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| << January07, 2006 - [ComicBooknet E-Mag] CBEM 557.06 |
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++++++++++++++++ Alex Ness: How does a creative person channel their vision? Using one's talents is great but there are a large group of people born with great talents and never using them, or never using them constructively, so how do get your talents to behave? SRB: Well, that's the $60,000 question (literally at times), in't it? It's all up to the individual -- and I mean that in every sense of the word. Some folks master this -- I don't believe Rick Veitch or Tim Truman have EVER blown a deadline, period; Jack Kirby's output was mind-boggling and he had a similar rep for always making deadlines. Some of us - myself included big time -- really struggle with these issues at all times. I didn't handle such matters well in the past, and that took a real toll, hence my reputation in some circles, and deservedly so. My deciding upon retirement in 1999 was due to many factors, which I've discussed elsewhere, but a factor was finally taking full responsibility for my years of struggling and the lies and deception (including self-deception every step of the way) that I could produce comics pages on demand or within the narrow parameters the industry requires. Finally taking responsibility for my inability to (as you put it) "get [my] talents to behave," I stepped away from the circus and left it to those capable of thriving and working in that arena. I simply wasn't up to it any longer, and most likely never was. Still, this confuses those in my circle of friends and family who never worked in comics. They look at how productive I've been over the years, and scratch their heads. I have TONS of work in print, and yet have this rep for being nonproductive. It makes no sense to them, but they don't live (much less work) in that "23 page every month" world of periodical comics, and I rarely was able to "get [my] talents to behave" in that world. At my peak -- the SWAMP THING years -- it took me five weeks to pencil a monthly book: do the math. This drove Karen Berger and Rick Veitch nuts, always placed inker and long-time friend John Totleben 'under the gun,' and wasn't a sustainable reality, though I stuck with it as long as I could. Still, I did a lot of harm, inadvertently and never with malice, to friends I collaborated with and editors I worked under. I won't do that again, but part of that inevitably led to my decision to get outta Dodge, feeling I'd outstayed my welcome long before I skeedaddled. It's a lose/lose situation, though: I mean, it really hurt my friend Rick Veitch on a couple of levels when I got out of comics. We enjoyed a creative chemistry for a good many years I've rarely found with anyone else. But Rick has mastered "get[ting his] talents to behave," and I never did, so I decided to never place Rick in a "f---ing BISSETTE!" deadline situation ever again -- but in doing so, we're no longer enjoying what we once had. It's sad, but I had to do what I had to do. So, I redirected my energies (again, there were other deciding factors, which I've detailed elsewhere, including financial/parental issues) to jobs I could dependably take on and make all my deadlines and commitments: writing (ongoing since 1987) and my work in video retailing for almost eight years (full-time 1998-2004). This freed me completely from the "old demons" associated with my drawing -- where I have a hard time "get[ting my] talents to behave," and grew weary of fighting -- and I've been a much happier and more productive creative individual since then. But, I haven't been in comics, a natural enough consequence of retiring from comics. All my life, though, I've struggled with juggling my time and multiple interests, and it's interesting to note that each faction demands I focus exclusively on the shared interest with THAT faction -- be it comics, writing, retails, whatever -- and always resent my devoting energies in other directions. So, my comics amigos consider my writing and work in video a complete waste of time; my writing compadres have some respect for the comics work but wonder why I wasted so much time there; my video retail peers couldn't understand my devotion to writing and drawing; the illustration work I've done for over 15 years in the book market (primarily the limited edition horror market) means nothing to anyone in comics; and so on. Now that I've been in this world for half-a-century, I've at last got the wisdom and zen center to just quit worrying about such matters. I do what I can do every single day. I love what I do, and it satisfied me. I am productive, and have much to show for it, but part of my time in this world is mine to spend with family, my wife, my children, my friends, and that's central, too. Life is to be lived, not simply measured by pages done or books published. I am not what I do; I do what I do, but