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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 however sustained gross sales figures. September 11th Report: Graphic customization has reached an entire other degree of cultural significance. Time Magazine, NPR, The In the present day 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 Attacks into a reader-friendly cartoon, an enormous remaining report. It has only been a nationwide bestseller. Its success will benefit and contribute to the wider ongoing re-evaluation of comics. The ebook has additionally made its creators mini-celebrities.

Colón has paid his cartoon charge 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 committed suicide in 1955. At the time, Colón was 24, and ultimately stayed in Harvey for 25 years, drawing iconic characters akin to Casper the Pleasant Ghost, Richie Wealthy and Wendy the Good. little witch.

Colvey made shut buddies in Harvey with author 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 assist account for his relative obscurity in the cartoon's historiography. In accordance with Wikipedia, when Warren Kremer as soon as visited a Marvel bull puppy, 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. He proved more than capable of switching gears to totally different publishers. As a freelancer, he drew tales for Creepy, Vampirella and Eerie since 1969 in the early 1970s. Warren's horror line represents a sharp contrast 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, Photo voltaic: 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 worked as a contract illustrator for numerous magazines and e-book publishers.

One challenge that has virtually disappeared into the reminiscence hole of time is the Black Cartoon, created by Colón with Sid Jacobson. Worth / Stern / Sloan revealed in 1970, this 80-page paper guide 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 one Amazon-listed copy obtainable for $ 93.03, free delivery.

Colón broke into the huge two in the late '70s, employed by Jim Shooter in 1978 to work on John Carter: Warlord of Mars. coloring books and a couple of graphic novels, one with a black widow, and as a Marvel freelancer he invented the concept of ​​managing injury with Dwayne McDuffie, and participated in a handful of youngsters's cartoons launched by Marvel in the mid-1990s to recruit younger 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 put aside a freelancer for DC as a full-time editor. Expertise does not appear to be the highlight of my career. Nevertheless it is sensible that he labored for major comic ebook corporations, in addition to for Harvey, Warren and a number of other smaller corporations. Colón is a skilled, 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 enjoyable. Most of the interview was carried out by phone; we talked for nearly an hour about each of the three separate occasions in June 2007. Ernie is enjoyable, straightforward to succeed in, and nice, and she or he has a beautiful type of speaking about information. He also responded very kindly to many long emails. When the Journal pays me, I blow my abdomen 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 before you began in cartoons?

ERNIE COLN: I was a hero boy and labored 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 mother and sisters at the age of 10. The most important shock I experienced was once we first arrived in the city. It was on a ship slipping into New York harbor, and this winter gust of wind hit us exhausting. I had by no means experienced such a cold earlier than. 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 nonetheless study English at college in Puerto Rico, but I wasn't fluent. Once I arrived, they put me again in class. I'm pretty hooked up to it since, and I used to be back on monitor. It was painless. I hate to provide my experience to anyone else, however I'm not convinced that utilizing bilingual schooling is sweet for youngsters.

What did your mother and father do for a dwelling?

My mom labored in a textile shop; for a while he worked at a manufacturing unit that made plastic handbag handles. My father was a detective, however he stayed in Puerto Rico. They have been divorced. Later in my life, my mother turned a financial institution developer, which is a a lot nicer life. And my stepfather worked at the publish workplace. My stepfather was a reasonably conservative guy, and my mom was pretty liberal. I used to be rattling Pink once I was a child, and doubtless nonetheless.

From Colón's graphic novel Medusa chain.

We began in the Bronx, and when my mom married my stepfather, we moved to Williamsburg, Brooklyn. I used to be too mild in the Southern Bronx and too dark in Brooklyn. In highschool, 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 fun, 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 both the New York Day by day Information and the Mirror on Sundays. My stepfather also reads Occasions, Herald Tribune and World-Telegram and Solar. As an adolescent, I learn the PM PM, as did the journalist I.F. Stone's Publication, I.F. Stone's Weekly.

Have you ever 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 have about eight sisters; they are scattered in all places. One is in Utah, and a couple of my sisters nonetheless reside in the Caribbean.

Have been there films that beloved storytelling?

I was a huge film fan. I'm still. My grandfather owned three movie theaters in Puerto Rico. So I went to the films each day after faculty, and naturally I went at no cost. Once I moved to the United States, I was capable of go to the films twice every week. I’m additionally a reader of the e-book. I'm omnivorous. I read every part – biography, fiction, mysteries, history – and films, it's the similar from comedy to drama science fiction. The final film I enjoyed was Pan's Labyrinth – it's an ideal movie that I might gladly advocate.

