Comics Interview — Issue #002

Extensive interview about his upcoming DC series Ronin, the project he conceived while researching martial arts for Daredevil. Miller explains the samurai philosophy underpinning the series — "if you intend to die, you can do anything" — and the theme of modern disenfranchisement connecting feudal Japan to near-future Manhattan. Discusses studying Japanese manga (especially Kozure Okami) and its influence on his visual storytelling, adapting his inking style for better paper stock, his full-script working method, and why a closed six-issue series frees him to do things impossible in ongoing superhero comics. Also delivers a sharp critique of the convention/fan culture circuit, warning that "good work is not produced by a democracy" and that creators who chase applause "stop producing altogether or start eating their own tails." Discusses the business side — negotiating rights and format with DC, and the importance of freelancers learning to value their own work.

Sprawling conversation (with Roger Slifer and D. Jon Zimmerman sitting in) that is essentially an oral history of his career and the comics industry. Shares extensive insider stories from his years as Jack Kirby's assistant at DC — how the New Gods saga was meant to be only 18 issues, how Carmine Infantino forced guest stars into the books, how DC had Superman's face redrawn over Kirby's pencils without telling him, and how DC's publisher once concluded that "the secret of Marvel's success was bad art." Gives a detailed account of the Stan Lee / Jack Kirby working relationship and the ambiguity of who "wrote" what. Reveals extensive behind-the-scenes work packaging Tarzan and Korak comics for overseas markets, the deliberate sabotage (or staggering incompetence) that put a Scooby-Doo issue's pages in wrong order at Marvel, and his theory that DC and Marvel acquire licensed properties primarily to keep them from competitors. Currently writing Blackhawk for DC, dialogue for Sergio Aragones' Groo at Pacific, and DNAgents with Will Meugniot for Eclipse.

Discusses leaving a secure animation career (Marvel Productions, Hanna-Barbera, Filmation) to pursue comics, inspired by a trip to Japan where he saw artists owning their own characters. He and Evanier created DNAgents as a more human, "laid-back" superhero team — starting with personalities rather than costumes and powers, enrolling the characters in college, and drawing heavily from their own experiences of emerging from isolated creative lives into the wider world. Contrasts the creative ownership possible with independent publishers versus DC's 80/20 split deal.

A career retrospective from one of the longest-tenured people in comics, starting with his 1939 job lettering for Ripley's Believe It or Not in Spanish. Shares vivid stories from Bob Kane's BATMAN studio in the early 1940s — being one of 60 applicants, creating the heavy shadow look with Jerry Robinson, hiding pages under the newspaper from Kane's father, and Kane refusing to pay after 5 PM on Fridays for religious reasons. Traces his path through decades of work at National/DC and Marvel, explains how he became Marvel's cover colorist after Marie Severin moved to penciling, and shares Stan Lee's color philosophy: "I don't want to see grays... something simple, powerful, and direct."

Son of Marvel production manager Sol Brodsky, Gary discusses his entrepreneurial venture Garco Systems — nearly going bankrupt in "the Depression of '82" (down to sixty cents), rebuilding with partner Brian Moore, and publishing The Comic Art Workshop series featuring instruction by Dick Giordano, John Romita, and John Byrne. Also does coloring-book art for nearly every major character and is planning to enter comics publishing. A colorful, humorous interview touching on his karate practice, piranha tank, and gambling habits.

The Kiss bassist and lifelong comics fan reveals his deep roots in fandom — publishing fanzines as a teenager in Queens alongside a young Marv Wolfman, his encyclopedic knowledge of comics minutiae (he once rattled off DAK's complete scripting credits on first meeting), and his love of the Kirby-Ditko-Lee pre-superhero fantasy stories. Discusses how comics and rock'n'roll are both "folk art" that reflect their times, his subconscious borrowing from Harryhausen animation for his stage movements, and his brief career as a sixth-grade teacher who assigned Spider-Man as homework. Mentions wanting to play the Thing if CBS's Fantastic Four movie gets made.

Announces the magazine is going monthly (up from bi-monthly) due to the enthusiastic reception of issue #1. Notes format tweaks — Mark Evanier's interview is doubling for both the Writer and Editor departments, and colorists/letterers will alternate. Previews next issue's features on Killraven and American Flagg.