I am who I am. That's enough, at last. Besides, it's not a matter of "get[ting my] talents to behave": it's a matter of finding venues to let my "talents" MIS-behave as spectacularly as possible. It's a matter of play AND work. Comics ceased to be a source of pleasure or play for me; it was just WORK, increasingly thankless work, and as such, there was neither pleasure nor profitable income from it for me or my family. So, I found other venues for my "talent." Alex Ness: Is there any comic character that you have wanted to illustrate but never had the opportunity? IF yes which character? SRB: TYRANT is first and foremost, now that I've tasted that: work on my own character. If I get back to comics in this lifetime, that's my preference. Next to him, it's N-Man and The Fury -- again, characters I own, though they were co-created with Alan Moore and would never have existed without Alan and his decisive creation of both (and The Hypernaut). But to answer your question, I wish I could have taken a stab at a few of my childhood favorites. Kona, Turok, "The War That Time Forgot," and so on -- and I really, really wanted Alan, John and I to have a shot at doing The Demon for DC. We proposed a mini- series, but that was shot down due to Matt Wagner's miniseries, which was underway at the time. Alex Ness: Exactly how does nature inform your work? SRB: It's self-evident in TYRANT, I hope, and informed a great deal of my efforts on SWAMP THING (as artist and later as 'guest' writer). Nature informs my preference and love for drawing organic forms and beings rather than man-made, urban environments or occupants; my love of drawing, period, is fueled by the desire to not just 'capture' the spark of life in nature, but to 'add to it,' if you will, by cooking up my own menageries of creatures and life forms. The further I got into TYRANT, too, I began to seek inroads to making my comics work more meditative in nature, moving at a more leisurely and naturalistic rhythm (in part to explore, too, how explosive violence central to a predatory being like TYRANT disrupts those rhythms, but remains essential to nature). There are a few passages in TYRANT #3 and 4 that embody that direction in a primitive form; that's where I was heading, had I been able to stick with it. Alex Ness: How many comic book characters do you believe that you own? SRB: Rick Veitch and I co-own a sizable body of work from our early years, other than our SGT. ROCK efforts and of course the graphic novel adaptation of Steven Spielberg's 1941 we did for HEAVY METAL. I retain the rights to most of my indy and semi- underground stories from 1976-the 1990s, which was the backbone of SPIDERBABY COMIX (which would have gone on for about 15 issues simply reprinting my existing work), and co-own some stories I wrote and others (like David Lloyd, Rolf Stark and others) illustrated. There's an abundance of covers and illustrations I own, and a few (very few) legal shares of certain properties I've retained, primarily so that my children will benefit down the road should anything come of those properties. When Alan Moore, Rick Veitch and I formally and legally dissolved our '1963' co-ownership, I came away with three characters -- N- Man, The Fury, and (at Alan's insistence) The Hypernaut -- and their associative elements and cast of characters, save for the anthology title N-Man and Hypernaut were published within (those belong to Alan and Rick), or the right to reprint our original collaborative stories. And I own TYRANT lock, stock, and barrel. I just renewed my registered trademark for S.R. BISSETTE'S TYRANT, and have kept it in circulation via sales and occasional merchandizing items. That said, I still see quarterly income (royalties) from the DC Comics work-for-hire reprints and spin-offs from SWAMP THING and John Constantine. However, I own nothing there; it's just what I'm entitled to per the contracts signed in the 1980s, with the few revisions DC has proposed on Constantine since his creation. Alex Ness: You illustrated many pages, of great writers and otherwise. Is there a writer of comics whose work you've enjoyed that you would have loved to work with? SRB: I have great affection and respect for the work of writers like John Stanley, Gardner Fox, and Robert Kanigher. I did get to draw one Kanigher script in my Kubert School years, but it would have great to have worked from a John Stanley horror script, like those he scribed for the one-shots TALES FROM THE TOMB and GHOST STORIES #1 for Dell. I would love to work with Joe Lansdale some day, and still wish once-proposed adaptations of Clive Barker's "Rawhead Rex" and Tom DeHaven's FREAKS AMOUR had worked out. C'est la vie. These are just musings, mind you, because you ask. It's best I stick to my own as far as comics go, though. Alex Ness: How big is your own comic book collection? SRB: My collection fills TWO FLOORS of the house (luckily, we have four) and the entire top