Though I all the time loved reading books, I used to be too nice a sensible man in high school go to school. I really didn't like faculty and I didn't need to spend any more time in the classroom. Unfortunately, I later had my determination. At this point, I have one thing itseopillista, but I still really feel that schooling has openings.

What sort of cartoons did you propose on creating once you started?

The journey monitor was huge once I was rising up – Terry and the Pirates, Dick Tracy, Steve Canyon and so on. As I learn the newspaper strips, I read all the things besides Little Orpo Annie, which I actually couldn't stand, but I notably like adventure tales. So my thoughts was targeted on cartoon adventure stories. Over the years I tried out a bunch of cartoons, but the older I obtained, the extra style journey strips got here. My timing, as well as my cartoon era, was unfortunate. The adventure ribbon was fading, whereas the day's ribbons have been on the rise. So I made a decision to attempt cartoons.

Earlier than I acquired to Harvey Comics, a good friend of mine contacted me with Ham Fisher, who in fact was the creator of the comic guide Joe Palaooka. I ink behind him for a few month – until he dedicated suicide. This was my first actual comedian ebook 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 friendly and inspiring. He was assisted by Moe Leff. Oddly sufficient, 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 quickly turned clear that I couldn't send an e mail. However they noticed that I might draw, so I received a job in manufacturing and rehearsed the characters at residence at night time. A yr later, I began to draw Richie Rich, Casper, et al.

Are you able to inform me more about the work you did for Harvey?

Harvey Comics have been extraordinarily well-liked in the 1960s and early 1970s. Richie Wealthy bought tens of millions. One time Richie Rich was labeled 33 titles – cartoons from Aunts and Sets and so on. 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 an actual sense of the characters. In fact, Harvey was run as a family enterprise. One brother died – Robert – and two different brothers, Leon and Alfred, deal with the enterprise. However Sid Jacobson, Lenny Herman and Warren Kremer discovered the place humble and profitable. The extreme hatred of the brethren – opposite to their fraternal duality – led to bitter bitterness. They thought-about the legal professionals completely happy and well-nourished. They primarily filed for bankruptcy. The Harvey line-up can be as viable – if no more so – than Archie in the event that they have been launched by subsequent house owners.

Leon and Alfred put their arms around their artists and say, "Don't worry, we'll maintain you. We even arrange a pension for you. “In fact it by no means occurred, but the environment in the workplace was very friendly. Also, they favored my job. They never requested me to verify my page when I have turned them in. Additionally they paid the artists as soon as we went to work. No delays. I once complained bitterly after it took them 30 minutes to chop me a wage.

I draw lots of pages for Harvey. I pulled them somewhere round 15,000 pages. My favorite character was Richie Wealthy. He had the potential to be one other Tintin. He was an adventurous boy with a lot of money. Early tales highlighted how much money he had – how massive his financial savings financial institution was, pool, home and so forth. I can respect directing the character in the direction of journey stories. My angle was, "Let's see what money can do." He can use the money to travel – in any case, he has his own jet. I needed to make him a world traveler. We even sent him to area – I keep in mind a few decks the place we performed him an area go well with or a rocket guide.

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

The truth that the characters dictate their environment. 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 great wealth – sure, nicely, wealth is never in the possession of the privileged. It's not new. As it happens, I nonetheless maintain 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 every dumb ass politician, regardless of their social gathering or celebration. persuasion.

Do you take pleasure in working with Casper?

Casper's drawback was that he was drawn so simply. In the event you have been somewhat gone, you’d be actually gone. The good comedian guide architect Warren Kremer had an actual flair for making Casper. This meant that everyone who followed him suffered from comparability.

With the Harvey stories, you needed to keep the “model”. In fact, it trusted the capability of the service personnel. That's what we have been. We took care of the signs. We had to ensure the tales have been applicable for a specific character or character set. The same goes for displaying a character on any page. Warren set the commonplace and the remainder of us tried to remain. I tried to get as near Warren Kremer as potential.

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

What about the dangerous guys?

Richie Rich 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 robotic – named Traveler – moved from one time zone to another. Again, my concept was to widen the horizon. It didn't go anyplace. There was only one factor. They didn't go further with it. I feel Harvey's current house owners personal the character.

