Archive for the ‘Dynamite Entertainment’ tag
Paizo Publishing’s Pathfinder game is one of the most popular and successful fantasy roleplaying games in the world. Designed to be backward-compatible with Dungeons & Dragons 3.5, it’s won millions of fans and created a whole new world for them to explore.
Dynamite Entertainment’s Pathfinder comics are set to be just as addictive as the original game, created with the full participation of Paizo. Written by Jim Zub (see our interview with him and Paizo’s Erik Mona) with the dynamic artwork of Andrew Huerta, issue #1 got a lot of buzz.
We had the chance to interview Andrew Huerta this month and picked his brain about the most difficult part of bringing Pathfinder to life in comics and what he’d like to do next! Plus, enjoy the five-page preview of Pathfinder #2, give to us by our friends at Dynamite!
TFAW.com: How did you become involved with the Pathfinder comics?
Andrew Huerta: [Pathfinder writer] Jim Zubkavich found me on Deviantart and was a fan of my artwork. When Dynamite hired Jim to be the writer for Pathfinder and they didn’t have an artist for the book yet, he recommended me along with some other artists. I sent Dynamite some samples with some character designs, and the rest is history.
TFAW.com: Had you played the game previously?
AH: I have not. One day I hope to remedy that, though.
TFAW.com: How closely involved was Paizo when it came time to design the characters, etc.
AH: There hasn’t been much designing on my part. Everything I’ve drawn has already been designed by Paizo and their various artists. I mostly just look at the game books and Internet for reference to make sure everything stays consistent with the comic and game.
TFAW.com: What were the most challenging aspects of creating this world?
AH: The toughest part for me is trying to make Pathfinder feel and look epic. Another thing is making Pathfinder look familiar and unique at the same time, but also try to make it feel like this world could really exist.
TFAW.com: What’s your favorite type of scene to draw?
AH: I like the quiet scenes that don’t have any dialogue. It puts all of the storytelling weight on the art alone, so I have to make sure everything from the expressions, pacing, and body language is on point.
TFAW.com: How did you get started drawing comics?
AH: I started as a freelance artist drawing a lot of indy books and various commission work. One job lead to another, and now I’m finally here.
TFAW.com: Who are some of your favorite artists?
AH: There are too many. I love any of the Japanese artists on properties like Final Fantasy, Xenogears, Legend of Zelda, and Breath of Fire. Guys like Frank Frazetta, Joe Madureira, Akira Toriyama, Yoshitaka Amano, Moebius, Bengus, and Kentaro Miura. I try to figure out why their work has so much appeal and apply that essence and energy into my work. I’m also figuring out how to maintain the quality in my art while still being fast.
TFAW.com: What comics are you reading right now?
TFAW.com: What type of project would you like to tackle next?
AH: I love working on well-known properties and other people’s ideas, but I’ve been really getting the urge to work on my own stories. I have a few ideas and one day I hope I get the chance to bring those ideas to life.
Our thanks to Andrew Huerta for a great interview. Still haven’t read the new Pathfinder comics? Issue #1 is still available on our site: order it, and issues #2 through #4 today!
Which comic books are you looking forward to this week? Post your comments below!
Writer (and co-founder of digital publisher Monkeybrain Comics) Chris Roberson has worked on such a wide variety of projects, he’s impossible to pigeonhole–which means we sit up and take notice whenever a new project is announced. So when we heard that Roberson, who has written for such disparate projects as Cinderella: Fables Are Forever, Star Trek Legion of Super-Heroes, and Memorial, was bringing five (at least!) classic pulp heroes together for Masks, we had to chat with him about it for our Behind the Masks event. In Masks, the Green Hornet, Kato, The Shadow, Zorro, and The Spider team up to fight a corrupt government in the 1930s, and issue #1 features fully painted interiors by Alex Ross!
Roberson fills us in on what it’s like to write for the original masked heroes, names his favorite comics, and tells us what’s coming up next. While you’re here, check out our four-page preview for Masks #1, and pre-order it this September to save 35%!
TFAW.com: Since leaving DC, you have a reputation of being selective with your work-for-hire projects. What was the lure of Masks?
Chris Roberson: I’ve been a fan of the pulp-era characters since I was a kid in the 1970s. I was the perfect age to be introduced to them during the tail end of the big pulp/retro revival that started in the 1960s and ran through the early ’80s. And as a result, guys in slouch hats and twin 45s have a habit of popping up in my writing from time to time (as early as in Book of Secrets, one of my earliest prose novels, and most recently in the pages of iZombie). Getting the chance to work on the “real deals” was a childhood dream come true.
TFAW.com: How do you feel about Dynamite’s business and creative practices?
CR: I’ve had a lot of friends who have worked for Dynamite over the years in various capacities, and not a one of them have ever had anything negative to say about their experiences with them. As for their creative practices, I only have the finished product on the stands by which to judge them, and I’ve been a big admirer of a lot of the work they’ve been putting out in recent years, and in particular things like their Lone Ranger, Green Hornet, Kirby: Genesis, and Shadow titles.
TFAW.com: We live in an age of pumped-up superheroes and otherworldly alien invaders — why should readers care about these older pulp heroes? Why do they still matter?
CR: I think the fact that these characters are continually reintroduced and reimagined suggests that readers still find something appealing about them. But speaking purely as a fan of superheroes and the like, I find it fascinating to go back and revisit the roots of that genre, and the kinds of characters and stories that inspired the creation of the superheroes in the first place. But the fact that these are (by and large) normal men and women who are inspired to put on masks and fight for justice is itself really interesting to me, both as a reader and as a writer. And by distilling it to guys and gals in masks fighting crime, without the louder, wide-screen elements that superhero comics have become known for, it’s easier to get at the essential ideas behind the notion of masked avengers.
TFAW.com: What do the Green Hornet, Kato, Zorro, The Shadow, and The Spider each bring to the table?
CR: Well, first and foremost, each of them are very different characters. They all might wear masks (or at least concealing scarves!) and operate outside the law, but the reasons that they have chosen to do so, the means that they employ, and the goals they’re fighting for, all are very distinct. One of the main things we’ll be doing in the pages of Masks is examining how they are similar, and where they differ.
TFAW.com: What are the most exciting aspects of bringing all of these characters together?
CR: I suppose you could say that I was ruined at an early age by exposure to the work of Philip José Farmer, a science fiction novelist who played a sort of literary game starting in the 1970s in which he imagined that all of the pulp and literary characters he grew up loving had been part of one enormous family. And aside from the occasion crossover between one or two characters, we haven’t really seen all of them in a wide-scale “crossover” in the “line wide” sense of the term as it’s used in superhero comics today.
TFAW.com: How familiar were you with these characters before you started the project?
CR: I started researching for this assignment when I was about eight years old, I think.
TFAW.com: What’s it like seeing your work painted by Alex Ross?
