For the most part the editors that I work best with are people like Warren or when I was doing stuff with Vertigo with Will Dennis and Mark Doyle and those guys where they, I had a vision for the book and they trust it and they let me do my thing. I tend to do better with less. Again, I guess the short answer is I do my best work with less editorial input. Just having someone there to support my vision and when I do need help I reach out to them.
Work for hire stuff for the big two is, it can be great and it can be sometimes frustrating. My Marvel stuff on a whole was pretty positive. That can get a bit, that can just be more challenging in some ways. I ask myself that a lot sometimes. In terms of broadening my readership that was really valuable. It helped bring more readers to my independent work and it helped me launch a bunch of Image books that have now been successful.
I really do love getting my hands on one of these characters, whether it be Moon Knight or Green Arrow or whatever and trying to bring my vision to it and do something interesting with it. I find it challenging and rewarding when it works.
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I get to be part of a shared universe and get to work with different artists and writers and editors and stuff. I still have a lot of fun doing it. I thought that was a great way to put it. It feels like the next evolution of your creator owned stories. Talk about that book and what working on that book is doing for you creatively right now.
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I was writing and drawing my own material. Real people, real problems, real life.
I tell these stories of these people and live in this world. I just love it. I can sense when reading it how much the book means to you. How do you approach crafting a graphic novel versus crafting an ongoing series? Is it just that one of them is open ended and one of is more finite or is there something else to it?
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Sure you can discover new things along the way but not to the extent you can with a monthly book where you can really explore different things and really take the story in different directions. A lot of that came too from the last half decade, decade or so, television has really become a much more viable storytelling medium than film in a lot of ways because film now become all about these big franchises, popcorn movies.
Whereas if you want real intelligent challenging storytelling it tends to be with television now. If you put through the movies get there is instead of having two hours to get into a character, suddenly you have multiple seasons, 15 hours each to explore characters. It just seems so much more, seems to have so much more potential for me in terms of exploring these characters and stuff to try that as a comic.
It felt like something different and challenging in a lot of ways. You mentioned Six Feet Under which is my favorite show of all time.
Two last things before I let you go. The first thing is I want you to talk about some of your favorite comics of or creators that came on your radar. The monthly stuff, the stuff I follow, I tend to follow certain creators. I love his stuff. I got into that this year. The stuff that hits me a bit more this year were a few graphic novels generally like myself. JL: Everyone should be reading her stuff. I was just in Italy for the Lucca Fest and I was sitting next to this cartoonist who was doing sketches and I was watching her draw and her stuff was amazing and I got to know her.
Lion Forge is going to be publishing them in English soon. I also read there was Nick Cave biography, graphic novel by the guys name is Richard Kleist. I really enjoyed that as well. Comics wise. We really wanted to capture something in that vein. Tom Strong is going to be in the book which is really cool because that was one of the touchstones I was looking at when we came up with the idea.
Tom and his family will guest appear in one big arc. What else? Ivan Reis is drawing the first arc and then Doc Shaner is drawing the second arc. I grew up in the 80s, and Keith was the main man at DC then. I was obsessed with everything he was doing as a kid. And the weird meta thing is that the concept of the book is these five kids in small town in the DC universe of the s.remineti.tk
Alan Moore Interview - Comic Book Artist #9 - TwoMorrows Publishing
Every comic that DC was publishing in is the backdrop of this world. The ironic thing is I was the one reading those comics in and Keith was probably the one making most of them. Keith, we just have a conversation and then Keith goes and draws the book and Keith tends to draw something totally different than everything we talked about anyway in a good way. And then it comes back to me and I have to try to make sense of it. JL: I appreciate you saying that. I never dreamed this could happen. I just wake up every day so grateful to be able to do what I do. All these people supporting my work I have to thank for that.
Brian Salvatore is an editor, podcaster, reviewer, writer at large, and general task master at Multiversity. When not writing, he can be found playing music, hanging out with his kids, or playing music with his kids.
"Ferris Bueller in the apocalypse"
He also has a dog named Lola, a rowboat, and once met Jimmy Carter. Feel free to email him about good beer, the New York Mets, or the best way to make Chicken Parmagiana add a thin slice of prosciutto under the cheese. By Elias Rosner Jan 4, Columns. The more I looked at the book, the more […]. By Multiversity Staff Dec 30, Columns. Every year, we send out a survey to a wide variety of creators and ask them questions about the year in comics.
We had an incredible response this year, and got creators from all corners of the comics world to weigh in one what they loved about comics in Every day this week, we […]. By Matt Sadowski Dec 29, Columns. It makes for a wonderfully pleasant listen. Moore comes across as a supremely genial grandfather figure, warmly poking fun at his own eccentricities. If you want a picture to show with your comment, go get a gravatar. Name required.
Writing Comic Books: A Writing Show Interview
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