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

The rationale why individuals who own Harvey characters do not publish cartoons with these characters is missing from me. However it was enjoyable work. I met Sid Jacobson, one among my oldest and greatest buddies, at Harvey Comics. I additionally turned good associates 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 call him a cartoon architect because he used the area better than anyone else. And he was an open e-book. What he provided, he needed to convey. Warren designed pretty much all of the characters for Harvey – even Casper, whom the company received from Paramount, had no legs till Kremer put them on. He also determined to go away all references to Casper's little son. From that second on, he was simply a ghost.

However Warren only worked in Harvey, and Harvey never paid tribute to his writers and artists. You were not approved to signal your work. That's an necessary purpose why Warren Kremer's identify shouldn’t be better recognized by comic guide fans.

Ever tried to sneak your identify right into a murals?

Every as soon as in some time Warren would put a theater theater or whatever in my particulars or put his identify, but nobody would ever notice. I also 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, however targeted on mild comedy and journey. I all the time had an opinion, however I didn't try to categorical my ideas in my work on comedian books.

I left Harvey before it closed in the early 1980s. I lastly determined that I needed to transfer on after 25 years. Most of my time there, I made 15 bucks a page – everybody was, together with Warren, who was the basis of the enterprise. At one point I requested for a increase however it was rejected. And so I tried my hand at something else.

The truth is, for a yr, I labored at multimedia occasions – principally at corporate events with stay music, films, slides, and even speakers and dancers. I made good cash doing storyboards and a few to supply. Then in the future there was no business. It just disappeared partly because of PowerPoint and partly because corporations have been on the lookout for methods to scale back their costs.

Harvey Comics referred to as me roughly a yr after leaving and provided me 30 bucks, which was a lot of money again then. They have been desperate because the Richie Rich and Casper titles have been fairly profitable and had to fill a whole lot of pages. But I assumed it was unfair that I did twice as a lot as the man who had mentored me. I tried to tell Warren about this to ask for a better wage, however Warren didn't need to know.


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

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

Early (1970) collaboration.

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

And the way did he get started? Hey people, it's Joey Adams that brings you the greatest in the leisure world. At the moment, I have two great young men who’re going to speak about the nice ebook they … " – a shiny, optimistic advertisement for a life free of arthritis. As quickly as 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 – showed us the door pointing bones, spotted 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 – but many people opposed his appearance and speech. In Harvey, we had slightly boy named Tiny in one ebook and he was common. Sid also contained individuals of shade in a couple of scripts. So the Black Cartoon was the starting of how African People weren’t included in cartoons. Since then, things have modified for the higher. I don't assume it matters now. But we are very pleased with that ebook. It was a pleasant, enjoyable 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. However I do know I met Marv Wolfman here, who was later in my room marketing campaign for DC Comics once I was there as a reporter. I also labored with Jeff Rovin at Atlas. He was the editor of 19 or 20 – Wunderkind, undoubtedly. He was sharp and really knowledgeable. Didn't get stuck in his present second. A real time traveler when it came to appreciating the value of earlier craftsmanship and artistry in film, music and different arts. We had a star group on Atlas, including Howie Chaykin, Neal Adams, Steve Ditko and so on. I also 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 occurred week after week. On the other hand, with Warren, the course of of creating a e-book was a bit more thrilling since you have been inspired to experiment. I did a number of work for Warren, which was time consuming and much easier if computers have been out there. Nevertheless it was fun making an attempt new issues. Reporters typically let me write your personal stories, they usually gave me plenty of freedom with my drawings. In Harvey, things have been just a little totally different. The workplace was extra intently organized. But typically I might have enjoyable with the story whereas I used to be working for Harvey Comics. At the similar time, tales typically turned commonplace.

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

I as soon as tried an experiment where I drew 23 pages in 24 hours. I simply received up to go to the toilet. I set a document for myself. In that case, velocity was extra necessary than anything. By then, the characters had develop into so ingrained that writing a web page and making it was not that troublesome. However I by no means did so many pages a day once more.

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’s an integral part of the story and brings a moral facet. The collaboration with Jim [Warren] was nice. Like I stated, he allowed us to attempt to write our own tales. He was a true character himself. Good man.

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

I've never recognized so many cartoonists. I've definitely by no means been to many meetings – I used to be solely four, and one in every of them was less than an hour. Sadly, I have lost contact with individuals over the years, resembling Howie Submit, which I want to see you again. Luckily, I was by no means bothered about being in cartoons. At the get together, I launched a lawyer, a dentist, a lawyer, a dentist. When it was my turn to introduce, individuals all the time made purchases. Even as we speak individuals need to ask me about my job. I am typically asked if I have drawn one thing they might have seen. Once I tell them, I am drawn by Harvey characters akin to Casper and Richie Rich, they grow to be excited. Many people have a robust connection to these characters. So being a cartoonist was never one thing I felt shy or confused about.