CR: Are you kidding?! I still haven’t managed to convince myself that it’s actually happening, and that I’m not just sitting in a corner somewhere drooling, imagining my whole life!
TFAW.com: Which of these heroes is most like you, and which do you wish you were most like?
CR: Ha! Well, I’m not proficient in any martial art, I’m a horrible shot with a handgun, I don’t own a mask, and I spent my nights at home with my family instead of out fighting crime. So I don’t know that I’m much like any of them, to be honest!
TFAW.com: What do you think are your strengths and weaknesses as a writer?
CR: I type very fast and I’m horrible at estimating large numbers.
TFAW.com: How do you handle periods of self-doubt or, god forbid, writer’s block?
CR: I don’t believe in writer’s block, per se. But there are moments when the well of inspiration runs a little dry. My answer to that is to always be working on more than one project at a time, so that if I hit a rough patch in one project, I can switch over to working on another for a while. Invariably when I do that, the solution to the first problem occurs to me while I’m busy doing something else.
TFAW.com: What inspires you about the comics industry today?
CR: Great comics? It sounds facetious, but it’s true. I would argue that there’s a greater number of fantastic comics being produced now than at any point in the medium’s history, and especially if you extend the definition of “comics” to include web comics, original graphic novels, graphic literature for kids, and so on. There’s so much amazing work being published these days that I find it very hard to keep up. And all of that inspires me to want to make the best comics than I’m capable of making myself!
TFAW.com: What titles would you recommend?
CR: My list changes from day to day, so if you asked me tomorrow you would probably get a completely different list. But today, my list is probably Atomic Robo, Sixth Gun, Saga, Fatale, Prophet, Multiple Warheads, Mudman, anything by Kate Beaton, anything by Lucy Knisley, Adventure Time, Godzilla: The Half Century War, Dresden Codak, Study Group Comics, and of course the fantastic offerings of Monkeybrain Comics! Anyone that hasn’t read Kurt Busiek’s Astro City owes it to themselves to do so. Anyone who hasn’t read Brandon Graham’s King City is missing out on something truly amazing.
TFAW.com: You’ve got a thriving career in both prose and comics: what’s next for you?
More comics and prose, of course! I’m hard at work on Reign, the new ongoing that Paul Maybury and I are doing at Image, Rich Ellis is busy drawing the next installment of Memorial for IDW, Dennis Culver and I are rocking along with Edison Rex, and there’s a lot of other stuff in the works I can’t talk about yet!
Our thanks to Chris Roberson for answering all of our nosy questions. Pre-order Masks #1 now and save 35%!
Are you a fan of classic pulp heroes? Post your comments below!
Green Hornet. The Shadow. Zorro. The Spider. Kato. They — and other classic pulp heroes — are joining forces this November in Dynamite Entertainment’s Masks, a new ongoing series from Chris Roberson and Alex Ross.
Need to get caught up on who’s who? As part of our special “Behind the Masks” promotion, we’re offering character bios on these iconic heroes, starting with the Green Hornet!
The original Green Hornet, who is starring in Masks, is a — ahem — masked crime fighter created by George W. Trendle and Fran Striker for an American radio program in the 1930s, who has gone on to star in film serials in the 1940s, a network television program in the 1960s, and multiple comic book series from the 1940s to the 1990s.
Britt Reid is a newspaper publisher by day who goes out by night in his masked “Green Hornet” identity to fight crime as a vigilante, accompanied by his trusted associate Kato, driving a car equipped with advanced technology called “Black Beauty.” The Green Hornet is often portrayed as possessing fair to above average hand-to-hand combat skills and is often armed with a gun that sprays knock-out gas (a sonic blast weapon called the “Hornet’s Sting” was added to his arsenal for the TV series).
One intriguing aspect of the character that tends to be given limited exposure is his blood relationship to The Lone Ranger, another character created by Striker. The Lone Ranger’s nephew was Dan Reid. In the Green Hornet radio shows, the Hornet’s father was likewise named Dan Reid, making the hero the Ranger’s grand-nephew!
From the radio series: With his faithful valet Kato, Britt Reid, daring young publisher, matches wits with the Underworld, risking his life so that criminal and racketeers within the law may feel its weight by the sting of the Green Hornet!
Masks #1 will feature fully painted interiors by Alex Ross — his first since 2003! Make sure to pre-order Masks #1 today and save 35%. To read more adventures of the original Green Hornet, check out Green Hornet Year One. Or, read all about Britt Reid Jr., and his (female) Kato, Mulan, in Dynamite’s ongoing Green Hornet series!
Millions of players can’t be wrong: Pathfinder, the award-winning, best-selling fantasy RPG, is one of the most popular games in the world. Released in 2009 by Paizo Publishing, Pathfinder has gained a legion of fans who are passionate about its exciting adventure paths, dynamic characters, and multiple expansions.
Speaking of “expansions,” the next step toward total world domination takes place this week, with the debut of Pathfinder comics from Dynamite Entertainment! We had the chance to interview writer Jim Zub and Paizo Publisher Erik Mona about this exciting new series and what it holds for fans.
Make sure to check out our five-page preview of Pathfinder #1, out this Wednesday. Plus, make sure to “Like” TFAW on Facebook and take part in our contest, beginning at 9 a.m. PST August 15, to win an amazing prize package including a copy of the Rise of the Runelords Adventure Path Anniversary Edition hardcover, signed by the entire Paizo staff, a copy of their newest release, the Pathfinder RPG: Ultimate Equipment hardcover, and two copies of Pathfinder #1 signed by the series’ creative team! Plus, three runners’ up will receive signed issues of Pathfinder #1. Make sure to visit us on Facebook August 15 to enter our contest.
TFAW: How did you become involved with the Pathfinder comics?
Jeff Zub: I’ve known Erik Mona, Publisher at Paizo, for years and did some work with him and the Paizo gang back when they were publishing the Dungeons & Dragons magazines. As their company grew and they started Pathfinder around five years ago we stayed in contact, would see each other at conventions and would talk about comics, gaming, and entertainment.
Last year at Gen Con in Indianapolis, Erik mentioned to me that a Pathfinder comic was a possibility and I told him to keep me in mind for writing. Good to his word, when Dynamite Entertainment licensed Pathfinder for comics, he put my name forward as a possible writer for the series. I put together a pitch package and it impressed both Paizo and Dynamite enough that they put me on board.
TFAW: I read in a previous interview that you started playing Dungeons & Dragons when you were 8; did you also play Pathfinder when it debuted?
JZ: I did play Pathfinder when it launched and, although I’m too busy to maintain a regular campaign right now, I do try to find time to play. Tabletop role-playing games are a wonderful source of creativity and I always enjoy collaborating with friends over a gaming session.
TFAW: Can you talk about the process behind and challenges of taking an RPG and turning it into an ongoing comic book series?
