Hey Silverline Family,
This week is another quick update while I work on the history book for Wolf Hunter.
Recently Roland Mann had an interview with Two Geeks Talking. Since they did us the favor of having him on, I figured we’d do them the favor of shouting out that interview.
Give it a watch and we’ll catch you next week!
Hey there, Silver Fam! For this week I talked with Dean Zachary and asked him a bunch of questions about his time working in comics and how he creates comics as an artist. I hope you enjoy this conversation and get some insight to help with your comic creation journey.
1. You have a breadth of experience working in comics. If you had to say one invention or development had the biggest impact on how comics are created, what would you say it is and why?
The sophistication of technology has improved to such an extent in the past 30 years that a creator can now, pencil, ink, color, and even letter an independent comic on an iPad Pro. This Incredible advantage allows for an unprecedented amount of creative control. Similarly, the “distribution system” used to be a Political Networking Bottleneck where Editorial Gatekeepers determined who saw your work. Today, you can operate in a worldwide marketplace with limitless possibilities.
2. As an artist, you’ve also worked on comics that are entirely you’re idea, comics that other writers have created, and comics that are licensed properties. Are there any differences in how you approach creating the artwork? Why or Why not?
The advantages of Creator-Owned properties include more control, and if the property is successful, a more substantial reward, especially if the Creator wears multiple hats of Writing/Pencils/Inks and so on. The disadvantage is commercial exposure. “How do you get your Name/Title Out There to the Widest Possible audience?” When starting from scratch, that’s the biggest hurdle. We here at Silverline work on answering that age-old question on a daily basis.
Regarding Licensed Properties, the advantage is that you may already have a built-in fan base, like if you’re drawing/writing an X-Men title for example. The disadvantage is, that the majority of the Creative Control resides with Editors, Writers, and License Owners.
3. How important are references or samples for your art? Are you constantly checking a reference on another screen, are they just nice to have available if needed, or are there some pages or illustrations where you don’t even check a reference?
My attention to reference obviously depends on the subject matter. If, for example, I’m drawing a cover for Wolf Hunter, I would reference any WWII aircraft, military vehicles, weapons, uniforms, and settings comprehensively. This approach adds legitimacy to the comic book in a Real World setting. For a more fantasy-oriented subject, I enjoy exaggerating reality to fit my “vision” which helps to make a more memorable impression on the reader. The “Zachary Realism” then makes my work more unique, making me less of a Human Camera and more of a Visionary, sharing what I see with others in a more unique style or brand.
4. One thing you’ve said a couple of times on the Silverline live shows is, “don’t calculate.” Something that gets brought up is people creating something just because they think it will say, not because they are actually passionate about it. If you could expand on that, what sort of advice would you give new creators as they embark on this journey of creation?
Creativity Beyond Calculation. This concept is one of my favorite subjects in the Comic Creation world. While keeping in mind that at its core, one could argue that Comic Books are a Commercial Art venture, and creators ultimately want to sell their work. We at least want to sell enough copies to do the work full-time. That being said, Calculation to Sell is the Death Knell of creators. In essence, the creator begins second-guessing his own instincts in favor of some incredible sales numbers an Indy Book is doing online, prompting the temptation to “copy that” so I’ll succeed too. This is a huge mistake, in my opinion. Trust your instincts. If you like it, in a Worldwide Marketplace, there are likely enough other people that will like it as well. Your genuine Internal Enthusiasm, Instincts, and Creative Fire will be so evident that the concept will shine much brighter than a calculated copy of someone else’s success. Trust your own creative instincts, regardless of what’s selling. Be True to Yourself when you create. This brings not only freedom but more gratification once you’ve shared the creation with the world.
5. What are some projects that you have coming and where can people see your work? Anything you’d like to shout out?
People can see my work on many Silverline Covers, including Cat & Mouse, Wolf Hunter, BEAH, Beyond the Stars, Obsoletes, the upcoming Capetown, and classics like Krey and Switchblade. I’m also writing and drawing Silverblade, a Victorian Fantasy that explains why Silver affects Monsters featuring Knights fighting supernaturally powered Cultists. For my past work with Malibu, DC Comics, Dark Horse Comics, and others, my work can be found on sites like Comic Art Fans, Comic Vine, and, of course, Silverline Comics. Here’s a link.
