Category: Comics

DT: What’s the process of figuring out what’s the right style for a given project?

BB: You know, you see it in your head and you just try to accomplish it with your hands. That’s true with every craft or art. You see it very clearly in your head, and with a lot of the books of mine that have seen print, I saw them very clearly and I try to accomplish that, and if I can’t accomplish it, you’re not gonna see it.

DT: You working on anything in your head now? Trying to figure out any new styles?

BB: Yeah, the next thing that I draw is gonna be a semi-autobiographical, almost a romantic comedy that’s not very funny or romantic, and it’ll be something I draw in a style that’s somewhere in between the two, that’s the best I can come up with. But we’ll see where I go with it, and that’s what I’m working on now. And when the style is ready, that’s when I’ll put it out. I’m not in any hurry.

DT: So you’re still working on the drawing, even though right now you’re busy with all your writing assignments?

BB: Oh, I like to draw. It’s very clear that as soon as I stopped drawing I became very successful, but I’m gonna ignore that and continue to draw. Also, as soon as I stopped drawing, everyone’s like, “Oh, why don’t you draw?” Oh yeah, now, sure. Eight years, no one was buying the damn things. Now I have a lot more people have discovered my work through my Marvel work and a bunch of other stuff, so . . . but even with my collaborations, it’s vibrant to me to work with people who do things I can’t physically do. Like with Mike Oeming, when I work on Powers, I couldn’t do that style and it needs to be in that style. It has to be that way and that’s the way I saw it. And what he accomplished and what he accomplishes every month on that book is so great for me, and I write differently for him. You know, my bag of tricks gets put away. I’m very addicted to the collaboration, to working with artists with different styles, you know, like working with [Mark] Bagley on Spider-Man or David Mack on Daredevil and the laundry list of artists — both heroes and peers — that I work with on Ultimate Marvel Team-Up. Every month I have to concoct a writing style that matches what that person does, which forces me to come up with a new bag of tricks or alter my bag of tricks for that artist. I chose that job and created that job specifically because I’m addicted to the collaboration.

DT: You mentioned people getting exposed to your earlier work and the stuff that you’ve drawn. Is that something that people have come up to you a lot and said, you know, like “I started reading Ultimate Spider-Man and Daredevil, and now I’ve read Torso?”

BB: Absolutely. It started when I was working at Todd McFarlane’s company, doing a book called Sam and Twitch. I was given the job because of the strength of my graphic novels that Todd had read. Within that book people started to discover that there was other crime fiction that I did, so they started to pick that up. Then when Powers started, because that’s a color series . . . there are some people that, they need a lot of push to pick up black and white. There’s a lot of people that don’t understand what black and white comics are, or why they’re in black and white. Some people think they’re unfinished, which is kind of funny. So you’ve really gotta sort of win their trust over, to get them to buy them. And that’s happened to me a lot over the last couple of years, with people that never bought a black and white comic, because of Spider-Man or Daredevil, they’re picking it up, you know, or they go, “How bad can it be, I love Spider-Man, right?” If there’s anything I’m proud of, there’s a couple of things I’m pretty proud of over the last couple of years, but . . . there’s always that one book that’s the bridge book for people that discover comics in a new way. Like, they only bought superheroes and then they take a plunge one day and buy something that’s not superheroes and then that whole world opens for them, and I remember what those books were for me when I was a kid, and I’m very happy to have been that book for a few people. That makes me feel like I’ve accomplished a lot. Or they see the artwork in Marvel Team-Up by an artist that I yanked out of indy comics for a month to do a fun Marvel book with me, and they’re like, “Oh I didn’t know you could draw a Marvel character that way,” and then they go look for that person’s work, and that’s kind of exciting. A lot of my friends get very angry, they’re like, “Why won’t people buy black and white, why won’t people blah blah blah?” I go, “All right, we’ll go to them. I’m gonna get ’em!” One way or another. So you know, it’s kind of cool, because I’ve done all this work for eight years that’s still work I’m proud of, it’s out, it’s ready, it’s printed. And you know . . . they find it now, hey, it’s free money for me.

If you’ve been reading the Comics Forums, you know how much we love Brian Michael Bendis. He currently writes Powers for Image Comics and Ultimate Spider-Man, Ultimate Marvel Team-Up, Alias and Daredevil for Marvel Comics. He’s also written and drawn a number of excellent graphic novels, including the crime fiction books Goldfish and Jinx and the true-crime story Torso (which details Eliot Ness’s efforts to track down a serial killer in Cleveland). He recounted his adventures in Hollywood working on a film version of Goldfish in the hilarious Fortune & Glory, and recently re-released one of his earliest works, the spy thriller Fire. And he just moved from Cleveland to Portland. In other words, he’s a busy, busy man. But he took some time to talk to us about his career and what excites him about the medium — and since he has plenty to say, I’m gonna shut up and get out of the way. Let the Q and A begin.

DT: How’d you get started? What made you decide you wanted to do comics?

BB: That’s just simply a childhood love of them. They were a form of escapism that I wasn’t getting anywhere else. It was pure and I discovered it as entertainment, and then discovered what the art of the entertainment was. It was one of those expressions that was . . . it’s unlimited what could be done with it. As the information I had about the medium grew, my taste for the medium grew. It’s just a medium that has an immense about of things that it can accomplish. It excited me consistently, throughout my artistic growth.

DT: What first got you to look at the art of the medium?

BB: I was a Marvel kid when I was growing up. There’s an imagination and a morality that’s just . . . it’s like a comics page has an unlimited special effects budget. There’s no cap on what can be accomplished on the page other than your imagination, and that’s an amazing thing.

DT: Were you doing anything before you got into comics?

BB: I was doing comics ever since I was a kid. I broke into the business eight years ago while I was still in college. I was lucky enough to be able to get my books published but they weren’t enough to sustain any kind of life. So, you know, I took jobs. And I made a conscious decision that I will write and I will draw for a living in whatever medium I could get into. So I did greeting cards and caricatures and worked at newspapers and magazines. And over the last couple years, I’m pretty much just doing comics, and, you know, TV and movie stuff. But up until just a couple years ago, it was anything I could do to support myself and at the same time create my comics. ‘Cause you know, I never actually thought I’d have a hit comic, I just wanted to put out comics.

DT: A big element of a lot of the comics you’ve written and drawn has been the xerography, the design work, the photographic elements. When did you first start thinking that this was something you could do?