JZ: When you’re adapting between any two mediums I think it’s really important to understand what makes each one tick. You want to maintain the strengths of each medium in the adaptation process. Fantasy role-playing games focus on creating an in-depth and compelling setting players can use as the canvas for their story and character ideas. At first glance it might be tempting to show tons of world-setting material right off the bat, but the actual focus of game sessions is on interesting character stories, so that’s what we’re building from for the comic. We get to use the comic medium to its full advantage, telling a visual character-centric story, while slowly widening the view of Golarion with each adventure.
TFAW: How involved was Paizo Publishing?
JZ: Paizo’s been heavily involved, but not in a bad way. They’re obviously the Pathfinder experts and it’s been wonderful bouncing ideas off of the staff there. They’ve been really good about allowing me to build the characters and overall plot for the comic, while making great suggestions about setting, rules elements that can be incorporated seamlessly, and tiny details fans of Pathfinder will be thrilled to see.
TFAW: Can you introduce us to your debut storyline? What characters are featured?
JZ: The goblin clans of Varisia, Pathfinder fan-favorite antagonists, are being controlled by a strange evil force that’s motivating and organizing them. The adventurers are drawn in thinking they’re dealing with a regular goblin raiding band, but quickly realize something much larger is at stake. The mystic forces being called upon by the cult at the heart of this dark plan are creating something much more dangerous, a horrifying creature that will threaten the whole region if it’s not stopped.
Valeros is a mercenary fighter who has disobeyed orders so many times he’s not quite sure how to be loyal to anything or anyone. His courage and temper make him a formidable and dangerous warrior.
Seoni is a mysterious sorcerer whose tattooed body and mystical dreams make those who first meet her wary of her power. Strangers may call her a barbarian based on appearance, but her keen strategic mind gives her a distinctive edge in battle.
Merisiel is an elven rogue whose glib banter and flashing smile lead people to assume that she’s unintelligent and shallow. Her fears and long-lived life drive her in ways few will ever understand.
Harsk is a quiet and contemplative dwarven ranger with deeply-sown seeds of vengeance and anger buried under the surface.
Kyra is a battle-hardened cleric of Sarenrae who will stop at nothing to destroy evil, constantly testing her faith and will against those around her.
TFAW: Your creator-owned book, Skullkickers, also a fantasy book, contains quite a bit of sly humor that pokes fun at the genre. Is there any of that in Pathfinder?
JZ: Pathfinder is far more character-focused, with a larger cast and more involved plot. There is some humor in Pathfinder, but it’s more character personality-driven rather than the overarching sarcastic and over-the-top tone of Skullkickers. I think even the most serious and dramatic stories need a bit of levity to help create highs and lows in the story.
TFAW: What is it about fantasy that attracts you, as a writer?
JZ: Good question! There’s something primal and wonderful about myth and fantasy stories. The genre seems very open to massive scale creation and expansion, wielding larger-than-life forces and creating situations that reflect on our common ideas about heroism, sacrifice and belief. The lack of modern conveniences infuses these stories with a greater sense of survival and self reliance, which I also find really intriguing as a writer.
TFAW: Are you tempted to write for the games themselves?
JZ: Hmmm . . . I’m not sure if my story building would lend itself to game adventures. I love gaming and have created adventures for friends over the years, but it would be tough coming up with an “official” game scenario that has to be able encompass just about any group plugged into it. The Paizo crew is really good at what they do, so I’d definitely need their guidance. If they asked me I’d definitely have to consider it.
TFAW: What’s next on your wishlist: what type of comics do you want to tackle next?
JZ: I have a horror mini-series I’m slowly developing, as well as a supernatural thriller with a neat story hook I’m excited about exploring. I also have concepts for a dystopian super-soldier story and a fantasy graphic novel for kids. It’s hard to know which one will gain traction based on artist availability and publisher interest, so I try to keep each one slowly moving forward until one of them really heats up. My fingers are crossed that they all happen at some point down the road.
TFAW: Erik, what is it about Pathfinder that’s made it so incredibly popular, in your opinion?
Erik Mona: The Pathfinder RPG lets you create any kind of fantasy adventurer you can imagine, with robust rules for different character races and classes, and tons of special abilities that let you pull off in tabletop combat the sort of spells and combat moves that you imagine in your head. That’s a hugely compelling experience for gamers, and as Pathfinder games go on and on, players have lots of chances to develop their characters in any way they want. The game is very flexible and very fun, with diverse elements like tactical combat and even a touch of improvisational play-acting, so there’s a little something to keep everyone interested.
TFAW: Why was now the right time to launch a Pathfinder comic?
EM: We launched the Pathfinder brand about five years ago, and in that time it’s managed to overtake the previous industry flagship game to become the best-selling tabletop RPG on the market. More gamers are aware of Pathfinder now than at any time in the past, and even those who have never played it have certainly heard of it. Since many gamers are also comics fans, now seemed like the right time to launch a Pathfinder comic to show everyone what all the fuss is about.
TFAW: Can you describe your vision for the comic?
EM: Ever since the beginning, we’ve included a party of “iconic adventurers” in the illustrations of all of our Pathfinder products. Folks like Valeros the fighter and Seoni the sorcerer have been around since the first day of Pathfinder, but I’ve always been holding back on telling their back stories and establishing their personalities, as I felt from day one that a comic book would be the best medium for that type of story.
In our game books, the iconic characters are stand-ins for the adventurers that the players will create to tell their own stories, so it’s not really appropriate to put too much detail into these guys there. But fans have been wanting to know more about them since they first came on the scene, and I’m thrilled that the comic finally gives us the opportunity to do it right.
TFAW: What made Dynamite the right publisher?
EM: Dynamite has a great track record with licensed properties, and their books always look absolutely great. Over the years I’ve gotten to know the core Dynamite team from conventions both of our companies attend, and I’m impressed by their knowledge and love of comics, their ability to create great-looking books based on existing properties, and their commitment to quality art and story. We spoke in general terms about working together for about a year before both companies decided (pretty much at the same time) that the time was right to move forward with a cooperative project.
A better question than what made Dynamite the right publisher, though, is what makes Dynamite the right publisher. In the months since we signed on with them, they’ve gone above and beyond to assemble a fantastic creative team for the book, and the cool variant and incentive covers they’ve put together continue to blow us away. Working with their editors and production people has been a joy, and everyone at Dynamite has been great about incorporating our feedback and thoughts (and game content, of course!) into each issue. I knew Dynamite would be a great partner before we gave them the license, and now I am absolutely sure of it.
TFAW: How involved were you in the creation of the comic, and selecting the creative team?
EM: I have been pretty heavily involved in the decision-making regarding just about every creative element of the book. I have a long history with Jim Zub, as he was one of our most important contacts on the art side of Dragon and Dungeon magazines, which we used to publish. Jim coordinated all of the artists at Udon Studios and often did art for us himself, so I knew he had a lot of knowledge and passion for tabletop gaming that would serve him well on this project. Plus, his comic Skullkickers perfectly captures the zanier side of the sorts of things that happen in a Pathfinder game, so I knew he could handle the somewhat more serious subject matter we’d be covering in the comic in a way that still rang true for gamers.
