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Interview with Ernie Colón in the Comic Book

Interview with Ernie Colón in the Comic Book

From Comic Journal # 285 (October 2007)

Self Portrait

Once we speak about success with critical cartoons, we often speak about some good critiques and modest but sustained sales figures. September 11th Report: Graphic customization has reached an entire different degree of cultural significance. Time Magazine, NPR, The At present Show, The New York Occasions – Over the final 12-18 months, the graphic adaptation of Sid Jacobson and Ernie Colón to the era's most talked-about authorities report has sparked glowing bulletins on radio, television and crowd recycled magazines and newspapers. The ebook turns the US National Commission on Terrorist Assaults into a reader-friendly cartoon, a huge remaining report. It has solely been a national bestseller. Its success will profit and contribute to the wider ongoing re-evaluation of comics. The guide has also made its creators mini-celebrities.

Colón has paid his cartoon payment several occasions. Born in Puerto Rico in 1931, he has been knowledgeable cartoon artist since the 1950s. His first job was as an assistant to the legendary Ham Fisher, the troubled creator of Joe Palooka. He started working for Harvey Comics shortly after Fisher dedicated suicide in 1955. At the time, Colón was 24, and ultimately stayed in Harvey for 25 years, drawing iconic characters akin to Casper the Friendly Ghost, Richie Wealthy and Wendy the Good. little witch.

Colvey made shut associates in Harvey with writer and journalist Sid Jacobson, his upcoming companion in the 9/11 report. He also grew up with Warren Kremer, whom he calls "mentor" and "great comic book architect". Virtually all of Kremer's work was for Harvey, which can help account for his relative obscurity in the cartoon's historiography. Based on Wikipedia, when Warren Kremer as soon as visited a Marvel bull pet, Marie Severin stated, "They don't know it, but this is the best artist ever to walk through these doors."

from Greg's Zeitgeist. Terpenning, in Heavy Metallic Oh. IV # 6 (1980).

In the late 1960s, Colón needed to increase its software program. He proved more than able to switching gears to totally different publishers. As a freelancer, he drew stories for Creepy, Vampirella and Eerie since 1969 in the early 1970s. Warren's horror line represents a pointy distinction to the child-friendly optimism of Harvey titles, in addition to the stories he directed for Heavy Metallic in the early 1980s. He drew Grim Ghost for Atlas / Seaboard in the mid-1970s, Air Boy Eclipse in the late 1980s, Solar: Man of the Atom and Magnus, in the early 1990s the Valiant Robot Fighter and Strip Search for Eros in 2002. Many For years, he labored as a freelance illustrator for numerous magazines and guide publishers.

One venture that has virtually disappeared into the memory hole of time is the Black Cartoon, created by Colón with Sid Jacobson. Worth / Stern / Sloan revealed in 1970, this 80-page paper ebook satirized superheroes and cartoon characters, "in the hope that one day in a world of honesty, justice and understanding, a black man will take his rightful place in all sorts of literature." The only Amazon-listed copy out there for $ 93.03, free delivery.

Colón broke into the huge two in the late '70s, hired by Jim Shooter in 1978 to work on John Carter: Warlord of Mars. coloring books and a few graphic novels, one with a black widow, and as a Marvel freelancer he invented the concept of ​​managing injury with Dwayne McDuffie, and took part in a handful of youngsters's cartoons launched by Marvel in the mid-1990s to recruit young readers to Marvel. ] Injury Control Vol 2 # 3 (January 1990) "If You Choose It Will Never Get Better!" By Dwayne McDuffie and Drawn by Colon, Colored by George Roussos and Written by Rick Parker.

Slightly over in the early 1980s, he set aside a freelancer for DC as a full-time editor. Experience doesn’t seem to be the spotlight of my career. However it is sensible that he worked for main comedian guide corporations, as well as for Harvey, Warren and a number of other smaller corporations. Colón is a talented, skilled, hardworking and adaptable cartoonist whose work ranges from comedy, horror and fantasy to journey and sober consciousness. He has continued his decades-long profession in cartoons with out drawing many superheroes. It couldn't have been straightforward.

Colón's interview with the Journal was fun. Most of the interview was carried out by phone; we talked for nearly an hour about every of the three separate occasions in June 2007. Ernie is fun, straightforward to succeed in, and pleasant, and she or he has a beautiful type of talking about information. He additionally responded very kindly to many lengthy emails. When the Journal pays me, I blow my stomach to the Amethyst: The Gemworld Princess Assortment, which she referred to DC between 1983 and 1984. And no, I don't borrow them.


KENT WORCESTER: What did you do earlier than you started in cartoons?

ERNIE COLN: I was a hero boy and worked in factories. . I labored at a glass etching website and a sheet metallic manufacturing unit. We made Kotex dispensers for subway bogs.

Was this in New York?

