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Några intervjuver...
12 July 2004 - 00:57
Tänkta lägga upp några intervjuver med lite seriefolk här i sin helhet. Dom kan bli lite långa så om ni tycker det är jobbigt så tar jag bort dom och länkar till dom iställe. Så tyck till om ni inte vill ha det som det är nu!
NI får gärna lägga upp intervjuver som ni hittar här också.
Sen om denna tråd ska kanske borde ligga i spoilerforumet får någon som är visare än mig avgöra som någon gudalik mod eller den riktiga GUDEN PEAK!!
OBS! Alla intervjuver kan innehålla SPOILERS!
Denna intervju är tagen från http://www.comixfan.com/xfan/
Här pratar man med Darick Robertson(Wolverine) som kommer teckna den nya Nightcrawler serien som ska komma ut snart. Serien kommer skrivas av Roberto Aguirre-Sacasa (Marvel Knight: 4).
SHINING A LIGHT ON NIGHTCRAWLER
By Mitch Brown, ComiX-Fan Staff Writer
Darick Robertson is a sixteen year veteran of the comics industry. Having worked for Marvel, DC, Malibu and many other publishers, Darick’s art has been seen most recently in the pages of Marvel Knights’ Wolverine. He has worked with some of the industry’s top writers in Greg Rucka, Garth Ennis and, of course, Transmetropolitan co-creator Warren Ellis. This September, along with Marvel Knights' 4 writer Roberto Aguirre-Sacasa, Darick is launching Marvel’s first Nightcrawler ongoing series. Darick took time out from his busy schedule to speak with ComiX-Fan about the project.
COMIX-FAN: What can you tell us about the direction for Nightcrawler’s upcoming solo series?
DARICK ROBERTSON: It’s a darker path, more like The X-Files than your typical X-Men adventure. Less silly than the previous mini series from the 80’s and early 90’s were.
CXF: Considering Kurt hasn’t gotten a lot of exposure as a solo hero over the years, what direction can fans expect the fuzzy elf’s adventures to take?
DR: Well, as the artist, I can only speculate. I know there will be involvement with other creatures of the night, like vampires, demons and werewolves. Roberto had mentioned in his pitch that he wanted it to be something like Kolchak in Nightstalker, or Constantine in Hellblazer. A world where he investigates the X-Men cases that take that dark, mystical turn.
CXF: What drew you to Roberto's vision for Nightcrawler?
DR: It didn’t quite work out that way. I was signed on before I read Roberto’s pitch. I was happy after I read it that he had such an original take on the character.
CXF: How long is your contract on Nightcrawler?
DR: Well, I’ve agreed to 12 issues. My contract is with Marvel, it doesn’t apply to the title I’m on.
CXF: In a previous interview it was noted that you are taking more of a developmental role for Nightcrawler. Knowing your love of the character, how much input have you had into Roberto’s plans for Kurt?
DR: We’ve only begun the first issue, and mostly I have conveyed to Roberto what I believe works and doesn’t work for Kurt. Roberto has enthusiastically invited conversation about the character and my input, but it’s still his story and he’s writing it. I love the way he writes the character in the first script. What I can bring in is a sense of the character that he may not have, as I’ve been a fan since the early 80’s.
CXF: We have seen cameos from Nightcrawler during your run on Wolverine, any chance of Logan showing up to help out Kurt? What about appearances from his other teammates or is this going to be a Kurt-only show?
DR: We’ve discussed it, and the X-Men will be making regular appearances in this series, as the mansion is still Kurt’s base.
CXF: Nightcrawler’s origin was recently revealed over in Uncanny X-Men. What are the chances of seeing Azazel or Mystique in Nightcrawler?
DR: I don’t know. I hope that this series will develop his character and background as well as push his story forward. I mentioned to Roberto how much I’d like to revisit that scene where Kurt was being hunted by a mob with torches in his hometown.
CXF: What’s the most appealing aspect of Nightcrawler’s character for you?
DR: I like that he’s so human despite his demonic appearance. The easy way out for this character would have been to play him like a demon. His gentle kindness towards his teammates makes him an interesting dichotomy.
CXF: "Dichotomous" characters seem to hold a certain level of appeal for you as an artist. The man/machine contrast of Deathlok, Wolverine's struggle between man and beast, Kurt's deep-seeded humanity and compassion versus his demonic appearance; even the often contradictory and inflammatory Spider Jerusalem. What is it that you find most alluring about this kind of character?
DR: I believe in Jung’s theory of embracing one’s dark side to be a complete person. These characters exemplify that in that they don’t change back and forth like some other characters do. They are within their complete character at all times.
