I don’t recall seeing the Web Centurian appear before the issue of Black Hood (#12) that you drew. Was this something you got to design, or was it already designed for you?
I think I came up with this, from Mark Wheatley’s script directions.
Were you aware that the issue you were drawing was going to be the final issue of the series?
Had you followed any of the Impact titles before drawing issue 12?
No, I’m sorry to say, I hadn’t. I wasn’t aware of them until I was offered the job, as a matter of fact.
Who contacted you to do this issue?
Mark Wheatley made the decision to get hold of me, I suppose, although I don’t recall who made the actuall phone call…
What was the general feeling at that time, with the Impact people? Excitement for the Crucible series? Sadness, knowing that it might be the end of it all?
I only got in touch with Mark, really, and this was after it was all over. He seemed sad, though, and disappointed that the whole thing was allowed to just die like that.
By the time Black Hood #12 came out, it had almost disappeared from the newsstands, and yet the issue you did was one of the most important in understanding the character. Comments on that piece of irony?
Well, that’s irony for you… like a taxi, never there when you want it. Or is that sarcasm?
How was working with Mark Wheatly?
Mark Wheatley told me that you were supposed to be the new artist for the Black Hood, but by the time he finished the script for #12, the line got canned. Comments?
Uhm, comments… I don’t think I ever realized I was the choice for new artist. I probably would have shit myself if I knew… 😉 Obviously, I’m flattered now, especially considering my short track record at the time.
Of course, since I didn’t know this, I wasn’t too affected by the line’s ending. But I remember being sorry because it seemed like an interesting project.
How did you find out the line was ending?
I think Mark Wheatley himself told me the line was dead.
Did you get any input, storywise, or did you just draw what you were told?
Well , Mark’s script was different – he didn’t write a full picture-by picture script, but rather a script devided into pages with dialog, which let me break down the page into panels. It’s the only time I’ve worked with that, I guess.
Your art style seems to have changed quite a bit from your Black Hood issue to your Starman run. Was this something you were striving towards? Or just a natural progression?
Actually, The Black Hood job was one of the few I did solely as a penciller. So part of the art style there is due to the talented presence of Rick Buchett (Hope I spelled it right, please check for me), who lately impressed with his Huntress series. But, you must also remember, it’s been what, 7 years from BH to Starman. A lot of water under the bridge.
Can you give a short “personal favorites” career highlight list? (just hit the projects you enjoyed the most?)
Whoa, that’s a hard one. The Books of Magic issue 12 and 13 I guess. I really liked the budding romance stuff with Molly and Tim, and I was still new to the Vertigo Universe. Look at me, I’m going all sentimental. But, then again, there was The Dreaming, Terry LaBan did a wonderful job with that script, and artwise it was a tremendous fun with Cain and Abel and the houses and all. Even my wife who’s not into comics at all liked Goldie! And of course the Starr job. You know, I actually like the guy. Is that weird? And Starman’s Grand Guginol – you know, come to think of it, I was really into Culp as a character as well. Too bad he had to get his head blown off. And going way back, The Lords of Misrule from Dark Horse – Actually, I guess I could go on and on…