That manufacturing unit was in Long Island Metropolis. I had arrived in New York with my mom and sisters at the age of 10. The most important shock I experienced was once we first arrived in the metropolis. It was on a ship slipping into New York harbor, and this winter gust of wind hit us onerous. I had by no means skilled such a cold before. In fact, we all spoke Spanish. I had some English, however I hadn't discovered it. I don't know if I've discovered it now! We might still study English at college in Puerto Rico, however I wasn't fluent. Once I arrived, they put me back in class. I'm fairly hooked up to it since, and I used to be back on monitor. It was painless. I hate to offer my experience to anybody else, but I'm not satisfied that using bilingual schooling is sweet for youngsters.

What did your mother and father do for a dwelling?

My mom worked in a textile store; for some time he worked at a manufacturing unit that made plastic purse handles. My father was a detective, but he stayed in Puerto Rico. They have been divorced. Later in my life, my mom turned a bank developer, which is a much nicer life. And my stepfather labored at the submit office. My stepfather was a reasonably conservative guy, and my mother was pretty liberal. I was rattling Pink once I was a kid, and doubtless still.

From Colón's graphic novel Medusa chain.

We started in the Bronx, and when my mother married my stepfather, we moved to Williamsburg, Brooklyn. I used to be too mild in the Southern Bronx and too dark in Brooklyn. In high school, I attended an artwork and design faculty, which was then referred to as the Industrial Art Faculty.

I knew what I needed to do once I was about 6 years previous who was drawing cartoons. I used to be completely in love with Sunday's enjoyable, and I needed to draw them. We read La Prensa and El Imparcial in Puerto Rico, they usually both republished American cartoons. In New York we used to get each the New York Every day News and the Mirror on Sundays. My stepfather also reads Occasions, Herald Tribune and World-Telegram and Sun. As a youngster, I learn the PM PM, as did the journalist I.F. Stone's Publication, I.F. Stone's Weekly.

Have you ever considered shifting back to Puerto Rico?

Over the years I returned to Puerto Rico for about 3 times. I'm so rinnastunut that the experience was not so vital for me. I’ve about eight sisters; they are scattered all over the place. One is in Utah, and a few my sisters nonetheless reside in the Caribbean.

Have been there films that beloved storytelling?

I used to be an enormous movie fan. I'm nonetheless. My grandfather owned three film theaters in Puerto Rico. So I went to the films daily after faculty, and naturally I went without spending a dime. Once I moved to the United States, I used to be capable of go to the films twice every week. I’m also a reader of the ebook. I'm omnivorous. I read every part – biography, fiction, mysteries, historical past – and films, it's the similar from comedy to drama science fiction. The final movie I enjoyed was Pan's Labyrinth – it's an amazing film that I might gladly advocate.

Though I all the time enjoyed studying books, I used to be too great a sensible guy in high school go to school. I really didn't like faculty and I didn't need to spend any extra time in the classroom. Sadly, I later had my determination. At this point, I’ve something itseopillista, however I nonetheless feel that schooling has openings.

What kind of cartoons did you propose on creating once you began?

The adventure monitor was huge once I was growing up – Terry and the Pirates, Dick Tracy, Steve Canyon and so on. As I read the newspaper strips, I read every part except Little Orpo Annie, which I really couldn't stand, but I notably like adventure tales. So my mind was targeted on cartoon adventure stories. Over the years I attempted out a bunch of cartoons, however the older I obtained, the extra style journey strips got here. My timing, as well as my cartoon era, was unlucky. The adventure ribbon was fading, while the day's ribbons have been on the rise. So I made a decision to attempt cartoons.

Earlier than I received to Harvey Comics, a good friend of mine contacted me with Ham Fisher, who in fact was the creator of the comic ebook Joe Palaooka. I ink behind him for a few month – till he committed suicide. This was my first real comic guide job. He had a horrible dispute with Al Capp and he drinks so much. However Mr. Fisher was very variety to me; he was very pleasant and inspiring. He was assisted by Moe Leff. Oddly enough, his brother Sam Leff often used a Joe Palooka rig referred to as Curly KO.


How did you calculate your job at Harvey Comics?

I was on the lookout for a renter. It soon turned clear that I couldn't send an e mail. But they saw that I might draw, so I acquired a job in manufacturing and rehearsed the characters at residence at night time. A yr later, I began to attract Richie Wealthy, Casper, et al.

Are you able to tell me extra about the work you probably did for Harvey?

Harvey Comics have been extremely in style in the 1960s and early 1970s. Richie Wealthy bought tens of millions. One time Richie Wealthy was labeled 33 titles – cartoons from Aunts and Units and so forth. Thirty-three was in all probability too many titles. [Laughter.]

Throughout my reporter's Harvey, I was a pal of mine, Sid Jacobson, who had a real sense of the characters. In fact, Harvey was run as a household enterprise. One brother died – Robert – and two other brothers, Leon and Alfred, maintain the business. However Sid Jacobson, Lenny Herman and Warren Kremer discovered the place humble and worthwhile. The extreme hatred of the brethren – opposite to their fraternal duality – led to bitter bitterness. They thought-about the legal professionals pleased and well-nourished. They mainly filed for bankruptcy. The Harvey line-up can be as viable – if not more so – than Archie in the event that they have been released by subsequent house owners.