I decided which of our six iconic characters would star in the series, where the series would be set (in the town of Sandpoint in the frontier nation of Varisia, home base to many Pathfinder adventures), and what sort of game content will be included in each issue. I also decide what images to put on the flip-side of the poster map included in each issue, and once Jim was in place I helped him and series editor Rich Young decide on Andrew Huerta as our penciller. I also lead the team here at Paizo that reads, comments on, and approves all of Jim’s scripts, and I sign off on every page of art as it is finished. I’d say I’ve been relatively “hands on” with the project so far.
TFAW: What specific aspects of Pathfinder did you want to feature in the comic?
EM: I want to show how our iconic characters met, what their personalities are like, and how they relate to one another, things that are almost impossible to show in our RPG books, where they stand in as proxies for the player characters of the readers. I want to use the comics medium to show off the broad vistas and weird creatures that inhabit the Pathfinder world, and I want to produce an accessible story that reveals the excitement and awesomeness of the Pathfinder world to folks who haven’t yet given the game a try.
TFAW: What’s the next big thing coming up from Paizo?
EM: Next week we head to Gen Con, the biggest convention in the game business, where we’ll be formally debuting the comic with both Jim Zub and Andrew Huerta on hand to meet with Pathfinder fans, draw character sketches, and autograph comics. At the show we’ll also launch lots of brand-new products like Ultimate Equipment, a 400-page hardcover magic item catalog, a 65-figure set of Pathfinder Battles pre-painted miniatures designed to support our Rise of the Runelords campaign, and the first installment of our new Shattered Star Adventure Path. It’s going to be great!
We want to thank Jim Zub and Erik Mona for taking the time to answer all of our questions. You still have time to pre-order Pathfinder #1-3 and save 20%. Plus, remember to enter our Pathfinder contest on our Facebook page August 15 starting at 9 a.m. PST to win sweet swag from Paizo and Dynamite!
Are you a Pathfinder fan? Are you looking forward to the comics? Post your comments below!
Dynamite Entertainment has kept the sneak peeks coming with a look at these titles! We have comic book previews of four new comics: Garth Ennis Jennifer Blood TPB Vol. 02 #5, Jim Butchers Dresden Files Fool Moon #7, Pantha #3, Red Sonja Atlantis Rises #3, Thun’da #3 , Vampirella #3 , Vampirella Annual #2 , Vampirella #20 , and Warriors Of Mars #4 . Do you want to see the first four or five pages? Just click one of the covers.
Are you a Dynamite fan? Which books look good to you? Post your comments below!
George R. R. Martin’s epic Game of Thrones has never been more popular, with millions of fans breathlessly awaiting the premiere of Season 2 of the HBO show on April 1. This dark medieval fantasy has ignited demand for collectibles–make sure to let your visitors know about the comics, merchandise, games, and more at TFAW.
Dynamite Entertainment’s Game of Thrones comic-book series has been extremely popular, and Game of Thrones HC Vol. 01, collecting the first six issues, is out March 14. We’ve got a behind-the-scenes interview with preview art here!
But that’s only the tip of the iceberg: Dark Horse Deluxe is releasing a full line of amazing Game of Thrones merchandise, including mugs, journals, playing cards, magnets, and more this spring, emblazoned with images from the popular TV series.
Don’t forget about the Game of Thrones board and card games, too!
Are you looking forward to Season 2 of Game of Thrones on HBO? Post your comments below!
Sit down and enjoy this week’s comic book reviews! We take a look at Batman #6, Army of Darkness #1, Star Wars: Dawn of the Jedi #1, and the Astonishing X-Men Whedon Cassaday Ultimate Collection Vol. 1 TPB.
Check out the video, below. SPOILER ALERT! We try not to go into too much detail in our reviews, but a few mild spoilers might slip through the cracks!
What did you think about this week’s comics? What should we review next week? Post your comments below!
Dynamite Month has been an amazing event chock-full of great interviews, exciting previews, and excellent contests–hope you enjoyed reading them as much as we enjoyed putting it all together! We’re closing out the month with an inside look at the She-Devil With a Sword, Red Sonja! We talked with writer Eric Trautmann and artist Walter Geovani about strong women, period weaponry, and what’s next for Sonja. Plus, we’ve got a five-page preview of Red Sonja #58, with art by Noah Salonga–Walter will return with issue #62.
[UPDATE]: We have some exclusive character designs from Walter Geovani, below–make sure to check them out!
TFAW.com: Eric, what drew you to Red Sonja, as a writer?
Eric Trautmann: I have a weakness for tough, determined, skilled female protagonists. A touch of larceny and mischief never hurts, either.
TFAW.com: Red Sonja is often characterized as the “female Conan”–do you think that’s accurate? How do you see her?
EST: I can certainly see that comparison being made but I think, despite those similarities (and sure, there are many), I view them as quite distinct. Conan’s initial motivation to leave his homeland was restlessness: he’s an action junkie. Sonja’s own origins are considerably darker and nastier, and to an extent, I think she’s definitely more motivated by anger, and perhaps a touch of survivor’s guilt. Over the course of the Red Sonja issues I’ve written, I have tried to bring a sense of consequence to her actions–that it isn’t just lighthearted, swashbuckling adventure, and when the sword is drawn, there’s definitely a price to be paid.
TFAW.com: There’s been a lot of controversy recently about the depiction of “sexy” women in comics. In your book, Red Sonja is attractive, but she’s also a warrior and a strong, assertive woman. How difficult is it to avoid the trap of writing her as just eye candy?
EST: Not terribly. It doesn’t really matter if the character is male, female, or unspecified alien other; if you’re writing the character as honestly as possible, then the character should (if I do my job properly) read as a real person, not just exposed flesh.
TFAW.com: You’re also the writer behind Vampirella, another classic femme fatale. How does she compare to Red Sonja?
EST: There are definitely some similarities, sure. I’ve taken Vampirella down a darker path than she’s been down in a long while, and she, like Sonja, is coping with issues of guilt and loss, in addition to the more overt, external threats of monsters, ancient gods, and so on. I think they do read rather differently, as the two women cope with this “baggage” much differently.
Where Vampirella is prone to brooding, and hurls herself into dangerous situations specifically to occupy herself and not dwell on her demons, Sonja is much more able to access her emotions. Vampirella will go find a horrible monster to fight; Sonja will dance on tables, drink a tavern’s worth of ale, sing bawdy songs.
TFAW.com: The comic-book character of Red Sonja is loosely based on Robert E. Howard’s Red Sonya of Rogatino, but there isn’t a lot of “canon” to draw on, as there is with Conan. Where do you find inspiration for your stories?
