Meghan Boehman and Rachael Briner grew up together in Maryland where they attended the same elementary school and eventually became best friends. They live in Los Angeles where they work in TV animation designing and painting background art for Warner Bros Animation, Bento Box Entertainment and Starburns Industries. They have previously produced a 4-year long webcomic and several animated shorts. Dear Rosie draws from their experiences of losing a close friend while they were in high school.
I had the opportunity to interview Meghan and Rachael, which you can read below.
CW: Discussion of grief and friend passing.
First of all, welcome to Geeks OUT! Could you tell us a little about yourselves?
Thanks for having us, we’re happy to be here! We both grew up in Frederick, MD and met in elementary school, though we weren’t fast friends at first. For years we engaged in silent competition and viewed each other as rivals, but over time we shared enough classes that we softened up, eventually becoming best friends in high school. After college where Meghan pursued Animation and Rachael pursued Sequential Art, we both moved to Los Angeles and found work as background artists in the animation industry. Outside of our art, Meghan loves to cook, Rachael loves to bake, and we both love animals! Rachael has a rescued cattle dog named Libby and Meghan and her husband (our co-writer/colorist!) Thomas volunteer at a cat rescue.
What can you tell us about your latest project, Dear Rosie? What was your inspiration for the book?
Dear Rosie is the story of four middle school girls navigating loss after one of their friends passes away unexpectedly, inspired by our own friends from that time period and our friend Annalee, who passed away during college. We wanted to create a world based on our hometown, filled with color, warmth, and using local wildlife to offer a vibrant, inviting tone despite the somber backdrop for the book.
What are you hoping readers will take away from Dear Rosie?
Grief is not a straightforward journey, one that we all must navigate in our own way. We hope that each girl’s personal path helps our readers come away with a better understanding of their own experiences of sadness, love, and friendship. If they are dealing with their own loss, we want them to feel camaraderie with the characters and know they aren’t alone, we have been there too and made it to the other side.
As creatives, how did you become drawn to the graphic novel/comics medium, especially those geared towards younger readers?
Meghan: I grew up both reading and drawing comics nearly every day. After college, Rachael and I made a few short films together and produced a webcomic in order to stay connected while living on opposite coasts. That project achieved its aims, but eventually we wanted to craft longer narratives. I was drawn to middle grade and young adult comics because a story you fall in love with as a child stays with you for your entire life. The characters and design sensibilities I find special to this day are rooted in my reading from that time and I want to do my best to resonate like that with the current generation of young readers!
Rachael: I fell in love with the diverse storytelling in the alternative/indie section of my local comic book store in high school. At that age, I was able to appreciate the sheer amount of work that goes into a single issue and knew that I wanted to make comics one day. Middle grade content didn’t come on my radar until we started pitching Dear Rosie and our editor recommended adjusting certain aspects for a younger demographic, but after working on the book and doing research into the field, I can now say it’s likely my favorite demographic to make art for. The stories are so sweet and genuine while still tackling complex emotions and there are many I’d recommend to people of all ages to read!
How would you describe your artistic/creative backgrounds?
Meghan: I studied 2D animation in college and initially wanted to move towards directing feature films, but after working in the industry for a while I discovered that I enjoyed designing backgrounds the most. Having found my niche in animation, but still wanting to tell stories of my own, I rekindled my interest in drawing comics.
Rachael: Before college I was interested in fine art and worked primarily in colored pencil and oil pants, but I gravitated back towards comics during my Sequential Art program. After school and thanks to Meghan, I was able to combine my comic knowledge and love of painting to the animation world, first in Background Paint and later Design.
How would you describe your illustration/writing/creative process?
Anyone who knows us would likely classify it as chaotic, but we’d more charitably like say we trade off to suit each other’s strengths! Meghan and her husband Thomas handled the writing of Dear Rosie. For illustration, Meghan designed the cast of main and supporting characters while Rachael began thumbnailing based off the script. The two of us split color script and sketching duties equally, then Rachael inked the characters while Meghan inked the backgrounds. All three of us worked on color to ensure we stayed on track! Like we said, a bit of chaos, but the division of labor works well and we beat every deadline.
Growing up, were there any stories in which you felt touched by/ or reflected in? Are there any like that now?
Meghan:The Brothers Lionheart by Astrid Lindgren and The Goose Girl by Shannon Hale are two childhood stories that I still think about and re-read often. Recent examples would be Virgil Wander by Leif Enger, Winter Wheat by Mildred Walker, and Witch Hat Atelier by Kamome Shirahama.
As creatives, who or what would you say are some of your greatest creative influences and/or sources of inspiration?
Meghan: My biggest inspiration is Hayao Miyazaki, specifically the film Princess Mononoke and film/manga Nausicaä of the Valley of the Wind. Boneand Elfquest were also very important when I was young.
Rachael: Craig Thompson’s Blankets changed the way I thought about visual storytelling and what was possible in the medium. Other notable artists are Emily Carroll, Rob Guillory, Becky Cloonan, Gabriel Ba, and James Gurney.
What’s a question you haven’t been asked yet but wish you were asked (as well as the answer to that question)?
Why choose animals for your comic?
Dear Rosie tackles some difficult subjects and the story is very personal, so we wanted to create a little distance for ourselves and the people it is based on. Using animal characters allows both us and our young readers that space. Additionally, we simply enjoy designing their looks and the range of emotions you can express via ear and tail positioning; it can help communicate what’s going on to our youngest readers who may not always be able to articulate exactly what they are feeling. As mentioned before, using local Maryland wildlife was an additional nod to our hometown.
Are there any projects you are working on and at liberty to speak about?
We’re currently working through the pitch process with our editor so unfortunately we cannot speak in detail about our current project, but we can say that it focuses on a new group of friends and tackles an important topic we feel is under-discussed amongst young people.
What advice would you give to other aspiring creatives, especially those hoping to work on their own graphic novels one day?
Draw, draw, draw! Don’t focus too hard on whether or not it came out exactly as you wanted it to, just focus on practice, repetition, and forming the habit of working creatively on a regular schedule. The next one, or the fifth, or even the twentieth might be the one you wanted and you’ll never find out without that perseverance. Read often and don’t be afraid to stretch the boundaries of what you consider to your kind of book.
Finally, what books/authors would you recommend to the readers of Geeks OUT?
Rachael: Stepping Stones by Lucy Knisley is one of my favorites. It shows the complex family dynamics of divorce from a kid’s perspective. The emotional experience was familiar in a bittersweet way and I think it’s a book older readers would also enjoy.
Stephanie Yue is the illustrator of several picture books and chapter books in addition to Katie the Catsitter, and was the colorist for Smile by Raina Telgemeier. Steph travels the world by motorbike and spent the past year and a half converting a Sprinter van into a full-time mobile studio. She’s currently drawing the next Katie the Catsitter from all over North America, and eating and climbing all the things.
I had the chance to interview Colleen and Stephanie, which you can read below.
First of all, welcome to Geeks OUT! Could you tell us a little about yourselves?
Steph: Hi, I’m Steph, the illustrator for Katie the Catsitter. They/She. I like to ride motorbikes all over the world, rollerskate, build things, and I live full-time in a self-converted Sprinter van.
Colleen: Hello there! I’m Colleen Ann Felicity! She/Her/They (People always want to know what the weird AF is doing in there). I’m the writer for Katie the Catsitter. I like to read, hug every the animal, rollerskate, and make ALL THE CRAFTS—currently learning stained glass, figuring out how to build a room from scratch then turn it into an audio studio so I can quietly figure out how to play a trombone I got for $30, and can make a friendship bracelet in under five minutes. Watch out, potential new besties!