floor of our garage. It's monstrous, and I'm laboring mightily this year to get it all in reach -- or out of reach (by shipping it all to Henderson State University, where the 'Stephen R. Bissette Special Collection' already resides). Thanks to the new studio/office/library room I'm now sitting in, it IS becoming more organized and accessible, but much work still there to be done... Alex Ness: 10 years from now where do you see the comic book industry? SRB: Who knows? That's in the hands of the up and coming generation. Maybe I'll be part of it, maybe not. But I'll be enjoying it, whatever it is. Alex Ness: If you could give comics to intelligent people who are not yet comic book readers, what would you give them to make them a fan of the medium and believer in it? SRB: There's so much excellent and expansive work available now, it's amazing. But it's like recommending music or movies or books: it would all depend on the taste and orientation of the person I would be dealing with, now, wouldn't it? Funny, comics are like that still: even we-who-are-believers ask these kinds of silly questions. It's exactly like saying, "what book would you give them to make them a fan of the medium?" "What DVD would you give them to make them a fan of the medium?" "What CD would you..." etc. Anyhoo, my experience has demonstrated that almost any of Neil Gaiman's works get people over the hump in a hurry. I've converted prejudiced, anti-comics, "you'll never convince me!" folks with the loan of a prime SANDMAN volume. But other folks might prefer one of the Roberta Gregory collections (which I love) or whatever. It really would and does depend on the recipient. Personally, my current favorites are Jay Hosler's CLAN APIS and THE SANDWALK; at least one of those would be on my must- read list. Alan and Eddie's FROM HELL, certainly; Justin Green's BINKY BROWN AND THE HOLY VIRGIN MARY, Charles Burns' BLACK HOLE, Dave McKean's CAGES, and then there's the key and still-vital works like any of the Will Eisner graphic novels, Wendy Pini's ELFQUEST, or any one of the more accessible Dave Sim CEREBUS volumes (HIGH SOCIETY, JAKA'S STORY). For my father, it was Joe Kubert's FAX FROM SAREJEVO, whereas I have other friends I'd hand Joe Sacco's PALESTINE to instead, or f*&^ it, here's Frank Miller's 300. What a pleasure, though, that we have all this to choose from, and much, much more! Alex Ness: Who was Alec Holland, and conversely, who is Swamp Thing? SRB: Fictional constructs, the pair of 'em. Oh, OK, Alec Holland was a lowly inventive freelancer scientist who blew his life to shit; Swamp Thing is forever to me a benevolent elemental with one foot in our realm, the other in the green. Alec, I don't know, but Swamp Thing still visits my dreams. DC/Time-Warner can't own THAT as yet. Alex Ness: Swamp Thing was a moment in time that needs to be remembered. It was a great title, with many hands contributing to the excellence of the product. Beyond the talent involved, which was considerable, what factors allowed for such a moment? What title in recent times would you suggest had the same impact, and what conditions need to exist to allow for another similar event in the future? SRB: I'm too out-of-the-loop today to cite what might be in similar circumstances; before us, it was Frank Miller and DAREDEVIL. The unique combo is low sales on a character the publisher has given up on or is about to; hungry young talents eager to latch onto something that sings and they then make it HOWL; a publisher not paying attention until the howl is unmistakable, and it's just easier for the publisher to let it ride and grow rather than f*** with it quite yet. Inevitably, the publisher WILL f*** with it, but maybe even that has changed: I mean, I really didn't think DC would let Neil end, really end, SANDMAN, but they did, and thus far they haven't pulled an ELEKTRA on Neil. But with SWAMP THING, the arc is easily traced. I remember John Totleben saying to me as we felt the magic slip away, "We put the car on the road and got it going, and now they want us in the back seat so they can drive." That's it, in a nutshell. By the time they were tossing Rick in the trunk with SWAMP THING #88, everyone could see it was over, baby, and it still hasn't come back. But it's happening somewhere, no doubt, on some comic. I just am not looking at that stretch of road any longer, sorry to say. It's off my radar; I'm elsewhere, in the woods, not caring right now about that. Alex Ness: Where can readers and fans find more of you, more of your work and how might they contact you? SRB: You can read me daily at SRBissette.com/myrant; the new website will be SRBissette.com sometime in January, it's still under construction. My email is msbissette@yahoo.com, but again, I am not accepting commission gigs and be warned I'm not a great pen pal. There's only so much time in the day, and my wife and family get dibs. The old website, www.comicon.com/bissette, is