EST: I must confess that the first arc, “War Season” (which ran from issues #51-54, with an epilogue in #55) is a love letter to a Conan the Barbarian arc written by James Owsley, which I read when I was in high school. It was a terrific run (with art by Val Semeiks and Geoff Isherwood), huge in scope, with armies clashing and Conan as a mercenary general.
After that, inspiration comes mostly from Sonja herself. I’m not one of those writers who says the character “tells me the story, and I just write it down,” but I find her so fascinating and compelling that I’m eager to see what new, crazed situation I can put her in to see how she prevails.
TFAW.com: Were you a fan of the original Marvel Red Sonja comics?
EST: I was. And Conan the Barbarian, and King Kull, and Savage Sword of Conan, and . . .
TFAW.com: What’s next for Red Sonja?
EST: Once the current arc wraps up with issue #59–where Sonja has a pivotal role in the politics of the nation, Koth–there’s a done-in-one “anniversary” #60th issue. We’ll see Sonja have an encounter with a sort of opposite number, as she moves away from Argos, Shem and Koth (where I’ve kept her for most of my run) and into the ancient, mysterious kingdom of Stygia.
Issue #60 features the return of artist Patrick Berkenkotter, who did a magnificent job following Walter Geovani, with the self-contained issue #55, and as a guest artist on issue #59. It’s just lovely, muscular work that reminds me of Ernie Chan’s line, which is a perfect fit.
We’ll be in Stygia for several issues, starting with issue #61. Walter returns to the art chores, and he continues to wow me with his excellent action and character work. The new arc finds Sonja and a new group of allies being pulled into an ancient grudge match between religious and political factions in Stygia, and all tying back into the aftermath of “War Season.”
TFAW.com: There’s been many rumors about a Red Sonja movie by Robert Rodriguez. What advice would you have for him?
EST: I’m not sure I’d presume to give him advice, but as a fan, I’d like to see a Sonja movie played seriously, and focusing on the things I admire in the character: strength, determination, cunning. She’s a thief and a bit of an opportunist, so a medieval caper film would be a treat.
TFAW.com: What other projects do you have coming up?
EST: You’ve mentioned Vampirella, of course. And in November, my first issue of Dynamite’s Flash Gordon hits store shelves. The serial, entitled “Zeitgeist,” is set in the 1930s, and has benefited tremendously from story and art direction from Alex Ross, and will be illustrated by the incredibly talented Daniel Indro. Very different from the blood, thunder, and death I typically end up writing.
TFAW.com: Walter, were you always a fan of the sword and sorcery genre?
Walter Geovani: I’ll be honest, I never liked this genre. And it caused me some problems in the beginning, because I had to learn and adapt to that medieval world.
I never liked it until I started working on it. You know when you don’t like something just because you don’t know it? That was it. The more I worked on Red Sonja, the more I found how cool it was to be drawing all that stuff.
TFAW.com: Who were your influences, growing up?
WG: I could write a lot of names here, but there’s one name that’s the most powerful influence in my work: Marc Silvestri. And my inspiration to do medieval stuff: Frank Frazetta (of course), and Barry Windsor Smith.
TFAW.com: I’ve noticed your Red Sonja is a bit more covered up than she has been, traditionally. Was that your idea, or Dynamite’s?
WG: It was Dynamite’s idea. Or Eric’s idea. Or both. The fact is, that idea came at the right time in my career. I decided to focus on storytelling and set aside my pinup style and sexy poses. So, covering her up, it helps me to call the readers’ attention to that and make them stop thinking that I was only an “artist of sexy girls.” I’m glad it worked.
TFAW.com: How difficult is it to depict a “barbarian age” while keeping modern readers in mind?
WG: I think that if the story is good, it doesn’t matter the genre, or the age. But I know a lot of people who don’t give a chance to this kind of book (or movie, or cartoon) just because they think it’s impossible that a good story can come from it. It’s the “you don’t like something just because you don’t know it” thing, I think.
So what I try to keep in mind is to work hard to make a great book, so when a new reader gives it a chance, maybe he’ll change his mind and end up enjoying it. And I work hard to not disappoint the fans who do like these kind of stories.
TFAW.com: What kind of research did you have to do to draw all of those fight scenes? Do you draw period weapons, or do you design your own?
WG: I draw period weapons, I design my own–I do a mix. That’s the good thing about this genre, you can use your imagination and play with stuff, and nobody can say it’s wrong. It just needs to be cool. My action scenes are inspired movies, cartoons, and comic books I like.
TFAW.com: Do you have a favorite character or type of scene to draw?
WG: There are three characters I loved to draw: Rogatino, Valkos (Red Sonja: War Season), and Sofia (Vampirella). I like to draw scenes with emotion. I like to draw the characters laughing, or angry, or crying. If I do it it right, if I capture the emotion of the story, that makes me happy.
TFAW.com: What comics are you reading right now?
WG: I’m reading Scalped, American Vampire, Joe the Barbarian, and New Avengers. Unfortunately, Dynamite’s books are not published here in Brazil, because they [Dynamite] have a lot of good stuff.
TFAW.com: If you could choose another comic to draw, what would you pick and why?
WG: Vampirella. Because I love the character. She’s sexy, she’s badass, and the book is dark. I’d like to draw Flash Gordon. One of the few male characters I’d really like to draw. Masquerade would be great to draw, too.
TFAW.com: What else do you have coming up?
WG: I’m back to Red Sonja monthly. She has new allies and we’ll be in Stygia. Eric is writing a great story that I’m having a lot of fun drawing. It’s getting darker and more mysterious each issue. Stay tuned!
Our thanks to Eric and Walter for a fantastic interview. Make sure to check out our selection of Red Sonja comics and graphic novels and save 10-35%.
Have you been enjoying Dynamite’s Red Sonja? Post your comments below!
We’re coming to the end of Dynamite Month, but we still have some excellent interviews up our sleeves. Today we’ve got an in-depth interview with Todd Herman, the artist for Dynamite’s upcoming revamp of the Patricia Briggs’ Alpha & Omega: Cry Wolf comics!
He talked with us about the difficulties of learning wolf anatomy, what advice he’d offer to aspiring artists, and what he used as inspiration for the book. Plus, take an exclusive peek at his Cry Wolf character designs, including his original “Anna,” which he changed dramatically after reading the book!
TFAW.com: How did you become involved with Alpha & Omega: Cry Wolf?
Todd Herman: I became involved with Cry Wolf because of editor Rich Young. I had been doing pencils for Rich on Warriors: Jailbreak at Dabel Brothers, which I got involved with because Rich and I go way back from his days at Dark Horse. When Dabel acquired the rights to Warriors, Rich had heard me vocalize my interest in doing Warriors material enough times that he approached me (and my collaborators Erik Henriksen and Herb Apon) to make a pitch. Fast forward a few years later when Dynamite Entertainment acquired Dabel’s properties, including Jailbreak, and Rich (who was now editing for Dynamite) said he thought I’d be appropriate for a new book they were doing called Cry Wolf and asked if I would be interested in sending them a few tryout pages. I did, and the author of Cry Wolf [Patricia Briggs] chose me out of the handful of artists they were considering for the book!