What can you tell us about your upcoming book, Katie the Catsitter #3: Secrets and Sidekicks?
Colleen: * announcer voice * When last we left our heroes…Katie was officially starting to do sidekick training, Beth and Katie were still figuring out how to get back to being friends, and The Eastern Screech—the city’s highest yelp rated hero—was outed for being a fraud. In this volume Katie deals with not being the greatest athlete, feeling like her friends Beth and Marie are leaving her behind, the Eastern Screech disappearing, 217 highly trained cats running amuck, and a bunch of Killer Robots keep attacking the city. So yeah, nothing too exciting.
Steph: It’s going to be fun, with lots of action!
What was the inspiration for the original series?
Colleen: I always thought traditional superhero comics simplified things. Good vs. bad. No in betweens. (And don’t get me started about the underwear on the outside thing which I might need to write a doctoral thesis on one day.) I wanted a series where the “good guys” were kinda bad, the “bad guys” were actually good. I also loved exploring how heroes come to be through Katie, an average 12 year old who realizes being a hero is a lot more about heart than falling into vats of toxic things. Also as a kid I was always disappointed that Catwoman didn’t have cat minions, so that gave me the idea for The Mousetress who controls 217 extraordinary cats (as much as anyone CAN control a cat.)
Steph: Colleen and I worked together previously on a six book series called Guinea Pig: Pet Shop Private Eye. When she approached me with the pitch for Katie the Catsitter, it seemed like a natural fit for our humor and stories around animals.
Colleen AF Venable
How did you find yourself getting into storytelling, particularly comics? What drew you to the mediums?
Steph: I loved the comics section in the newspapers as a kid, and poured over the collected volumes of Calvin & Hobbes, Peanuts, and the Far Side my dad kept in his study. As I grew older, the Sunday funnies expanded to series like the Adventures of Tintin, and manga. I realized the visual nature of comics could quickly introduce a reader to fantastical worlds, and immerse them in a very real sense of action, danger, and emotion. In longer form comics like manga that span many volumes, characters had room to grow and evolve—by the end of a series like Rurouni Kenshin the characters were not the same as they were 28 books ago. That’s what I fell in love with, the ability for comics to share a funny visual gag, convey a sense of excitement and adventure, and handle character arcs, all in one easily accessible medium.
Colleen: Same with me! Those newspaper comics were such a wonderful part of my childhood. I recently did a school visit where I told the students “Imagine every morning someone left a whole pile of comic strips on your doorstep!” I blew the kids’ minds. They couldn’t believe that was true! I also convinced them I was 400 years old. For me, comics are such an incredible medium. I studied playwriting in college, and so many of the things I learned about dialogue, pacing, visual gags, beats, came from my scripting skills. But with comics you can control even more with page turn reveals, dramatic angles, zooming in to important details, scattering visual clues throughout…I truly feel like the true art of making comics is underappreciated.
As a writer/illustrator, what drew you to the art of storytelling, specifically young adult fiction?
Colleen: I always wanted to write for kids and teens from the time I learned to read. I hoped to make that book that could help a kid through a hard time and not feel alone. And being able to make kids around the world laugh?! That’s better than any power a toxic vat or outward underwear could give me! I love mixing absolute absurdity with heartfelt emotional story lines of real things kids and teens go through…though in this case, without as many cats in real life, I hope.
Steph: Landing in young adult fiction was a bit of an accident, to be honest. I started out illustrating for younger readers, but there are so many meaningful stories to tell for this age range as well. I remember how formative some works of fiction were for me at that age. In young adult fiction you can begin to explore more nuanced ideas, concepts, and character interactions while still leaving room to be goofy.
How would you describe your creative process?
Colleen: People watching, reading every comic/play/novel I can get my hands on, animal watching, swimming…if I sat down at a computer 8 hours a day I’d barely get anything done. Instead I write 1-3 days a week and only a few hours on those days. It’s the time between staring at a screen that I get the ideas. I start with handwritten notes. I’d like to say I kept them in a single beautiful notebook, but no, I write them everywhere. On the back of junk mail. On a mile long CVS receipt. In text messages to myself. I don’t even reference them after, but it’s the act of writing physically that gets my brain churning. When I finally sit down they just fall out of my fingers.
Steph: It depends on the stage of comics making. For pencils, I like to take my iPad to different places and set up with a printed manuscript. When it comes to inking, my favorite thing to do is put on a gripping podcast or some upbeat music, pour myself a beverage, and get lost in drawing.
(For Colleen AF Venable) In addition to the Katie the Catsitter series, you are also known for your graphic novel Kiss Number 8. Could you tell us about the inspiration for this project and what it meant to you writing it?
Colleen: Someone recently asked me why I haven’t done another novel for older teens since Kiss Number 8 and it’s because you have to get in the mindset of your protagonist to write a book…and going back to being a teen…lordie, I wouldn’t wish that on anyone! I know I will again, someday, and miiiight even have some secret first drafts, but it’s an emotional journey, and I think all the emotion I put into that book came through. I started it in 2004, which is why the book is set then. It was inspired by my very Catholic family and their reaction to my perfect older sister coming out of the closet. Suddenly I was the “good kid”—and trust me I was NOT, and I was also secretly bi…something I didn’t even admit to myself until my 30’s due to repression. I wanted to make a book that was truthful to what it was like to come out in the early aughts but also didn’t show the church as some giant big bad guy like all the other LGBTQ books did at the time. Even back then I was exploring themes of all the gray areas in life, no good guys, no bad guys. Mads the protagonist is both so likable but also makes the worst decisions of anyone in the book. I’m so proud of the book, which finally came out in 2019 and was even one of the first comic books to ever receive a National Book Award nod. I thought of it as a period piece, but the emails I’ve gotten from teens struggling to come out make me realize it’s less of a historical novel than I’d like.
Growing up, were there any stories in which you felt touched by/ or reflected in? Are there any like that now?
Steph: As I mentioned before, Calvin & Hobbes is an easy one, and one that inspired many creators. Tintin introduced me to action and adventure in comics, and Rurouni Kenshin was the big series that landed at just the right age for me. When I toured on motorbikes, I liked to imagine I was Kino in Kino’s journey, self-sufficient and exploring the different cultures of the world. Nowadays, I live in a self-converted Sprinter van named The Bebop, after the converted interplanetary fishing trawler in Cowboy Bebop. On some days the name feels extremely prescient—with all the blackout curtains up, it feels like a little spaceship that could be anywhere in the galaxy. Putting away the curtains could reveal a different planet each day. I see myself in Ed, “self-styled”, taking my craft through time in space, and hunting bounties (making comics and taking on freelance gigs). I even keep a little plushie corgi copilot.
Colleen: Ah! I hadn’t realized Bebop was named after that! As a huge Saturday Morning Cartoon dork I assumed it was from Ninja Turtles! I’m going to second Calvin & Hobbes. I feel like every cartoonist of our generation has Bill W to thank for letting us be absurd, bend genres, and create REAL protagonists, flaws and all. Like Katie, my parents didn’t have much money growing up, so I spent my afternoons after school in the library, being annoying and VERY hyper. (Catholic Church, if you are reading this, please consider canonizing those librarians.) Books that blew me away: Amelia Bedelia, anything Ellen Raskin, Agatha Christie. At the time there was no YA section, and definitely no graphic novel section, but if those existed I would have eaten them up. I got into comics through webcomics after college. It was the thing I had been searching for. Now I am forever in love with anything Victoria Jameson, M.T. Anderson, or Urasawa writes. I swear it’s impossible for those three to create anything that’s less than genius.
Steph: Ha, that reminds me of how influential The Hitchhiker’s Guide to the Galaxy was for me! I read it at just the right age. If I ever build out another van, it might have to be the Heart Of Gold. It seems infinitely improbable.