Leon and Alfred put their palms around their artists and say, "Don't worry, we'll care for you. We even set up a pension for you. “In fact it never happened, but the environment in the office was very friendly. Also, they appreciated my job. They by no means requested me to verify my page when I’ve turned them in. Additionally they paid the artists as soon as we went to work. No delays. I as soon as complained bitterly after it took them 30 minutes to chop me a salary.

I draw a whole lot of pages for Harvey. I pulled them someplace round 15,000 pages. My favorite character was Richie Wealthy. He had the potential to be another Tintin. He was an adventurous boy with a lot of money. Early tales highlighted how much money he had – how massive his savings financial institution was, pool, house and so on. I can respect directing the character in the direction of adventure stories. My angle was, "Let's see what money can do." He can use the money to travel – in any case, he has his personal jet. I needed to make him a world traveler. We even despatched him to area – I keep in mind a couple of decks the place we performed him a space go well with or a rocket e-book.

Did you ever feel that your job at Richie Wealthy contradicted your political beliefs? In any case, he lives in a capitalist paradise.

The fact that the characters dictate their surroundings. Certainly this can produce the greatest sort of fiction. Attitudes are just what it takes to deal with youngsters's fiction – moral values, good rewards, and dangerous degrades. Of all the fantastic values ​​which are so typically taken under consideration in later life.

As for a personality's nice wealth – yes, nicely, wealth is never in the possession of the privileged. It's not new. As it happens, I still hold a storehouse of healthy leftist ideals – if meaning I'm constructive about the poor, the neglected, and so forth. If I have been a stranger, I feel I might chew each dumb ass politician, regardless of their social gathering or social gathering. persuasion.

Do you take pleasure in working with Casper?

Casper's drawback was that he was drawn so merely. Should you have been slightly gone, you’d be actually gone. The good comic ebook architect Warren Kremer had an actual aptitude for making Casper. This meant that everybody who adopted him suffered from comparison.

With the Harvey tales, you had to stay the “model”. In fact, it trusted the capability of the service personnel. That's what we have been. We took care of the indicators. We had to ensure the tales have been applicable for a specific character or character set. The identical goes for displaying a character on any web page. Warren set the normal and the rest of us tried to remain. I tried to get as close to Warren Kremer as attainable.

There were a couple of characters that obtained loads of the play that I discovered foolish – Little Dot, for instance. Then there have been characters who confirmed some potential. Scorching Stuff, Spooky the Tuff Little Ghost and Wendy the Good Little Witch have been all good characters. Richie Rich, in fact. A part of the secret to a great character is the good aspect characters. Richie Rich had some great aspect characters – English Butler Cadbury, chef Pierre, Dollarmation, Miss Irona.

What about the dangerous guys?

Richie Wealthy cartoon thugs have been often kidnappers or crazy researchers. I don't assume there was one evil genius who was driving issues behind the scenes. I created one character I appreciated referred to as Timmy Time. He and his broken robot – named Traveler – moved from one time zone to a different. Once more, my concept was to widen the horizon. It didn't go anyplace. There was just one thing. They didn't go further with it. I feel Harvey's present house owners own the character.

In the meantime, Al had ideas like Billy Bellhops – in all probability a Harvey Comics lower. Sid Jacobson once remarked, "Yeah, what every kid wants to be – a bell player!" We also had a personality named Fruitman. It had something to do with the fruit, however I couldn't offer you any details.

The rationale why people who personal Harvey characters don’t publish cartoons with these characters is unbiased of me. Nevertheless it was enjoyable work. I met Sid Jacobson, one among my oldest and greatest associates, at Harvey Comics. I also turned good pals with writer Lenny Herman. However Warren Kremer was my mentor. He was about 10 years older than me and he was an exquisite cartoonist. I name him a cartoon architect because he used the area higher than anyone else. And he was an open guide. What he provided, he needed to convey. Warren designed just about all of the characters for Harvey – even Casper, whom the firm obtained from Paramount, had no legs until Kremer put them on. He also decided to go away all references to Casper's little son. From that second on, he was simply a ghost.

However Warren only labored in Harvey, and Harvey never paid tribute to his writers and artists. You weren’t approved to sign your work. That's an essential purpose why Warren Kremer's identify just isn’t better recognized by comedian e-book fans.

Ever tried to sneak your identify into a work of art?

Every as soon as in some time Warren would put a theater theater or no matter in my particulars or put his identify, however no one would ever notice. I additionally cartoon political figures so typically. For instance, I used Nixon as a villain in a Harvey cartoon. The Harvey stories have been, in fact, not political, but targeted on mild comedy and adventure. I all the time had an opinion, however I didn't try to categorical my ideas in my work on comic books.

I left Harvey earlier than it closed in the early 1980s. I lastly decided that I needed to move on after 25 years. Most of my time there, I made 15 bucks a web page – everyone was, together with Warren, who was the foundation of the enterprise. At one level I requested for a increase nevertheless it was rejected. And so I attempted my hand at something else.