My family has by no means made me feel embarrassed to work in cartoons, however none of them are interested in cartoons, only during my career. I have been married for many years and my spouse and I have three daughters. I even have eight sisters. My daughter Luisa is an actress. She is at present the lead in Day Night time, Day Night time, which has acquired great critiques. Amanda works with autistic and disturbed youngsters 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 could possibly be one thing extra. I felt this very strongly from the first few years of business. For my part, the only people 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. Someway I assumed what we did was a cartoon.

I solely met Will Eisner a number of occasions, but I keep in mind considering that comics could possibly be far more than just superhero cartoons. As I used to be rising up, there were all types of cartoons, from Westerns and romances to youngsters's cartoons. I apologize for the undeniable fact that the superhero turned the major character in cartoons, and I in all probability made the mistake of telling individuals how I felt in DC and Marvel.

works for the massive 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 invite to save lots of. He responded instantly and gave me John Carter of Mars to work with. I take pleasure in Marvel's office setting – I especially liked Marie Severin. Jim Shooter was very nice to me. I had a bit of hassle with a couple of writers, however otherwise it was a terrific experience.


I later did some work for Jim Shooter's Valiant. Working with Magnus, Robot Fighter was a fantastic experience. I draw her on Canson paper with pen and ink, then paint with Prisma and acrylic. Jim Shooter was glad 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 workplace ready to get rid of the subsequent fool 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 ideas have been picked up and scattered by knights and complainers who had no creativeness to see alternatives 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 lots of sweat and loads of dangerous drawings. It took work. However after some time I obtained used to the expectations of massive corporations.

Once I take into consideration working with DC, I can consider three special factors. 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 author. He was not welcomed to DC. Many individuals tried to demean him and sabotage his career. They might do terrible things simply to snigger, and unfortunately Robert Fleming obtained their wickedness.

Amethyst, Princess Gemworld # 7.

I also labored as a journalist in DC in the mid-1980s – precisely one yr, two weeks and three days. The additional two weeks have been in order that they might discover somebody to complete my task. Jenette Kahn had initially hired me and we agreed to attempt things for a yr. In DC, I used to be chargeable for Green Lantern, Flash, Marvel Lady, Blackhawk, and there may need been another title. For some time, I was 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 final work for Marvel was fairly a couple of years in the past. I labored on Marvel’s short-lived “Star” line, which was a poorly dealt with effort to sell Marvel comedian books to younger youngsters. It was a fantastic 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 that misapprehend the range and plasticity of comics, which is something they take as a right in the movie business.

Have been you concerned in the effort to push Time Warner to compensate Siegel and Shuster for his or her work on Superman?

Not likely. The man who was the torchbearer on that was Neal Adams. He did a powerful job in main the charge. At the similar time, I can say that Siegel and Shuster did promote the character in good faith. In some ways, they did not have a case. Nevertheless it’s a sophisticated state of affairs. It’s a little like if somebody sells you a stamp for a dollar, after which it seems to be value hundreds of thousands. If the unique vendor is broke and starving on the streets, it appears just a little inhuman to not give them slightly money out of the income you’ve made. But in fact firms will not be individuals, and they don’t seem to be motivated by anything however cash. Neal Adams and folks have been capable of increase enough noise that the firm just about needed to respond.

Have been you concerned about the difficulty of returning unique artwork to the artists whenever you have been working for corporations like Harvey, Warren and Marvel?

No, because it was the norm. Everyone was dwelling underneath the similar kinds of rules. It by no means occurred to me that I must 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 each page I ever drew. For 2 reasons: There were a number of youngsters who beloved comics, and I loved gifting away pages to fans. The opposite cause is that whenever you’ve been in the enterprise so long as I’ve, you’re more likely to have drawn hundreds of pages. It’s exhausting to keep monitor of that many pages, and additionally it is onerous to retailer them. Over the years I’ve moved around a couple of occasions, and the concept of schlepping piles of unique paintings strikes me as considerably daunting. I’ve also thrown out a number of pages that I didn’t like. If I don’t like how a web page comes out, I might somewhat throw it out.