still up and accessible, as an archival site and venue to buy my extant comics work. My amigo John Rovnak has set up PanelToPanel.com for comics and graphic novel retail, and many of my exclusives present and future will be going through there, so bookmark John's site. Thanks, Alex, appreciate the attention and questions. Hope I didn't bore you silly. Alex Ness: Hell no. I am entranced. Thanks to: SR Bissette. ***** Going to War With Jordan Raskin By Alex Ness We are at war, both against real and imagined enemies. We live in angry times. Oh, please, do not mistake me; I think that life is good. But being that the politics and stream of popular culture tend to flow towards the dark end of the spectrum it is easy to go along with that angry emotion. INDUSTRY OF WAR by Jordan Raskin is the story of our angry world. It is done in a cinematic way, and looks fantastic. Ian Feller asked if I was interested in chatting with Mr. Raskin, and I am very happy to present that chat. Alex Ness: What kind of commentary upon the world we live is your work INDUSTRY of WAR? Jordan Raskin: I guess it's a comment on bureaucracy at large. How government and corporate conglomerates structure themselves to avoid responsibility, and how these structures can cause harm to an everyday person. At its heart, it's a sci-fi entertainment piece, but it does have its roots in realistic situations which happen every day (unfortunately). I mean how many times do you read about some class action lawsuit against a corporation for putting a product out there which doesn't work the way they advertise? Usually the end reason is so the corporation could save money, right? Or someone makes a major fu-bar decision in government and when it comes time to find out who's responsible, the buck is passed endlessly. Is there ever really a resolution to these things? Alex Ness: You have worked in story board and animation, and wrote INDUSTRY of WAR as a screenplay, in what way is the comic book medium different than film and animation, and how are they more similar than we might know? Jordan Raskin: Well comic books allow you a creative freedom you wouldn't get in film. A large part of this is budgetary. There are no budget constraints on drawings for one artist. You're as free to create as you see fit and are only limited by your drawing ability and your imagination (and deadlines of course). In film and animation, it takes teams of people to put together the final product - teams of people who get paid for their time and efforts. This limits what you can achieve in your final product. Quality costs more for motion pictures of any kind. In the end, they're both visual storytelling mediums so that's where they're similar. In fact, most films and animation start in storyboards. The only real difference to the mediums themselves (sans budget concerns) is one is a motion picture and the other is still images. Alex Ness: Who has been a source of influences for your work? Jordan Raskin: In art, my original influences are Kevin Nowlan, Neal Adams/Mark Beachum, Jorge Zaffino, Frazetta, Burne Hogarth. Film has influenced my storytelling though. To this day Ridley Scott has an impact on what I do and my visual sensibilities. He has a tremendous artistic eye for composition and he's been a great source of inspiration for me. Alex Ness: If you've written the screenplay of INDUSTRY of WAR, I suspect that you've cast it in your mind's eye. Budget unlimited, who would you cast in your work? Jordan Raskin: There are a number of characters in the cast so I won't be so bold as to go through all of them, but if we're talking purely who I think inhabit the characters? Eddie Vierra- Benicio Del Toro (I'd rewrite the script to fit his age) The retrieval agents: Landry - Russell Crowe Vansanto - Cole Howser (bounty hunter from Pitch Black) Detective Kelley - Brian Denehy Mr. Ramirez - Edward James Olmos General Tompkins - Ian McShane (Al Swearengen from Deadwood) Senator Branson - Gary Sinese Alex Ness: Given the limits present in the comic industry market, why go to the comic market first? Why not make the movie and then do an adaptation? Jordan Raskin: You say that as if it's so easy! (laughing) Comics are my roots and I always envisioned this as a comic book first. It started out as a comic book concept and just developed into a film script because the concept lends itself in that direction. Everyone who read my comic script commented "hey, this reads like a movie" so it was natural to get so much of that interest when the concept was made public. I need to point out that the script you're reading in my comic book isn't the same as the script I wrote for the screen. Comics are a different medium and a different scripting discipline is needed for it. Comics require a lot of exposition because the images are static. In a film, less dialogue means more. You can say much more with a look or a facial reaction in a film but you can't really get away with