Interview With The Creators Of Indie Comic Rapture Burgers

A few months ago Matt and I made our way to an event that essentially worked as speed dating but for artists and writers of comics.  There we met Chris, Adam, and Mimi.  Chris and Adam were the creative minds behind the Rapture Burgers comic and were desperately looking for somebody to put a face to their characters and world.  After reviewing their first two issues, I had to interview them.  Thanks again to Chris, Adam and Mimi for dealing with my technical difficulties!

So all three if you met at the [Creators] Conference?  How was that experience for all of you?

Adam: Well Chris and I knew eachother before that, but yes, we met Mimi at the creator conference.

Chris: Right, we did meet there. Our goal, from the outset, was to find someone to replace my sister, who was our original artist. It was an interesting event, which is that is was basically speed dating for an artist.

Mimi, how did you enjoy the conference, as an artist?

Mimi: When I explain it to people I use the term “speed dating” as well.  I thought it was a really great experience.  I got to see a bunch of other artist and what was out there in addition to getting actual work.  It was an awesome way to well… get commissions.  I wouldn’t have met Chris and Adam with out it.

So, how did they go about asking you to be their artist? Did they have to woo you a bit?

Mimi: Not really.  Their project seemed fun and my art style was close enough to what they were looking for.

Adam: I did wink at her pretty suggestively. I don’t think that’s what did it, though.

Chris: We were talking about whether or not we wanted to go forward with things, because Mimi sketched out Camille on the spot, which was totally cool. I think my words were, “…If we can afford you.”

How did the money negotiations go?

Chris: I think money negotiations went pretty well. I offered what I thought was “right” basically on the spot.  We followed up with some emails and talk about schedule of pages per week. Typical stuff, I imagine.

Sounds like that the Creators thing worked out wonderfully for all three of you.  So you have two issues out, what are your long term plans for RB?

Chris: Really, when we started, it was planned to be a typical, weekly webcomic that had a punchline at the end of each page/strip, but over the years that it took to get anything actually produced, we evolved into a full-fleshed story that we wanted to pitch to publishers.

WHY is it no longer a weekly webcomic?

Mimi: I know Chris as a specific answer for this, because I’ve asked the same thing.

Chris: Well, like I said, it started that way. I suppose it veered away from being a 4-panel strip into full pages. Back then, it was less of a story and more of a general premise that was going to be exploited for laughs, then eventually get some kind of continuity.

Adam: A lot of the first chapter was original written in this webcomic format. A few jokes survived from that period.

Chris: But, as we continued to work with it and evolved, I guess I got the “I want to publish this” bug and really pushed for full pages and a continuing story.

How has it been working with each other for writing, and Mimi, How is it drawing something that is not your story/vision?

Adam: It’s pretty easy as far as colaborations go. We have complimenting strengths when it comes to storytelling. He has the big ideas and the clear vision, and I provide the specific words for them.

Chris: And also, he’s a much better techical writer than I am, and usually adds the funny to my jokes.

Mimi: These two are actually very liberating to work with as far as most commissioners go.

Why so?

Mimi: I mean, I can do almost anything I want with the background enviornment and character, and even add some sight gags.

Adam: Mimi has contributed quite a few of my favorite sight gags.

Mimi: They give me a script and then I can just have fun with it.  Of course some times there are a few issues, like some character’s hair needs to be different, or Camille looks a little too angry in this picture and I fix it.  I’m glad when I get those notes, because I want these pages to be what they want.

Chris: That’s actually one of the things we wanted/encourage. My sister wasn’t very uhh…obedient? Is that a good word? We’d call something out in the script and she’d just do whatever she wanted instead, and it was usually funny.

Adam: Ha ha ha. Obedient  is not a good word, and I hope she doesn’t read it.

Mimi: Hmm, this is to imply that I am.

You guys all recently met, and started working together, and it appears to be going well for everybody with a solid plan in the future.  What do you think is the most important factor to keep that positive feel good feeling going?

Adam: Company retreat, maybe? I’m thinking Disneyland. But for real, I love that we each have our ideas, and everyone gets an input into the comic. Our various senses of humor have gelled into a project I’m pretty proud of.

Chris: Yeah, I agree with Adam. I think we have good communication and rapport these days. I trust Mimi to meet the deadline or let me know if there’s going to be a delay, and we know what to expect from her art.

Mimi: I think just making sure we all understand what is going on and being communicative.  This is the best job ever.