BB: Comics are a bastard medium, which means there’s no right way to make a comic. Rock and roll is a bastard medium where there’s no thing about rock and roll that is itself. It’s a crossgeneration of a bunch of different things, right? And it always succeeds when it looks outside itself, like when someone brings country or jazz or opera into rock and roll, it thrives. And comics are the same way. And comics always thrive as a medium of self expression when someone goes outside of comics and looks at something and brings it in. For me, it’s many things, but the thing you’re talking about that I capture most is the cinematography of film noir, the harsh black and white gritty look of film noir that is a language unto itself and it drives me crazy and I love it and I can’t get enough of it and I try to express that inside the comic book page, and I use the xerography and the photography which I have a great fondness for. And again, for independent comics guys, a lot of the times it’s creating a comic book that you would buy for no other reason than that you would have it. And if anyone else buys it, then that’s cool, but I would like to see a book with a lot of xerography and photography. That would be cool, and I’d like to see that expressed, so I tried it.

DT: Were there people who said, “Hey, you can’t do this? It’s a comic, it has to be drawn?”

BB: There’s always people that say that, and it usually means I try harder to do it. Even writing Spider-Man, someone says “You can’t have him not in the costume for five issues,” I’m like “Oh yeah? Bet you can!” There’s no rules, that’s the thing. Even like last night, you see people arguing if West Wing was really drama or not, I’m like, “Who cares? It was an expression, man! Let him say whatever he wants!” We’re putting rules on art, it drives me crazy. Especially comics. You’re gonna start putting rules on that? It’s silly. Every good comic that was ever made was a rule-breaking comic. Listen, you can overdo it, and you can fall on your ass, right? But I’d rather fall on my ass by overdoing it than by not trying anything. That’s the way I see it.

DT: The film noir look that’s in your crime comics, that wasn’t as heavy an influence in stuff like Fortune and Glory. How’d you develop that approach?

BB: I try to come up with a new bag of tricks for every project I do. I have certain things I try to do that I’m constantly exploring. I knew for Fortune and Glory, there was another way to present the material, and that the film noirish look at the world would have created a tone unlike what I wanted to achieve. So even with the stuff I’m doing for Marvel, my tastes for what I want to accomplish as a writer and as a storyteller are varied, so I will jump from very dark serial killer film noir to autobiographical humor to teenage drama to all kinds of stuff.

DT: Do you think there’s one style or approach that feels more natural to you at this point, or do they all feel like things you’re equally comfortable with?

BB: Writing is the most natural thing for me, and I don’t why that is, but it is. For drawing, I think my most natural drawing style is the Fortune and Glory drawing style. That’s what I draw without any bag of tricks or photo reference or anything like that. But I try to strengthen that, not, “Oh, this is what I do the easiest, that’ll be it for me.” So you try as an artist to do new things and accomplish new things. Like, for Torso, that drawing style, that has a lot of xerography and computer work, was the hardest thing I’ve ever done by far. Nothing about that is my natural style, but that’s the way I felt that book should look, or as close as I could get without going over. [Check out art samples from Torso, and some free web comics in the same autobiographical humor style of Fortune and Glory.]

If Larry Young’s only contribution to comics were the Astronauts in Trouble series, he’d be a darned important figure in American comics. Not only does this SF series combine great fun and action with nifty characterization, Young’s decision to publish AiT in the form of original graphic novels (OGNs) rather than single-issue mini-series is a reminder that comics shouldn’t be limited to a single format. But Young is much more than the writer of AiT and the upcoming Planet of the Capes — he runs AiT/Planet Lar, a company that publishes OGNs and trade paperback collections (TPBs) in a number of genres, including the terrific Channel Zero by Brian Wood. He’s a relentless “comics evangelist,” writer of the completed TRUE FACTS series on self-publishing in Savant magazine and the ongoing LOOSE CANNON column at Comic Book Resources. He’s a frequent poster at a number of comics message boards, including his own Delphi Forum and the Warren Ellis Forum. Flat out, he’s one of the smartest guys in comics, a guy who knows what he wants and is willing to put in the work to get it.

As the name “Astronauts in Trouble” implies, Young is also a space fan of the highest order; indeed, he has been known to argue that there is no film or story that can’t be made better by sticking in a guy in a spacesuit.

“Astronauts are modern-day knights-in-shining-armor,” he says. “Putting on their specialized suits to go into such an unforgiving environment . . . I mean, if a reader doesn’t see the inherent romance in space exploration, I can’t help them.”

The first AiT story is Live from the Moon, a real treat for fans of realistic science fiction. It’s the story of the news team that is selected to accompany Ishmael Hayes, North America’s leading businessman, on a self-financed voyage back to the lunar surface to commemorate the fiftieth anniversary of the Armstrong landing. Since the real moon landing was such a pivotal event in Young’s fascination with space, it seems only natural that it would be the subject of his first space story.

“I lived in Dallas, Texas, just down the road from Houston when I was six years old, in 1969,” he says. “When Neil and Buzz first landed on the moon and said, ‘Houston, Tranquility Base here; the Eagle has landed’ they weren’t just making one small step, they were walking around on the moon and talking to ME.

“I think the concatenation of effect of being an impressionable lad with a great imagination, doting parents who made sure I had a telescope to look up at the moon during the Apollo 11 mission, and the geographic nearness to Mission Control scarred me for life.”

As I mention in my review of Live from the Moon, Young doesn’t scrimp on characterization despite the abundance of space action, especially in the interactions between anchor Dave Archer, cameraman Heck, and segment producer Annie.

“I needed an audience in to the story, and it made sense that it’d be the on-air talent. In order to short-hand to the reader that Channel Seven is the premier media outlet of the story, I had our other characters archly refer to Dave as the ‘Most Trusted Man in North America.’ He’s the Walter Cronkite of his day… but he’s a shell… a suit… a goofball. If his audience knew him as Heck and Annie do… they might not be watching Channel Seven…

“I was thinking of the famous triads in literature and in Pop Culture who represent two opposing viewpoints around the guy in the middle. What Leonard Nimoy famously described as ‘The Soliloquy Structure:’ that in Star Trek, if you took Hamlet’s soliloquy and made it Star Trek dialogue, you’d have Mr. Spock saying, ‘To be,’ Doctor McCoy would say, ‘Or NOT to be,’ with Captain Kirk in the middle saying, ‘. . . that is the question.’

“So I made Dave the central figure between the no-nonsense segment producer and the wise-cracking cameraman. If you have three main characters spanning that spectrum of reaction, the story almost writes itself.”

AiT/Planet Lar publishes a lot more than Astronauts in Trouble books, however. Young has put his muscle behind a number of independent creators to establish a line of OGNs and TPBs with a high reputation for quality. The amazingly-well-designed Channel Zero is probably the best-known of these at the moment — if you haven’t read my review of it, please do, and check out Brian Wood’s website while you’re at it. Channel Zero is the story of a near-future where the US, especially New York, have been overrun by censorship, and it stretches the existing boundaries of the comic format by incorporating a number of slogans and visuals into the pages that may be distinct from the main narrative but reinforce the message and feeling of the book.

