New York Times: Comics Article

[chrismarker]

Don't know if anybody posted this already, but the N.Y. Times had a story two Sunday's ago (Arts/Lesiure section) on how new hot shot TV producers/writers are quote "moonlighting" as Marvel comic writers.

The lead story was on one of the guy's who produced/writes the TV ABC TV show "LOST", which I've never seen. But anyway, he's doing a Hulk/Wolverine story where the Hulk rips Wolverine in half and Wolverine -- who somehow incredibly reamins alive after being ripped in half -- smells his sundered legs 4 miles below his torso through galciar thick ice. Quite a story-- don't you think?

Adi -- some other TV wonderling is doing an Iron Man origins series? Do you know anything about it? Also, how do you feel about the whole of your so far brilliant arc with Warren now that you've read the final scripts?

[chrismarker]

Adi -- any thoughts on my post above? Do you know anything about this Iron Man origins issue? Also, again, now that you've read the final two scripts of your and Warren's arc, can you tell us how you feel about the whole of all your work? Do you think you both really achieved what you want, or are there things that emerged in both your efforts that were unexpected? Also, have you entertained different versions of Iron Man's armor? Do you have any sketches you might share with us? Thanks a Lot! And Happy New Year!

[Adi Granov]

I don't know much about the Iron Man origins thing. I mean I know what it's supposed to be but I don't know who's involved in it at all. I was asked if I had any interest in it a while ago but haven't kept up with the developments since. Who is writing it?

I am not sure what to tell you about achieving what we set out or not. I especially can't speak for Warren. But I think we did do (I'll speak of it in past tense since I am almost completely done with it) one of the more unusual books out there and I think we pushed the boundaries at least a little. We told a very European story done in a very European way using one of the most retro American mainstream characters. I love the juxtaposition of realism and ultra violence, an uneasy mix that I think we pulled off well.

I think that the art kept getting better throughout and it feels like the pages in issue 6 are the best I've ever done. Actually I know that. Plus it's a fireball of an issue and it's the most fun I've had on the book yet.

I think it will read great as a trade and I can't wait to reread it as such.

[chrismarker]

Adi -- Daniel Knauf, who created the cable network HBO series "Carnivale" is writing the Iron Man origins arc due out sometime next year. Was it just not a good fit for you at the time? I ask, because no matter what, I think you've put a definitive stamp on the character and, frankly, it'll be really hard to follow your vision of Iron Man.

Thanks a lot for your thoughts on this arc! A few questions (sorry, you know I always ask 'em!). What do you mean by a European take on Iron Man compared to an American one? Is it both a matter of art and writing? I'm familiar with the distinction in cinema, but not so much in art. Is Warren's racial story line something you maybe wouldn't see in U.S. books (this country avoids examing racial politics like the plague!)? Personally, I found this one of the strongest elements of the writing and I'm hoping, as I've posted before, that Iron Man confronts Mallen's racism as if it were a physical, corporeal, enemy.

Finally, wow, my firends and I can't wait to see your art in #6, especially now that you've said it's the best you've done! That's awesome! (I don't know how you could actually top what you've already done!).

I'm still mulling over your interest in "ultra-violence." Don't get me wrong, I'm interested in violence as a theme in art as well, but not without an effetcive thesis guiding it. In cinema it's called the strangled puppy syndrome: in other words, anyone can strangle a puppy on the the screen and it will evoke emotion, but so what? It takes no talent or thought to do it (hence the adage, "Shock is the last refuge for those without talent"). But when someone, like, say, David Lynch, or the Cohen brothers, or even Tarantino uses violence, there's a lot more depth and thinking behind it: as if the violence is reflecting a lot more than just the physical. Anyway, any thoughts here? (Sorry to go on so long -- haven't written in a while so it's all been pent up! LOL!).

[Adi Granov]

Ah, Daniel Knauf is doing the story after ours, I didn't know he is doing the origins too. It's cool because issue 5 sets off that whole part of Iron Man history.

What I mean by European is actually mainly French and Italian graphic novel type of stuff from the 80s mostly (they do less of that kinda stuff these days seems like). And I mean format and genre. The pacing, the page layout, the independant storyline, maturity of the subject matter and subtext of it all. It's all very much along the lines of Euro graphic novels, and some Japanese manga, come to think of it. So yes, the racial politics work into it. But also the obvious internal struggle Tony Stark has over his arms dealing versus his superheroics as Iron Man which is his way of escaping reality, etc. I think it's all handled pretty unusual for a mainstream superhero title.

Don't get me wrong, there are a bunch of very mature, very well done comics dealing with all matters of hard issues publeshed in the US but not many feature a mainstream superhero who wears a surreal red and gold suit. I think it's that juxtaposition that really appeals to me. And that's where I see the similarities with European stuff, where, seemingly ridiculous themes are handled in a clever and thought provoking manner.

I just finished a page which, at least technically, is the strongest one I've done yet. I've been really trying to push the dynamics further than before... which actually works into your last question...

I don't mean ultra-violence as in harsher, more horid act where I try to kill as many people for the shock value. I mean "ultra" in the over-the-top choreography sense. I guess aggression is more appropriate than violence. Like in issue 3 when Iron Man falls onto the car, he could've just fallen onto a car, but I really wanted to illustrate it from the most over the top perspective with as much of stylized realism as I could pull off so it really looks like we're in front of a car going 80mph when a 1000lb of robotic armor smashes into it. So I see that as a very aggressive way to approach it and I hope the image kinda punches you in the face when you see it. It doesn't have to be blown brains and torn limbs, but I like the effect to be as harsh as possible from an illustration. And I think my style lends itself pretty well to that.

[chrismarker]

Adi -- thanks for the insights! Very interesting. And, yeah, I think your concept of "aggression" here and in your art is acutally doing no less than breaking new ground in the medium. I mean, I've never seen the intense realsim or photgraphic quality of work like yours before in comics. And, yeah, that scene of Iron Man smashing into that car in #3, like a meteor falling from the sky, it's just spectacular and, yes, feels as real as all hell!

Damn --cany you give us anymore info on the scene you mentioned where you say it's "technically" your best in terms of achieving those "dynamics" of, aggression, I'm presuming? What do you think youve rendered that wasn't there before, or that makes it "technically" your "best" work?

Again, many thanks for your time and thoughtful insights!