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| << November06, 2004 - [ComicBooknet E-Mag] CBEM 496.1 |
November06, 2004 - [ComicBooknet E-Mag] CBEM 496.2 >> |
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------------------------ Yahoo! Groups Sponsor --------------------~--> Make a clean sweep of pop-up ads. Yahoo! Companion Toolbar. Now with Pop-Up Blocker. Get it for free! http://us.click.yahoo.com/L5YrjA/eSIIAA/yQLSAA/bGIolB/TM --------------------------------------------------------------------~-> ----------------------------------------------------------------- [5] Interviews Richard Vasseur richardv@sympatico.ca Jay Odjick creator/writer/artist on "Raven" from Darkwing Productions interviewed by Richard Vasseur. Richard: How did you create The Raven? Jay: I created the Raven a few years ago - I actually lost track of WHEN, but I'd say around three or four years ago. I was just trying to think of something that operated on a wide range, across a diverse array of genres - horror, action, and conspiracy style story combined. This is the result. In a sense, The Raven is based on myths of the Algonquin Indian. The actual animal, the raven, was to them the guide of the spirits of dead. What we are trying to do is add to that myth, in the sense that there is a physical manifestation of that. Richard: What can you tell us about the comic? Jay: The Raven is a six issue black and white mini-series, published bi-monthly. Basically, this is the story of a young man who doesn't really know himself or much of his background. In order for him to survive upcoming events, he has to learn. I think a lot of readers should be able to identity with the main character in this book - at it's core it is a story about learning who you are and where you come from. In terms of the type of story this is, like I said, it crosses a few genres. I have always liked the horror genre - and I think people will be interested in the mix of superhero / action and horror that the book is built on. We have heroes, villians, monsters, martial arts and a love story as well - there should be something here for both comic and non comic fans alike. Richard: How does the Raven get his abilities? Jay: The main character, Matthew Carver, inherits them from his father. The Raven legacy is passed down from father to son - the problem with the modern incarnation of the Raven is that he never knew his father. Basically, The Raven is a sort of symbiotic, sentient entity that resides in a host body - almost parasitic in nature, the creature can remember every fight it has ever been in - so I think that presents a unique aspect to the book there. Matthew himself is very Zen like - very serene, withdrawn, almost. He has studied the martial arts nearly his entire life. So in addition to his own skill set, fighting wise, Matthew has access to a plethora of combat situations that The Raven has experienced. Other than that, the Raven entity bestows its host with super strength, agility and heightened senses. It can also change its shape - the way it looks is based on the host. We will see Matthew discover some abilities he has apart from the ones I have described - his relationship with the being that gives him his powers is tentative - full of surprises and revelations, as well as tension and conflict. Richard: How do werewolves fit into the story? Jay: Without giving TOO much away, I can say that they are a different kind of werewolf than the ones we are used to seeing traditionally - there is more of a sinister element to these "guys". The werwolves that you will see here are basically the result of an experiment called "PROJECT: CHIMERA" which is intended to harness the latent powers of shape shifting believed to be possessed by Native Americans. Basically, the enigmatic man in charge of the project, known as The Keeper has his own agenda at work. He knows of The Raven; he just has to find it. When he realizes that the Raven may be inactive because the tribe he is a part of is not in danger, he creates Project: Chimera. This results in a Pandora's box type of situation. So what we end up with is not the traditional Lycanthropic werewolf, but a set of genetically engineered solders with the gene for shape shifting introduced into their DNA. The Keeper knows that ordinary soldiers do not stand much of a chance against the Raven - he needs his own creatures, in a sense. The werewolves that we see in the comic are among the meanest, toughest, deadliest men on the planet BEFORE the gene therapy! And now they can shape shift. Richard: You do both the wrting and art on this comic do you find that easier than letting someone else interpret your ideas? Honestly, I realize the potential for getting in a little over my head. Between the creation of the book, and the business aspect of the company, it is a HUGE amount of work, as I'm sure you know. I began working on this project over a year ago. At the time I was more than open to having someone else come in and do some