CXF: I'm sure that by now, most of us have seen the Darick-as-Nightcrawler Halloween picture that has been doing the rounds in the online community. First Wolverine, now Nightcrawler - are there any other childhood favorites of yours that you're dying to take a shot at?
DR: I suppose the list would go on and on, but there aren’t too many more Halloween costumes out there. I was Two-Face one year, The Riddler another and my Robin costume got published.
I would like to actually draw the X-Men as a team. The way Roberto’s writing Nightcrawler though, I get to draw more than just Kurt. The only character I really love from the X-Men that I haven’t worked on extensively is Rogue. Then again, my favorite version of Rogue was the character just after she first joined the X-Men, and went around with a hood.
CXF: During your artistic career you have worked with some of the best writers in the business – Warren Ellis, Garth Ennis, Greg Rucka and now Roberto. Can you describe the difference in creative process working between these three? As an example, I know that Warren’s Transmetropolitan scripts allowed you a large amount of freedom to draw a lot of the wacky background imagery that shows up in that series, giving lots of creative space for spontaneity, while other scriptwriters may be more “dictatorial” in their approach.
DR: I will have to do a few issues before I have a sense of Roberto’s style and how it fits me. Greg Rucka is specific in what he “sees” but rarely objected to my interpretation. He always seemed to like what I would do with the script.
Roberto was hired to do this before they approached me. Roberto told me that when he was writing the pitch and developing his ideas for the series he was picturing my art from Wolverine #6 and said to himself that he’d hoped that they would be getting that guy that drew that issue. I sent Roberto scans of my first 2 pages, and he was very pleased.
The most important thing to me with any writer that I am working with is that I want them to see their story in my art. I believe if they’re happy, and my editors are happy, then I know I’ve done a good job.
Fan feedback can be really biased and extreme. Many fans have their own ideas about what the character is all about and won’t approach your ideas with an open mind. I got a lot of that on Wolverine. Despite that I was a long time fan of the character, somehow many felt that they knew the character better than Greg and I. Ironically, despite that Greg was really happy with what I was doing and really felt I was getting his scripts dead on, some fans were complaining that they liked the script and not my take on the character! It was me drawing what Greg was asking for, matching his descriptions and setting the mood.
So if my version or take on Kurt doesn’t meet someone else’s idea of the perfect Kurt, you’ll see eight paragraphs online in a fan forum about how much I suck. Most of the time, I suspect that it’s really about a frustrated creator wanting to do what I’m doing, than it is about the work itself. So working with a writer I can communicate with is really important. It comes down to finding a medium between his vision and my own. Ultimately, his opinion will matter to me the most.
CXF: You have been in the industry for a number of years now. Do you think it’s gotten easier, or more difficult to enter the industry since you turned pro?
DR: Much harder. The industry was about to boom just after I broke in. When I wanted to get in, there were far more comics coming out and therefore, a lot more work for up and comers. There was an audience for indie comics and there were a lot of good little companies that would showcase new talent, such as Innovation, Comico, Eclipse, Malibu and First comics. Those companies are all dead now. Guys like myself, Adam Hughes, Kurt Busiek, Ron Lim and Bart Sears all got their starts working for these companies and therefore had a body of work to show to the big 2 in order to garner attention.
What a Marvel or DC big hit book sells now is a sad comparison to what books sold in 1991. The market has changed, so breaking in is more difficult.
CXF: If you had to name a favorite artistic "moment" from your career, what would it be?
DR: The double page spread from Wolverine #5 and the last page of Transmetropolitan #1.
CXF: One of the defining traits of your artwork, at least in my estimation, is the expressiveness and uniqueness of each of your characters, whether a lead character, supporting or incidental. Each character has a life and look of their own, complete with flaws and physical idiosyncrasies. Where do you draw the inspiration from to give your character designs such uniqueness?
DR: Thanks! I appreciate that compliment but I don’t really have an answer! That’s sort of like being asked “Why does your voice sound that way?” I suppose it’s because I imagine these characters as real people and real people are flawed. I find perfect people really dull. I always liked Dan Clowes’ work because he knows how to draw people as they are.
I have this mad desire to make that comic-book world more like my world rather than be pulled into theirs. I believe that just because a character has super powers shouldn’t automatically make them physically perfect. Superman, Captain America, sure. They have powers that demand they be physically perfect, but not Batman. He could let himself go if he wanted to. So could Nightcrawler, Spider-Man, Kitty Pryde and Cyclops! That should come from their personality. None of their character or powers are affected by their physical bodies.
I loved it in Justice League when Blue Beetle got fat! I had a ball drawing those issues.
CXF: Are there any other projects (Marvel or otherwise) on the post-Nightcrawler radar for you?