Hey there, Silverline fam!
We have another Silverline Content Spotlight for you. This week is an extra special episode. Kurtis, Silverline’s resident Kung-Fu expert, hosts the artist and crew involved with the Shadow Ghost inspired music video from Capitan Walas.
Shadow Ghost is the kung-fu comics by kung-fu master upcoming from Silverline! Sifu Kurtis Fujita created this comic to combine two of his passions. We’ve mentioned it before, but Kurtis is an actual Sifu, a certified instructor of kung-fu for health and competition. He also has a historied career in comics and entertainment. Combining the two into one dope comic series seemed like a kind of no brainer.
A few months ago Capitan Walas made a track and music video inspired by Shadow Ghost. The track, Drunken Tiger featuring Alan Yip on Erhu features themes from traditional Chinese music with a modern twist. The music video is also a great demonstration of practical martial arts and use of traditional Chinese weapons. “Capitan Walas is a Mexican musician based in California’s SF Bay Area. He has been a guitar/ guqin composer and martial arts practitioner since the early 2010s.
Capitan Walas, Alan Yip, Sifu Tony Tong, and Megan Wong join the the comics fu show to talk about their various backgrounds, influences, and behind the scenes production of the song/music video. This episode also features a screening of the video!
Be sure to check it out as it goes live today on the Silverline Comics Channel!
Hey there Silver family!
Sorry it’s been a while since we posted. I was lost in the desert for a week. I was some about Bend when the Monster and Protein Bars began take hold. I then got cozy with some bacteria while I was out there which knocked out of commission for the next week. We’re back and lightly medicated, so that means it’s time for a post.
We got an extra special one for you this time! Long time comics pro, veteran of the long war, Paul Kupperberg joined the Whammers for an incredible episode of Wednesday Night Wham!
If you’ve been living under several rocks, Paul Kupperberg has had a career in comics for over 45 years, and has written over 1,400 stories. That’s a lot. Like . . . a lllooooooootttt. Some companies he’s worked with include DC Comics, Weekly World News, and WWE Kids Magazine. You might recognize two of those names, if you’ve breathed at any point in the last 40 years.
Paul also famously killed Archie. Yes, that Archie. He’s worked on Peacemaker, Vigilante, Doom Patrol, and Supergirl to name a few. If you’re like me, you’ve been loving the shows based on those titles, I would definitely recommend reading some of his work after you watch the conversation he had with the Whammers.
Enjoy!
Hey there Silverline Fam!
I did a write up for this when the last episode went live, so I’d be remiss if I didn’t also feature this episode, as it is a part 2. The Comics Fu Show continues the interview Powerhouse Animation founder Brad Graeber.
For those who don’t know Powerhouse Animation is . . . well, an animation studio that is currently a powerhouse in the field. Recently they have worked on Castlevania, Masters of the Universe: Revelations, Seis Manos, and Blood of Zeus. I would honestly recommend any one of those shows.
They start off the episode talking about the influences of Seis Manos then transition Brad’s experience as leader at Powerhouse Animation. Brad also gives some deep insight into the humble beginnings of Powerhouse Animation. They interview takes some fantastic turns and covers some points that I found pretty inspirational even as a comic writer/editor.
Brad also spills the tea on some new projects that Powerhouse has down the line.
Brad is a genuine and thoughtful guy. Listening to him in this interview is really a treat. I would have got Kurtis a year’s worth of Del Taco just to sit in on this. Please give it watch and enjoy the conversation.
Be good ya’ll!
Hey there Silverline Family,
We hope you are all safe and well out there. Especially if you’re a reader in Europe, please take care and we hope that you’re safe. If you’re elsewhere around the world remember to take a break from the doomscrolling and take care of your mental health. We hope our comics and content can give you nice reprieve to relax and be entertained.
This week we have another Craft Interview. This time with the big cheese, Roland Mann. You might know Roland from a lot of things. He’s the EIC and founder here at Silver, he’s written several comics such as Cat & Mouse, and Trumps. Previously, he was an editor at Marvel and Malibu. He’s also an educator who teaches a course about writing comics, so he may have been your instructor at some point. So listen up class!
