1. What drew you to comics?
When I was a kid I liked falling into a comic book world and then moving around inside it. Obviously you think of the big shared superhero universes of Marvel or DC. But I could get immersed likewise in Groo by Aragones or Asterix by Goscinny and Udzero... or any comics, really. Lots of comics know-it-alls talk about the magic that happens between the panels. Unlike novels or film, a comics reader needs to fill in the gaps between images to make it all work. It's not like an illustrated story where you stop and look at an image and then go back to the paced narrative. I believe the comics reading process continues even when you don't have the pages in front of you. Comics readers have their brains opened up and when you think about the story or the character or whatever, your brain is already primed for the adventure to continue (or branch off) in your imagination. So... as much time as I spent reading, I spent the same or more thinking about the stories and the storytelling.
2. What message(s) do you want to share in your stories?
My provocative answer is I don't put any messages in my scripts! That being said: while all anyone cares about are the characters, plus plot is imperative because comics need to be so economical... I think it's fair to say the big creative driver for me is theme. This definitely isn't universal among writers, but I start with--and reference throughout my process--"what's this story really about?" Maybe I'm overthinking the question, but that's not what I'd call "message." A message is the author inserting an opinion or judgment or sentiment that comes from them personally. Plenty of writers do share a didactic message, and I've enjoyed tons of that kind of stuff as a reader. But as a writer, those profound questions are all asked and answered in service of my particular story. I can write a story where Superman's good triumphs over Lex Luthor's evil. Or I can tell a tale where Superman's perfection is cold and Lex Luthor's perceived injuries are sympathetic. Now I'm oversimplifying! But I can make you laugh or cry. Hopefully both! Either way, it's the illusion of my craft: making you care about things that aren't real.
3. How do you find creative avenues and directions to take in writing books like Moon Girl and Devil Dinosaur?
I've done like 1000 pages of Moon Girl and Devil Dinosaur, but didn't do any of it alone. There's a bunch of Moon Girl issues coming out this summer, and the only member of the original crew working on them is letterer Travis Lanham. So Travis is now top dog! As a writer, there's a grind to get through. I'm inspired by the whole team, including Travis. There have been times where I've seen what he's done with the lettering and filed it away in my head. Or imagined how lettering might work to emphasize a back-and-forth between characters, for example. And that gets me an idea for a new scene or maybe just a page or even just a panel. Add to that multiple artists and the colorist and the editors and the co-writers. A lot of hands make it happen.
Plus the character shows up here and there in other Marvel comics. And there's a cartoon coming next year. When I co-created Moon Girl I had two ambitions: 1) that she'd feel very "Marvel;" 2) that other creators could take her out of the toybox to play. Because that's what Marvel is: thousands of creators working on one story over the decades for millions of fans.
4. Any particular story/character you'd like to tackle in the future?
I think I'd find something interesting in any character. But like a dream project? That'd be something where I have reasonable control over the character and story. Working with strict parameters because of a company-wide direction or when a specific kind of content is needed... those things are fun because of camaraderie with the editors and the other creators. They're also in many ways a lot less pressure. But dream projects come with creative freedom. That being said: I'm not too into radical redefinitions. I love Dr Strange--but that's just because he's a magic guy in a superhero world. Great design. Cool history. And I live on the same street, and only a few short blocks away from the Sanctum Sanctorum. I don't want to reinvent something that's already perfect. Robin would be cool--I'd dispense with the way recent-ish middle-aged writers tried to make him relatable to teens by making him go to high school and stuff. It'd be pure wish fulfillment... that kid is living the dream: gets to be a superhero all day long. No one wants to see him worried about finishing his homework. Flash would be cool, I'd just have the artist make him run around a lot because you can make that look cool even though comics are ostensibly static. Same with Atom: just visually interesting to have a small guy getting down. Namor -- because it'd be cool to tell an underwater story... especially if you set it in his WWII origin with all those old ships and machinery and stuff. Punisher set in his origin 1980s--where he has an uzi and blasting ne'er-do-wells up and down Mulberry Street. I could go on...
5. Any advice for young (student) comics creators?
It depends on how young? Because advice is a lot different for little kids vs teens vs college and older. So I'm trying to come up with something universal... I'll give it a stab by offering some perspective: when my wife was at Caltech, they sold a cheeky t-shirt emblazoned with something like "Actually, yes, I AM a rocket scientist." My wife happens to be a chemical engineer... but the point is: making comics isn't rocket science. It isn't easy, either. It takes commitment. For most people working in comics, comics is their favorite thing in the whole wide world. Before they broke into the biz, they were huge fans and aficionados and students of the medium.
I think everyone should think more broadly about who "creates" comics. As I mentioned above, it's a lot of people. I'm a writer. A lot of writers I know worked first as an editor (I did), or were interns (did that too), or worked in a comics shop (did that three), or did various online reviews or commentary, or worked in the marketing department, or sales, &c &c. A lot of people still work in those roles, and they are very much a part of the whole biz. So are lawyers who work the contracts, the various administrators, the printers, the distributors, &c &c. Plus quite frankly and with respectful sincerity, the fans make it all happen. Some of the best people I've met through comics are collectors and readers--and a few of them don't even read my stuff! They are knowledgeable historians, clever dissectors of story, often the first finders of new artists, and have influenced or inspired me in ways that shows up on the page. And all pro's that I know began as fans.
One last bit of perspective: I've met many (not all, but many) aspiring creators who think their work is ready and they're frustrated not to be getting their big break. Simultaneously, I can say 100% of the creators I know look back on their first published work and cringe. That is: you're not ready, and you won't even be ready when you get that first gig. But I do believe if you stick to it and spend as much time trying to understand opportunities in this biz as you do honing your craft, you'll ultimately be a part of the show.
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