Wood has also designed a number of covers for AiT publications, helping to craft and display AiT/Planet Lar’s identity as a forward-thinking comics publisher.

“I just like Brian Wood’s design sense,” says Young. “He’s done five of our eleven books, and it’s really quite neat to have that singular vision of an extremely strong artist and designer. He’s my guy I ask first, that’s for sure. If someone else does the book design, it’s because he doesn’t have time that month in his schedule.”

It should come as no surprise, then, that Wood and Channel Zero are something of the centerpiece of the publisher’s list of upcoming projects; over the next nine months AiT will release a Channel Zero follow-up, a prequel of storts, and a design book. Next up, in October, is CousCous Express — a story about a turf war between rival New York restaurants that includes some characters from the first book.

But wait, there’s more. Transmetropolitan author Warren Ellis has two projects on tap, a military space adventure called Switchblade Honey and Available Light, a collection of short stories and photographs all written on or taken with a Handspring Visor; AiT has already published a collected edition of Ellis’ COME IN ALONE essays. Young himself will tackle the superhero genre with Planet of the Capes, and several other noted creators will release new TPBs or OGNs — the full lineup is available from the AiT website. It all fits into Young’s vision for the company.

“We publish books that I characterize as science fiction and ‘action-adventure-with-a-twist’ by quality creators on top of their games. When people see a logo that says, ‘An AiT/Planet Lar publication,’ I want them to associate that with a high quality graphic novel or trade paperback.”

He’s off to a great start.

Continued from Part 2

DT: Speaking of the relationship between penciller and inker, I remember in one of the Pounding My Chest columns for Gorilla, you talked about scanning your pencil artwork into a computer and being able to zap it to the other members of the creative team. Does something like that help you say, “hold on a sec, this isn’t quite what I had in mind?”

BK: Definitely – it meant that James (Pascoe) could email me scans of the inks and if there were any areas we didn’t feel happy with I could re-draw them more clearly or he could just re-ink them after we’d talked.

DT: Would you ever consider skipping the middleman and using some kind of electronic tablet?

BK: I do actually use one, but as part of the layout process – I’ve yet to see anyone quite capture the nuances of real pencils and inks – I’m sure it’ll happen though! I use a computer a lot to mess with designs and layouts before the real penciling gets done.

DT: Now that you mention layouts and design, I was wondering if maybe you could take me through the process a little bit — what kind of choices do you make while you’re setting up a page. The example that really struck me was the spread in Empire issue 1 that introduced Xanna. The shot of the daggers almost coming out of the page toward the reader, followed up by the shift in perspective so we see the daggers around Sebirus’ head, was really striking.

BK: Well like most artists I start with a thumbnail drawing of the page – just to workout very simply what I want to tell in each panel and roughly how the design of the page will look. I really like innovative design, but I also feel that the clarity of the storytelling is paramount. I always try to lead the reader through the story in the way I want them to read it. Once the basic layout is done I do very high contrast roughs at printed size of the pages placing all the blacks to make sure the layout is clear and reads as it should . . . in fact two issues of Shadow of the Bat were printed from these – not my choice – but if anyone is interested to see what they look like!

DT: And how do you want the reader to read a spread like that?

BK: Well this would be a lot easier if I could point to the page for you, but I think there’s a kind of ‘s’ design to the first half as your eye follows the knives from Xanna’s hand to flying straight at you (the reader) there’s definite movement. Then a static pose of Sebirus . . . a sudden stop like the knives in the wall around him. The rest of the page is fairly standard left/right movement . . . Sebirus moving away from Xanna implying the lack of real contact between them . . . is that what you had in mind with your question?

DT: Pretty much, yeah. I was just struck when I looked back at it the way you took advantage of the fact that you’d been using Sebirus’ perspective for the introductions, then made the switch to a more third-person perspective.

BK: Well also Xanna was the last of the characters introduced in that segment so the transition had to be made there and it seemed a good way to do it!

DT: So what can we expect from the future of Empire? What kind of special package do you have in mind for the re-release of issues 1 and 2? And will you be sticking with the “new-reader-friendly” concept?

BK: The future of Empire will be full of more surprises! The revelations about Endymion are obviously just beginning, but there’s all sorts of things in the works that I think will continue to surprise the readers. As to the other parts of your question I’m really not sure. I guess we need to sit down with the DC folks and our editor there – Joey Cavalieri – and work that out. I know we talked briefly about a low priced double sized reissue – it would nice to add some extra new things . . . but nothing in it so anyone would feel they have to buy the story twice . . . I guess that’s the tough balance to aim for . . . it’ll take some thought I’m sure . . . so I guess the answer is . . . I don’t know yet!

DT: There’s no time frame on when we might see the rerelease and when new issues would follow?

BK: The plan is to relaunch and then have the following issues come out . . . dare I say it . . . on time and monthly . . . but no decision’s been taken as to when that will be – again we need to sit down with the marketing folks at DC and see what they think would work best. Ideally the reissue would be out a month before the new issues started appearing.

DT: You mentioned that “One day I’ll be happy with my work…. I hope!” Looking back at your career, what stands out as work you can point to and say, “Yeah, that stands up . . . I’m glad my name is on that”?

BK: Hhhmmmm – well most stuff I’m actually proud of . . . it’s just that I can always see area where I would like to improve things. I’m always proud of what I send in – or I wouldn’t send it in. I respect the readers too much for that! I just think that any artist worth his salt should always want to improve . . . my biggest disappointments in any field of art is when I feel like a creator/actor/musician is just coasting instead of putting their whole heart into it. An editor once complained that I cared too much about my work… which I took as a huge compliment . . . and hope never to change. 🙂

DT: Understandably so . . . to rephrase it then . . . what would you consider the highlights of your career so far, or your favorite pieces of work?

BK: If I had to pick a favorite single issue . . . probably the Black Canary issue of Shadow of the Bat. As a run I’m incredibly proud of LEGION as a whole. I’m still very happy with how Batman: Book of the Dead came out. I guess, though, the first two issues of Empire take top spot at the moment – though I think the Dark Knight pages I’ve been working on recently are probably my best ever art wise . . . Bet you wished you’d never asked that question. 🙂

DT: Not at all. Looking to the present and future once again — when you look at the comics industry these days, what do you see? Who’s doing good work? And how do you think we can get that good work in more people’s hands?

BK: If I knew the answer to that last part . . .

DT: It is the 64 thousand dollar question of the moment, isn’t it?

BK: Without question!

DT: Which seems like a shame . . . there seems to be so much good work out there right now, and you’d think that that would be enough.

BK: Trouble is there is also a lot which isn’t so good and if you’re not already a comic reader it must be a bewildering choice to make to take that first leap into the field . . . am I mixing metaphors now?