In truth, for a yr, I worked at multimedia occasions – principally at corporate events with reside music, films, slides, or even speakers and dancers. I made good cash doing storyboards and a few to supply. Then someday there was no business. It simply disappeared partly because of PowerPoint and partly as a result of corporations have been on the lookout for methods to scale back their prices.

Harvey Comics referred to as me roughly a yr after leaving and provided me 30 bucks, which was some huge cash again then. They have been determined because the Richie Wealthy and Casper titles have been fairly profitable and had to fill a number of pages. However I assumed it was unfair that I did twice as a lot as the man who had mentored me. I attempted to tell Warren about this to ask for a greater salary, however Warren didn't need to know.


I just lately discovered that you simply have been collaborating on a guide with Sid Jacobson. in 1970, referred to as the Black Cartoon. The guide has enjoyable cartoons and cartoons from their white-centered perspective. Might you say something about how the undertaking happened?

Pricey Sir – 1970. Properly, the publisher took us to lunch in Algonquin and Sid and I assumed we have been set. The guide bought properly, but not fantastically. We now have additionally appeared on Joey Adams radio. He was a Broadway-type guy – the type of guy you'd anticipate to have a half-chewed 25 middle caught with his mouth talking about from another corner. He launched us to the Jekyll-and-Hyde phenomenon.

Early (1970) collaboration.

His greeting to us was, "What are you guys talking about?" Before we answered, he glided by the on the spot hearth, "Do you know better what the hell you're talking about" as a result of I can't show you how to, without understanding? "He then disappeared to an unnamed door. A few minutes later, as a result of we had sufficient time to chew three or 4 pounds, we have been led like calves to a sure demise in a unclean, paper-wrapped studio. He shuffled a couple of papers with out taking a look at us. In the present window of Stephen King.

And how did he get started? Hey people, it's Joey Adams that brings you the greatest in the leisure world. In the present day, I have two great younger men who are going to talk about the great ebook they … " – a vibrant, optimistic advertisement for a life freed from arthritis. As soon because it was over, he turned to us when the divorced man turned away from his ex-wife before he observed him, while his secretary – the crypto-keeper on dangerous days – confirmed us the door pointing bones, noticed finger it, it was it, it was about 9 seconds of fame.

But There was hardly any African American character in the cartoons – Ebony in The Spirit, however many people opposed his expression and speech. In Harvey, we had a bit boy named Tiny in one guide and he was fashionable. Sid also contained individuals of shade in a number of scripts. So the Black Cartoon was the beginning of how African People were not included in cartoons. Since then, issues have modified for the higher. I don't assume it matters now. However we are very pleased with that ebook. It was a nice, fun kick for the business.

1970s Comics

If the info on the Web is right, you have been working with Larry Lieber's brief term rival DC / Marvel, the Atlas / Seaboard cartoon collection in the mid-1970s.

The reminiscence of Atlas is a bit hazy. But I do know I met Marv Wolfman right here, who was later in my room campaign for DC Comics once I was there as a reporter. I also worked with Jeff Rovin at Atlas. He was the editor of 19 or 20 – Wunderkind, undoubtedly. He was sharp and very educated. Didn't get caught in his current moment. A true time traveler when it got here to appreciating the value of previous craftsmanship and artistry in movie, music and different arts. We had a star group on Atlas, including Howie Chaykin, Neal Adams, Steve Ditko and so forth. I additionally draw some numbers from Airboy [for Eclipse].


What do you consider working for Warren Publishing in the late 60s and early 1970s?

Warren was a wierd place to work. You didn't know what happened week after week. On the different hand, with Warren, the process of creating a guide was a bit more thrilling because you have been encouraged to experiment. I did a number of work for Warren, which was time consuming and much easier if computer systems have been obtainable. Nevertheless it was enjoyable making an attempt new issues. Reporters typically let me write your personal stories, they usually gave me loads of freedom with my drawings. In Harvey, issues have been slightly totally different. The office was extra intently organized. However typically I might have fun with the story whereas I was working for Harvey Comics. At the similar time, stories typically turned commonplace.

From the unique "Creepy # 26" meeting (April 1969). The manuscript was written by Invoice Parente.

I once tried an experiment the place I drew 23 pages in 24 hours. I simply received up to go to the toilet. I set a report for myself. In that case, velocity was extra essential than anything. By then, the characters had grow to be so ingrained that writing a web page and making it was not that troublesome. But I by no means did so many pages a day again.

Was it bothering you to work at comparatively child-friendly books after working at child-friendly Harvey?

I really like violence – so long as it is an integral a part of the story and brings an ethical facet. The collaboration with Jim [Warren] was great. Like I stated, he allowed us to attempt to write our personal tales. He was a real character himself. Good man.

How did having a comic guide workplace affect your social life?