Stephanie Yue
As a creative, who or what would you say are some of your greatest creative influences and/or sources of inspiration in general?
Colleen: Honestly, for me it’s more comedy icons: Monty Python, Gilda Radner, Mr. Show, Carol Burnett, The Muppet Show, The Marx Brothers. If I had to name comics, I’d have to give a nod to The Tick and The Far Side. I’m a huge comedy history nerd and read anything I can find on the subject. Even in my more serious books like Kiss Number 8, humor is the thing that drives the reader through the angst. Without comedy these stories would never be as powerful.
Steph: I know I keep coming back to it, but Bill Watterson was formative for me. I also really enjoy the mixed media work of Shaun Tan, and the life and work of Edward Gorey. His former home is now the Edward Gorey House, and it offers a wonderful peek into his life as a creative. It’s one of my favorite stops if I ever find myself going to Cape Cod.
What are some of your favorite elements of writing/drawing? What do you consider some of the most frustrating and/or challenging?
Steph: Cartooning is a surprisingly physically draining profession, with long, lonely hours at the drawing tablet. Whenever available, I do my best to get some social time, outdoor time, and maintain an exercise routine. At the desk, I try to be careful about ergonomics and my posture, to avoid painful aches or repetitive stress injuries. Like many creative occupations that blur the line between work and play, it’s commonly misunderstood. Even after this long I still find myself justifying to people that yes, this is indeed a job, and no, I cannot do this for free.
Also, robots and horses are hard to draw.
Colleen: Whenever I write Katie I have a smile on my face and am often giggling out loud. I also adore the editing process, especially when I get to work with an editor as brilliant as Shana Corey, who’s notes always blow me away. I’m a big fan of jigsaw puzzles and mysteries and figuring out how to reshape pieces so they fit together perfectly. For me the frustrating part is not having more time. I have a full-time day job and can only fit in writing early morning. I’m good at meeting my book deadlines and my job, but my personal inbox and ability to have time for friends suffers more than I’d like. Other frustrating thing: I think I’m the only writer in the world who doesn’t drink coffee, so my love of writing in cafes means a whole lotta brownies and muffins, which I’m fine with but my dentist and non-stretchy pants might not love.
And sorry about all the robots and horses, Steph!
Aside from your work, what are some things you would want others to know about you?
Steph: I live to ride and travel and I love to build things!
Colleen: Steph is being modest, when they say travel they’re doing it on a motorcycle, Vespa (to 49 of the 50 states!!!), and in their amazing van. I’m in awe of them. They’re basically more badass than any comic book hero you could imagine. I can’t even do a somersault and cried the one time I did a tourist-y zipline. (The 10-year-olds and 70-year-olds also ziplining were very confused.) While I might be afraid of heights and worms, I’ve got a handful of things I’m weirdly good at. For instance I once broke a national co-ed jump rope record that hadn’t been broken in 30 years. I’m ranked in the top 50 of Dance Central international high scores…a game series that if I ever have enough money I will pay Harmonics to make another version. I also have an internet famous connect-the-dots tattoo that George Takei said was “the perfect tattoo” and Mark Walberg said was “a bad influence on children.”
What’s a question you haven’t been asked yet but that you wish you were asked (as well as the answer to that question)?
Steph: What is your favorite flavor of potato chip? It’s salt and vinegar, the saltier and more tart the better.
Colleen: Noooo don’t out me as a weirdo who doesn’t really like chips, Steph!!! I have a sweet tooth. Actually I might have two, one in place of the salty tooth everyone else seems to have.
What advice might you have to give for aspiring creatives?
Steph: The most daring thing you can do is just make the thing you want to make and put it out there in the world. It doesn’t have to be perfect, it’s more important that you start.
Colleen: Don’t be afraid to get better! I started a webcomic in 2004 using MS Paint. Four years later I was the sole designer for First Second Books and had my first graphic novel contract. I wrote 31 books that were rejected by publishers before that contract…and even after that I wrote 6 others that never made it to publication. The most important thing to do is to set aside time for you to be creative every week. There will also be a million excuses, but be kind to yourself and make space for YOU. Also read. The more you read the better a writer you’ll become. And did I mention the muffins? They definitely help.
Are there any other projects you are working on and at liberty to speak about?
Colleen: This fall I have two books coming out. My first for adults! It’s a humor/inspiration book called The Swayze Year: You’re Not Old You’re Just Getting Started co-written with the brilliant Meghan Daly, with art by the incredible Tara O’Connor! It chronicles one person from age 35 to 100 who got their start at that age. It’s super inspiring but also SUPER absurd, more of the tone of your best friend saying “SHUT UP YOU AREN’T OLD!” than a cheesy self-help book.
The other book is a short story collection called Creepy Cafetorium, which is part Sideways Stories and part Gravity Falls. I get to be the Rod Sterling of the series and write all the intros for every tale as a very weird 600 year old lady. It’s incredibly goofy, heart-felt, and has stories from amazing writers like Jadzia Axlerod, Carol Burrell, and Marcie Colleen.
Steph: I’m always working on my van, my bikes, and future travel.
Finally, what LGBTQ+ books (comics included)/authors would you recommend to the readers of Geeks OUT?
Colleen: I’m putting my vote in for Burn Down, Rise Upby Vincent Tirado. It’s a love letter to the Bronx and a horror novel that bases those horrors on real events. But the queer romance was sweet and like little breaths of solace during the gripping thriller. (Note: if you read this book you will never look at the subway the same way again.)
As for comics, the one that got me recently was Galaxy: The Prettiest Starby Jadzia Axlerod and Jess Taylor. DC’s first trans hero! Written by an amazing woman I’ve known since our days making hand-stapled mini-comics to sell for a buck or two at small press cons! Not only is the story so compelling, but the character designs and the candy-colored art are delicious.
Victoria Ying is a critically acclaimed author and artist living in Los Angeles. She started her career in the arts by falling in love with comic books, this eventually turned into a career working in animation and graphic novels. She loves Japanese Curry, putting things in her shopping cart online and taking them out again and hanging out with her husband and cat, Bandito. Her film credits include Tangled, Wreck it Ralph, Frozen, Paperman, Big Hero 6, and Moana. She is the author and illustrator of her own series “City of Secrets and City of Illusion” through Penguin/Viking and the illustrator of the DC series “Diana Princess of the Amazons.” Her upcoming graphic novel projects her YA debut, “Hungry Ghost” and the Marvel/Scholastic “Shang-Chi and the Secret of Immortality.”
I had the opportunity to interview Victoria, which you can read below.
CW: Discussion of eating disorders
First of all, welcome to Geeks OUT. Could you tell us a little about yourself?
Hey there! I’m an author and illustrator of the new graphic novel, Hungry Ghost! I started my career in animation working at Disney on films such as Tangled, Wreck it Ralph, Frozen, Big Hero Six and Moana. I wanted to tell my own stories so I left to pursue my dream of writing. Hungry Ghost is my YA debut based on my own experiences but fictionalized.
What can you tell us about your upcoming graphic novel, Hungry Ghost? What inspired you to write this story?
I struggled with an eating disorder for nearly a decade and the thing that surprised me about media surrounding ED was just how much of it didn’t reflect my experience. As a child of immigrants surrounded by western culture, I saw the stories of worried families and emaciated young white girls and didn’t see myself in those stories. I wanted to share what the experience is like beyond the gory details of protruding bones and write a story about what it FEELS like to actually live with an ED.
Doing some research, I noticed that the term “hungry ghost” is a common concept in Buddhism and Chinese traditional religion. Was that intentionally chosen in mind when choosing the title and/or developing the story itself?