of the creation duties. I was working with a writer at the onset, but things didn't work out. As well, I had tried to get artists to come onboard, posting on message boards, etc. But I couldn't promise them any salary until after the first issue came out. So, here I am writing and drawing the book! I am more than open to bringing in additional talent to the Raven and whatever other projects Darkwing Productions tackles. We already have a new colorist lined up for the covers, an amazing talent by the name of Tmac. He starts with issue 2 - and his stuff looks incredible! I will also be bringing in a guest cover artist for issue three or four - can't say who yet, but he has quite a following on the underground circuit and has done some professional work in the past. One of the coolest things in the world for me is seeing someone else draw the Raven! I love that! Richard: Do you have any other future projects? Jay: The main thing we are looking into is the launch of an ongoing Raven series coming out of the initial mini - think of this as the pilot episode of a TV series. This is only the beginning of a pretty epic story. As well, we are open to the idea of publishing a different title, unrelated to The Raven, most likely a mini from other creators. In my perfect world, I would be able to do my small part in helping previously unknown talent get a break. There are some extremely talented and capable people out there, both writers and artists who can't catch a break due to the nepotism and good old boy attitude you sometimes find among publishers. Richard: How did Darkwing Productions start up? Jay: I put together a business plan, and began applying for grants to young entrepreneurs. I was awarded a grant from Table Jeunesse de l'Outaouais, or TJO, under their Youth Funds program. I also have invested my own money into the project. Basically, I tried to not hedge my bets on the project. You can be assured that what you get with Darkwing is the BEST possible product we can put together here. I'm betting the farm and swinging for the gates. Richard: Have you ever worked on any other comics? Jay: Not until now. Mainly, I got tired of trying to break in with publishers. I just said the hell with that entire process. I have seen some truly harsh portfolio reviews and comments from pros to some pretty great artists and figured at some point, it wasn't even constructive criticism, but destructive criticism. They do sometimes try to break you down and discourage you from taking their friends' jobs away. There are, of course, publishers that are great to deal with, and have tremendous opportunities open to the right people, but they can be difficult to find. My background is in graphic design and commercial artwork. I have done concept work, and freelance illustration; design of logos, illustration for calendars, etc. But this is my first comics work. So, who knows? If this all works out, these books may be worth something some day! Richard: What do you want to see happen with The Raven comic? Jay: Like I said, the plan is to spin an ongoing out of the mini series. I would like to see people give the book a chance, because I believe not only in the product, but in comic fans as well. Comic fans are the smartest and best fans in the world. Some fans have followed characters for 50 years! I have faith that readers will support books no mater the genre or subject matter as long as the product is GOOD. So with the planned ongoing, you get to see the full scope of this universe, and the continuing evolution of these characters. Richard: Who do you look up to in the comics field the most? Jay: On a talent basis, my favorite artists are Travis Charest (Canadian talent!), Jim Lee, Ed McGuinness, John Cassaday, Ethan Van Sciver and Brian Hitch. In writing, guys like Grant Morrison, Mark Millar, Joss Whedon, and my favorite creator, both on a talent and professional basis, is Geoff Johns. If you have read Geoff's stuff, it is obvious he is a GREAT writer! But what impresses me even more so than that is the way he treats his fans. If you have ever been to his message board, the way he treats readers is to me, the standard for how ALL pros should treat fans. Richard: What comics do you read now? Jay: Most of the Batman titles, X-Men, Wolverine, Avengers, a lotta superhero stuff. The Flash is my all time favorite comic book and character in comics. Identity Crisis I am addicted to. It's a given that if someone knows me they have had that shoved under their nose, cause I have found that even non comics fans like it. I try to pick up as much indie stuff as I can, but I don't get to comic shops as much as I'd like to. I like the Walking Dead, and I read some other stuff. As well, this guy who runs a website recommended a book called The Gift and I tried it and I am reading that now! Richard: Will you be attending any conventions? Jay: As many as I can. I wish that I could say where and when I will be going, but I can't yet. The book has me so busy that I