Comics Interview — Issue #010

Moench discusses his new Eclipse time-travel series Aztec Ace at length, explaining how the concept grew from an earlier, funkier "Captain Wow" idea into a multi-genre epic spanning all of history, with a hero named Caza operating from Tenochtitlan in 1518. He describes the strip's layered structure — synchronicity, the Illuminati-inspired villains called the Ebonati, regular companions Bridget Kronopoulous and the disembodied Head of Sigmund Freud — and his enthusiasm for collaborating with editor Cat Yronwode and young artists Mike Hernandez and Dan Day. He frames the book as his personal championship run, declaring himself "Moses" Moench leading readers to the Promised Land. Note: Part I only; Moench reconstructed the interview from garbled tapes, and Part II (covering Six from Sirius, DC work, and the Red Sonja screenplay) is promised for the next issue.

Marx discusses her two new creator-owned series: Sisterhood of Steel (a sword-and-sorcery saga about an island society of warrior women, published by Marvel's Epic line, illustrated by Mike Vosburg) and Carlos McLlyr (a "historical fantasy" set in Old California of the 1820s, not a Western, developed with artist-husband Peter Ledger for Eclipse). She traces her path into comics through work for Tom Laughlin and Charles Fries Productions, her first comics work via Roy Thomas at Marvel on Savage Sword of Conan, and her strong views on creator ownership — she won't do work-for-hire. She also discusses the frustration of Red Sonja's chastity-belt origin as the inspiration for creating the Sisterhood, and advocates for stronger female characters and more women readers in comics.

Conducted at Ken Steacy's Toronto studio over Chinese food, this comedic three-way conversation covers Leialoha's career of "amazing coincidences": meeting Mark Evanier at the 1971 San Diego con, getting on Warlock by bumping into Jim Starlin in Berkeley, inking Howard the Duck #1, and landing Star Wars because he knew who George Lucas was and asked Howard Chaykin in an elevator. He discusses the creative/financial tension between Marvel work-for-hire (fast, paid, owned by Marvel) versus creator-owned alternative work (slow, satisfying, underpaid), explaining why he eventually left Coyote — the bi-monthly schedule was destroying him. He is planning a samurai mini-series with Carl Potts at Marvel and more funny-animal work for Epic.

DC freelance colorist and devoted old-time radio historian (specializing in The Shadow), Tollin explains the craft of comics coloring in storytelling terms: how color families establish rooms and scenes, how the colorist must avoid sabotaging the writer/artist's narrative emphasis, and why Jack Adler taught him to evaluate pages upside-down. He traces his career from Warren to Marvel to DC under Sol Harrison and Jack Adler, and reflects on the current renaissance at DC under Jenette Kahn — new Baxter books, Teen Titans, fresh creative energy — as the most exciting period since the Kirby/Adams era.

Hamlin, a sales and distribution agent representing Comico and Americomics, explains the economics of the direct market: how he advises publishers on print runs, contracts, and retailer relationships; why newsstand distribution is unprofitable for retailers while direct sales is not; and how alternative books now account for 20–25% of cash sales at many retailers. He argues that Marvel's recent market-flooding was profit-motivated rather than a deliberate attack on independents, shares field data on the growth of the direct market, and expresses confidence that the comics market could expand dramatically — quoting Burne Hogarth's prediction that a revolutionary new form of comics storytelling is coming.

DAK introduces managing editor Bill Chadwick with a short Q&A covering Chadwick's evolution from casual reader to full-time comics follower, his current favorites (*Elfquest*, Simonson's Thor, Evangeline, Journey), and his preference for Romantic storytelling over "Realist" grim naturalism.