It is definitely a concept in folklore, but in my family, it was used with derision if you ever ate quickly. “You’re like a hungry ghost!”
I wanted to use the phrase because it felt appropriate for Val’s struggles. She’s hungry, not just for food, but for love as well.
How did you find yourself getting into storytelling, specifically comics? What drew you to the medium?
I had always loved comics. Comics drew me to an artistic career in the first place when I was in middle school, but once I got to college, someone told me about the tough working conditions in comics and I pivoted. I came back to the medium after working for a few years and was able to advocate for myself in the labor market. I got to work with amazing editors at First Second for this project and I couldn’t be happier with my comics experience.
Growing up, were there any books/media that inspired you as a creative and/or that you felt yourself personally reflected in? Is there anything like that now?
As a second generation child of immigrants, It’s difficult to see yourself in any media. As a kid, I saw token representation for Asians sometimes and when I would express my alienation, people would tell me to watch Chinese media. But I wasn’t Chinese either. I couldn’t speak fluently and it just made me feel even more alien. I’m glad that we live in a media environment where we’re talking about immigrants and kids of immigrants. We’re in the golden age of diaspora stories! Films such as the Oscar winning “Everything Everywhere All at Once” prove that our stories can be relatable and unique.
As an artist, who or what would you say are some of your greatest creative influences and/or sources of inspiration?
My inspirations are changing all the time, but I love people who follow their creative spirit. I love watching directors like Taika Waititi tell wildly different stories and yet still hold onto their special voice. Whenever I can tell that an artist is being true to their creative vision, I am most drawn to them.
For those curious about the process behind a graphic novel, how would you describe the process?
It’s like the process for making a drawing, but expanded out into a longer process. You start out with the script, get that working, and then move onto thumbnail drawings, where you draw the whole book in tiny scribbly little doodles. Once that’s working, you take those scribbles and tighten them up to something that people can actually look at. Once it’s presentable, you can add color. I worked with a fantastic colorist Lynette Wang for this book and others. Last but not least, you add in the final text.
What are some of your favorite parts of the creative process? What do you find to be some of the most frustrating/difficult?
I love the first draft of something and the inking phase. I love telling myself a story and seeing the whole thing come together. It’s fun and feels organic and natural. I also really enjoy the inking phase because I can actually let go of my storytelling brain and just get lost in making the artwork look the way I want it to. I find artistic flow most easily here.
Spoiler, regarding the main character’s mother, I really appreciated how you depicted a familial relationship that was filled with both love, but also misunderstanding and some toxicity. Would you mind speaking about that here?
I felt like a lot of parental relationships in media never rang true for me. Our parents are human. They have their own flaws, their own traumas, and to treat them as cardboard cutouts of “good parents” never really works. I was really inspired by “The OC” in high school because the parents were complicated, they had their own lives and that effected how they related to their kids. I wanted to write a mother like that. I wanted to show how ED is often passed down and how sometimes, we don’t get a fairy tale ending with the mythical apology, but we still have to move on and build a life for ourselves.
What are some things you would want readers to take away from Hungry Ghost?
It’s okay if the people you hoped to rely on can’t be there for you. You can be there for yourself and even though that’s not ideal, you can build your own support system and heal yourself.
What advice might you have to give to other aspiring creators?
Write short stories and write a lot of them. I had to learn how to tell stories with structure and catharsis and if I had only done full length stories, it would have taken me a long time to fix the mistakes. If you write short you can see the whole thing laid out in front of you and learn to be a better storyteller faster.
Besides your work as an artist, what are some things you would want readers to know about you?
I’m an elder millennial and it took me this long to have something worth saying. My path to publishing is long and winding, but I don’t regret a single moment of it because it all led me to the place that I am now.
What’s a question you haven’t been asked yet but wish you were (and the answer to that question)?
“How do you manage your time to avoid burnout?”
One of my biggest things I advocate for with young comics artists is never to schedule yourself to the max. Yes, you CAN work 7 days a week, but that can’t last and you’ll be an absolute husk of a person in a matter of months. Whenever you are figuring out how long a project will take, protect your weekends and evenings. 8 hours a day MAXIMUM. Also, remember to build in two weeks of sick time! You’re your own HR department, so be that for yourself!
Are there any projects you are working on or thinking about that you are able to discuss?
I have a book coming out with Scholastic for Marvel’s Shang-Chi on October the 6th! I was allowed to write a fun, twisty little story for this character and I can’t wait to share it.
I’m also working on a second YA contemporary about growing up on the internet and navigating inappropriate relationships.
Finally, what books/comics would you recommend to the readers of Geeks OUT?
Ooh! I just finished Ryan LaSala’s “The Honeys!” It was a fun, queer, horror romp that I can’t stop thinking about!
Christine Suggs is an illustrator, designer, and comic artist. Their work explores the intersection of their identities, namely being a queer, fat, Latinx feminist who loves all things cute. They’re also way too into Pokémon and cats. They’re currently living in Dallas, TX with their super rad husband and insanely adorable pets.
I had the opportunity to interview Christine, which you can read below.
First of all, welcome back to Geeks OUT! Could you tell us a little about yourself?
Hello! I’m a cartoonist living in Dallas, TX with my cool husband, 2 cats and a dog. I am a little obsessed with the cats and I have the camera roll to prove it. I mostly make work about identity, particularly my experience as a fat, queer, Latinx person.
I’m half-Mexican, and with that comes a lot of experiences that make you feel like you don’t quite fit in with either world. I’m also not fluent in Spanish, which only increases that feeling of not being “Mexican enough.” This book is about the time I went to visit my grandparents and my tía in Mexico City for a month as a teenager. It’s really a love letter to Mexico, language, the biracial experience, and my mother.
As a writer, what drew you to the art of storytelling, specifically within the graphic novel medium?
I started with webcomics! I was super into Questionable Content by Brian Jaques; Girls with Slingshots by Danielle Corsetto; and the autobiographical work of Dustin Harbin, Lucy Knisley, Erika Moen, and Kate Beaton. I started making my own autobio comics in high school and college to process my feelings. Eventually I started posting them online and I really appreciated the connection I’d feel when sharing these stories.
How would you describe your writing process?
Oh gosh, it’s a lot of sitting around in a bathrobe, listening to moody music, and staring into space. I start with what I call “word vomit” which is just getting it all out on a doc, usually with bullet points. For this book, I also interviewed my mom to jog my memory on a few things. I fiddled around with the order of events to create a detailed outline – memory is a funny thing, so the book is kind of an amalgam of a few different trips – then got to scripting! I’m very flexible about page count and paneling at this stage just because I know once I get to drawing, I’ll have to make 100 little decisions, so the layout is bound to change. But I do take notes on what I generally picture happening, like expressions or actions.
Many authors would say one of the most challenging parts of writing a book is finishing one. What strategies would you say helped you accomplish this??
I’m an organization nut. I have a “Chalkboard of Doom” in my office where I divvy up the work week by week. I give myself padding before my deadline in case an emergency comes up. I also listen to my mind and body! Some days are gonna be really productive and I’ll go over my page count. Some days, not so much.
Growing up, were there any stories in which you felt touched by/ or reflected in? Are there any like that now?
This is kind of why I made the book! In the 90s I wasn’t seeing anyone who looked like me on the cartoons I loved so much. This was the age of “heroin chic” and I was a chubby half-Mexican kid. I did love the Lioness Quartet series by Tamora Pierce. I still read it every few years for those great gender feels. Nowadays I love a quirky and soapy comedy, like Jane the Virgin, Ugly Betty, and Crazy Ex-Girlfriend.
As a creative, who or what would you say are some of your greatest creative/artistic influences and/or sources of inspiration in general?