DT: Perhaps, but what’s a metaphor good for if not for mixing?

BK: As to who’s doing good work – so many folks I’d be shy of answering that – I am on record as being a devoted Kevin Nowlan fan!

DT: He’s always someone whose work I feel like I should have read more of.

BK: Kevin is definitely an artist’s artist I think. I’m also huge fan of all my friends . . . a list of whom would be far too long to give now . . . and I’d probably get myself in trouble by forgetting someone! 🙂

Continued from Part 1

(Parts 2 and 3 of the interview were conducted later in the day than Part 1.)

DT: How are you this evening?

BK: I’m fine – my back is aching a little from bending over the drawing board for a day, but that’s not too great a burden to bear is it! 🙂

DT: In the long run, probably not. 🙂 What’ve you been drawing?

BK: I’ve been inking some of my Legends of the Dark Knight arc . . . my inking posture is worse than my penciling one I think…

DT: Is there a difference in how you approach a project if you’re doing pencils-only vs. pencils-and-inks?

BK: When I know I’m inking it I tend to be a little more open with the pencils as I know I’ll be able to improve on the images at the inking stage . . . I learned a long time ago that you can’t expect an inker to second guess you, so when pencilling for someone else I try to be very tight with what I draw.

DT: So how much more time does it take you to pencil and ink a page vs. pencils only?

BK: Well I always used to think it took about the same time, but I’ve become so precious with my inking that it takes about half or possibly twice as long again. The more inking I’ve done, ironically, the slower I’ve gotten I think – although I enjoy it more all the time. The Legends arc I’ve just finished is something I’m very proud of! (See a page from the upcoming story.)

DT: What can you tell us about it?

BK: Well it’s written by Doug Moench – renewing the partnership we had from Batman: Book of the Dead. The story features some new characters from Batman’s past and ask some pretty fundamental questions about his whole persona. In fact Andy Helfer felt it raised so many questions that a sequel is already in the works.

DT: So the sequel isn’t something that was originally planned?

BK: No the sequel grew out of this first arc – which is self-contained but rather begged a follow up!

DT: You seem to keep coming back to Batman in the last few years . . . any particular reason?

BK: I always wanted to draw Batman – he remains my favorite character – so any chance I get to draw him I take it!

DT: What’s the appeal?

BK: I guess I just love the design of the costume and cape . . . and I’ve always preferred the dark side of characters to the shiny one! That said I did enjoy my run on Superman very much, but never felt I quite had the same affinity for him as Batman – though I would like to work on improving my Superman if the chance ever comes up.

DT: You were also drawing him during the long-hair phase, if I recall correctly.

BK: That’s right – on Superman – I came on board just after he came back from the dead.

DT: What was the difference in working on a book like that, with an established character with an established look — even if the hair length was being tweaked — versus working on LEGION, where you pretty much designed everything from the ground up?

BK: I suppose the real difference was that I felt much more aware that the readers had expectations of the characters before I arrived and I felt those expectations needed to be respected. On LEGION I felt like I had pretty much total freedom to do what I felt was right and that the readers would probably go along with me as they were always incredibly supportive. It’s a very different thing to consider messing with an icon:-)

DT: You didn’t feel like fans of the Legion [of Super-Heroes] were sitting there waiting for you to do something ‘wrong’? [The Legion of Super-Heroes (LSH) operates in the 30th Century of the DC Universe, and has been around since the 1950s. LEGION was a 20th Century ‘precursor’ team that first appeared in 1989.]

BK: I never did actually – I think the LEGION readers were much more forgiving than I’ve heard the LSH ones tend to be – but then I wasn’t messing with any lengthy history or continuity, as I’d been with LEGION since issue #1 and designed most of the characters I felt pretty confident I knew what was going on! 😉 I’ve always made a point of reading every letter sent into each comic I work on if I can so I keep a pretty close finger on the readers’ pulse.

DT: So there was a separation between the LSH and the LEGION, and their respective fan bases?

BK: Well I’ve never really been closely involved with the LSH much though I loved them as a kid, but I’ve heard rumors that the fans can be pretty tough on the writers sometimes. The LEGION readers may well have been LSH readers too, but as I said before I wasn’t mucking about with any continuity that was dear to their hearts with LEGION – I tried very hard to respect their territory and keep our continuity self-contained – though with the fairly frequent nod to LSH stories.

DT: Has the readers’ response to something you’ve written or drawn ever really surprised you?

BK: I’m always surprised when anyone is nice to me. 🙂 Actually, joking aside I have always been very pleasantly surprised by the readers generosity to me. Even the critics have been reasonable people . . . so far. 🙂

DT: Well there’s a lot to be said for that. I know things got a little hairy at the Gorilla message board toward the end.

BK: I have to be honest – I was something of an absentee toward the end due to some health issues in the family that kept me pretty much away from the boards – I’m sorry about that too for anyone reading this – I do think it’s important to keep a dialogue going and for all of us who are concerned for the comics world to pull together – and to discuss things rationally – I can understand readers’ annoyance when things happen as they did with Gorilla and they aren’t fully in the loop as to what is going on, but real life rather kept me away from it. The only thing that did hurt a little was when some people jumped to the wrong conclusions and voiced opinions without finding out what the real story was . . .

DT: But to stick with LEGION for a moment . . . you did the first 17 issues, then took a six issue break. I look at those first 17 issues, and particularly as they go on I can see that they came from you . . . but then when you came back from the break, you had much more of the distinctive style that I associate with you. What changed during those six months?

BK: Well I think the biggest change was that when I came back I was inking myself. I do genuinely try to keep improving my work so I hope that I’m succeeding . . . One day I’ll be happy with my work . . . I hope!

DT: The interesting thing is that the change that came from you inking your work is still evident in your pencil-only work . . . it seemed like some of the characters’ body and facial structure changed slightly, there was more detail in the work; I recall Lobo in particular looked very different during your two runs. Did the inking experience teach you something about your penciling?

BK: I think so – I think I had always been going for the more detailed look to the work, but had been rather ridiculously assuming my poor inker knew that I wanted him to add all the textures etc that I had in mind! I don’t think I was very fair on him at all in that first run 🙂 I had actually always inked myself on Judge Dredd so LEGION was my first prolonged run with anyone else inking me.

Continued in Part 3

Barry Kitson is one comics’ top pencilers. He first attracted notice on the science fiction title L.E.G.I.O.N. ’89, and has since done stints on some of DC Comics’ most famous characters, including Superman, Batman, and the Justice League of America. Last summer he branched into creator-owned comics, publishing Empire with longtime creative partner Mark Waid under the Gorilla imprint for Image Comics. The story of an evil overlord who falls victim to none of the classic blunders and does take over the world, Empire‘s first two issues were a fascinating glimpse of a world gone mad. Look all you want for sympathetic characters; those few you find may not be around long. Unfortunately, the Gorilla partners were misled by people outside of Image on certain matters of funding, and the resultant financial problems meant the end of Gorilla. For some time it looked like Empire would not be back.