This week we talk about working in comics are the multiple duties one might have to fulfill at once. When you’re breaking in and especially if you choose a career in the indies, you may find yourself wearing multiple hats. (I’m a writer, editor, and online content guy, and all I got was this dang shirt.) It’s not uncommon for the team you’re working with to ask you to cover multiple roles to make sure the business of comics gets done for your comic. If you’re a purely independent creator, you get the worst end of it. Finance, marketing, partnerships, and creative all get handled by you. Chances are you might also need to freelance on other comics at the same time make ends meet.
I hope you enjoy this interview where Roland gives us insight into how he creates and how he covers the multiple duties he needs to do.
TK: It’s my understanding that Trumps has been rattling around in your mindpalace for a while now. How long do you typically let an idea sit before you develop it, or progress to writing. Is it more of waiting for the right moment for the time, or do you fully develop the idea and then store it until you are able to execute it?
RM: Your understanding is correct. The Trumps concept was born in the late 90s. As I’ve said other places, my family plays a lot of cards, and the idea of the four suits as four kingdoms at war struck me during one such evening while playing Pinocle with my parents. I jotted down the idea quickly, then fleshed the idea out during my next writing session. I don’t generally let ideas sit for too long because I feel like I have to go where my brain is taking me right then. If I wait a month, I might forget where I was headed. But the other reason is that I think WITH my writing. I write and rewrite and revise as part of the “thinking” process.
TK: If an idea is coming together, either in development, or once actual writing or illustration has begun and you feel like it’s not doing the story justice, how do you pivot? Do you just truck through and then hit it again in revisions or do you pursue another idea that you feel the team is better suited for? Any examples?
RM: No, I won’t truck through. I have done that before, but that’s the reason I won’t do it now. Revising or fixing something that isn’t working is far easier—in my opinion—to fix before it is finished than to finish and then try to fix. I think if it’s finished, it’s more difficult to get your mind away from THAT idea. If I stop right then and address the problem, then I can play the “what if” game. What if my character does A? What if my character does B? What if my character does C? and so on. I’ll try to figure out the place in the story the problem is, then see what decision the character can make in a different way—and not just ONE way, what are all sorts of possibilities. Now, I will add this, I try VERY hard to do all that BEFORE an artist gets it. In my view, it’s far easier for me to make the changes at a story level, than for the artist to have to make changes in the art, which could potentially mean a lot of different pages requiring changes. That’s not fair to the artist, and it also signals to the artist that you don’t really know what you’re doing as a writer.
The best example from my own writing, I can’t go into a lot of details because it’s from something unpublished. (how’s THAT for a plug?) But I have a novel that’s now complete, but I was stuck for a time (I don’t believe in writer’s block) on a pivotal decision that a character made. I’d moved passed that point, but it just wasn’t working. So I backtracked to the decision, played out several “what if” scenarios, picked one that I thought worked the best…and went from there. And wouldn’t you know it, the remainder of the novel came fairly easily!
TK: In addition to writer, you also serve as an editor, and several other business titles (but that’s getting too deep in the sausage). Many comic creators will probably find themselves wearing multiple hats, especially in the indies. How do you balance working on your own work and working on the other roles you fill. Is there any special considerations when it comes to budgeting time developing your titles versus helping other creators create their titles.
RM: OMG, that’s a tough one. The truth is that I really do love to see new creators enter the team of the published. There’s not a lot of money in comics, but there’s a lot of emotional rewards. For instance, I’m very excited that our next kickstarter includes WOLF HUNTER, written by our own Tim TK (who supplied these questions and I feel like I’m addressing all the answers to him!). And while it won’t be his first publication, it will be his first published comic book. I like that because I know how “I” feel when I see my work in printed form, and it excites me to know that Tim will get that exact feeling when he holds the printed copies of WOLF HUNTER #1 in his hands! As far as how I budget the time…I wish I could tell you that I have a big spreadsheet (like I used to have as editor at Marvel and Malibu) that has the timelines for every project and every title we’re doing…but the truth of the matter is that because we’re so small press, the timelines for every creator on every title is so different. Someone like Aaron Humphres can really produce pages quickly as his “day job” allows him greater flexibility to create more pages. On the other hand, someone like Dean Zachery can’t do that because his day job requires more time from him that keeps him from drawing the thing he wants to draw. ALL of us want to be more like Aaron, of course, but we can only do what we can do. So my personal decisions on helping other creators budget their titles depends greatly on what the team as a whole can do.