I have a degree in graphic design, so I think that informs a lot of my decision making in comics, like limited color palettes. Miyazaki was another influence; I tried to capture a lot of small, quiet moments in the book. Finally, I’m lucky enough to have a great online community of artists that I follow and engage with regularly. I love my internet friends and am constantly in awe of their work! Liz Yerby, E. Joy Mehr, Kate Wheeler, and Rose Bousmara to name a few.
What are some of your favorite elements of writing/ illustrating? What do you consider some of the most frustrating and/or challenging?
Inking, hands down. It’s when your work really starts to look real. And the satisfying swoosh of when a line turns out just right…there’s nothing better. Writing always takes it out of me, especially with autobiographical work. I mean at the end of the day, you’re digging through a lot of emotions and even trauma and that can be rough!
Aside from your work, what are some things you would want others to know about you?
Well, since this is a geeky place, let’s talk about Dungeons & Dragons! I’ve been playing with a dear group of friends for about 5 years now and it’s the highlight of my week. Right now, we’re in a space campaign and I play an agender robotic monk who accidentally became a druid even though they don’t believe in magic. I used to DM and I’d definitely recommend that as a way to practice writing and acting. And it’s a great way to make your friends practice using different pronouns!
What’s a question you haven’t been asked yet but that you wish you were asked (as well as the answer to that question)?
What do music you listen to when you work? It changes depending on what part of the process I’m in. For writing I curate a playlist based on that time period: ¡Ay, Mija! was a lot of broody Mexican music like Chavela Vargas, Vincente Fernandez and Jose Jose. Once I get to thumbnails and pencils, I switch to musical theater – Phantom of the Opera is particular fave. And then later in the process I can turn my brain off and listen to comedy podcasts like MBMBAM or The Adventure Zone.
What advice might you have to give for other aspiring writers?
Indulge yourself! Write fanfiction, read “trashy” novels, do whatever it is that fills your cup. Nobody wants to read a book that even the author didn’t like. Same goes for drawing: if you love drawing cats, keep drawing cats! Yeah, you’ll eventually have to learn how to draw backgrounds and it sucks, but it’s the fun stuff that keeps you going.
Are there any other projects you are working on and at liberty to speak about?
I was fortunate enough to get a 2-book deal with Little Brown Ink, so I’m already thumbnailing my next book! It’s based on my life but is slightly fictionalized. It’s about queerness, finding your community, and financial barriers to art education.
Finally, what LGBTQ+ books/authors would you recommend to the readers of Geeks OUT?
Well, I can’t recommend Gender Queer by Maia Kobabe enough. I know Maia is going through the ringer right now with book bans, but that book completely “cracked my egg” as far as gender goes. Trung Le Ngueyen’s The Magic Fish made me cry with its queer immigrant story, and Pslam for the Wild Built by Becky Chambers may be the most beautiful novella I’ve read in my life. Incredible world-building and two nonbinary main characters!
Wes Molebash is the creator of several popular webcomics, most notably You’ll Have That (Viper Comics) and Molebashed (self-published). He has also created cartoons for companies and organizations such as the Ohio State University, Target, and PBS Kids. Travis Daventhorpe for the Win! is his debut graphic novel.
I had the opportunity to interview Wes, which you can read below.
First of all, welcome to Geeks OUT. Could you tell us a little about yourself?
Thanks for inviting me to participate! I’m honored! My name is Wes Molebash, and I’m a cartoonist in Southern Ohio. I’ve been drawing comics for a couple of decades now; mostly webcomics, but I’ve recently published my first graphic novel!
What can you tell us about your debut graphic novel, Travis Daventhorpe for the Win!? Where did the inspiration for this story come from?
Travis Daventhorpe for the Win! is my first graphic novel, and it came out at the end of March from 01:First Second Books. It’s the first in a four-book series. The story follows a socially awkward eleven-year-old who discovers he’s the prophesied hero of a kingdom in another dimension. The book has robots, wizards, magic, dinosaurs, and tons of video game references. It’s a lot of fun!
The biggest inspirations for the series are my two sons, Parker and Connor. When they were really little, I started brainstorming ideas for a story I thought they’d enjoy. The initial idea for Travis Daventhorpe popped in my head while I was playing with them on the living room floor one afternoon.
How did you find yourself getting into storytelling, particularly comics? What drew you to the medium?
Ever since I was a kid I’ve loved cartoons and animation. Newspaper comics were also fun to read, but I didn’t fall in love with the medium of comics until I discovered Calvin and Hobbes. That changed everything. It inspired me to learn everything I could about making comics.
During middle school, I began collecting comic books like Batman and Superman. They were fun, but I didn’t love them the way I loved Calvin and Hobbes. But then I found Bone by Jeff Smith, and that book was another game changer. It had the heart, imagination, and visuals of a comic like Calvin and Hobbes, but it was in this much larger comic book format. So the worlds could be bigger; it felt like there was more to explore. I loved that, and I wanted to make comics like that.
As a creative, who or what would you say are some of your greatest creative influences and/or sources of inspiration?
Well, as I said before, Bill Watterson and Jeff Smith are the BIG TWO. But I’m also inspired/influenced by other cartoonists like Mike Cavallaro, James Burks, and Michael Jantze. Movies, books, and video games are also huge influences. Speaking of video games, Travis Daventhorpe was heavily influenced by The Legend of Zelda: Breath of the Wild and Horizon Zero Dawn. So if you like those games, you’ll probably find some nods to those series in my books.
Besides your work as a creative, what are some things you would want readers to know about you?
I was the 3rd Grade Spelling Bee Champion, I was class president my junior year of high school, and I can play the guitar.
What’s a question you haven’t been asked yet but wish you were (and the answer to that question)?
No one has ever asked me who I would want to voice Belazar if Travis Daventhorpe for the Win! was made into an animated movie. The answer is Andre Braugher from Brooklyn Nine-Nine.
Are there any projects you are working on or thinking about that you are able to discuss?
Right now we’re wrapping up the edits on Travis Daventhorpe Book 2, and I’ve started writing Book 3!
Finally, what books/comics would you recommend to the readers of Geeks OUT?
ABOUT EDMUND WHITE’S A BOY’S OWN STORY: THE GRAPHIC NOVEL
A landmark American novel, hailed by the New York Times as J.D. Salinger crossed with Oscar Wilde, is masterfully reimagined as a timeless graphic novel.
A Boy’s Own Story is a now-classic coming-of-age story, but with a twist: the young protagonist is growing up gay during one of the most oppressive periods in American history. Set in the time and place of author Edmund White’s adolescence, the Midwest of the 1950s, the novel became an immediate bestseller and, for many readers, was not merely about gay identity but the pain of being a child in a fractured family while looking for love in an anything-but-stable world. And yet the book quickly contributed to the literature of empowerment that grew out of the Stonewall riots and the subsequent gay rights era. Readers are still swept up in the main character’s thoughts and dry humor, and many today remain shocked by the sexually confessional, and bold, nature of his revelations, his humorous observations, the comic situations and scenes the strangely erudite youthful narrator describes, the tenderness of his loneliness, and the vivid aching of his imagination. A Boy’s Own Story is lyrical, witty, unabashed, and authentic.
Now, to bring this landmark novel to new life for today’s readers, White is joined by co-writers Brian Alessandro and Michael Carroll and artist Igor Karash for a stunning graphic novel interpretation. The poetic nuances of White’s language float across sumptuously painted panels that evoke 1950s Cincinnati, 1980s Paris, and every dreamlike moment in between. The result is a creative adaptation of the original 1982 A Boy’s Own Story with additional personal and historical elements from the authors’ lives
I had the opportunity to interview the creative team of this graphic novel adaptation, which you can read below.