Fortunately, Waid and Kitson have found a new home for Empire at the Homage Comics imprint of DC’s Wildstorm division. Fresh off the news, I had the chance to talk to Kitson about the book, its new lease on life, and his career.

DT: So what is the news with Empire?

BK: Basically that the book will be becoming an Homage title as part of the DC group and that we will get a chance to – at last – publish the whole story without having all the problems with were struggling with at Gorilla – none of which were Gorilla’s fault! Mark and I will retain creative ownership and the whole team will be as per issues 1 and 2 . . . [with inker James Pascoe and colorist Chris Sotomayor] which we are hoping to have reissued in a special package so people who missed it first time round can pick up on the story!

DT: Now what exactly is the difference between publishing through Image and publishing through DC/Homage?

BK: The main difference is that under Gorilla’s arrangement at Image we had to pay for all the publishing, printing, a fee to have the Image ‘I’ and pay all the creators upfront – well before the books could come out. Also as a smaller imprint the printing costs were vastly higher under Image than for DC so the book cost alot more to produce than it will under the DC banner. We could have reduced quality of paper, story length, etc., but we really didn’t want to do that! Actually I may have got that wrong about the order the bills came in – printing, etc. may have been after publishing… but before we made any money 🙂

DT: Are they handling more of the logistics? On the Gorilla message boards, it sounded like you were one of the guys having to keep track of all the pieces.

BK: As to the logistics – it’s true there really was no one other than ourselves putting everything together for production at Gorilla. Ann Busiek was working really hard to keep all the editorial pages running and stuff, for which we will be eternally grateful – but as for getting all the pages put together it was down to us and paying the guys at Comicraft to do the work – like put ‘film’ together for printers etc.

DT: Which must have made the financial issues even more fun. At some point I’d like to get back to the whole Gorilla project, but for now let’s talk about Empire itself. You say you’re going to publish “the whole story” — does that mean that Empire is a finite series now?

BK: Sorry, I didn’t mean to imply anything about the length of the Empire tale other than it can go on being told . . . right from the start we said it might run for years or it might end tomorrow . . . we want people not to be able to assume too much . . . We have got definite objectives to reach in the story and we know where it will be going for a certain number of issues, but we also wanted the characters to drive the book – so that we will be ‘in their hands’ to some extent. It’s very possible that all the characters we’ve seen so far will not survive for long 🙂

DT: That element of surprise has got to be one of the fun things about the book. Even though I should have, I never saw Sebirus’ death coming in the first issue.

BK: That was exactly what we wanted… in fact it surprised us a little in our initial planning he had been going to be an ongoing figure! That’s what I meant about character driven events! 🙂

DT: At exactly what point did you realize, “No, he has to go?” And was there any resistance on your part to change plans right from the get-go?

BK: We just realized half way through plotting issue one that killing him was the ‘logical’ thing for Golgoth to do despite their history. Retaining power is Golgoth’s paramount concern.

DT: OK, that brings up something else I’ve been curious about. The credits of the book say Mark’s the writer and you’re the penciller, but it feels like you’re involved in the plotting. How exactly does the creative process with Mark work?

BK: Well we used the term ‘storytellers’ for both of us on JLA Year One and that confused a lot of people 🙂

DT: I saw you had that credit on the first issue of Brave and the Bold, then switched to more conventional titles on the second issue.

BK: What happens is that we discuss the story together initially and form a rough outline of events then Mark will prepare an initial plot, which we’ll go over together. Next I provide a set of ‘thumbnails’ for the story for Mark to look through and react to with new ideas etc. and we have another discussion – after that I will draw up the pencilled pages and Mark will add the dialogue to those. So every step of the way we’re in contact and honing the story – I really enjoy the process!

DT: Does that work better because you’ve worked together on so many other projects, or is that an approach you can take with other writers?

BK: The approach generally depends on the writer – but I’ve been lucky enough to work this way with a lot of my past collaborators – Alan Grant in particular. Doug Moench is also very open to sharing ideas, but he likes to get everything down in plot form first before I get involved. Karl Kesel was also kind enough to let me chip in on the plots on Adventures of Superman too. I think it was really only on Azrael – where Denny O’Neil liked to work with full scripts – that my input was pretty minimal as to the plot lines.

DT: Getting back to Empire: what is it, in general terms, you want to accomplish with this story? What motivated you to make it your first creator owned story, and what motivated you to work to find a second home for it?

BK: We wanted to tell a story that had elements that readers would feel familiar with . . . costumed characters etc, but be able to take a totally fresh look at the genre . . . which I think we were [doing]. . . we wanted to try something away from all the accepted conventions of superhero books . . . i.e., the bad guys won, major characters die, etc., etc. Just play with the conventions and people’s expectations and have fun! The reaction to the book was so positive and we enjoyed working on it so much that we really didn’t want to let it just disappear because of things outside the creative process. It was important for us to tell the story if we could and keep the creative team together – we’d all enjoyed working on the book, the readers had liked it and we didn’t want to stop! 🙂

DT: We’re running short on time for this first section, so let me ask you this: besides Empire, what else do you have in the works?

BK: I’m just finishing up a Legends of the Dark Knight arc, written by Doug [in issues 146-148]. There will be a second one to come too. I have a prestige format book with Howard Chaykin and David Tischman [a sequel to the Secret Society of Super-Heroes miniseries] coming up and there’s a good chance of a regular DC monthly book too – so I’ll be going back to penciling only 🙂

Continued in Part 2

We spend most of our time in the Comics section of Not News focused on comic books, whether they’re monthly magazines, collected edition, or original novel-length works. But if we go back to the definition of comics suggested by Scott McCloud (in a nutshell: words and pictures arranged in a sequence), there is one area of American comics that we have pretty much neglected: the comic strip, long a standby of your local paper and now making its way onto the Web.

Part of the reason for the neglect is probably a frustration with the modern limitations of the form — short, three-or-four-panel strips tend to lend themselves more to gags and punchlines than complex storytelling. It’s exactly that frustration that led Judd Winick, for example, to end publication of his Frumpy the Clown strip and move on to projects like Barry Ween and Pedro and Me. At the same time, newspaper comic strips have a far wider circulation than even the most popular American comic, which might reach about 100,000 people a month. Obviously, comic strips are doing something to connect to readers that comic books aren’t; their contributions to the medium should not be ignored, even while we keep their limitations in mind. Continue reading “Stripped, But Not Stripped Down”

Continued from Part 3

DT: From the story so far and hints from other interviews and message boards, it seems you’re setting up the Antares family to challenge some of the institutions and traditions that have led the URRS to its current state. Is that something you think our own society needs to do? If so, since we lack skyfurnaces and spell protocols, how do you think we can accomplish that?