TFAW.com: Have you read the books at all?
TH: I had not read the books before embarking on the material. I had heard of Patricia Briggs and the character Mercy Thompson, but Cry Wolf and Anna and Charles were new to me. Since I started the book I’ve read Cry Wolf and Hunting Ground, they’re great!
TFAW.com: What was the most challenging part of designing the different characters?
TH: Ha! Well . . . designing the characters was a lot of fun, I think the only real incongruity was that the tryout pages I did were based on the covers of the novels, other than that I was going on very little knowledge of the characters. However, once I got the job, read the script, and read the first novel, I realized that Anna was a much more subtle character than the one portrayed on the cover of the books, I love those covers, but she looks like a larger-than-life superhero on them, and that wasn’t really going to work for the very human aspect of the story we were trying to tell inside the book.
Also, I had to pay special attention to the height and size of the characters. Patty is pretty specific that Charles and Sam are very tall in the books, while Asil, Anna, and Bran are considerably shorter. Dressing them all in Western wear that said more Montana then Texas was a fun challenge! Oh, and also I had to sync up some of my character designs with that of artist Amelia Woo, who is drawing the Mercy Thompson comics. Certain characters cross over, and I had to make sure I was on the same page as she was.
TFAW.com: Was it difficult to draw all of the wolves? How did you prepare for that?
TH: Drawing animals is definitely not my forte–it took me a long time just to learn human anatomy–and previously, when I’d had to draw dogs or horses or birds in a comic or animation, it was usually just for a panel, if that, so it was easy to Google an image that I could crib from. But with this book, the wolf counterparts of the characters are a major part of the book, so I had to really break down wolf/dog anatomy, not to mention learn how in the world to draw fur, and make sure it didn’t look like I was just copying a photograph.
In particular, it made me really admire all over again guys like Arthur Adams who can draw any animal on the planet just as expertly as his best drawings of Batman, She Hulk, or Wolverine. In fact I remember one of the very first conventions I went to when I was trying to break in, I’d shown Arthur a pin-up of the Challengers of the Unknown that I’d drawn, where one of them was riding an elephant. I was really, really proud of that drawing, and the first thing out of his mouth was, “You really don’t know anything about drawing elephants, do you?” Ha! He was right!
TFAW.com: How do you differentiate between all of the wolves, to make them recognizable?
TH: Mostly it’s through size and color. Most of the wolves are a variation on the same basic structure but have specific markings or eye color, according to Patty’s books. I made up a list of the wolves for my editor to give to the colorist early on, being specific, for instance, that this one has a silver tail, or black paws, or that when they’re using their magic their eyes are blue, or yellow. And then I’ll usually send a diagram of a page for my editor to forward to the colorist, labeling who each wolf on each page is so the colorist can keep track!
TFAW.com: Did you draw inspiration from any other artists for this?
TH: Well, I initially looked real carefully at Mike Mignola’s Wolves of St. August, mostly just to see how he drew his werewolves. But Mike’s so iconic and stylized that it’s good to study him and then step away–if I tried to draw like him I’d just make a fool out of myself. After that my inspiration was Alex Toth’s romance stories from the ’50s, ’60s, and ’70s, which I’m fanatical for. This book, despite having werewolves, is primarily a romance, and nobody but nobody did romance like Toth.
In particular, I looked at the way he drew facial expressions and body language, the way he could draw a look of longing for another on a person’s face, the subtlety when their hands would touch, and of course, the way he drew a kiss. Best kisses in comics, hands down. I love how the man would place his hands on a woman’s face as he kissed them, almost holding her head counterclockwise and upside down. Really, deeply moving stuff. Toth could upstage Klimpt when it came to drawing an embrace, in my opinion.
Oddly enough, my other inspiration was Jim Steranko, who I’m in the process of rediscovering. When Marvel reprinted his graphically innovative Nick Fury books in the ’80s I snapped ’em up, and included among the reprints was a rarely seen gem, a romance story he did with Stan Lee called My Heart Broke in Hollywood, which I’ve always loved. When I got assigned Cry Wolf, I remembered that story, which I hadn’t seen in years, and I dug it out and fell in love all over again. In particular, the flat line approach of the drawing, the graphic design-inspired stylization of the women, and the very dreamy quality of the page layouts . . . Steranko, baby!!! Do yourselves a favor and look him up if you’ve never seen his work, his influence is more pervasive than ever in modern comics. Plus Stan’s dialogue on My Heart Broke in Hollywood is so corny and hilarious even for him, it’s gotta be read to be believed!
TFAW.com: Why do you think people love werewolves so much right now?
TH: Do people love werewolves right now? I’d assumed the enduring fad was and always will be vampires! Good question, I think that werewolves are a classic. Like Dracula, Godzilla, and Frankenstein, they’re probably the most easily recognized and most enduring of monsters, and can be interpreted any number of ways, and I’m sure that the romantic interpretation of them is always going to be popular, plus if you’re going to have the power to turn into any animal, well . . . a dog is probably too much of a pet, horses are generally too big and limited in an emotional setting, and fish, lizards, and birds have less emotional range.
I don’t know, wolves are sexy and slightly dangerous, they have an edge! My own view on the enduring human fascination with werewolves is that it boils down to a evolutionary fear of predatory animals, despite being at the top of the food chain, coupled with our own human fear deep down psychologically that we’re animals, too. That’s a concept that in my opinion many humans have trouble coming to grips with, especially considering how we’ve treated animals historically as well as in our everyday lives.
TFAW.com: You’ve done several horror comics in the past, including The Fog and Cut, but this is more like a horror-romance comic. What changes to your style did that require, if any?
TH: Considering that the bulk of my work so far has been horror, Westerns, fantasy/adventure, or something along those lines, this book wasn’t too much of a stretch, coupled with my aforementioned love of romance comics!
TFAW.com: What were your favorite comics, growing up?
TH: All of them. Seriously. Charles Schultz, newspaper comics, Spider-Man, anything by Gil Kane, Curt Swan’s Superman. Anything by Bill Mantlo, his and Michael Golden’s Micronauts were pretty huge. I know everyone likes to cite EC and Warren, but when I was a kid I loved going to the barber shop because they had copies of The Witching Hour, House of Mystery, The Unexpected, Secrets of Sinister House, etc. I have enduring fond memories of discovering Frank Miller’s Daredevil, and Matt Murdoch’s heroism despite his ever-disastrous love life.
TFAW.com: You’ve been involved with comics and animation for years now. Do you have any advice for fledgling artists?