First of all, welcome to Geeks OUT! Could you tell us a little about yourself?
Michael: I’m a long-time fan of author Edmund White. The first book of his I read I read aloud with my partner at the time Patrick Ryan when we were on a road trip in college, States of Desire: Travels in Gay America. Next was Boy’s Own Story. A few years later while I was in Eastern Europe in the Peace Corps, I wrote Ed a fan letter and at the end of that summer moved to Paris to live with him. Then later married him. Patrick Ryan and I became writers and moved to New York at the same time. Patrick lived with us for a month while he was getting his bearings. That’s part of gay life, this portable sense of commune.
Igor: I am an illustrator and designer and was born in the city of Baku in Azerbaijan (while it was still a republic of the Soviet Union).
I designed my first theater set in 1979 at the age of 19 and published my first illustrated book in 1993. In that same year, I immigrated to the U.S. with my wife and children.
Immigration is quite the challenge for an artist: one is removed from their artistic and cultural roots, environments, and people that stimulate one’s creativity. Although my overall experience in America has been very positive, financial pressure diverted my career into the field of design.
I re-emerged in the sphere of illustration in 2012 when I won an illustration competition and subsequently illustrated several major titles for the Folio Society in London.
Michael Carroll
What can you tell us about your latest book, the graphic novel adaptation of Edmund White’s A Boy’s Own Story? What was the inspiration for this project?
Michael: The project started when Ryan Runstadler, founder of Closure Creative, asked me what I thought of the idea of making Ed’s novel into a graphic novel. I think we were walking down Duval Street in Key West. I hadn’t thought of what my second book would be, but I had published my first and it looked like I was a viable writer, and in the next moment Ryan asked if I’d like to write the script. It didn’t really take off until I met Brian Alessandro, who nudged me along. We did versions of the script back and forth. It got frightening and kind of hot when Brian inserted the flash-forwards into our character Eddie Valentine’s later life, taking in the changes wrought by gay rights, AIDS, and the developments of his own career. Flash forwards are not easy to manage. There’s something about the bending of narrative time that can be abrupt or confusing. Brian was in a channel that brought Igor Karash in as the illustrator, and among all of us including Ryan we thought about and discussed which flash forwards should have smoother transitions and which ones could benefit the book with quick jumps. I don’t remember which are which.
Brian: It is a visual interpretation of Edmund White’s 1982 classic novel, of course, but also an intimate epic of a gay man’s experiences throughout the second half of the 20th century, from the oppressive 1950s to the liberation of the late 1960s-early 1970s occasioned by Stonewall, and on to the devastation of the 1980s due to the AIDS crisis.
Igor:This book is my first major ‘graphic novel.’ Previously, I have produced a number of limited-edition publications in this format but had not attempted anything of this scale.
In my visual interpretation of the masterfully written adaptation (and original novel, of course) I focused on weaving together inspiration from fine art, graphics, and literature that I felt had sophisticated and painful qualities: Balthus with his erotic sensibilities and Nabokov’s Lolita. Another source of inspiration was Edward Hopper’s empty cityscapes and interior spaces, containing people that are lonely and uncomfortable. I live in the Midwest and looking at my own surroundings became a reference for the colors and textures of the Midwest as depicted in this story; I am very much inspired by local architecture and traces of ’50s advertising on old brick walls.
As a writer/illustrator, what drew you to the art of storytelling, specifically comics?
Michael: My first graphic novel was Alison Bechdel’s Are You My Mother? I loved it, but because I can’t draw I never gave much thought to the idea of branching out into the form. Writing ours, I thought more cinematically about the story. It took Igor to make the page very real.
Brian: I grew up reading comic books and graphic novels and have always loved them. I even attended Comic Con in New York long before it became the phenomenon it is today. I always found in stories the opportunity to explore the lives of other characters. It is a gift to live vicariously through an invention.
Igor:Well, in my country of origin, comic books and graphic novels were almost completely missing from the market.
I only remember seeing a few primitive comic strips on the end pages of children’s magazines. Only upon my arrival to the U.S. did I learn of so many amazing graphic works by artists such as Robert Crumb, Art Spiegelman, Shaun Tan, Brian Selznick, Dupont, and Nina Bunjevac. My first experiment in this format was writing and illustrating a grotesque political satire entitled Sir Drakon. This work was produced years before Putin’s invasion of Ukraine, but it was my attempt to warn of his regime. At that moment, my exploration of graphic narratives evolved into a passion.
Brian Alessandro
As a writer/illustrator, who or what would you say are some of your greatest creative influences and/or sources of inspiration in general?
Michael: I’m very old-fashioned. I loved the Peanuts, who were very real to me. But my favorite writers were Salinger, Irving, Capote, Stephen King. Later I added gay writers since it was obvious I wasn’t going straight. And Ann Beattie, Joy Williams, Elizabeth Taylor, Richard Yates, VS Naipaul, and Muriel Spark.
Brian: In film, it’s Stanley Kubrick, Pier Paolo Pasolini, Chantal Ackerman, and David Lynch. In literature, it is Virginia Woolf, Vladimir Nabokov, William S. Burroughs, and James Baldwin. In theater, it is Edward Albee and Tony Kushner. And in visual art, it is Francis Bacon, Gustav Klimt, Lee Bontecou, and Jim Lee.
Igor:The heart of the city of Baku is a walled city called Icheri Sheher. My experiences of this ‘city within a city’ in the ’70s remain a large inspiration for my work. Back then, I couldn’t imagine myself ever leaving that place. Currently, I am surrounded by the urban landscape of old St. Louis, and I find inspiration from this city as well.
What are some of your favorite elements of writing/illustrating? What do you consider some of the most frustrating and/or difficult?
Michael: I love writing non sequitur (see Joy Williams). I find transitions difficult so largely I just double-space and ignore them. Illustrated panels are a marvelous form or element to play with.
Brian: My favorite elements are also the ones I find most frustrating. It’s a fulfilling frustration, though. Working out a character’s development, structuring a story, dissecting themes, and developing a style. It’s all hard work, but also very rewarding.
Igor:Process is everything to me: my favorite part of illustrating is making a deep dive into the story to find the theme. Then, it can be difficult to stay focused and find a path through an endless sea of research and visual references. Sometimes starting this process can be scary, but after many attempts, it has grown easier.
Aside from writing/illustrating, what are some things you would want others to know about you?
Michael: My life isn’t about writing. It’s about becoming the adult I wanted to be and was afraid to be as a teenager dealing with the advent of AIDS. If reading and writing aren’t pleasurable, the way the pursuit of romance and sex are, then I want nothing to do with it. Life is too short.
Brian: I also hold an advanced degree in clinical psychology from Columbia University and have taught at the high school and college levels for over a decade.
Igor:Aside from illustration there’s very little of me. I guess I am an alright husband, father, and now grandfather.
I am a huge Beatles fan, from my days in art school playing prohibited rock songs with my friends in the underground (physically). Now, I sit in my basement studio and perform some of these songs when having bits of free time.
Igor Karash
What’s a question you haven’t been asked yet but that you wish you were asked (as well as the answer to that question)?
Michael: What’s the relationship between my writing and my personal desires and disappointments? It’s complete. Even when I’m not working autobiographically, I’m thinking that way: my growing up wasn’t that different from Edmund White’s.
Brian: About this project? It’s what inspired me to incorporate so many other elements of Edmund White’s life and work into this adaptation. I wanted to make the project my own. Doing a straightforward transcription of someone else’s work would not have been satisfying, so I had to put my own twist on it. I also wanted to give Ed’s fans something unexpected and more substantial to chew on and explore the themes that have plagued and blessed gay men over the past century. About me, it would be: what is my general worldview? I find the human condition bittersweet, though maybe a bit more bitter than sweet.