am trying to do all I can to promote it, but I still have real tight deadlines. In addition to writing, pencilling and inking, I also self publish and self distribute - but I am going to do my best to get out and thank people who are supporting the book, as well as get to hear their feedback in person! I have talked with a few retailers about coming in for signings - if you like The Raven, and would like to know if I will be attending a con, or you think I should, please give me a shout! I'd love to hear from you! Richard: How can someone contact you? Jay: Basically, come on down to our website at http://www.darkwingproductions.ca/ - we have a message board there, which I post on very regularly. As well, just drop me a line at jay@darkwingproductions.ca . I honestly do enjoy hearing from readers - let me know how you like the book, my art, whatever you want. Before we finish I would just like to say, if you think the book looks interesting, please tell your retailer to contact me, refer them to my website. We will do our BEST to get the book to you, or you can order through my website on November the 10th. ****** Douglas Klauba cover artist for the Phantom from Moonstone Comics and many various other prjects interviewed by Richard Vasseur. Richard: How did you become a cover artist for The Phantom at Moonstone? Douglas: Just waiting patiently in the wings! Seriously, I was doing the Kolchak: The Night Stalker Graphic Novel covers for Moonstone, and some of the other titles as well, having a pretty good time but itching to do more. Publisher Joe Gentile called and asked if I could do him a huge favor and fit the trade paperback cover into my schedule and turn it around fast. Little did he know that he was doing me a huge favor, since I had been just dying to do a Phantom cover. That painting was such a big hit that Joe asked that I start doing the covers for the new ongoing series. I have a break with issues 5 and 6 but will start up again with issue 7 and will also be collaborating with interior artist Alex Saviuk on a cover in the future. I can't wait to do that one; Alex is an incredible talent. Richard: What other covers have you done recently? Douglas: The Kolchak: The Night Stalker trade paperback will be released any day now, and I am working on a new Jack Hagee: Private Eye cover. I did an illustration of the Swamp Creatures for Comic Book Artist magazine editor Jon B. Cooke's soon-to-be- released book. It has all the muck monsters featured: Swamp Thing, Man-Thing, The Heap... Richard: What is the cover or illustration you are most proud of? Douglas: I like the way The Phantom #4 turned out, and my Mercury Jack painting hangs in our living room; that one just clicked with me as a great blending of all my Heroic and Art Deco influences. Richard: Do you have any formal training? Douglas: I graduated from the American Academy of Art in Chicago, but working at a couple of illustration and design studios in Chicago after graduation made me realize that I should have worked a little harder in school! So I packed my bags and drove to San Francisco to study at the Academy of Art College for a semester. When I ran out of money, I returned home and started freelancing. Richard: How do you go about creating your art pieces? Douglas: I'm influenced by movies, music, comic books, illustrators and sculptors; I'm always trying to keep the creative process fresh with new ideas. Magazine assignments and comic book covers start with reading the story and a verbal collaboration with the art director or editor. With The Phantom covers, for example, Moonstone is looking for pin-up type covers that reflect the action of the character in the context of the story. I start with rough thumbnail sketches, and then gather reference material and take photographs. A pencil drawing is presented for approval, and then it's redrawn onto an illustration board. I tighten up the drawing with color pencils and acrylic paint, go in with an airbrush, and then finish with brushes. Depending on the project, it can take me anywhere from a day or two and up to a week to finish the actual painting. Richard: Which medium do you prefer working with comics, magazines, posters, advertising? Douglas: They all have their rewards and challenges, so it really depends on the subject. Obviously, painting The Phantom is the coolest, but painting Blackbeard the Pirate for a magazine story or a space heroine for a poster is just as fun. Working with an art director or an incredible design firm offers unique opportunities and challenges for an artist. And yes, sometimes those kind of collaborations can be difficult as well, but it's all good and it's all part of the business. One thing that stands out about working in comics, though, is that you have become a part of that character's history. That's been really rewarding, and the fact that you get to talk with so many other fans of the character. One of the coolest experiences that has happened with The Phantom was at San Diego