I've by no means recognized so many cartoonists. I've definitely by no means been to many conferences – I used to be only 4, and one among them was less than an hour. Sadly, I’ve misplaced contact with individuals over the years, akin to Howie Submit, which I want to see you once more. Fortuitously, I was never bothered about being in cartoons. At the celebration, I launched a lawyer, a dentist, a lawyer, a dentist. When it was my flip to introduce, individuals all the time made purchases. Even as we speak individuals need to ask me about my job. I’m typically requested if I have drawn one thing they might have seen. Once I tell them, I’m drawn by Harvey characters corresponding to Casper and Richie Rich, they turn out to be excited. Many people have a robust connection to these characters. So being a cartoonist was by no means one thing I felt shy or confused about.

My household has by no means made me feel embarrassed to work in cartoons, however none of them are interested in cartoons, only throughout my profession. I’ve been married for a few years and my spouse and I have three daughters. I also have eight sisters. My daughter Luisa is an actress. She is presently the lead in Day Night time, Day Night time, which has acquired nice critiques. Amanda works with autistic and disturbed teenagers and in some ways has maintained a terrific humorousness and optimism. He is a household saint. Becky is in high school and writes and paints with talents a lot better than mine.

Did you all the time feel proud to be a cartoonist?

I have all the time divided the Will Eisner consider that comics might be one thing extra. I felt this very strongly from the first few years of business. For my part, the solely individuals who tried to do cartoons have been DC and Marvel staff who referred to what I did with "Richie Rich" and "Casper" in "big-legged" drawing. It will hate me. By some means I assumed what we did was a cartoon.

I only met Will Eisner a couple of occasions, but I keep in mind considering that comics might be far more than simply superhero cartoons. As I was growing up, there have been all types of cartoons, from Westerns and romances to youngsters's cartoons. I apologize for the undeniable fact that the superhero turned the essential character in cartoons, and I in all probability made the mistake of telling individuals how I felt in DC and Marvel.

works for the huge two

What did you work for first, Marvel or DC?

I first went to Marvel. I wrote a letter to Jim Shooter in which I drew Casper on his knees as an invitation to save lots of. He responded instantly and gave me John Carter of Mars to work with. I take pleasure in Marvel's workplace surroundings – I particularly liked Marie Severin. Jim Shooter was very good to me. I had a bit hassle with a couple of writers, however in any other case it was an ideal expertise.


I later did some work for Jim Shooter's Valiant. Working with Magnus, Robotic Fighter was an incredible expertise. I draw her on Canson paper with pen and ink, then paint with Prisma and acrylic. Jim Shooter was joyful to work. He used each panel – "He must be in mortal danger at every step!", He warned. He put himself in a choked position in his office able to remove the next idiot to encourage him to dare to face him.

In fact I knew Jim from Marvel when he was a prime man there. Then he formed the new universe. It was an excellent concept, and if given the work and dedication it deserved, it might have been the focus of the Marvel canon. As an alternative, his concepts have been picked up and scattered by knights and complainers who had no imagination to see opportunities to develop them.

It was not straightforward to modify from youngsters's cartoons to superhero cartoons, at the very least not at first. It was a matter of plenty of sweat and loads of dangerous drawings. It took work. However after some time I acquired used to the expectations of massive corporations.

Once I think about working with DC, I can consider three special points. One was an amethyst, the other was The Medusa Chain, a graphic novel [published in 1984] that bought little to no copies, and the different participated in Underworld, written by a guy named Robert Fleming. He was a younger man who I found to be a huge promise as a writer. He was not welcomed to DC. Many individuals tried to demean him and sabotage his career. They might do horrible issues simply to snort, and unfortunately Robert Fleming received their wickedness.

Amethyst, Princess Gemworld # 7.

I additionally worked as a journalist in DC in the mid-1980s – exactly one yr, two weeks and three days. The additional two weeks have been in order that they might discover someone to complete my task. Jenette Kahn had initially employed me and we agreed to attempt things for a yr. In DC, I was chargeable for Inexperienced Lantern, Flash, Marvel Lady, Blackhawk, and there may need been another title. For some time, I used to be also liable for the younger artists who despatched the briefcases. It was the first and only time I worked full time in a company setting. Pidin aluksi työstä, mutta vähitellen olin innostunut. Yhtäältä työmäärä ei ollut kohtuullinen. Se oli aivan liikaa.

Kuten missä tahansa toimistossa, mukana oli jonkinlaista politiikkaa, ja näin asioita, joista en pitänyt. Oli ihmisiä, jotka tekivät asioita, jotka eivät mielestäni ole sopivia. Minulla oli pari sisäänkirjautumista esimerkiksi Len Weinin kanssa, joka ohitti toimitukselliset päätökseni. Hän vaatii, että hänellä on mahdollisuus tehdä niin. Hän tekisi niin kuulematta minua ollenkaan. Hänellä ei olisi edes kohteliaisuutta kysyä minulta mitä ajattelin. Äärimmäinen esimerkki tästä: Olin puhunut Alex Tothin tekevän Green Lantern -tarinan. Hän teki kaunista työtä. Tarina meni tuotantoosastolle, ja sain selville – tosiasian jälkeen – että Len Wein oli ottanut tarinat saksiin niin, että jatkuvuus oli mieluummin. Tässä on ongelma. Se on yhdistelmämurtuma. Ensinnäkin, hän ei pyytänyt minua, ja olin kirjan toimittaja. Toinen numero, hän ei pyytänyt taiteilijan lupaa – tunnettua kurkkua, puhumattakaan yhdestä sarjakuvan historian hienoimmista taiteilijoista. Luulisi, että hänellä olisi tarpeeksi kunnioitusta, tarpeeksi kunnioitusta ja ihailua niin soittaakseen taiteilijalle suoraan. Tämä on sellainen asia, jonka päälleni. Se häiritsi minua paljon. En välittänyt siitä hoidosta.