Igor: I haven’t been asked: What is the relationship between your personal style and the stories you create or illustrate?
I don’t have a strong signature style, or maybe I was unable to develop one. I would say I wasn’t too focused on creating one. It’s a big question of one’s philosophy, ethics, and marketing. Personally, I believe the most important part of illustration, as a profession, is to find the right visual ‘key’ of a story. This ‘key’ leads me to develop a unique visual language for each project. So, on the marketing front, I sometimes suffer, but in the end, I am pleased with my work when I solve visual problems.
What advice might you have to give for aspiring writers/illustrators?
Michael: Work pleasurably and don’t try to destroy others in your quest. Work steadily but don’t be in a hurry. You’ll never become a less good writer unless you lose your way creatively. You’ll be better in ten or twenty years. I published my first book when I was 49. I’m glad.
Brian: Be patient and stay open to constructive criticism. It takes a while to get to where you need to be, and you don’t do it alone.
Igor:Visual ideas do not come out of your mind fully formed as beautiful and complete visions. Great visuals only follow after you draw, practice, and improvise to develop meaningful work over time. So, draw, draw, draw.
Are there any other projects you are working on and at liberty to speak about?
Michael: Zero. I’m working on being a housewife who goes to the gym and collects underwear.
Brian: My second novel, Performer Non Grata, will be released in April 2023 by Rebel Satori Press. It is about how fragile egos can wreak havoc when not coddled.
Igor:I have a few ongoing projects: One is a large graphic novel about the siege of Leningrad (how horribly ironic it is to be making a book about a tragedy of that scale while at this moment Russia is bombing the Ukrainian power grid as winter approaches). Another war-themed project is a series of illustrations for the dark satire Slaughterhouse-Five by Kurt Vonnegut.
This will be an illustrated edition of the novel and not a graphic novel, but maybe one day? Also, the decline of Russia into fascism has been driving a self-initiated series of satirical graphics. However, the horrific loss of human life in Ukraine has made it more difficult to keep this series going.
Finally, what LGBTQ+ books/authors would you recommend to the readers of Geeks OUT?
Michael:Dancer From the Dance by Andrew Holleran (and everything else by him). Anything by a gay writer. Support them. One thing I need to do is branch out and read more work by trans and other queer authors.
Brian: Edmund White, naturally. Edward Albee. Severo Sarduy. Herve Guibert. Jean Genet. Tony Kushner. Tennessee Williams. Edouard Louis. Andrew Holleran. James Baldwin. David Santos Donaldson. Brian Broome. There are too many to list!
Igor: To my knowledge, Edmund White, Michael Carroll, and Brian Alessandro are the best! I would also add Alison Bechdel as a great visual storyteller. To be honest, I am not as familiar with the works of LGBTQ+ creators as I could be. So, I am always open to seeing and reading more!
Gale Galligan is the creator of the New York Times bestselling Baby-sitters Club graphic novel adaptations of Dawn and the Impossible Three, Kristy’s Big Day, Boy-Crazy Stacey, and Logan Likes Mary Anne! by Ann M. Martin. They are also the creator of Freestyle, an original graphic novel that they both wrote and illustrated. Gale was featured in The Claudia Kishi Club, a documentary now streaming on Netflix. When they aren’t making comics, Gale enjoys knitting, reading, and spending time with their family and adorable pet rabbits. They live in Pearl River, New York.
I had the opportunity to interview Gale which you can read below.
First of all, welcome to Geeks OUT! Could you tell us a little about yourself?
Thank you for having me! I’m a graphic novelist named Gale Galligan. I love comics, shrimp chips, and animals. My family adopted a kitten recently, qualifying us for actual menagerie status. The count is now: two rabbits, one elderly leopard gecko, several fish, a toddler, and the aforementioned cat. They’re all very fun to draw.
What inspired you to get into comics, particularly those for younger readers? Were there any writers or stories that sparked your own love and interest in storytelling?
There’s something so special about the stories you can get your hands on as a kid. You read them over and over again and they lodge themselves deep into your brain as a sense memory. Sometimes, they seem so accessible that you can’t help but try to make one for yourself.
What I’m saying is, I was really into Garfield growing up.
I started off drawing my own comics inspired by that, as well as other favorites like Calvin and Hobbes and The Far Side. My favorite part was sharing them with people and seeing their reactions. As I grew older, I kept finding new stories to fall in love with. I was especially into Animorphs, the Chrestomanci quartet by Diana Wynne Jones, and all of the anime I could get my hands on in the early 2000s.
And I kept drawing the whole time! I drew comics about things that were going on in my life. I drew collaborative stories with my friends. I made a lot of fan comics and posted them online. Comics really were a way for me to connect with people and share big feelings with them, and I think that’s still what drives me today.
As an artist, who or what would you say are some of your greatest creative influences and/or sources of inspiration?
I could go on forever but will respect your server space. Here’s a brief list of things I keep coming back to:
The works of Fumi Yoshinaga, particularly What Did You Eat Yesterday? and Flower of Life (sadly long out-of-print). Her storytelling style is so special – it’s gentle, bittersweet, and funny, and her characters always grow so naturally. It seems effortless when she does it. Ugh!!
Everything by Jen Wang. The acting, the panel work, the flow… the feelings! When I’m feeling stuck with my own work, one of the first things I do is pull out Prince and the Dressmaker. “Oh, I want to make comics! Let’s go!!”
My friendsssss. I’m very blessed to know so many incredible people. They’re excited about a billion different things and have all kinds of amazing talents. It’s hard not to come away feeling inspired about something.
What can you tell us about your upcoming book, Freestyle? What inspired this story?
Freestyle is about an eighth-grade b-boy named Cory Tan who’s been with his dance crew – his best friends – for years. They’re trying to win a big competition together before high school, but their captain is being really controlling and bringing everyone down. When he develops a newfound passion for yo-yo, he starts spending less time with his crew and more with his tutor-slash-friend-slash-yo-yo-mentor, Sunna. Will things come to a breaking point right around the end of the second act? You bet!!
There are a lot of big feelings (my jam), as well as yo-yo, b-boying, and the most gorgeous colors from K Czap. Please look at the book so you can compliment K’s colors, if nothing else.
As for where it came from… there were a few things I knew I wanted to do. I wanted to tell a story about young people navigating all kinds of expectations. I wanted to make something really, really fun and goofy and kinetic. And I wanted to take inspiration from things that bring me joy. Sports anime. Dance movies. The really special feeling of getting really into something and finding people to share that with. Yo-yo really pulls all of that together, and I am saying this very sincerely. It is such an incredible, personal form of expression. People are coming up with their own routines, inventing their own tricks, sharing with their communities – it’s really cool. I absolutely love watching people throw but am still not very good myself, so I’m living vicariously through drawings.
For those curious about the process behind a graphic novel, how would you describe the process? What goes into creating a script and translating that into panels?
The great thing is, there’s no one way to make a graphic novel. You could ask five different people and get five different answers. So here’s mine!
Outline. Once I’ve pulled ideas from the ether, I write them out. The outline is like a short essay about the story I want to make, beginning to end, nothing fancy. Then I take it to my friends, writing group, and editor, get great feedback, return to my cave, and revise until I get something I like (hopefully).
Script. Some people draw their scripts right off the bat. I write mine with words first, just because that’s how my brain happens to organize itself. My script is broken down into pages and panels, and since I’m the one who will also be drawing from this script, I’m writing with Future Me in mind. This can mean that parts are incomprehensible, or that there are fun little notes like “Sorry for the huge crowd, get yourself a treat.”