[End Interview]

Interview With The Creators Of Indie Comic Rapture Burgers

A few months ago Matt and I made our way to an event that essentially worked as speed dating but for artists and writers of comics.  There we met Chris, Adam, and Mimi.  Chris and Adam were the creative minds behind the Rapture Burgers comic and were desperately looking for somebody to put a face to their characters and world.  After reviewing their first two issues, I had to interview them.  Thanks again to Chris, Adam and Mimi for dealing with my technical difficulties!

So all three if you met at the [Creators] Conference?  How was that experience for all of you?

Adam: Well Chris and I knew eachother before that, but yes, we met Mimi at the creator conference.

Chris: Right, we did meet there. Our goal, from the outset, was to find someone to replace my sister, who was our original artist. It was an interesting event, which is that is was basically speed dating for an artist.

Mimi, how did you enjoy the conference, as an artist?

Mimi: When I explain it to people I use the term “speed dating” as well.  I thought it was a really great experience.  I got to see a bunch of other artist and what was out there in addition to getting actual work.  It was an awesome way to well… get commissions.  I wouldn’t have met Chris and Adam with out it.

So, how did they go about asking you to be their artist? Did they have to woo you a bit?

Mimi: Not really.  Their project seemed fun and my art style was close enough to what they were looking for.

Adam: I did wink at her pretty suggestively. I don’t think that’s what did it, though.

Chris: We were talking about whether or not we wanted to go forward with things, because Mimi sketched out Camille on the spot, which was totally cool. I think my words were, “…If we can afford you.”

How did the money negotiations go?

Chris: I think money negotiations went pretty well. I offered what I thought was “right” basically on the spot.  We followed up with some emails and talk about schedule of pages per week. Typical stuff, I imagine.

Sounds like that the Creators thing worked out wonderfully for all three of you.  So you have two issues out, what are your long term plans for RB?

Chris: Really, when we started, it was planned to be a typical, weekly webcomic that had a punchline at the end of each page/strip, but over the years that it took to get anything actually produced, we evolved into a full-fleshed story that we wanted to pitch to publishers.

WHY is it no longer a weekly webcomic?

Mimi: I know Chris as a specific answer for this, because I’ve asked the same thing.

Chris: Well, like I said, it started that way. I suppose it veered away from being a 4-panel strip into full pages. Back then, it was less of a story and more of a general premise that was going to be exploited for laughs, then eventually get some kind of continuity.

Adam: A lot of the first chapter was original written in this webcomic format. A few jokes survived from that period.

Chris: But, as we continued to work with it and evolved, I guess I got the “I want to publish this” bug and really pushed for full pages and a continuing story.

How has it been working with each other for writing, and Mimi, How is it drawing something that is not your story/vision?

Adam: It’s pretty easy as far as colaborations go. We have complimenting strengths when it comes to storytelling. He has the big ideas and the clear vision, and I provide the specific words for them.

Chris: And also, he’s a much better techical writer than I am, and usually adds the funny to my jokes.

Mimi: These two are actually very liberating to work with as far as most commissioners go.

Why so?

Mimi: I mean, I can do almost anything I want with the background enviornment and character, and even add some sight gags.

Adam: Mimi has contributed quite a few of my favorite sight gags.

Mimi: They give me a script and then I can just have fun with it.  Of course some times there are a few issues, like some character’s hair needs to be different, or Camille looks a little too angry in this picture and I fix it.  I’m glad when I get those notes, because I want these pages to be what they want.

Chris: That’s actually one of the things we wanted/encourage. My sister wasn’t very uhh…obedient? Is that a good word? We’d call something out in the script and she’d just do whatever she wanted instead, and it was usually funny.

Adam: Ha ha ha. Obedient  is not a good word, and I hope she doesn’t read it.

Mimi: Hmm, this is to imply that I am.

You guys all recently met, and started working together, and it appears to be going well for everybody with a solid plan in the future.  What do you think is the most important factor to keep that positive feel good feeling going?

Adam: Company retreat, maybe? I’m thinking Disneyland. But for real, I love that we each have our ideas, and everyone gets an input into the comic. Our various senses of humor have gelled into a project I’m pretty proud of.

Chris: Yeah, I agree with Adam. I think we have good communication and rapport these days. I trust Mimi to meet the deadline or let me know if there’s going to be a delay, and we know what to expect from her art.

Mimi: I think just making sure we all understand what is going on and being communicative.  This is the best job ever.