Samanaikaisesti minulla ei ollut mitään ongelmia Jenette Kahnin kanssa. Pidin hänestä ja hän piti minusta. Ylätason ihmisillä ei ollut ongelmia; se oli minun tasollani ihmisiä. Tulin hyvin toimeen esimerkiksi Karen Bergerin ja Marv Wolfmanin kanssa. Sen jälkeen kun lähdin DC: stä, minulla oli hyvin vähän yhteyksiä yritykseen. Tein yhden tai kaksi työtä heille sen jälkeen kun lähdin toimitukselta, mutta ei niin paljon. Se oli ehdottomasti avioero. Meidät molemmat olivat yhtä innostuneita eroon toisistamme.

Kun aloin työskennellä Marvelissa freelance-pohjalta, pidin melko itsestäni ja en ollut vuorovaikutuksessa niin monien ihmisten kanssa kuin DC: ssä. Mutta en toiminut kummassakaan yrityksessä niin kauan kuin työskentelin Harvey Comics -yrityksessä. My last work for Marvel was quite a couple of years in the past. I worked on Marvel’s short-lived “Star” line, which was a poorly dealt with effort to promote Marvel comic books to younger youngsters. It was an ideal alternative wasted on rip-off characters and poor scripts. Like I stated, the fanboys who later turned editors referred to as youngsters’ books “bigfoot.” That is an ignorant misnomer coined by those who misapprehend the range and plasticity of comics, which is something they take without any consideration in the film enterprise.

Have been you involved in the effort to push Time Warner to compensate Siegel and Shuster for their work on Superman?

Not likely. The guy who was the torchbearer on that was Neal Adams. He did a powerful job in leading the cost. At the similar time, I can say that Siegel and Shuster did promote the character in good religion. In some ways, they didn’t have a case. Nevertheless it’s a sophisticated state of affairs. It’s a little like if somebody sells you a stamp for a greenback, and then it turns out to be value tens of millions. If the unique seller is broke and starving on the streets, it seems somewhat inhuman to not give them slightly cash out of the income you’ve made. But in fact firms aren’t individuals, and they don’t seem to be motivated by something but cash. Neal Adams and folks have been capable of increase enough noise that the company just about needed to reply.

Have been you involved about the concern of returning unique art to the artists if you have been working for corporations like Harvey, Warren and Marvel?

No, as a result of it was the norm. Everybody was dwelling beneath the similar sorts of guidelines. It by no means occurred to me that I ought to be totally different. It was solely when it turned a hue-and-cry that I joined in, and stated, “That’s what I want, too.” Not that it did me any good, because I principally gave away every web page I ever drew. For 2 causes: There have been a whole lot of youngsters who liked comics, and I loved freely giving pages to followers. The opposite purpose is that if you’ve been in the business so long as I’ve, you’re more likely to have drawn hundreds of pages. It’s arduous to maintain monitor of that many pages, and additionally it is exhausting to retailer them. Over the years I’ve moved round a number of occasions, and the concept of schlepping piles of unique paintings strikes me as somewhat daunting. I’ve also thrown out a couple of pages that I didn’t like. If I don’t like how a web page comes out, I might moderately throw it out.

There was one title that I labored on — Richie Rich — where I by no means saw an unique page of art once more. None of the artists acquired a single page from that title, regardless that that they had been promised to us. They have been taken from Harvey’s storage facility, and those pages present up every now and then on eBay and places like that. In any other case, I did receive plenty of my Harvey paintings, including pages from Casper, Wendy and Little Dot.


Who came up with the concept of turning an official authorities doc, the Ultimate Report of the National Fee on Terrorist Attacks Upon the United States, into a graphic novel?

I did. I bought the report when it first got here out, like about one million and a half different individuals, however I couldn’t get past Page 50. I couldn’t maintain monitor of the names. And I assumed this ought to be clearer. I referred to as Sid, and stated wouldn’t it’s great to turn this into an prolonged comedian ebook? And immediately, he stated sure. He also raised funds to help our work from a producer named Roger Burlage, who is in the film enterprise. Burlage immediately put up the money — it solely took a few days. I have by no means been concerned with a venture that moved as shortly from the concept stage to the implementation stage.

Some reviewers have prompt that our e-book was the first of its variety, which is certainly not the case. Instructional and nonfictional comics are part of the history of the medium. It was an fascinating ebook to work on, and I’m delighted that it has found an viewers, however it was not especially groundbreaking in terms of what comics can do. It is a fluid and plastic medium that can be utilized to inform many various sorts of tales, together with true stories.

