Comics for Beginners

How to Write & Draw Comics

Marvel

ProFile: Jeremy Haun

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ProFile-Scott-Jeremy-HaunJeremy Haun is the current artist on Constantine. Wolf Moon, by Jeremy and Cullen Bunn, debuted in December from DC. He recently completed a run on Batwoman. Over the past decade plus, along
with wearing calluses on his fingers doing work for DC, Marvel, Image, and others, he has created and written several projects. Some you might know are graphic novel Narcoleptic Sunday, Leading Man, and The Beauty, soon to be out from Image. He is a part of the Bad Karma Creative group, whose Bad Karma Volume One debuted at NYCC 2013, thanks to Kickstarter funding. Jeremy resides in a crumbling mansion in Joplin, Missouri with his wife and two superheroes-in-training.

What made you decide to work in the medium of comics?

I’ve always been a huge comics fan.   I spent my childhood drawing and redrawing what I saw in comics and telling my versions of those stories.  It’s what I always wanted to do.

What part of the process is the most challenging or frustrating to you?

Doing the comics themselves is challenging, but probably the most consistently frustrating part is managing the time required to make comics.  While comics are perceived as a fun child-like medium, the time you are allotted to create a comic is about a month.  With the amount of time needed to put out the kind of finished product I’m happy with, makes for some long, long hours at the drawing table.

If you could give one piece of advice to an aspiring comics creator, what would that be?

Keep working at it.  Do your craft for the love of it.  You will continuously improve.  The industry is set up in such a way that it is difficult to get hired without having prior experience.  But keep at it and do your own thing if necessary.

You can support Jeremy’s Kickstarter for his new Dino-Day Art Book here.

Can Marvel do no wrong?

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When I was growing up, the superheroes I knew where two-dimensional four-color characters in comic books. The live action superhero was the cartoony Batman TV show but even as a kid I realized the tackiness of it. It wasn’t until Tim Burton’s 1989 movie Batman that it felt like they at least tried to take it seriously.

Kids today have a much wider access to the characters in both comics, movies and computer games that let you fill the shoes of your favorite heroes. And it’s not just because CGI has improved that the movies have gotten better. It’s because really smart people are involved in making them, from script to screen.

Getting Christopher Nolan on board for the Batman trilogy was no doubt a smart decision. But no sooner had the Dark Knight died (at least that’s my interpretation) before DC Comics dropped the ball again, leaving the field wide open for Marvel to score big with Guardians of the Galaxy – a completely left field choice that won over even the harshest critics.

While DC seems to alienate fans with their new dark and gritty reboot of Superman and the casting of Ben Affleck as Batman, Marvel keeps surprising us with smart and funny movie versions of fan favorites. Apart from the third instalment that is widely regarded as a misfire, the X-Men movies have been pretty great, both faithful to the comics and smartly adapted for the big screen and a wider audience.

In the original X-Men from 2000, there is a great line where Wolverine bitches about the costumes they are prompted to wear in the final confrontation. Cyclops replies: “What would you prefer, yellow spandex?” A great tongue-in-cheek reference to the costumes of the comics, which undoubtedly would have looked ridiculous in the movie, and a great example of fan service while still having the guts to change things for the better.

The strategy has often looked far from obvious. From Robert Downey Jr. as Iron Man to the complete surprise hit of the almost unknown Guardians of the Galaxy, Marvel have taken bold choices both in casting and in characters, and pulled off the impossible of bringing together a band of heroes from different movies in The Avengers. They have managed to make us all interested in less known characters, at least from a non-fan perspective, and seamlessly woven together intricate plotlines while juggling dozens of characters at the same time.

This week the news that Marvel have cast Benedict Cumberbatch as Dr. strange and new movies will feature heroes such as Captain Marvel and Black Panther. And at the same time this new clip and trailer from the upcoming Avengers: Age of Ultron aired, sending chills down my spine – and I don’t even know who Ultron is! Didn’t know I cared!

From my perspective it looks like Marvel can do no wrong and it even made me want to read some of the comics again. What do you guys think? Excited for the future of superhero movies? Or just sad that no one knows these blockbuster franchises are based on comics?

ProFile: Jeff Parker

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ProFile-Jeff-Parker

Jeff Parker is a writer for comics currently on titles Batman ’66 and Aquaman for DC Comics, as well as Rovio’s Angry Birds. The past decade he worked mostly at Marvel, with acclaimed runs on Hulk, Thunderbolts, Agents of Atlas, and X-Men: First Class. Jeff drew comics for several years and worked in television animation (The Big Guy and Rusty The Boy Robot) and live storyboarding, ultimately returning to comics with his graphic novel adventure The Interman.  Among his other original creations are the cave thriller Underground with Steve Lieber, the supernatural Mysterius the Unfathomable, and the webcomic Bucko with Erika Moen. He is a member of Periscope Studio and lives in Portland, Oregon.

What made you decide to work in the medium of comics?

I liked writing and drawing, and nothing else brings those disciplines together better for storytelling than comics. Ultimately it’s telling stories that I like to do, and comics lets me tell a lot of them where other media would limit that amount.

What part of the process is the most challenging or frustrating to you?

Good names or series titles are tougher than you’d think, at least for me. I’d rather build a whole story around a good name than start with the concept, it’s actually easier.

I don’t find much about building a story hard, it mainly requires enough time and I’ll get there. What’s much harder is raising awareness of a new project and bringing readers to that. Creating a book and selling it are two different things altogether.

If you could give one piece of advice to an aspiring comics creator, what would that be?

My advice would be, if you want to be employable on a number of projects and have longevity, adopt a very zen approach to your assignments. Curves will be thrown at you by the publishers, the readership, everyone involved; it’s unavoidable. You can either grouse about it and become known as difficult to work with, or you can ride the wave instead of fighting it. I usually take it as a challenge that I can make almost any editorial note or change work and still get a good story from it.

There have been cases when the requested changes seem arbitrary and start coming way too often to make the job profitable, and I’ve had to bow out, so it’s not like I can always zen my way through. But I give it my best try before I resort to that.

Can I only give one piece of advice? I would also say to do whatever you can to make your collaborators’ jobs easier. If they’re happy with the process, it will just reflect well on you and make the story work that much better. Like, don’t ask for crowd scenes repeatedly, for instance. Do a lot of the visual research for the artist already and save that creator some time by including reference. Don’t try to push them to be other artists that they aren’t, work with who they are. As the saying goes, you go into battle with the army you have.

More at parkerspace.com