There was one title that I worked on — Richie Rich — where I by no means noticed an unique page of art again. None of the artists acquired a single page from that title, despite the fact that that they had been promised to us. They have been taken from Harvey’s storage facility, and those pages show up every now and then on eBay and locations like that. In any other case, I did obtain a lot of my Harvey paintings, including pages from Casper, Wendy and Little Dot.


Who came up with the concept of turning an official government document, the Ultimate Report of the National Commission on Terrorist Assaults Upon the United States, right into a graphic novel?

I did. I purchased the report when it first got here out, like about one million and a half different individuals, however I couldn’t get previous Web 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 nice to turn this into an prolonged comic ebook? And immediately, he stated sure. He also raised funds to help our work from a producer named Roger Burlage, who’s in the movie enterprise. Burlage immediately put up the cash — it solely took a couple of days. I have never been involved with a venture that moved as shortly from the concept stage to the implementation stage.

Some reviewers have steered that our ebook was the first of its type, which is certainly not the case. Instructional and nonfictional comics are part of the historical past of the medium. It was an fascinating ebook to work on, and I am delighted that it has discovered an viewers, however it was not particularly groundbreaking in phrases of what comics can do. It is a fluid and plastic medium that can be used to tell many various kinds of stories, including true stories.

Fortuitously, publishing the e-book was straightforward. The primary publisher we submitted the manuscript to — Farrar, Strauss, and Giroux — accepted the e-book instantly. FSG have been unbelievable. The editor we labored with — Thomas LaBien — saw the value of our venture immediately. FSG also sent the e-book to Thomas Kean and Lee Hamilton, who in fact chaired the Fee and wrote the introduction. Their contribution helped make the venture a reputable enterprise.

Have been there any photographs — specific faces for instance — that have been notably troublesome to attract?

A few of the faces have been simpler to seize than others. Michael Chertoff lends himself to caricature. Dick Cheney also has a simple face to attract. But with Cheney, it’s a must 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 tried to avoid the sneer; I didn’t need him to appear to be a villain. I attempted to make every part look as neutral as potential.

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 different hand, I’ve spent numerous time researching this matter, and I’ve looked at a whole lot or hundreds of pictures. A Pashtun Arab has a beard and a gown. 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 clothes. It’s onerous to respect these rules with out being accused of recycling stereotypes.

Certainly one of the hanging things about your 9/11 pages is how diversified they’re: You shift from high-level meetings to maps to Middle Japanese road scenes.

A part of the problem is giving selection to the reader’s eye. Going from one talking head to another can get slightly boring. It’s all the time a query of discovering the proper stability. If you end up creating a graphic depiction of a real-world occasion, you’ve got a balancing act. You must make the image work on the web 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 engaged on anything at the moment?

We have now several tasks lined up with FSG. The one we’re working on proper now is known as America’s Warfare 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 venture, and there are tasks ready in the wings. When it comes to the Struggle on Terror guide, we aren’t interested in providing editorial opinions, however 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 was an excellent talker but didn’t do in addition to I speak. The same factor holds in this case. The present administration talks a great recreation, however they don’t do shit. On the subject of the struggle on terror, we don’t should drum our opinions into our readers’ heads. All we now have to do is present what the administration has achieved, moderately than depend on what they’ve stated or what has been stated about them. In fact, we didn’t editorialize for the 9/11 guide either, though we did need to determine what to go away in and what to keep out. This e-book is just about the similar sort of challenge, fact-based however with a robust visible aspect. To make certain that the faces, buildings and cities look proper. So I have been Googling every part, as I needed to for the other guide.

From The 9/11 Report.

Have been you stunned by the consideration that the e-book has acquired?

We knew the challenge was worthwhile, but we had no concept it will create the stir that it has. Over the previous yr or so, Sid and I have taken half in a number of interviews. There was one afternoon once I had two digital camera crews in my home at the similar time, one from Japan and the other from Germany. I don’t exactly have an enormous house! We both appeared on Fox, who have been the nicest individuals, very caring and really skilled. Our first TV look was The At this time Present on NBC. They got here with cameras, lights, technicians and a producer. It took them hours to arrange — cables in all places. Then this guy David Gregory flew all the approach from Washington and did a very good 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 lately put that phrase on his license plate.

The ebook seems to be doing quite nicely. We’ve got acquired a lot of letters — perhaps one or two detractors, but a ton of supportive letters. We haven’t had any nuts come out of the woodwork. We've acquired invites to speak all over the country, as well as abroad, however I’ve lately began to show these invites down as a result of I wasn’t getting any work executed.