Hope that makes sense.
TK: How does also being a writer influence the kind of feedback you, or how does also being an editor influence how you react to feedback? How you do find the path to encourage a creator to really improve their original idea without getting behind the steering wheel too much yourself?
RM: That’s also a tough one. An editor’s job, or even someone just offering feedback is not to make the writer’s story THEIR story. It’s to try to figure out what the writer is trying to tell and help guide them on that path. Now, there are some things, obviously, that the writers don’t necessarily see because they are so close to the story that the editor can see, and that the writer sometimes thinks the editor is butting in.
One example of this I can think of is the upcoming KNIGHT RISE. Mackenzie had sent me a really nice outline of the story she wanted to tell…the problem with the story is that it wasn’t “A” story, but it was two stories. We swapped a few emails and suddenly she was like “Whoa! Cool! Yeah, I see that”—and she went off to the races with it (And I know readers are really going to love it!)
Another example that comes to mind is with WOLF HUNTER. I remember your summary and the initial second issue was very claustrophobic because it was all inside the train AND it was a lot of talking heads. My recollection is that you knew the story front and back, knew what you were trying to accomplish, but didn’t realize the second issue was like that because it was surrounded with action on either side. So you simply (I say “simply” –ha) rearranged some of the stuff, added a bigger action sequence and made stronger use of noir-style narration to make it work.
And I think that leads me to the part of the answer that can be tough: An editor has to think about more than the story. Yeah, you want to make sure all the elements of story are there, but you also have to take into consideration the audience. The editor is really the first audience member, but they come at it with a writer’s eye. Not only that, an un-emotionally-invested writer’s eye. An editor can look at a story and say “hey dude, there’s no action here,” or “hey, there’s nothing at stake for your protagonist here,” or “why do we care about this?” because they see that when they read it. They can then offer up suggestions to the writer not in an attempt to write the story for them, but in an attempt to get the writer thinking about the problem and figuring out how to address it. I always try to offer suggestions to writers when I’m editing, and I try to offer up at least two suggestions which take the character or story in completely opposite directions in order to get the writer to look at all the possibilities. Often what happens is they come up with something that isn’t quite as extreme as my suggestions, something in the middle of the two polar opposites I suggest…and it works.
TK: How would you say your workload has shifted compared to when you got into comics. I would assume you have more responsibilities, but technology has also advanced. Do you find that some tasks are generally more efficient, either as a writer or editor, and has that made your creative life easier or harder, or has it simply made room for more work to fill your day?
RM: The big difference is that when I got into comics, that was what I did full time for a little more than a decade. Now, my primary responsibility is as a college professor. Comics are my night gig. I’m very fortunate in that my boss encourages me to stay involved in comics. A near exact quote from her is something to the effect of “I want you to keep doing that because it keeps you relevant.” Which is really funny, but when you think about it, is also very real. The department can continue to say “the guy who teaches comics is also a comic maker today,” instead of “he used to make comics a bunch of years ago.”
But there are indeed a lot of things that are easier today than they were when I got started in the late 80s thanks to technology. Some of the more obvious things might be the ability to instantly receive the art from the artist as soon as they are done. We no longer have to wait on the mail to hopefully deliver the original art in undamaged condition. We can work with folks internationally a whole lot easier for the same reason.
I can also communicate with creators a lot easier than back then when my options were phone (not always convenient), mail (super slow), or fax (whaaaaa?). I can send you an email and you can get me a pretty quick response when you get to it.
But I DO think that technology has caused me to have a serious case of over commitment. When I was employed as an editor full time, I edited an average of about 6-7 titles a month. Silverline is not remotely close to monthly, but we’ve got 22 projects…YES, TWENTY TWO!!!…in various stages of development. While I try to keep up with where they are all, sometimes things fall through the cracks (that’s why I’m getting some help from Dante Barry on that soon!), not because I care more about one over the other, but simply because I’m looking one way and miss the one in the other direction! Lol
Hey Silverline Fam!