Comic-Con, these young kids would come up to the booth all excited to see The Phantom, and they would shout "Slam Evil"! That felt really good, knowing that these little guys were reading The Phantom, just like I did. Richard: How does it feel to be featured along with others in the book "Exploring Illustration: An In-Depth Guide to the Art and Techniques of Contemporary Illustration"? Douglas: It is definitely an honor to be among all the other artists featured. It's an awesome book on the creative process with plenty of "How to's" and helpful insights. Before being contacted for the book, I didn't know who Michael Fleishman (the author) was, but through the course of the project I was impressed to learn how many amazing books he's put together. It ended up being an incredible learning experience for me and I'm very proud to be represented alongside all of that stellar talent. Any aspiring artist and working professional must read this book. Richard: What is your first published story? Doug: My first published story "Raja Yah" was printed in Moonstone Monsters: Ghosts and written by Clay and Susan Griffith. It is also featured in the collected Moonstone Monsters trade paperback. Clay and Susan and I plan on doing more with the character Lord Havelock. In front of me now is a confidential project that I am working on with Joe Gentile for Moonstone and another short story for Moonstone Monsters: Mad Scientists, written by my friend, award-winning Horror writer Wayne Allen Sallee. Richard: What comics did you read growing up? Douglas: Oh, man, what didn't I read? I remember tattered copies of Batman, DC Showcase, Thor, Iron Man, and Not Brand Ecch! on my shelf right alongside my picture books. So, I was probably picking up things that visually grabbed my attention. And because of TV, I was a huge Batman and Robin fan. But believe it or not, I started collecting comics with Classics Illustrated. I was a big Famous Monsters fan and also loved to read stuff like Treasure Island and The Three Musketeers. I first read Frankenstein, Dr. Jekyll & Mr. Hyde, and The Hunchback of Notre Dame through those comics. My father and my uncles dug out their old copies along with some EC comics, and once I read those, I caught the collecting bug. I was buying old Classics Illustrated and monster comics from Marvel, DC and Warren, and then one day while leafing through the spinner rack something caught my eye... It was the Molten Man battling Spider-Man on a subway train. It wasn't too long after that before I was a full fledged Marvel fan (with the occasional DC) and sold my Famous Monsters collection to buy back issues of Amazing Spider-Man. But I read everything in the 1970s that I could get my hands on: All the Marvel titles, Batman, Kamandi, The Shadow, The Spirit, Creepy, Eerie, the very short but very cool Atlas line, and stuff like the Phantom from Gold Key and Charlton. Eventually I started collecting by artist: Steranko was my first favorite, and then I started collecting Wrightson and Kaluta and then Windsor-Smith. I had a huge collection that I eventually sold half of to buy amplifiers and a bass guitar for my "garage band phase". Richard: Who is your favorite super-hero to illustrate? Douglas: The Phantom. I haven't had any other opportunity to paint other characters, besides a Batman for my portfolio and a Golden Age Green Lantern that I'm really proud of. I'm seriously having a blast with The Phantom, and would love at some point to get to work on some of the Golden Age heroes like The Sandman or The Shadow. Richard: What do you do in your spare time? Douglas: Work keeps me pretty busy with long 12 -16 hour days, but when there's a break I usually run out and pick up my stack of comics from Amazing Fantasy Books. Watching movies is relaxing and enjoyable to me because it's a moving visual medium- films like Sky Captain make me feel like I'm watching paintings come to life! Hanging out with my wife keeps me grounded. But best of all is playing with my son, which gives me a chance to play with all of the cool new action figures and toys and reminds me why I do all of this in the first place. Richard: How can someone contact you? Douglas: They can visit my website: www.douglasklauba.com ; it's open day and night _________________________________________________________________ ----------------------------------------------------------------- [6] LINES ON PAPER Bruce Canwell bruce.canwell@verizon.net [Freelance writer Bruce Canwell is a New England native who has worked for both DC and Marvel Comics. His essays have appeared in TOMORROW SF, THE CORTLAND REVIEW, COMIC BOOK WEEK, the PORTSMOUTH (NH) PRESS, and AMAZING HEROES. In the summer he is often found at Fenway Park; in the winter, he enjoys playing high-stakes poker against really dumb opponents.] Installment 36: The Next Generation -or- The Wheel Goes 'Round October is not only time to prepare for Hallowe'en and to attend post-season games at Fenway Park -- I was there for ALCS Game 