We Interview Scott Wegener The Artist Behind Everyone’s Favorite Nazi-Busting Robot — Atomic Robo

We’re double dipping here at Panel Bound (wait, is that the term I wanted to use?) Anyways, less than a month after interviewing Atomic Robo creator Brian Clevinger we are bringing you a little Q&A session with the book’s artist Scott Wegener.

Scott is an immensely talented artist who, since the inception of Atomic Robo has been bringing the wild, Nazi-busting visions of Brian Clevinger to life on the page. If you are an aspiring artist, Scott has more than a few lessons to impart, chief among them, well, see question six.

I caught up with Scott via the magic of the Internet to talk about creator-owned projects and the not so final design of Atomic Robo’s titular “Robo.”

How did Brian get you onboard to draw Atomic Robo?

I think someone pointed him at my old website. I was looking for a long-term project that would allow me to start making comics full-time. I had a few offers, but Atomic Robo was the one that really appealed to me and felt like it had the legs for a good long run.

If someone approached you and asked you to draw their story, what would convince you to draw their comic?

Brian and I have got a really good thing going here. Creatively we play to each other’s strengths, we share a common vision of where our book will go, and we’ve become good friends. There is a very short list of people who are not Brian whom I would like to work with some day.

Creator-owned work is intensely personal. There is so much of who Brian and I are in these stories and characters that in a way, it’s almost offensive to me when people approach me to take on other projects. I’ll do short stories for friends when I can, and the occasional small project for a larger publisher from time to time. But in general I’m not interested in working on anything else.

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What’s the best part about being a professional comic artist?

Working at home, drawing all day, creating characters, telling stories, meeting fans and fellow creators. There’s actually a whole lot about this life that is pretty amazing.

The worst part?

The money.

How did you arrive at the final design for Robo?

Who says I’ve arrived at the final design for Robo? Haha!

Robo changes subtly from volume to volume, and sometimes even from issue to issue. But I know what you meant . . .

I went through a pretty grueling design process for Robo. Dozens of different bodies, and probably over a hundred different heads. The version of Robo you see in the comics is actually the third “final design.” We thought we really had him nailed down in 2006. Then I worked on another project for a month or two, and when I came back to Robo I had a bunch of fresh ideas.

With any character, you want their physicality to tell you who they are. Robo is tough, headstrong, stubborn, and often kind of foolish. The version of him you see in Atomic Robo #1 tells you none of that. I think it was a good look, but as I learned more about my craft, he has changed. Back then he looked like a short guy in armor. Now he looks a bit like a beer keg with gorilla arms. I miss the simple cuteness of Vol.1 Robo, but his current design does it’s job a lot better.

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How do you recommend aspiring comic artists start getting their work out there?

USE THE INTERNET. MAKE IT FREE. THE END.

Do you believe a comic artist should always be paid upfront for their work or possibly draw the comic with the promise to get paid once it gets picked up?

Did Brian tell you to ask me this? Because this topic is one that sends me into an instant frothing rage.

It depends. There are dozens of exceptions; projects with friends, kids still in school collaborating to make comics for fun, etc. Working for nothing on your own project is fine. Its a labor of love and, more importantly, it belongs to you. If it’s any good there is the potential that it will some day earn you money. You can also use it as a kind of on-going portfolio in order to get paid work along the way.

Working on someone else’s project for free? Hell no. I mean, okay sure, maybe you draw a few pages on spec to help sell an idea to a publisher. That’s a few day’s work invested and could possibly help get you a nice fat contract somewhere.

When you work for other people for nothing, you devalue yourself, and you devalue the work that we all do. You are saying, “My art is not important.” It sends a message. A very bad one. The chances that whatever comic you are drawing is going to get popular enough to be comfortably profitable, or optioned into a movie, are astronomical.

Some writers will try and convince you that even if the book fails the “exposure” will be good for you, and what great “experience” you will gain (oh boy XP!!!) Baloney! Assuming this person is halfway competent as a writer it took them a few days, maybe a week, to write this comic. It is going to take you weeks, and maybe months, to illustrate it.

I like to tell writers about this great idea I’ve got for a novel. I will draw the art for the dust jacket and I’d like them to write it for me on spec. If it get’s picked up I’ll split everything with them 50/50. That sounds insane, right? Because it is.

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Any last minute advice for anyone looking to break into comics?

Do your own thing! Do you want to be the guy who created Batman, or do you want to be one of the largely forgotten artists who have worked on Batman?

Start digital and worry about making a physical book later on.