Fortuitously, publishing the e-book was straightforward. The primary writer we submitted the manuscript to — Farrar, Strauss, and Giroux — accepted the guide immediately. FSG have been unbelievable. The editor we worked with — Thomas LaBien — noticed the worth of our undertaking instantly. FSG also despatched the guide to Thomas Kean and Lee Hamilton, who in fact chaired the Commission and wrote the introduction. Their contribution helped make the undertaking a reliable enterprise.

Have been there any pictures — specific faces for example — that have been notably troublesome to attract?

A few of the faces have been simpler to capture than others. Michael Chertoff lends himself to caricature. Dick Cheney additionally has a simple face to draw. But with Cheney, you need to be careful. You need a likeness, not a political statement. Cheney has a pure type to his mouth that looks like a sneer. I attempted to keep away from the sneer; I didn’t need him to seem like a villain. I tried to make the whole lot look as neutral as attainable.

What about portraying individuals from the Center East?

That’s troublesome. Individuals have robust views about how totally different teams are portrayed in comics. And a few individuals have criticized how we portrayed Arabs in the 9/11 ebook. On the other hand, I’ve spent plenty of time researching this matter, and I’ve looked at a whole lot or hundreds of pictures. A Pashtun Arab has a beard and a robe. That’s only a given. I have tried to keep away from stereotypes, however some cultures have strict guidelines about issues like facial hair and garments. It’s onerous to respect these guidelines without being accused of recycling stereotypes.

One among the hanging issues about your 9/11 pages is how diversified they’re: You shift from high-level conferences to maps to Middle Japanese road scenes.

A part of the problem is giving variety to the reader’s eye. Going from one speaking head to a different can get somewhat boring. It’s all the time a question of discovering the proper stability. When you’re creating a graphic depiction of a real-world occasion, you might have a balancing act. It’s a must to make the image work on the page, but you also need to be true to the historical document.

From The 9/11 Report: A Graphic Adaptation.

Are you and Sid Jacobson working on something at the moment?

We now have several tasks lined up with FSG. The one we’re engaged on proper now known as America’s Conflict on Terror. It addresses the aftermath of 9/11, beginning with 9/12 to the present day. I’m about halfway by way of that undertaking, and there are tasks waiting in the wings. When it comes to the Conflict on Terror e-book, we aren’t interested in offering editorial opinions, but in displaying the reader what has and hasn’t been completed since the towers fell.

Let me put it this manner. I had this previous girlfriend who stated I used to be a very good talker but didn’t do in addition to I speak. The identical thing holds in this case. The current administration talks a superb recreation, however they don’t do shit. Relating to the conflict on terror, we don’t need to drum our opinions into our readers’ heads. All we have now to do is show what the administration has accomplished, slightly than depend on what they’ve stated or what has been stated about them. In fact, we didn’t editorialize for the 9/11 e-book both, though we did should determine what to go away in and what to maintain out. This e-book is just about the similar type of challenge, fact-based however with a robust visible aspect. To make certain that the faces, buildings and cities look right. So I have been Googling all the things, as I needed to for the other guide.

From The 9/11 Report.

Have been you stunned by the consideration that the guide has acquired?

We knew the undertaking was worthwhile, but we had no concept it might create the stir that it has. Over the previous yr or so, Sid and I have taken part in a number of interviews. There was one afternoon once I had two digital camera crews in my house at the similar time, one from Japan and the different from Germany. I don’t precisely have an enormous home! We both appeared on Fox, who have been the nicest individuals, very caring and really professional. Our first TV appearance was The Right now Show on NBC. They came with cameras, lights, technicians and a producer. It took them hours to arrange — cables in all places. Then this man David Gregory flew all the approach from Washington and did an excellent job. The modifying was first-rate. When Gregory began putting on make-up for the interview, I turned to Sid and stated, “Who knew?” Sid just lately put that phrase on his license plate.

The guide seems to be doing fairly nicely. We now have acquired numerous letters — perhaps one or two detractors, however a ton of supportive letters. We haven’t had any nuts come out of the woodwork. We've acquired invites to talk all over the nation, in addition to abroad, however I have lately started to show these invitations down as a result of I wasn’t getting any work achieved.

The e-book has been translated into most European languages and is now being translated into Japanese. It’s grow to be a world challenge. The checks I’ve been getting lately are overseas sales rights. Thanks, Jesus! It’s a 50-50 association with Sid. The success of our e-book hits a candy spot for me.

Have you paid attention to the various or conspiracy theories about 9/11?

No. I don't pay any attention to varied claims about alleged authorities involvement in the assaults on Washington, DC and New York City. Typically I'll come throughout one thing on the web that refers to the Commission’s report as a cover-up or what have you, however I don’t take any of it critically.

You weren’t paid by the CIA to put in writing this guide? [Laughter.] Might you say one thing about how your collaboration with Sid works on a day-to-day foundation?