4, when the Red Sox turned around their post-season -- it is time for early-shoppers like me to Decide What To Get The Nieces And Nephew For Christmas. This year, I learned something in the process. One niece and my nephew are my brother's children. Currently aged 10 and 7, they live in New England, a couple hundred miles from me. My other niece (age 8) is the daughter of the older of my two sisters; she resides in Orlando, only a half-hour drive from Disney World. Keep these kids in mind; we will return to them after we put forth and connect a few other dots. October, you see, also marks the anniversary of my father's death (six years ago to the day, as I type these words). I have mentioned in earlier Installments that my Dad was born in 1935 and grew up in the most rural of New England villages. He left home at age 14 to live and work at a dairy farm, sandwiching school between the morning and evening milkings. Work was always more plentiful than money during my father's youth; though a straight-A student, he was far more interested in hunting and fishing than in reading. Even on those rare occasions when comics were available to my father, they were of little interest to him. If he had any boyhood heroes, they were baseball players and Gene Autry, brought into his life primarily by radio. My formative years, by contrast, were spent in the suburban New England town to which my parents moved in 1962. In those days, adults worried more about nuclear war than about weirdoes lurking around every corner, so it was normal for me to ride my bike all over town each day after school. On new comics day I hit the town's newsstand, variety store, and druggist, eager to buy the latest Marvel titles (Stan and Roy never wrote down to their readers as DC's writers did, I was convinced); every weekday evening I would be in front of the TV at 7:00PM for the original STAR TREK, which ran in syndication on my local ABC affiliate. Looking back, I wonder what my father thought of me, so alien were my interests to his. I know he harbored a degree of frustration that did not surface often -- but occasionally, after a bad day, he would lose patience with STAR TREK, sneer at it, and challenge me about watching it. Once, as the episode "Plato's Stepchildren" unfolded, he snapped, "This damned thing is so - FAKE!" "It is NOT fake," I retorted -- and no sooner had those words left my mouth than Shatner and Nimoy were mincing about on the screen, singing, "I'm Tweedledee, he's Tweedledum . . ." Certainly I had not been given the strongest evidence to buttress my argument that night! Nor did comics fare much better in my father's eyes. I remember one late-afternoon during the summer of 1973. While my mother prepared dinner, my father picked up DEFENDERS # 3 from the coffee table where I had left it and read the entire issue aloud, often pausing to mock the dialogue of the Sub-Mariner, Doctor Strange, the Silver Surfer, or that issue's villain, the Lovecraftian Nameless One. I shrugged off his broadsides, but inwardly I seethed. Today I realize what bothered me most was not his mocking, but that his words proved that, much as I might wish otherwise, there was no way I could open my father's eyes so he could see what I saw in these works. My father never told me what he thought once I finally started selling stories to the comics companies. I suspect he was happy I finally achieved a measure of success after coming up short after so many attempts (discussed here in prior Installments), though I am sure he still didn't Get It. After GAUNTLET was published, Lee Weeks and I returned to the state of our births and did a successful all-day signing at one of the larger comics shops. Lee has had past family issues of his own, but it did not escape me that on this day, it was Lee's parents who showed up at the signing and told him they were proud of him; mine did not appear. In a phone conversation a few weeks later, my mother told me, "We thought about driving down, but what would we do there?" What indeed? All these memories and bits of information flooded my forebrain a week ago as I tried to decide what to get the nieces and nephew for Christmas. My brother's children, you see, are easy and fun to shop for, because they are absorbing the superhero milieu through the Bruce Timm animation unit's BATMAN/SUPERMAN/JUSTICE LEAGUE/TEEN TITANS cartoon series. When my brother's family visits me, the kids bee-line for my bookshelves and bury themselves in DC ARCHIVES (yes, thanks to the cartoons, they prefer DC's heroes to Marvel's -- the wheel, as noted in our title, goes 'round). Since those two and I speak a common language, I can buy presents for them with confidence. My Florida-based niece, on the other hand, is more interested in Disney than DC, involved not with Power Man, but with POKEMON. Though I have never been partial to Disney-product and am even cooler to anime and manga, I have always told myself her choices are OK by me. But, I suddenly asked myself, was