TH: Oof. That’s an interview in and of itself. If you show your work to a professional, try to keep your mouth shut and really listen, and take criticism well, which can really be hard, but it’s an essential part of the territory. You don’t have to agree with every bit of advice they give you, but if they’re working and you’re not, then they know something you don’t, therefore you have something to learn from them. Try to develop a simplified, pared-down style for your layouts, so that you can really get the storytelling down and firing on all cylinders before you dig in with the fun dessert part of the drawing. There’s nothing more frustrating than working really hard on a finished drawing that you’re patting yourself on the back for, but then realizing the structure of the storytelling is unsound.
If you work in mainstream comics, your editor will make you fix it, no matter how pretty your rendering is in any given panel. Beyond that, I’d say learn to draw the figure, you’ll never regret it. Try to be versatile in your style approach: different stories require varied ways of thinking. One aspect of comics that’s super cool and not to be taken for granted is that if there’s a cartoonist out there who inspires you, there’s a good chance they’re accessible, and you’ll get at least a minute or two to meet them at a signing or convention. Use that time to pick their brain, find out how they did what they did and got to be where they are, and read any and all interviews that are available. Experience life, get out of your safety zone both as a person and an artist, learn to at least appreciate the work that is diametrically opposed to yours, and it will only enrich what you are already trying to do. There’s a great Alan Moore quote I once read, “Don’t be cool. Like everything.”
TFAW.com: If you could do a creator-owned book, what would it be?
TH: Oh gosh! I’d like to do at least one original supernatural horror graphic novel in my lifetime, and one comedy graphic novel as well. My two favorite genres are comedy and horror, and I love that, to a certain extent, you can gauge their success very simply: Is it scary? Did the audience scream? Was it funny? Did the audience laugh? I’d also like to do an anthology of horror short stories, that sounds like a lot of fun. When I was growing up it seemed like superheroes were the only option for paying comics work, now it seems like the field’s more accepting to diversity, which is a dream come true! I remember thinking as a kid, wouldn’t it be cool to just draw horror comics for a living, which seemed about as realistic as flying to the moon with a jet pack that runs on Jell-O! Nowadays the field has changed, and that doesn’t seem so unrealistic. I don’t know, we’ll see!
TFAW.com: What other projects are you working on?
TH: Right now, I pretty much only have time for Cry Wolf, and I’ll be doing that book up until the spring, far as I know. I finished Warriors: Jailbreak not long ago, and hopefully that’ll be out soon, that book’s been a dream come true. Beyond that, I’d be up for more Cry Wolf if the opportunity arises. I have no idea what Dynamite’s plans are for further material, but that seems like a natural next step I’d be open to. Looks like I might be squeezing in some commercial stop-action animation work some time after the holidays, but we’ll see. Beyond that, depending on my schedule, I’ve been batting around ideas with one of my oldest partners in crime for an original horror graphic novel, or an adaptation of a very old classic horror story that is now in the public domain, but I don’t want to say any more than that for fear of jinxing it! Stay tuned!
We want to thank Todd Herman for taking a break from drawing to answer all of our questions. Make sure to pre-order Patricia Briggs’ Alpha & Omega: Cry Wolf comics here and save 20%!
Are Herman’s character designs for Cry Wolf on the nose? Post your comments below!
We first spoke with writer David Lawrence about Patricia Briggs’ Alpha & Omega: Cry Wolf back in 2009. An adaptation of Briggs’ popular werewolf series, the comic book was scheduled to be released by Dabel Brothers, the publisher that had also released adaptations of Briggs’ Mercy Thompson books. Plans hit a snag when Dabel Brothers ceased production, but the project was picked up by Dynamite Entertainment, which released issue #1 back in 2010.
Since then, fans have been eagerly awaiting the next installment of the adventures of werewolves (and mates) Anna and Charles, and their patience is about to pay off! The revamped series returns with issue #2 (titled, fittingly enough, “Second Chances”) next month, featuring longtime Patricia Briggs collaborator David Lawrence and a brand-new artist, Todd Herman. We interviewed Lawrence as part of Dynamite Month, and he explained why the series went on hiatus, whether new readers will be able to jump right in, and why it’s now better than ever. Plus, we have a five-page preview of Alpha & Omega: Cry Wolf #2 to enjoy!
TFAW.com: It’s been quite awhile since the first issue of Alpha & Omega: Cry Wolf was released.
David Lawrence: It sure has. Long enough to have a baby, I think. And sometimes it seemed like giving birth might have been simpler. But I think it was worth the wait.
TFAW.com: Will new readers be able to jump right in?
DL: God, I hope so. I’ve certainly done my best to structure the story that way. It’s a fine line, giving the reader the essential information while not bogging things down with a long recap. I’ve tried to be creative about it. I’d say if you haven’t seen the first issue, don’t be afraid, come on in. And if you have seen the first issue, the extra time and work has resulted in a much better, more entertaining comic.
TFAW.com: a specific reason for the long delay?
DL: Nobody likes to admit this about their work, but that first issue was not very good. More than anybody else I have to take responsibility for that. I can give you a lot of reasons. It was published by Dynamite, but the book was produced in the dying days of Dabel Brothers Publishing, and there was a lot going on. I was spending a lot of time trying to get business matters straightened out, for myself and other creators. I think, unfortunately, the book reflected that.
I’m grateful that instead of simply killing the project, or continuing down the wrong road, the nice folks at Dynamite chose a different path. They took a lot of time and spent a lot of money to get it right.
The scripts are 100% better because I got to focus on this instead of the business problems at DBP. The art is really wonderful and really unique. Todd Herman has this kind of Mike Ploog-Mike Mignola type of vibe that is perfect for this book. He wasn’t the safe choice, but he was the right choice, in my opinion. I feel bad for the original artist and I’m not saying the problems with the book were his fault. But this is comics, and part of starting over is inevitably giving the book a different look.
We’ve even done a new issue #1, by the way, but for a variety of complicated, contractual types of reasons, it will only appear in the graphic novel, not as a single issue.
Whew! You still awake after that answer?
TFAW.com: How much input does Patricia Briggs have with these adaptations?
DL: I hope it doesn’t sound flip if I say “As much as she wants,” but that really is the answer. First, these are Patty’s stories and Patty’s characters. I’m adapting them pretty faithfully and what Patty says goes. She reads everything. She looks at all the artwork. Patty and I have worked together for about three years now. Cry Wolf is our third trip to the park together. She understands very well the difference between telling a story in words and telling it with pictures, and I appreciate and am touched that she has a great deal of trust in me both as a writer and as a person who has the best interests of her characters at heart.
TFAW.com: One of your previous adaptations, Mercy Thompson: Moon Called has been collected in graphic novel form. What was the most memorable part of working on that project?
DL: From a selfish point of view, it might have been the moment Patty told me she liked my ending to the story better than hers. Coming from a writer of her ability that’s quite a compliment.