that in a comic and expect it to be clear. I drew the comic to be as cinematic as I could, but in the end the story still has to be clear so you have a lot of exposition which would be groansome in a film. I hope Hollywood will want to do my take on a film version, but there's no guarantee of that. Scripts are rewritten dozens of times in dozens of different directions before it ever sees the screen and I will not have final say on anything. This is called development hell. If I get into development hell, I'll be more fortunate than most. Hollywood is a tough mountain to climb but this year's weak box office on original action films has made it especially hard. My fingers are crossed. Alex Ness: After your work on IoW what future works do you see on your horizon? Jordan Raskin: Time will tell. I directed a 22 minute short film on a credit card budget and have been bitten by the directing bug. I have a low budget horror concept I'm developing with feature written all over it. I hope to direct a short version of it to use as a sales tool to sell the feature (with me attached to direct). Then again, if I'm offered a choice comic book gig of a character I love, I might have to take it into serious consideration. The first 16 pages of INDUSTRY OF WAR can be found @ www.desperadopublishing.com/. Other random sample pages and a larger portfolio of my work can be found on my own website @www.jordanraskin.com/. Industry of War is still available for order through Diamond distributors by using this order code: SEP051667. THANKS TO: Jordan Raskin and Ian Feller. ***** FUSED TEAM INTERVIEW I read the first issue of FUSED when Beau Smith sent me a bunch of Image titles in trade for some comics or books I'd found and sent him. He warned "...most of this is crap, but there is a single gem amongst the crap." I read them all and it was very clear which book he meant as the gem, FUSED. Mark Haggarty was a researcher missing an arm. He was doing research upon advanced robotics in order to help overcome his loss, but also, to help others. It led him to wear a suit of tech that then, FUSED to his system. Unable to escape he was pursued by agents of government, and eventually lost most of his human form, but not humanity. It is a concept that I love. After appearing at IMAGE and DARK HORSE, FUSED now joins the stable of books coming out from BOOM! Studios. First up is an anthology called FUSED TALES. Joining Niles are mostly new talents, but all of them full of new ideas, and talented in their own regard. Please read this group interview, and then, go out and buy the book. AN: What will you do in the new FUSED book? NILES: I'll be writing a script about Cy-Bot being sent to Iraq. He's not happy. Joshua Hale Fialkov: I wrote one of the stories, Stiff Little Fingers, drawn by Mr. Magic himself, Nick Stakal. Nick Stakal: The latest Fused installment is an anthology featuring 3 different writer and artist teams. I supply the art for a tale written by Josh Fialkov entitled "Stiff Little Fingers". Christopher Long: I wrote the story "Moving Along." Chee: I drew Steve's story called Bring Your Own Misery. AN: What do you think you bring to the established "mythos"? JHFialkov: Well, I tried to really do something big and bombastic, because that stuff is my favorite in the original mini-series. I think Steve has really just created a character with all the potential in the world. You can plop him in the middle of real life situations or fighting giant monsters and the character makes sense, and is well-rounded enough to play realistically in just about any situation. NStakal: Danger, excitement, mystery, and romance! OK, maybe I'm pushing it with the romance. But, we do serve up the kinda romance that David and Goliath or maybe King Kong and those biplanes had. CLong: The element of the story that most intrigues me is how the hunk of metal Mark Haggarty is fused with affects his relationship with his wife, his career, and, overall, his life choices. Many people have habits, traits, or characteristics that are obstacles in their lives, which isolate them for loved ones or prohibit them from living life to its fullest. I used a personal experience from my life and used Mark Haggarty to tell that story. Chee: Oh, cripes. I'm just a small sprocket in the big Fused! machine. I leave that responsibility to Steve, who probably knows the Fused! World best. AN: What is Mark Haggarty's greatest character trait? How about his greatest character flaw? NILES: His biggest flaw is that he wants to be ordinary. He doesn't want to be in the limelight. That also happens to be his best trait. JHFialkov: What I love about him is that to his core he's a good guy. He's so far out of his league in terms of the events that've changed him from man to machine, and yet that core quality underneath it all remains. Even to the point of the quiet self- hatred over losing his wife, he gets it. He knows that if he could he'd run away from the