DR: I’m just focusing on Nightcrawler for the foreseeable future.
CXF: Thanks for your time, Darick.
NI får gärna lägga upp intervjuver som ni hittar här också.
Sen om denna tråd ska kanske borde ligga i spoilerforumet får någon som är visare än mig avgöra som någon gudalik mod eller den riktiga GUDEN PEAK!!
OBS! Alla intervjuver kan innehålla SPOILERS!
Denna intervju är tagen från http://www.comixfan.com/xfan/
Här pratar man med Darick Robertson(Wolverine) som kommer teckna den nya Nightcrawler serien som ska komma ut snart. Serien kommer skrivas av Roberto Aguirre-Sacasa (Marvel Knight: 4).
SHINING A LIGHT ON NIGHTCRAWLER
By Mitch Brown, ComiX-Fan Staff Writer
Darick Robertson is a sixteen year veteran of the comics industry. Having worked for Marvel, DC, Malibu and many other publishers, Darick’s art has been seen most recently in the pages of Marvel Knights’ Wolverine. He has worked with some of the industry’s top writers in Greg Rucka, Garth Ennis and, of course, Transmetropolitan co-creator Warren Ellis. This September, along with Marvel Knights' 4 writer Roberto Aguirre-Sacasa, Darick is launching Marvel’s first Nightcrawler ongoing series. Darick took time out from his busy schedule to speak with ComiX-Fan about the project.
COMIX-FAN: What can you tell us about the direction for Nightcrawler’s upcoming solo series?
DARICK ROBERTSON: It’s a darker path, more like The X-Files than your typical X-Men adventure. Less silly than the previous mini series from the 80’s and early 90’s were.
CXF: Considering Kurt hasn’t gotten a lot of exposure as a solo hero over the years, what direction can fans expect the fuzzy elf’s adventures to take?
DR: Well, as the artist, I can only speculate. I know there will be involvement with other creatures of the night, like vampires, demons and werewolves. Roberto had mentioned in his pitch that he wanted it to be something like Kolchak in Nightstalker, or Constantine in Hellblazer. A world where he investigates the X-Men cases that take that dark, mystical turn.
CXF: What drew you to Roberto's vision for Nightcrawler?
DR: It didn’t quite work out that way. I was signed on before I read Roberto’s pitch. I was happy after I read it that he had such an original take on the character.
CXF: How long is your contract on Nightcrawler?
DR: Well, I’ve agreed to 12 issues. My contract is with Marvel, it doesn’t apply to the title I’m on.
CXF: In a previous interview it was noted that you are taking more of a developmental role for Nightcrawler. Knowing your love of the character, how much input have you had into Roberto’s plans for Kurt?
DR: We’ve only begun the first issue, and mostly I have conveyed to Roberto what I believe works and doesn’t work for Kurt. Roberto has enthusiastically invited conversation about the character and my input, but it’s still his story and he’s writing it. I love the way he writes the character in the first script. What I can bring in is a sense of the character that he may not have, as I’ve been a fan since the early 80’s.
CXF: We have seen cameos from Nightcrawler during your run on Wolverine, any chance of Logan showing up to help out Kurt? What about appearances from his other teammates or is this going to be a Kurt-only show?
DR: We’ve discussed it, and the X-Men will be making regular appearances in this series, as the mansion is still Kurt’s base.
CXF: Nightcrawler’s origin was recently revealed over in Uncanny X-Men. What are the chances of seeing Azazel or Mystique in Nightcrawler?
DR: I don’t know. I hope that this series will develop his character and background as well as push his story forward. I mentioned to Roberto how much I’d like to revisit that scene where Kurt was being hunted by a mob with torches in his hometown.
CXF: What’s the most appealing aspect of Nightcrawler’s character for you?
DR: I like that he’s so human despite his demonic appearance. The easy way out for this character would have been to play him like a demon. His gentle kindness towards his teammates makes him an interesting dichotomy.
CXF: "Dichotomous" characters seem to hold a certain level of appeal for you as an artist. The man/machine contrast of Deathlok, Wolverine's struggle between man and beast, Kurt's deep-seeded humanity and compassion versus his demonic appearance; even the often contradictory and inflammatory Spider Jerusalem. What is it that you find most alluring about this kind of character?
DR: I believe in Jung’s theory of embracing one’s dark side to be a complete person. These characters exemplify that in that they don’t change back and forth like some other characters do. They are within their complete character at all times.
CXF: I'm sure that by now, most of us have seen the Darick-as-Nightcrawler Halloween picture that has been doing the rounds in the online community. First Wolverine, now Nightcrawler - are there any other childhood favorites of yours that you're dying to take a shot at?