CG: Indeed. The Antares family is our symbol of hope against all odds. Their courage represents the best chance their nation has to overcome the tragic legacy that imprisons them. They are the heroic face in a cycle of renewal that civilization has engaged in since it was born. In the eternal struggle of humanity vs. society, they are the hands of freedom that tear down the walls of any nation that has forgotten the basic truth of law. Law must serve humanity to build their civilizations. When humanity becomes a blinded slave to their civilization’s laws, that society must renew itself somehow, if it is to survive.

I think it’s clear that, given my answer to the previous question, I feel our nation is on the brink of a very difficult transition. The transition from an industrial to an information society is something that is going to cause major international flux. It is a time in which the resources of the world, and the structures of power that profit from their distribution, are going to be challenged. New players on the world scene have become powerful, others have become weak. The aftermath of the Cold War has left us in a calm before what I feel will be a very destructive storm. In the analogous world of my fiction, the Antares family represents the common people, whose lives will somehow have to find a way to survive as the scheming manipulators that rule the world throw it into a chaos of their own greed.

To get back to the last part of your question, how can common folk not only survive, but challenge the institutions that are leading us? Well, history has the answers listed quite clearly. The catch is, such actions represent a subset of human endeavors that are incredibly costly, selfless and bloody. To write a comic about revolution, this is simplicity itself– but inspiring large hordes of humanity to take their destiny into their hands for better or worse? This is history at its most vital, and most complex.

BK: Well, even protocols and skyfurnaces weren’t doing it — both are state controlled. It’s personal conviction, sacrifice, and courage ultimately that must be brought to bear in order for things to change. We, in our own time can only do our little part, but the sum of millions of little parts is unstoppable. First, is to keep informed: read, read, read, and then read some more. Next is to use this information in making judgments when dealing with elections, propositions, candidates etc. “Turn on to democracy or democracy will turn on you,” as Nader likes to put it. Support campaign finance reform, look to the problems of government and address them however you can. Don’t necessarily trust standard channels of information–many news providing agencies have an agenda, and that agenda does not include informing the masses truthfully or impartially. When was the last time you heard on ANY of the main channels that we bomb Iraq on a daily basis and that hundreds of children die of disease and malnutrition there every week because of ridiculous sanctions imposed by our own government? Blaming Saddam Hussein here is just plain asinine. Stay aware and don’t be afraid to make your opinion heard, even if it is unpopular.

DT: Chris, you said that we can effect positive change, but that the actions required to do so are “incredibly costly, selfless and bloody.” Upon one reading, that comment seems pretty pessimistic . . . do you really think that’s the only way to make things better?

CG: Actually, yes. As you say, the pessimistic reading is only one take on this comment. My own sentiment when I expressed this thought was more objective than emotional. When in human history has positive change not been incredibly costly, selfless and bloody? Martin Luther King’s quest to bring civil rights to the black community wasn’t a Disneyland ride. Nor was Abraham Lincoln’s fight to preserve the Union from the southern hordes of racist farmers. The Russian people pushing back the Nazis in the 1940’s was a journey of utter horror, but without the sacrifice of the Red Army, Hitler could not have been defeated before millions more were killed on all fronts. Let us also give due time to all the American soldiers that were shot to pieces on the beaches of France, or Guadalcanal, or Iwo Jima or any other bloody pyre upon which history is decided.

Nothing truly worth achieving is simple. The easier something is to achieve, the less likely it is to effect any kind of far-reaching change.

DT: You also seem to dismiss writing about revolution when you call it “simplicity itself” — what, exactly, do you think is necessary to transform ideas into action? In your wildest dreams, what do you see people learning, thinking, and doing as a result of reading The Red Star? What else do you feel that you, personally, need to do to put the ideals you express into practice?

CG: Again, I was being objective. To write about revolution is easy — any marketing drone can splash ‘REVOLUTION’ on an advertisement for a luxury car and feel gratified by their own alleged genius — an actor can put on a costume and portray Che Guevarra or George Washington and perceive what it is to be a ‘revolutionary’ in some internal fashion; but to place ones self at the forefront of human conflict, to attempt to have your life alter the course of events, this is a very advanced set of human skills.

In my wildest dreams…well, I’m a writer, so my dreams get pretty wild. I’d feel more comfortable talking about my hopes and goals regarding the project. I’d like a continuation of what’s happening right now. Most days I get messages from people around the world or even in my own neighborhood talking about how The Red Star is touching them, affecting them, making them curious about what happened in Russia in the 20th Century, and how it affected their lives wherever they happened to live. Hungarians, Poles, Mexicans, Germans, and of course, Russians and Americans– our lives took place in an extraordinary period in human civilization. The Red Star is, at its best, a primer to remind us of that. It is also a valentine to the industrial age– a time quickly giving way to the era of computerization. The great thing is that these themes are working. People are getting it. My hope and goal is that more and more people out there continue to ‘get it’. What they do with it once they get it, that’s in the lap of providence. All I can do is stay true to the enthusiasm and vision that inspired me and try my best to make it all worthwhile to the phenomenal group of friends that decided to join me in this humble cause.

DT: You both spend a fair amount of time on the redstar.com message boards – what do you get from that interaction with readers?

CG: Fun! Concerning the message boards, publishing The Red Star is like beginning a conversation with as many strangers as possible, and the boards are the means by which that communication occurs. Obviously, we’re more invested in our work emotionally and artistically than a lot of teams out there in the mainstream. We’re not spread out over the entire nation, we see each other socially, we work very close, and we are telling a story that, according to your typical marketing drone, shouldn’t be as commercially or critically successful as it has proved to be. Therefore, communicating on our boards directly with the people who appreciate this work is very special for us. It’s just a reflection of who we are, really. We respect the fact that some artists don’t feel comfortable speaking directly to the public, and at the same time, why should this isolation be some kind of precedent? I suppose we’re so familiar with our computers that we’re not intimidated by this new form of human speech. It’s primitive, somewhat, it’s a bit more like ants bumping antennae than speech, but never in history has humanity done it this way, so how can we not participate, even in our own humble way?

BK: I personally get a lot out of it. Too many times when I have been a fan of this or that, actual contact with a creator was impossible, and too many times do they become aloof and insular. Now that the tables have been turned (about 1/10 of a degree) I feel that the buck should stop here. When I get questions directed to me, I like to answer them. Personal contact with people who enjoy our book is one of the things that makes Team Red Star stand out from the rest (with exceptions of course). Continue reading “Rise of The Red Star – Part 4”

Continued from Part 2

DT: You’re telling a story about very noble people who are saddled with leaders who are obviously not worthy of them. What is it about the people of the URRS (and by allegory, the former USSR) that you think accounts for this?