I know what you’re thinking. “That’s a lot of content spotlights back-to-back.” You’re right, and to that I say, we got good content dangit! We got lots of dope videos and interviews being live-streamed or uploaded all the time. We’ll be back with another Craft here soon, but this week we uploaded a special video that I want to feature!
That video is another episode of The Comics Fu show. I said it last time, but this is my favorite type of content that we create. This week features a conversation with Brad Graeber, CEO/CCO of Powerhouse Animation (Seis Manos, Masters of the Universe: Revelations, Castlevania, Blood of Zeus). When it comes to guests with clout, this is a contender for the peak. Castlevania is also in my top 5 for favorite modern shows, so Brad if you’re watching, hi.
In this episode, Co-hosts Sifu Kurtis Fujita and Patrick Lugo ask brad about how Kung Fu influences movement, animation, and everyday life.
As a practicing kickboxer, hearing how different martial artists combine their arts (combat and comic) is always fascinating. Taking that conversation and including animation really provides a lot of food for thought. I grew up watching anime and animation and was always fascinated by the visual poetry of a well-choreographed fight. Getting some insight on the creative side of that is really powerful.
I definitely recommend taking some time and checking out this video.
Stay good!
Hey Silverline Fam,
Every Week I have the pleasure to hang out with Jose Fuentes on A Silverline Show on Tuesday. I figured it was about time I got down in the dirt with him and asked him about his craft as an inker. Jose is an all-around talented artist and comics professional, but he takes pride in his inks and has some of the best grit I’ve seen in a person. In this week’s issue of craft, we talk about his use of alternate inking techniques and the work ethic he brings to the page. I hope you all can find some bits of inspiration from the answers Jose gave. I certainly did!
TK: In some of our previous conversations you had talked about applying ink in not just traditional drawn lines, but by flicking or smearing some of the ink. Getting a sort of special effect on the panel. How often do you attempt to do that sort of application or do you have to balance more towards digital inking now?
JF: There are several techniques you can use to give the impression of texture in a flat/2d drawing. Smearing and flicking are just a couple options. I try to use different inking techniques to give that effect on every piece or page if it calls for it. You don’t want to “overwork” a page. You have to be mindful to not overwork the penciler’s work with ink. There is definitely a balance that you have to keep in mind. I try and do the same with any digital inks that I am working on. There are a lot of different digital brushes you can buy/download to help give you the same effects that I try and use traditionally
TK: As a follow-up, how much do you prefer working physically or digitally? What are some of the pros and cons of either?
JF: I prefer to ink traditionally. I like the feel of the crow quill on the paper and trying new techniques. I didn’t use to. I hated to have ink or pencil graphite on my hands, but I have learned to appreciate the process. I don’t get the same feeling from digital, but I have embraced the challenge of trying to achieve the same techniques digitally.
TK: You have also said that you haven’t worked that day if your hands don’t have ink on them. Obviously, that may not be the case if you’re working digitally that day, but do you think that same work ethic, that sense of “really getting into your work” applies?
JF: So the phrase was said to me by Jan Duursema. Then she taught us to [use] various techniques that I still used today. I took everything she taught me to heart and adapted the phrase as more of a motto for my life. Taking this motto into my digital work gives it a bit of a twist. No, I’m not physically getting dirty, but I used it to motivate me to try my best [and use] many digital tricks to make my digital inks look like physical inks
TK: Would you think that mindset is ingrained in you and you apply that to your craft or is that something that came out of specifically your comic craft?
JF: I feel that this developed through the course of my education. I was more laid back in my own personal training, mostly because I was working to take care of my family so I put my art on the warmer. Schooling was a huge eye-opener for me. I learned that I can actually work in comics. I knew I could draw but I never really had much confidence in my career as an artist. My wife is super supportive and has pushed me to reach for my dream job. And now I work on comics full time!
TK: One last thing, what are you currently working on and where can people follow you or see some of your work?
JF: I am currently working on digital inks for Silverline Comics Obsoletes book. Digital colors for a six-page story for Peter Clinton that will be in the Voyage: Melting Pot, and I have a digital coloring job for a book that has been put on the backburner. I’m also lined up to do traditional inks on a book for Jay Cornwell, a local artist in my area.