DR: I suppose the list would go on and on, but there aren’t too many more Halloween costumes out there. I was Two-Face one year, The Riddler another and my Robin costume got published.
I would like to actually draw the X-Men as a team. The way Roberto’s writing Nightcrawler though, I get to draw more than just Kurt. The only character I really love from the X-Men that I haven’t worked on extensively is Rogue. Then again, my favorite version of Rogue was the character just after she first joined the X-Men, and went around with a hood.
CXF: During your artistic career you have worked with some of the best writers in the business – Warren Ellis, Garth Ennis, Greg Rucka and now Roberto. Can you describe the difference in creative process working between these three? As an example, I know that Warren’s Transmetropolitan scripts allowed you a large amount of freedom to draw a lot of the wacky background imagery that shows up in that series, giving lots of creative space for spontaneity, while other scriptwriters may be more “dictatorial” in their approach.
DR: I will have to do a few issues before I have a sense of Roberto’s style and how it fits me. Greg Rucka is specific in what he “sees” but rarely objected to my interpretation. He always seemed to like what I would do with the script.
Roberto was hired to do this before they approached me. Roberto told me that when he was writing the pitch and developing his ideas for the series he was picturing my art from Wolverine #6 and said to himself that he’d hoped that they would be getting that guy that drew that issue. I sent Roberto scans of my first 2 pages, and he was very pleased.
The most important thing to me with any writer that I am working with is that I want them to see their story in my art. I believe if they’re happy, and my editors are happy, then I know I’ve done a good job.
Fan feedback can be really biased and extreme. Many fans have their own ideas about what the character is all about and won’t approach your ideas with an open mind. I got a lot of that on Wolverine. Despite that I was a long time fan of the character, somehow many felt that they knew the character better than Greg and I. Ironically, despite that Greg was really happy with what I was doing and really felt I was getting his scripts dead on, some fans were complaining that they liked the script and not my take on the character! It was me drawing what Greg was asking for, matching his descriptions and setting the mood.
So if my version or take on Kurt doesn’t meet someone else’s idea of the perfect Kurt, you’ll see eight paragraphs online in a fan forum about how much I suck. Most of the time, I suspect that it’s really about a frustrated creator wanting to do what I’m doing, than it is about the work itself. So working with a writer I can communicate with is really important. It comes down to finding a medium between his vision and my own. Ultimately, his opinion will matter to me the most.
CXF: You have been in the industry for a number of years now. Do you think it’s gotten easier, or more difficult to enter the industry since you turned pro?
DR: Much harder. The industry was about to boom just after I broke in. When I wanted to get in, there were far more comics coming out and therefore, a lot more work for up and comers. There was an audience for indie comics and there were a lot of good little companies that would showcase new talent, such as Innovation, Comico, Eclipse, Malibu and First comics. Those companies are all dead now. Guys like myself, Adam Hughes, Kurt Busiek, Ron Lim and Bart Sears all got their starts working for these companies and therefore had a body of work to show to the big 2 in order to garner attention.
What a Marvel or DC big hit book sells now is a sad comparison to what books sold in 1991. The market has changed, so breaking in is more difficult.
CXF: If you had to name a favorite artistic "moment" from your career, what would it be?
DR: The double page spread from Wolverine #5 and the last page of Transmetropolitan #1.
CXF: One of the defining traits of your artwork, at least in my estimation, is the expressiveness and uniqueness of each of your characters, whether a lead character, supporting or incidental. Each character has a life and look of their own, complete with flaws and physical idiosyncrasies. Where do you draw the inspiration from to give your character designs such uniqueness?
DR: Thanks! I appreciate that compliment but I don’t really have an answer! That’s sort of like being asked “Why does your voice sound that way?” I suppose it’s because I imagine these characters as real people and real people are flawed. I find perfect people really dull. I always liked Dan Clowes’ work because he knows how to draw people as they are.
I have this mad desire to make that comic-book world more like my world rather than be pulled into theirs. I believe that just because a character has super powers shouldn’t automatically make them physically perfect. Superman, Captain America, sure. They have powers that demand they be physically perfect, but not Batman. He could let himself go if he wanted to. So could Nightcrawler, Spider-Man, Kitty Pryde and Cyclops! That should come from their personality. None of their character or powers are affected by their physical bodies.
I loved it in Justice League when Blue Beetle got fat! I had a ball drawing those issues.
CXF: Are there any other projects (Marvel or otherwise) on the post-Nightcrawler radar for you?
DR: I’m just focusing on Nightcrawler for the foreseeable future.
CXF: Thanks for your time, Darick.