CG: As Maya says in issue 3, “All the leaders of the world…they are all liars. Petty lords with petty schemes…” I believe this. I believe that not only in Russia, which is an extreme example, but most statesmen of the world are self-serving liars that represent the worst possible strata of human experience from which to draw leadership. Not only in our current time but throughout history. However, to speak of the immediacy of history, there is a great example for us to look to. As it stands right now, the Electoral College will most likely put George W. Bush in the White House. This is yet another example of a leader who is not worthy of his people. There is a lot of nobility in our country, and yet there is enough utter stupidity to put a buffoonish figurehead in the seat of power. The Red Star, in this case, does also gain its inspiration from the internationalist mindset of the early Russian Revolutionaries. No story about the Soviet Era could be complete without giving due time to agitation. How the theme of populist agitation is handled by the author in question has much to say about the stance of said author. As far as I am concerned, and I know Bradley feels the same way, our voices stand for radical political upheaval. This political stance is one of the most subtle inspirations for choosing the material we’ve chosen. Within this facet of our work lies the core of the story: What is to be learned from the Cold War? Why did this institution of paranoia exist? Why is our nation’s hegemony over the world failing to offer the majority of its citizenry the utopian lifestyle we were promised if ever we were able to ‘overcome the threat of communism’? We feel very strongly about these questions, and these beliefs expose what might be called our thesis; the greatest irony of the 20th Century is that in outlasting the Soviet Union, the U.S. is not liberated from any struggle against it, but is only revealing its own tyrannical nature. Further, that with every corporate merger, with every sweeping deregulation made possible by the fall of its greatest economic rival, our country continues along a path of reckless economic centralization heretofore comparable in the modern era only with Lenin’s Russia.

BK: I think it’s the same machinery that allows us as Americans to continually place leaders in office who do nothing in the way of furthering the will of the people while continuing a forceful propaganda stating the opposite. It is all the parts of complacency, fear, and selfishness saddled with a runaway system that was never intended for rule by, for, or of, the people that allows those in power to stay in power. It is no accident that nine out of ten elections in this country go to the candidate who spends the most money on the campaign (this is for all levels of office). Where does that money come from? Special interests, i.e.. corporations. What do they want in return? Enough legislative freedom to mete out the most biased of profit making schemes. The Russian people in the face of a democracy are no different, indeed many US heads are responsible for, and have benefited from, the unprecedented capital flight that has taken place in the former USSR.

DT: What do you think there is, other than propaganda, in the American system that leads so many to believe that it is a government by, for and of the people, and in your own mind, what would a truly democratic or representative government look like?

BK: Complacency. It’s not that people believe that our American system ISN’T for the people, it’s that the American people by and large don’t think about it. They would rather have their minds lulled by Jerry Springer and Survivor than to engage in any sensible argumentation about our legislature, say. And if they are thinking about it, they are not doing so with any sort of depth or understanding. People are happy with their choices of consumer goods and equate this with freedom, equate this with a government FOR the people. They have been lulled to sleep.

Our present state of affairs is dire: Multinational corporations are getting away with grave injustices at an unprecedented rate and neither the government nor the people do anything to stop them. Indeed it is our own people that are complicit in the multinationals’ behaviors. If everyone (the People capital P) stopped purchasing Nike brand tennis shoes, then Nike wouldn’t be able to get away with paying struggling and often times under aged Indonesian workers 11 cents a hour with no benefits. It’s disgusting! Yet the People would rather ‘be like Mike’ than be concerned with another’s welfare, even if that someone (thousands and thousands of someones really) is thousands of miles away in a foreign country. I may be rather cynical about this, but I see more idiots wearing Nikes than I see intelligent people speaking out against such atrocities as I have mentioned.

Okay, onward. What would a truly democratic representative government look like? To tell the truth I don’t really know. I don’t know how to bake a cake, but I do know that putting bleach in it is probably no so great. We have to change the system we have in increments. First-corporate finance reform (the real kind) is invaluable. We must take representatives of the People out of the pockets of the robber barons that currently run this country. Next, we must pass laws that will restrict the multinationals in their current laissez fair status. If a corporation pays overseas workers less than one tenth of one percent of the total cost of manufacturing an item (ahem..Disney) then the government should be able to step in and say, “Well Mike, you just can’t do business anymore until you stop this behavior.” We need representatives that have teeth and aren’t powerless to use them against those that would move against the will of the People.

Continued in Part 4

Continued from Part 1

DT: What impact does the use of the CGI have on your storytelling style — what does it let you do that you don’t think you’d be able to do otherwise?

BK: The CG allows for a bolder and richer environment that our characters can interact in. While drawing these same aspects could be outstanding too, the fact that someone different altogether renders them it gives us chance to make the vehicles and backgrounds more elaborate and therefore more satisfying to the eye. To hand draw them would be prohibitive at best.

CG: CGI (computer generated imagery) is a highly versatile tool. To give an example of its possibilities, think about the many ways in which you may have seen it used already. From way back in the ballroom-waltz scene from Disney’s Beauty and the Beast, all the way up to Pixar’s Toy Story series, back to the photo-real universe of George Lucas, etc. etc. You can do flat, graphic styles, photo-real styles, strange surreal styles, there is no end. For Team Red Star, it was a matter of finding a way to use CG (computer graphics) to emphasize the vast scope and mythic scale of the story. The 3D Artist, Allen Coulter, was a rare find. We met while working on a Playstation game for Activision (Pitfall 3D) and really enjoyed each other’s work. We decided to embark on this crazy experiment and test results were so stunning that they drove us enthusiastically forward into the process. Using CG has definitely given me license to open up the pages in a way that I’ve always wanted to. During my Star Wars work, I was constantly at odds with my writers over panel count on a page. I wanted to redefine ‘epic scale’ as far as comics were concerned. I wanted to have a greater sense of drama and emotional impact throughout the story.

For me, this meant taking shots that would traditionally be quite small and blowing them up to gigantic proportion. In issue one for example, pages 10-11 begin with a bandit-shot of Maya’s eyes spread across both pages. (See the production layout sketch and the final spread.) In any other comic, such a shot is a throwaway, sacrificed by the urge to do yet another clinched-teeth, fists-balled, leaping at the camera fight scene. Where most comics choose plot-based action, we choose character-based drama. Also, we arrive at this extreme close-up from having been out in the desert with miles and miles of distance between us and the horizon, with massive ships looming overhead. So not only are the sizes of the panels extreme, but the range of ‘motion’ between panels (or ‘cuts’ as we like to say) is also extreme.