He sends me a script. Typically he calls me, we speak over the script, the format and so on. It’s all finished forwards and backwards by telephone and e-mail. When I’ve completed 10 or 20 pages I ship them to him. He seems to be them over. Typically he suggests revisions; something to do with the textual content, perhaps, or the arrangement of a specific panel. It’s often straightforward to repair because I’m working from a pc. And at the similar time, I will typically supply him comments on his scripts. I’d recommend a minor change right here or there, simply as he may recommend a small change in the illustrations.

Frankly, we are like an previous married couple. We end one another’s sentences. And we by no means argue. It’s superb. We get along very nicely, each artistically and personally. I contemplate him not solely an excellent author however a prolific one. His writing is of a really top quality, and he can really crank it out.


Can you say something about your work strategies in the days earlier than computer systems?

I used to be brought up on the very traditional tools of the commerce — 2B pencils, No. 2 Sable brushes, art tone or Higgins India ink, and two- or three-ply Bristol boards. That sort of thing. I deserted the conventional instruments a few years in the past. I now draw with a ballpoint pen — the cheaper the higher. I can improve the line on the pc, utilizing a Wacom pill. I letter on the pc, colour on the pc, and design my pages on it. I don’t use regular-sized pages anymore. I draw on bond paper. I don’t use Bristol board anymore. I scan the drawings into the pc after which design the pages. The scanned drawing is in black-and-white and is more or less full. I often create between 5 and 10 pages of unfastened drawings earlier than I scan them into the pc.

I actually like pc work. I’ve been doing it for more than 20 years. The only thing is that working at a computer may be tiring. I have to take a seat for 10-12 hours a day. That’s all the time been troublesome, then and now. But that’s the job.

Is there a sport that you are notably into?

Not likely. I wish to stroll and to work out. I used to do karate. It was fun. I used to play chess, however I ended. I don’t like blood sports, and chess is certainly a blood sport.

Have been you initially immune to the concept of using computer systems in your work?

No, I was one in every of the first to see their potential. Once I was working at DC I might write memos to Paul Levitz, telling him that each editor should have a pc on their desks. He stored saying no, and he lastly requested me to stop pestering him about it. Two or three years later, in fact, each editor was engaged on a computer.

From "The Dark Might Returns" in Mighty Mouse Vol. I #1, written by Michael Gallagher.

As it happens, I did an entire Mighty Mouse e-book on somewhat Macintosh. I began out on a Mac, then I switched to the Amiga, and then switched to the PC. The Amiga was an ideal little pc in its day. However the company’s administration was terrible, so the firm by no means went anyplace. Lots of the special results on Babylon 5 have been achieved on Amiga computers. For some time, I had an Atari, but that was a horrible pc.

Which software do you want to use?

Photoshop all the time. Typically I exploit Flash so that I can do vector drawings as a result of I don’t like Illustrator at all. Photoshop and Flash are my mainstays. Every so often I mess around with animation packages.


Can you say something about your largest influences? And are there modern cartoonists whose work you particularly admire?

The primary influences on my work are the normal gang of suspects — Milton Caniff, in fact, and Noel Sickles, who created the entire film noir look of Terry and the Pirates. Also, Will Eisner, absolutely. The comics master, as I’ve talked about, was Warren Kramer. So far as advantageous artists are concerned, the one who goes straight to my coronary heart is Toulouse-Lautrec, who was a fantastic cartoonist. Michelangelo was an excellent cartoonist, as nicely. I like Picasso’s sketches and drawings. Not his work — they are absolute crap. But his sketches, together with the pornographic ones, are very funny and very properly accomplished.

So far as modern cartoonists are involved, I have just about talked about Persepolis in every single interview I have finished to date. What Marjane Satrapi has completed is completely sensational. There’s a difference between technical capacity and the means to tell a narrative. What I like Satrapi for is her storytelling means. I like people who can draw you right into a story, make you pay attention, make you learn. I also admire Joe Sacco’s work. I assumed Epileptic by the French cartoonist David B was an exquisite e-book dealing with a critical and interesting topic. I assumed it was just superb. The best way he illustrates nightmares is especially impressive. I assumed that Maus was one among the most audacious comics I have ever seen. Sadly, I assumed In The Shadow of No Towers was overblown, overproduced and made no sense in any respect. The juxtaposition of previous comics and new comics eluded me utterly.

Strange to say, I never stored up with comics to start with. Fascinating thing to say for someone who's made a dwelling from comics. I sometimes learn graphic novels, notably those which are well-reviewed or that buddies advocate, but I not often learn common comics. I as soon as informed a fan of mine that I didn’t also have a copy of the Amethyst collection, and he was variety sufficient to send me an entire set. Wanting over these pages was gratifying. But for me, it is all the time a query of what’s occurring now and tomorrow.

Have you ever left fantasy behind?

Under no circumstances. If a superb fantasy venture comes alongside I might be comfortable to become involved. I like doing numerous various things. After doing Wendy and Richie and Casper for 25 years, I needed to shake it up for myself. I like to maneuver from type to fashion. Right now I’m working with Flash animation, and I want to see an entire e-book carried out in Flash. You may put it on the net, publish it and stick it on an iPod.