The e-book has been translated into most European languages and is now being translated into Japanese. It’s turn into a world undertaking. The checks I’ve been getting just lately are overseas sales rights. Thank you, Jesus! It’s a 50-50 association with Sid. The success of our guide hits a sweet spot for me.

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

No. I don't pay any attention to varied claims about alleged government involvement in the attacks on Washington, DC and New York Metropolis. Typically I'll come throughout something on the web that refers to the Fee’s report as a cover-up or what have you ever, but I don’t take any of it significantly.

You weren’t paid by the CIA to write down this e-book? [Laughter.] Might you say one thing about how your collaboration with Sid works on a day-to-day basis?

He sends me a script. Typically he calls me, we speak over the script, the format and so on. It’s all executed forwards and backwards by telephone and e mail. When I’ve completed 10 or 20 pages I send them to him. He seems to be them over. Typically he suggests revisions; one thing to do with the text, perhaps, or the association of a specific panel. It’s often straightforward to repair as a result of I’m working from a pc. And at the similar time, I’ll typically supply him feedback on his scripts. I’d recommend a minor change right here or there, just 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 never argue. It’s superb. We get along very nicely, each artistically and personally. I think about him not only an excellent author however a prolific one. His writing is of a really top quality, and he can actually crank it out.


Are you able to say something about your work strategies in the days before computer systems?

I was brought up on the very traditional tools of the trade — 2B pencils, No. 2 Sable brushes, art tone or Higgins India ink, and two- or three-ply Bristol boards. That sort of factor. I abandoned the traditional tools many years ago. I now draw with a ballpoint pen — the cheaper the better. I can enhance the line on the pc, using 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 and then design the pages. The scanned drawing is in black-and-white and is kind of full. I often create between five 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 greater than 20 years. The only factor 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. However 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 enjoyable. I used to play chess, but I ended. I don’t like blood sports activities, and chess is certainly a blood sport.

Have been you initially immune to the concept of utilizing computers in your work?

No, I used to be considered one 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 ought to have a pc on their desks. He stored saying no, and he lastly asked me to cease 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 a bit Macintosh. I began out on a Mac, then I switched to the Amiga, and then switched to the PC. The Amiga was an incredible little pc in its day. However the firm’s management was awful, so the company never went anyplace. Lots of the particular effects on Babylon 5 have been accomplished on Amiga computers. For some time, I had an Atari, however that was a horrible pc.

Which software program do you like to use?

Photoshop all the time. Typically I exploit Flash so that I can do vector drawings because I don’t like Illustrator in any respect. Photoshop and Flash are my mainstays. Now and again I mess around with animation packages.


Are you able to say one thing about your largest influences? And are there modern cartoonists whose work you particularly admire?

The primary influences on my work are the standard 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. As far as nice artists are involved, the one who goes straight to my heart is Toulouse-Lautrec, who was an excellent cartoonist. Michelangelo was a very good cartoonist, as nicely. I like Picasso’s sketches and drawings. Not his work — they’re absolute crap. But his sketches, together with the pornographic ones, are very funny and very nicely accomplished.

As far as modern cartoonists are involved, I have just about talked about Persepolis in every single interview I have completed thus far. What Marjane Satrapi has completed is completely sensational. There’s a difference between technical capability and the means to inform 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 read. 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 subject. I assumed it was simply superb. The best way he illustrates nightmares is especially spectacular. I assumed that Maus was considered one of the most audacious comics I’ve ever seen. Sadly, I assumed In The Shadow of No Towers was overblown, overproduced and made no sense at all. The juxtaposition of previous comics and new comics eluded me utterly.

Unusual to say, I never stored up with comics to begin with. Fascinating factor to say for somebody who's made a dwelling from comics. I sometimes read graphic novels, notably those which might be well-reviewed or that associates advocate, however I not often learn regular comics. I once informed a fan of mine that I didn’t also have a copy of the Amethyst collection, and he was sort enough to send me an entire set. Wanting over those pages was gratifying. But for me, it’s all the time a question of what is occurring now and tomorrow.

Have you left fantasy behind?

By no means. If a superb fantasy challenge comes along I might be pleased to become involved. I like doing a lot of various things. After doing Wendy and Richie and Casper for 25 years, I needed to shake it up for myself. I like to move from type to type. Right now I’m working with Flash animation, and I want to see an entire e-book accomplished in Flash. You possibly can put it on the net, publish it and stick it on an iPod.