situation, but he can't, and he gets that Nikki just can't cope. I think we've all been dumped before, and not many of us handle it with the grace of Mark. As to his flaw, I think his naivete about the world around him and his own destiny is his biggest hurdle, but also what contributes to his charm. He really just doesn't know what the f*&^ he's going to do next because this was so far beyond anything he's ever been prepared for. NStakal: His Cy-Bot mechanical armor of course. He can deflect missiles with his hands but he can't hug his wife without crushing her. Awww... It's a curse and blessing. CLong: Of all the weapons at Mark's disposal, the one that carries him through time and time again is hope - that is his greatest character trait. His greatest character flaw would be how he only sees the world in black and white. Chee: Hmmm.... I think those questions are best left to Steve and the writers. But if I were to give an answer for his greatest character trait. I would go for perseverance, I think. The ability to go on and not go insane when you're stuck inside a clunky robotic suit. I get the sweats even being in an elevator too long. AN: Should the general public fear technology? Beneath it all, is this about robotics or is it about a human who lives outside the rest of society? What is behind the Fusing of Machine to Human? Is there a mystical explanation here or is this a metaphor for our technologically intertwined lives? NILES: For me it's always been about the loss of control and how frightening that can be. The fear of technology doesn't really come into play for me, instead I think Fused taped into the fear of germs and disease and something taking over your flesh. JHFialkov: After living in Los Angeles for five years, I take something very different from the ethical issues. Living out here, and working out of my apartment, I've gotten this real sense of isolation and loneliness that I think is at the core of Mark's character. Technology is just an extension of that. I mean, I talk to people every day online, and yet barely pick up the phone or go out to spend time with anyone. Its just infinitely more comfortable, while at the same time, there's something about those Saturday nights sitting at home watching a movie and talking on instant messenger that just doesn't quit ring true compared to the years in college and high school I spent out gallivanting in clubs and bars, getting drunk and ornery. I think we all live like this to a point, and we as a generation have been lulled into this solitary life. Technology has allowed this to happen. And sure, being reachable 24/7 by at least 4 different methods has its benefits, but when you realize that those four ways mean that there's one core means of contact that's been all but erased... human to human interaction. Now, extrapolate that to a character completely unable to have even the slightest human contact. Unable to truly look another human being in their eyes, to never be able to connect with another soul... it's quite tragic. But, at the same time, Mark's an uber-mensch. He's got the power and the abilities far beyond what any man could ever imagine. Even if you look to characters like The Thing or Concrete, who Mark's been compared to, Mark has more. He's changing, growing and becoming one with his powers. I think that gives him the edge in depth and in possibilities. And again, even now, where the character sits more or less hopeless in being made 'normal,' there's this sort of hope, not that he can go back to his life, but, that he can find a new way to live. NStakal: Heh, this one's best suited for the writer's to pontificate on. But I'll say that Mark's condition would definitely cause him to empathize with someone like Frankenstein's Monster or the Hulk. CLong: I don't think of "Fused" being a story about robotics or technology - It's a story about a man, who at his core knows he's still a man, but because how he looks and how people interact with him, it makes him question his very nature. And as I touched on above, I believe the fusing of a man to a machine is a metaphor for obstacles we as humankind struggle with i.e. alcoholism, drug addiction, mental disorders, etc. The machine Mark Haggarty is fused with is an enormous barrier for him to contend with. Nothing mystical about being up to your eyes in shit day in and day out and not knowing how you're going to get out. Chee: Whoa, dude!! Those are questions from the Matrix movies. I would like to think Fused! is a post-modern avant garde literary piece that gives accurate social commentary on the symbiotic relationship between man and machine. Hahahahah~~ Honestly, I think Fused! is just a very dramatic human story about one man's struggle against all odds. Although it could be any one of those facets you mentioned to any reader. It's all subjective. 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. 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