Another aspect of our process that is just as ‘CG’ as ‘3D’ is Photoshop. Our colorist, the infamous Snakebite came on to the project to color the figures and most non-3D aspects of each page, not to mention the nuts and bolts compositing work that takes Allen’s 3D plates and my 2D drawings and integrates them into what have become the final composites. There are not many colorists in the industry that could pull off such a trick. To be able to color figures with the subtlety necessary to integrate them into a 3D environment is by no means automatic and demands a highly experienced sensibility.

For both Allen and Snakebite, comics are a kind of hot mistress that they just can’t bring themselves to get rid of. They’re both married to animation, Allen directs 3D, and Snake is being groomed by some great veterans of the traditional 2D animation world to be an art director for that field. We’ll see how long I can hang on to these madmen. At this point in my career, I am a big fan of the big panel and two-page spread. Such panels have a bad rap in comics but this is, in my mind, ignorance. Many people have this old idea in their head that comics is about a lot of panels on a page and I think such a prejudice is hilarious. Using 3D would be a waste if the panels weren’t big enough to showcase the wonderful work that my 3D artist, Allen Coulter, and my colorist Snakebite are doing.

DT: Speaking of big panels and two panel spreads — I have read or heard several people comment that as a result of those spreads, each issue reads very quickly. How do you use a big spread to maximize storytelling value? Is this an issue that concerns you? And do you think the traditional comic magazine is the right format for a character-driven drama as opposed to a plot-driven action story?

CG: I’m always surprised when someone says to me at a convention “Hey, this book reads too quick– I want more!” It was really bothering me until Snakebite said, “It ain’t never a problem when your audience is screaming for more of what you’re puttin’ out.” He was absolutely right– it’s not that we’re giving less to the readers, in fact every issue of The Red Star has more pages in its story than almost every comic out there. We average 24-26 pages of story an issue as compared to the typical 22 pages.

Now, if my team is putting out 26 page stories that are so captivating that they read like 12 page stories, and if the rest of the industry is stretching out 22 pages that seem to go on forever, which team is achieving drama? Which team is really getting into the heads of the readers and not letting them put the book down?

As for the last part of the question, I definitely think that the 32-page format is limited. When I read Shirow’s ‘Appleseed’ and a single conversation scene can be 12 pages long, or a fight scene go on for 40, I get very jealous. Jealous of the lengthy format, in which true exploration of dramatic theme can occur, and very jealous of Shirow’s culture and market. In Japan, comics are not demonized– comics readers are not made to feel ashamed of supporting this form of entertainment. This being said, the standard American pamphlet of 32 pages per story is only as good as the creators working within such limitations. Length is not necessary for greatness, nor does it guarantee it. Haiku, for example, is incredibly evocative; and has never needed any more syllables than the form calls for.

DT: Since the allegorical nature of the story has been heavily promoted, how do you balance fidelity to history (since people might be reading the book expecting to learn some ‘truth’ about the USSR) with the needs of the story you want to tell (since you do want to do more than a mere retelling)?

BK: I don’t think that these are mutually exclusive endeavors. One can maintain a fidelity to history and still tell a story within that fabric without upsetting the balance of truth and art. Our characters are fictitious just as Chekhov’s characters are fictitious and just as Joyce’s characters are fictitious, yet those authors characters still paint a picture of what pre revolution Russia was like and what Dublin was like respectively. In fact Joyce’s stories were banned from publication for 7 years due to its authenticity and brutal honesty of an early 20th century Ireland. Our story does no less in the way of illuminating a Russia besieged with terrible leaders–even within a framework of fantasy sci-fi.

CG: Good question. There was a time when I thought that I would not emphasize the allegorical aspect for just that reason. I did have a choice, and my writing partner Bradley Kayl and I gave it a lot of thought. Should we not mention the source material, in this case Russian History, but simply let the work go forward as yet another action tale in the comics world? Should we let people figure it out for themselves? Will they? However, as the writing process continued, I realized that this story owed so much to its source, and that I simply couldn’t bring myself to silence the voices that had inspired it: The photographs of the baby-faced soldiers that gave their lives to defeating Hitler on the eastern front, the letters of the artists pleading to Stalin to let them live, or at least allow their work to be seen by the public, the testament of Alexander Solzhenitsyn as he spoke of the millions of his people that were sacrificed on the pyre of Bolshevik modernization; the list is so vast that it is for all intents and purposes infinite. I was too eager to bring these lives to light in any way possible. This choice has turned out to be incredibly satisfying for us and, thankfully so far, our readers. I suppose a lot of writers would consider this a shackle, but for us it’s been pure joy. Just as our visuals integrate 2D and 3D elements into a working image, our words have integrated fact and fiction into a narrative that continues to surprise us with its expansive nature. One example, yet to be published by us, takes us to a very crucial moment in the history of 20th Century Russia, the arrest and murder of Tsar Nicholas II and his family. At first mention, this sounds like something that would make very dry comics material. Something that Fantagraphics would put out by Joe Sacco, someone whose work I very much enjoy but would definitely be considered esoteric by the larger comics audience–well, at least by those who knew the word ‘esoteric’ (laughter). Yet, through our style of allegory, the murder of the Tsar, and many other such historic events will be adapted to the pages of The Red Star in a very exciting, very dramatic fashion.

The trick is making the story captivating for both those who know the history and those who don’t. There’s the rub, since we’re not pointing out which aspects of the story are metaphor and which are historic. That’s up to the reader, and represents our attempt to engage the audience. What is portrayed on the pages as metaphor is an expression of a historic event. An example is Maya’s transformation in Issue #1. On the surface, it’s a very attractive woman transforming herself into a pillar of destructive energy, but in metaphor, all soldiers that kill for their nation are in fact pulling off such a trick. Her dialogue, “Then, thankfully, the mind is silenced…I am the heat of my nation’s anger…the burning will of the state.” We all are very comfortable in the West with our notion that ‘those poor Russians had to suffer under the despotic communists’ but what we don’t realize is how such self-righteous pity blinds us to our own patriotic shackles. Maya’s loyalty at the cost of her individuality is something that all humans are prone to. After the fall of the Soviet Union, it is now our jingoistic ignorance that should be pitied. We hope that through exploration of these themes that we stir in the readers a need to question the story in such a way that the historic lesson is made clear. It’s ambitious, but it’s where our head trip as artists happens to be right now. So far, thankfully, we have found an expanding readership that appreciates the enigmatic nature of the stories. Hopefully this continues…if not, who knows, maybe in a year we’ll be jaded by human ignorance and get jobs doing swimsuit issues for Top Cow (laughter).

Continued in Part 3