But in reality I’d say it was working with Amelia and watching her grow as an artist and a storyteller. I always felt that our first Mercy series, Homecoming, wasn’t really a fair reflection of her ability. She jumped on board halfway through with no time to prepare, and the artist switch left her facing just impossible deadlines. I’m glad she got a fair chance to show what she can do.
And what she can do is just gorgeous. I can give her descriptions like “the wolf looks confused” and she just nails it. What the hell does a confused wolf look like? I have no idea when I write that down. But time and again Amelia figures it out.
TFAW.com: What resonates with you about her books?
DL: I’m really a character guy more than a detailed plotter. For me, the story flows from the characters, not vice-versa. So it’s really her characterizations that most appeal to me. I have a reaction to her characters. Some of them I like very much. Mercy, of course. Zee, the metal-working gremlin, is another favorite. But even her villains are real enough to me that I understand them. Usually I pity them more than I hate them.
TFAW.com: So many of the characters in Mercy Thompson’s world aren’t quite what they seem: they have hidden sides and personas. Even Mercy herself is a bit of a dichotomy! How do you keep track of these complex characters?
DL: Part of the answer is that I keep it simple. I don’t look too far ahead. People are surprised when I tell them I read the novels one at a time. At this point Moon Called is the only novel in the Mercy series I’ve read. Cry Wolf is the only novel in the Alpha & Omega series I’ve read, and the opening novella, of course. Characters grow and change over time. If I’ve got the Mercy and Adam of book four in my head it’s tough to go back and write the Mercy of book one.
But the bigger part of the answer is that Patty creates well-rounded, compelling characters who are easy to keep straight in my head. Even the walk on parts are distinctive enough that you remember them.
TFAW.com: Patricia’s Alpha & Omega books have a lot more romance than her Mercy Thompson books, which you’ve also adapted for comics. How does that affect your creative process?
DL: I don’t think my work is affected so much by the presence of a love story at the core as it is by the fact that this is a story with two co-equal lead characters. In Moon Called and the Mercy books, Mercy Thompson is the star. Here I have to give roughly equal weight to two characters and two points of view. That can be tricky. But on the other hand, it’s easier sometimes when you have two characters who can talk to each other instead of one operating alone.
But even beyond that, I think this is more of an ensemble book than the Mercy series. I’m not saying it’s the Justice Society of Werewolves, but there are several other characters who play very large, key roles in the story.
TFAW.com: Can you introduce Cry Wolf‘s Anna and Charles?
DL: Anna and Charles are really polar opposites. Charles was born a werewolf, which makes him a one-of-a-kind creature in Patty’s world. Werewolves are made, not born. It took a great deal of love and magic to make it happen. Everything about being a wolf comes very naturally to him and he is very good at it all. He’s powerful and dominating, but maybe because of his uniqueness he’s always stood just a bit apart from everybody else.
Anna was changed to a werewolf against her will, a major no-no among the wolves of Patty’s world. It’s a crime comparable to rape to change someone without their permission. And that was only the beginning of the abuse she faced in a renegade wolf pack. She was rescued by Charles and is just beginning to learn about herself. As a wolf and as a woman.
TFAW.com: How well do they function as a couple, and how does their relationship affect the flow of the story?
DL: Not very well at all, at least at first. They’ve kind of been thrown together. Charles is a loner. Anna is scarred and scared. It will take them some time to grow accustomed to each other. Even to the idea of each other. But this being good drama, in the end their fate, and the fates of others, will depend on their ability to do so.
TFAW.com: What are the differences between an Alpha and an Omega wolf?
DL: An Alpha is territorial, aggressive if threatened, used to being in command. An Omega is not really the opposite of an Alpha. That would be a submissive. An Omega more, and it seems like I keep coming back to this, stands apart. She doesn’t take orders. She doesn’t give orders. She has strong protective instincts without an appetite for aggression.
TFAW.com: What makes an Omega wolf so valuable?
DL: Omegas are very rare. A werewolf could live centuries without encountering one. They are natural peacemakers. They have a sort of mystical ability to smooth discord. This could be a very valuable gift in the violent world of a wolfpack. Despite being functionally immortal, by human standards, most werewolves don’t live very long because they have the nasty habit of fighting and killing each other. Someone like Anna could bring that to an end.
TFAW.com: Why do you think no one recognized Anna’s status before Charles?
DL: Actually, her status was recognized. She was transformed precisely because the Alpha of her first pack had use for her special abilities. But he also found it useful to keep Anna in the dark.
TFAW.com: Anna is different than a lot of take-charge heroines; she’d been victimized for years by her pack before being rescued by Charles. How do you prepare to write a character like that?
DL: Anna is no pushover. Just because she’s not spoiling for a fight doesn’t mean she won’t stand up for herself. Or others. She’s been through a lot, but there is a spine of iron in that girl. It’s just going to take her a while to discover it.
TFAW.com: What are the major differences between writing for Mercy and Anna?
DL: The biggest difference goes back to something I already mentioned. Mercy is a solo act. For all of the strong supporting cast she is the single star of the show. With Anna and Charles we’ve got two characters sharing the spotlight. Their interaction takes center stage more than either of them as a lone character does.
TFAW.com: In Cry Wolf, a rogue werewolf is slaughtering humans. Do human know about werewolves in this world? If so, how do they typically relate to each other?
DL: Humans don’t know about werewolves. Yet. One of the underpinnings of Cry Wolf and Moon Called is that the Alpha of the whole North American continent realizes they can’t keep the secret much longer. He knows he has to go public but it’s a matter of when and how.
TFAW.com: First vampires had a pop-culture resurgence, thanks to books like Twilight, and now it seems like werewolves are more popular than ever. What do you think people find so appealing about werewolves?
DL: Seems like in troubled times humans often turn to monsters. Consider that the whole classic Universal cycle of Frankenstein, Wolfman, and Dracula began in some of the darkest days of the Great Depression.
It’s almost a cliche to say that we are drawn to the monsters not because they are different, but because of what they reveal about ourselves. Werewolves are really sort of a Jekyll and Hyde story on steroids. We all have that stuff that we try to keep bottled up, and we fear that it might explode sometimes. We fear the loss of control. Maybe these stories help us to understand and embrace it.
Or maybe I just talk too much. Never dismiss that possibility.
TFAW.com: Are you and Patricia planning to bring the other books in her Alpha & Omega series to comics?
DL: I have a hard time imagining not working with Patty. She’s a great writer and a better person. I can’t imagine her characters not having a bright future in comic books and I hope to be a part of that for a long time.
We want to thank David for taking the time to answer all of our questions. You can pre-order Patricia Briggs’ Alpha & Omega: Cry Wolf comics here at TFAW.com and save 20%! Plus, stay tuned to our exclusive interview with Cry Wolf artist Todd Herman this Friday, in which he shares some behind-the-scenes details, including his original character designs!
Are you a Patricia Briggs fan? Are you excited to see Cry Wolf in comic-book form? Post your comments below!