that really true? I recalled the times I have good-naturedly teased her about LION KING or JOHTO JOURNEYS or MONSTERS INC -- was that teasing REALLY good- natured? Even if it is, does my niece perceive it as harmless, or is she inwardly seething because, much as she might wish otherwise, she believes there is no way to open my eyes so I can see what she sees? The wheel goes 'round -- but in this case, I need to insure it does not go so far around that I am left standing in my father's shoes, doing to my niece in Florida what my father once did to me. _________________________________________________________________ ----------------------------------------------------------------- [7] Suspended Animation Michael Vance MiklVance2@worldnet.att.net [Michael Vance became a professional freelance writer in 1977. He has been published in dozens of magazines and as a syndicated columnist and cartoonist in over 500 newspapers. His history book, Forbidden Adventure:The History of the American Comics Group, has been called a "benchmark in comics history." He briefly ghosted an internationally syndicated comic strip, and his own strip for five years called Holiday Out that was reprinted as a comic book. Vance also wrote comic book titles including Straw Men, Angel of Death, The Adventures of Captain Nemo, Holiday Out and Bloodtide. His work has appeared in several comic book anthologies, and he is listed in the Who's Who of American Comic Books and Comic Book Superstars. Vance's weekly comics review column, Suspended Animation, has been continuously published for more than fifteen years, currently reaching more than 750,000 readers in fanzines, newspapers, and in over eighty websites. In addition, he worked in newspapers for twenty-two years as an editor, writer and advertising manager, creating three successful newspaper magazines. Michael Vance is currently communications director of a nonprofit agency, the Tulsa Boys' Home, in Tulsa, Oklahoma. He is a Christian.] Silent Assassin #1, published by Terminal Press, 48 pages, $6.95 There's this assassin. I don't know his name; the reader is never told. Deformed, and, possibly mentally handicapped, he has a terrible upbringing, kept prisoner in a basement until teen-aged, I assume. His mother allows him to be used by men for money. One day, however, he uses the gun of one of his abusers to take revenge on him, and his mother, and then on a few innocent passers-by, as he escapes. He "hooks up" with a drug-selling gang, breaking into a pet store to acquire a necessary ingredient for the drug, as a kind of "initiation." In doing so, he escapes from a mostly nude, knife-wielding elderly woman. The vet? I don't know, as, again, the reader is left in the dark, just as they are concerning the strangely-carved-up corpse hand-cuffed to the toilet in said store. You've just had a glimpse into Silent Assassin: Understanding Trauma. Well, actually, you've seen the whole thing. What's more, you haven't missed much. I don't often put out negative reviews, and almost never devote an entire column to such. Why am I doing so for this book? Because Narek Gevorgian (penciller and colorist) and Don Redick (inker) do such a great job on the art, I suppose I feel they deserve some kind of credit for that. Slightly rough at times, but original and action-oriented, the bright and stylish illustrations fairly jump off of the page. This is a great- looking book that, from a plot standpoint, really doesn't go anywhere, reveals too little to the reader, and relies far too much on shock value. I'll never understand why some creators feel the obligation to give the audience a human anatomy lesson by means of uber-violence. But, hey, that's just one reviewer's opinion. I suppose apologies are now owed to writer Brian Ferrara. He has them. Silent Assassin: Understanding Trauma is not really recommended at all, but those who want to find it can do so at www.terminalpress.com Review by Mark Allen _________________________________________________________________ Thanks for subscribing to the Comic Book Network Electronic Magazine (CBEM) --------------------------->Disclaimer<--------------------------- This is an ANNOUNCE only mailing list, only the Editor can send messages to the list. No one else has access to the subscriber list. Replies to these messages will be received by the Editor ONLY, so you must CC: individual contributors if you want them to get your E-Mail. The E-mail to the E-mag MAY be used in future issues at the Editor's discretion UNLESS you specifically request that they not be. It is our policy to withhold names and/or Addresses, by request only, from letters of comment. All contributors are required to use their real name and have a valid Email address for their columns to be published. 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| << November06, 2004 - [ComicBooknet E-Mag] CBEM 496.1 |
November06, 2004 - [ComicBooknet E-Mag] CBEM 496.2 >> |
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