enjoying a renaissance), it's comforting to remember that it once did, and still could do, its job.
Me: You were involved with that Morrison/Waid Superman pitch a few years ago, right? We know that DC's rejection really through Morrison and Waid for a loop, did it affect you in the same way?
Peyer: The way that question is phrased, I can't think of any way to answer it both directly and truthfully. It feels like you're lighting a fuse and standing back, hoping for a big explosion.
[Note: the next question was asked later via e-mail after every other question was answered. I wanted to clear things up and possibly get an answer. And this is when he called me Craig.]
Me: Would it be better if I asked how it affected you? I don't mean to cause trouble, I was just wondering really.
Peyer: No hard feelings. You can run the question and answer as is, or if you're not comfortable with that, here's another answer: I don't publicly comment on matters like this. The people I do business with have a right to expect that our dealings occur, and will remain, just between us.
Me: Do you have as much of a militant stance against editors as some writers?
Peyer: I've never heard of any writers with a militant stance against editors. A writer and editor's job is to please themselves, each other and the reader. It's not always easy, but it's achievable. There's no reason to leave anyone out.
Me: Who would you really like to work with?
Peyer: That I haven't worked with already? Chris Weston, Steve Pugh, Steve Ditko. I'm sure there are others.
Me: Who do you love?
Peyer: Everybody in the whole wide world.
Me: Any final words?
Peyer: We're lucky to have comics. They're entertaining. They communicate ideas and feelings as well as any other medium. When we allow ourselves a relationship with our favourite characters and creators, we're undermining the loneliness and alienation that has engulfed the larger culture for over 50 years. Don't let anyone make you feel ashamed to read comics. Don't feel like they have to be enshrined as fine art or taught in universities to be worthwhile. They're just fine without anyone's help, and especially without anyone's approval.
Okay, this is the first interview I've posted. Back in 2001, I had begun writing an online column each week called "Shut Up and Listen." At some point, I had the bright idea of seeing if comic creators would let me interview them. It turns out that getting a comic creator to answer your questions is pretty easy: you e-mail them and they say yes (except for a few who declined). As you will see, I had a lovely balance of almost-insightful question and just pure jackassery. I find these interviews a little embarrassing (particularly two question that I always asked--I was 18 and stupid), but, hey, that's what the internet is for, right?
I'm presenting these interviews in the rough order in which they happened, complete with my original introductions. Enjoy.
***
Interview With . . . Tom Peyer!
I was bored one night so I thought I’d e-mail a few famous writers and ask if they wouldn’t mind me interviewing them. Then it came down to which writers’ e-mails I knew. Tom’s is easy enough to find what with his forum on www.silverbulletcomicbooks.com and his monthly chats on the Authority boards. I asked him and he said yes. When I got the answers to my questions back I noticed in one I may have offended Tom, that and I wanted a better answer, so I resent the question and rephrased it. You can see the results in the interview, but the best part was when he sent back that question again he called me Craig. I love that! Now I can say a famous writer got my name wrong. It’s so cool. And now for the interview.
Me: Tell us a little about yourself.
Peyer: Born in Syracuse, NY. Moved to NYC to edit comics for DC; went freelance and moved to South Florida. Hated it there. Came back to Syracuse, a great place.
Me: How did you become a writer?
Peyer: I was a newspaper cartoonist locally, and a comic book writer, Roger Stern, followed my stuff. When he found himself over committed at one point, he asked me to help him get the work out. Being a great guy, he talked me up to his editor and helped me get work of my own.
Me: What have you written?
Peyer: Hourman, The Authority, DC 2000, Justice Leagues (the bookends to a recent JLA stunt-month), Smash Comics, Cruel & Unusual, Totems, Doom Patrol (for last year's Silver Age month at DC), Magnus Robot Fighter, Legion of Super-Heroes, Legionnaires, L.E.G.I.O.N., R.E.B.E.L.S., The Atom, Marvel Team-Up, Quicksilver, X-Nation 2099, Doom 2099, Titans, the odd Impulse, Supergirl and Superman stories, some 80-Page Giant shorts . . . Quite a bit of stuff, I guess.
Me: How did you land the Authority gig?
Peyer: Mark Millar recommended me.
Me: What are you working on right now?
Peyer: The Punisher.
Me: Do you find it intimidating to be following writers like Garth Ennis and Mark Millar on books?
Peyer: I find it stimulating. When I come onto an existing series I have to read the back issues. It really helps if they're fun to read, and Garth and Mark in particular write funnier stuff than nearly anyone.
Me: Boxers or briefs?
Peyer: Cellophane.
Me: Summer or winter?
Peyer: We have hot & humid summers here that would peel the paint off a house, and winters a person is lucky to get out of alive. Like I said, Syracuse is a great place.
Me: Cats or dogs?
Peyer: I like them both, but I love my dog, Lucy.
Me: Got any cool stories involving a chick?
Peyer: Queen Victoria was never let out of anyone's sight until she became queen at age 18. The first thing she did as queen was get her own room.
Me: I just gave you a case full of 100 untraceable bullets like in 100 Bullets, who do you use them on?
Peyer: 100 cans of Utica Club beer, previously emptied by yours truly and several chosen pals.
Me: What comics are you currently digging?
Peyer: Outlaw Nation, New X-Men, X-Force, Punisher, JLA, Authority. And I loved the Atom Archives.
Me: Who are your favourite writers? Comics, prose, whatever.
Peyer: Alan Moore, Jamie Delano, Mark Waid, Grant Morrison, Peter Milligan, Mark Millar, Steve Gerber, Arnold Drake, Bob Haney, William Burroughs, P.G. Wodehouse, Ishmael Reed, Christopher Hitchens. My God . . . they're all men. I've got to read some women writers and fast.
Me: What is the one comic you desperately want to do?
Peyer: I've always wanted to take a crack at the Fantastic Four, particularly Ben Grimm, who is one of the greatest characters of all time. But the word “desperately” doesn't really fit.
Me: Who is your hero?
Peyer: The late I.F. Stone, last of the great American journalists. He had the skill to work for anyone and make as much money as he wanted, but instead he published himself in this rinky-dink little newsletter, I.F. Stone's Weekly, just so no employer could keep him from telling the truth as he saw it. Journalism is in such bad shape right now (in fact, by comparison, comics are enjoying a renaissance), it's comforting to remember that it once did, and still could do, its job.
Me: You were involved with that Morrison/Waid Superman pitch a few years ago, right? We know that DC's rejection really through Morrison and Waid for a loop, did it affect you in the same way?
Peyer: The way that question is phrased, I can't think of any way to answer it both directly and truthfully. It feels like you're lighting a fuse and standing back, hoping for a big explosion.
[Note: the next question was asked later via e-mail after every other question was answered. I wanted to clear things up and possibly get an answer. And this is when he called me Craig.]
Me: Would it be better if I asked how it affected you? I don't mean to cause trouble, I was just wondering really.
Peyer: No hard feelings. You can run the question and answer as is, or if you're not comfortable with that, here's another answer: I don't publicly comment on matters like this. The people I do business with have a right to expect that our dealings occur, and will remain, just between us.
Me: Do you have as much of a militant stance against editors as some writers?
Peyer: I've never heard of any writers with a militant stance against editors. A writer and editor's job is to please themselves, each other and the reader. It's not always easy, but it's achievable. There's no reason to leave anyone out.
Me: Who would you really like to work with?
Peyer: That I haven't worked with already? Chris Weston, Steve Pugh, Steve Ditko. I'm sure there are others.
Me: Who do you love?
Peyer: Everybody in the whole wide world.
Me: Any final words?
Peyer: We're lucky to have comics. They're entertaining. They communicate ideas and feelings as well as any other medium. When we allow ourselves a relationship with our favourite characters and creators, we're undermining the loneliness and alienation that has engulfed the larger culture for over 50 years. Don't let anyone make you feel ashamed to read comics. Don't feel like they have to be enshrined as fine art or taught in universities to be worthwhile. They're just fine without anyone's help, and especially without anyone's approval.
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