Thumbnails. This is the visual version of a script. I sketch my pages out very roughly, just to give an idea of where people are, what they’re doing, and where the balloons and panels will go. During this part, I’m focusing on making sure that everything reads clearly. I want every aspect of a page to help guide the reader from balloon to balloon and panel to panel. As I draw, I’ll realize that parts of the written script aren’t working and improvise on the fly, adding panels, cutting dialogue, and splitting pages up as necessary. This is the next thing I send out for feedback – it’s always easier to make edits earlier in the process.
Pencils. Once I have my thumbnails set, I can start really drawing the book. At this stage, I’m going into more detail: what people are wearing, how they’re acting, where I can put the camera, what’s in the background. I’m giving myself all of the information I’ll need for final lineart, and since my memory isn’t great, my pencils end up being fairly detailed. I also lay down rough word balloons at this stage.
Inks. Now that the visual information is laid out, I can focus on drawing effective lines. Inks can convey lighting and add a sense of distance, point the reader’s attention at important parts of a page, add drama, and a billion other things. Once I’ve finished inking the art, I finalize my balloon placement as well.
Actually, this is the part where I’m done. I’ve been fortunate to work with incredible colorists for my graphic novels – Braden Lamb on The Baby-Sitters Club, and K Czap on Freestyle – who really take them to a whole new level. So, when I finish inking, I get to sit back, wait for any edits that might come in, and cheer on the rest of the production team as they make the book into an actual book.
This all happens over the course of several years. Rinse and repeat!
What are some of your favorite parts of the creative process? What do you find to be some of the most frustrating/difficult?
My favorite part is inking because at that point, I’ve done all of the hard brain work already. I get to put on a podcast or TV show I’ve been meaning to catch up on and zone out for hours at a time. It’s very peaceful.
The parts that are most frustrating are the ones where I know a drawing looks wrong but haven’t quite figured out why yet, like a panel with complicated perspective. Or an unusual pose. Or a shoe from behind. Or a horse. Or a spiral staircase. Anyway, I love my job, and at those times I’ll take a little breather, jump ahead, and come back with fresh eyes. That usually helps.
And if not, well, it’s one panel out of thousands. It’s okay to let the shoe be bad sometimes! It’s okay!!!
As a graphic novelist, you are known for your work illustrating a few volumes of The Baby-Sitters Club graphic novel series, including starring in a documentary on the series called The Claudia Kishi Club. Could you talk to us about what it meant to you working on this series as well as perhaps your own personal connection as a fan?
I was a huge fan of the BSC growing up! I still remember my first introduction to Claudia. I had to flip back a few pages to reread everything when it slowly occurred to me that she wasn’t white because this was the first time I’d encountered an Asian-American character like myself in a book. I remember having a bunch of complicated feelings all at once. On the one hand, I was delighted that she was there; on the other, I recognized for the first time that I was assuming every new character in a book would be white because that was what I was used to.
So, the series is very memorable for me in that way. I also just sincerely adored the characters and stories. When I was asked if I’d be interested in drawing test pages to continue adapting where Raina Telgemeier left off, I had to go outside and yell at a tree. I’m very grateful that the BSC team placed their trust in me, and that I was able to share something I love so much with a new generation of readers! One of my favorite memories of working on the series is a signing I did with Raina and Ann M. Martin because we got to see people of all different ages who had been affected by this long-lasting series. It’s the coolest thing.
Aside from your work, what are some things you would want others to know about you?
I love learning about all the different things that people can get really deeply invested in. Like, I was gifted a subscription to a cheese magazine and think it’s just the greatest. Cheese can take so long to mature, and there are so many different factors involved when it comes to how the cheese will turn out – I love that there are people out there with the passion to keep cheese traditions alive, and that there are people excited about innovating cool new cheeses, and that there are cheesemongers doing their best to share all of those cheeses with everyone! I love that it’s a thing!! Stuff like that. I think that everybody should make zines about whatever they’re into and then send their zines to me. That’s what I want you to know.
What’s a question you haven’t been asked yet but wish you were asked?
“Hey, Gale, what would you say if you were going to step on a soapbox for five minutes?”
Well! Let me just… okay… one, two, here we go.
More people should be able to make a long-term living off of comics! It’s unfathomable that there are cartoonists working for huge publishers, putting in absurd amounts of overtime to make tight deadlines, who still can’t make ends meet on that work alone. The number of people who have pushed themselves to the limit, burned out, and had to leave – it’s heartbreaking.
I love comics. I want the art form to continue to grow and flourish. And for that, creators and the publishing teams supporting them must be able to grow and flourish. Good pay, good working conditions, health insurance. Resources and opportunities for aspiring professionals, especially those from underrepresented communities. I want comics to be an open door, and not all of that is about the skill it takes to make a comic, but also about the circumstances that comics are grown in. I think that’s true for basically everything. It’s all connected. It all matters. Let’s keep working to make things better.
Are there any other projects you are currently working on and at liberty to talk about?
I’m working on my next original graphic novel! This will also be for middle-grade readers (and older readers of excellent taste), and it’s very loosely inspired by the experiences I had when I moved back to America just in time for 7th grade. I was a dweeby little multiracial Thai-American kid who was super used to international schools, where every one of my friends was from a different country, and all of a sudden every white kid desperately wanted to know “what” I was. So not only did I have to adjust to life in a new place again and suffer through the trials of early puberty and figure out how to actually keep friends now that we wouldn’t be moving anywhere else – but I also had to deal with a sudden identity crisis on top of that.
That’s all very dramatic, but I promise it’s going to be very over-the-top weird, and silly.
What advice might you have to give to aspiring graphic novelists (both to draw who draw/write, or simply one or the other)?
Make thing! Make thing!! I’d highly recommend making some minicomics. One page, four pages, six pages, eight pages. They’re easy for other people to read and satisfying for you to make. You’ll figure out what methods work for you without having to commit to a full book first, and you’ll be able to share them with people for feedback. (If you’re just a writer or just a drawer: do it all anyway.)
Also, if you have feelings about something… ask yourself why! Why did you like a book? Why did you hate a movie? What would you have done differently? What could you steal for yourself? Taking the time to interrogate your reactions can be so useful for your own craft.
Finally, what LGBTQ+ books/ comics would you recommend to the readers of Geeks OUT?
I’m writing my response in September, so this is a bit early, buuuut I’m going to go ahead and say every single LGBTQ+ comic available at the Shortbox Comics Fair. It’s a digital event that runs through the whole month of October, so you can literally just go to the website whenever, buy some PDFs, and indulge from the comfort of your own home. If it’s anything like last year, there will be queer comics in abundance, and I will, uhhh, spend less on coffee for a few months.
Blue Delliquanti lives in Minneapolis with a woman, a dog, and a cat. Since 2012, Blue has drawn and serialized the Prism Award-winning science fiction comic O Human Star at ohumanstar.com. Blue is also the co-creator of the graphic novel Meal (with Soleil Ho), published through Iron Circus Comics, and The ‘Stan (with David Axe and Kevin Knodell), published through Dead Reckoning. They love cooking, riding on trains, and reading exciting updates about robots and outer space. You can find them online at @bluedelliquanti.
I had the opportunity to once again interview Blue, which you can read below.
First of all, welcome back to Geeks OUT! Could you tell us a little about yourself?
I’m a comic artist and writer based out of Minneapolis. From 2012 to 2020 I published an online comic called O Human Star, about an inventor who wakes up in a robot body 16 years after their untimely death (and I’ve been rerunning it at one page per day for the last year and a half). My other well-known work is a graphic novel named Meal – it’s more of a realistic restaurant romance, but it’s just as gay. I also teach comic classes at the Minneapolis College of Art and Design.
What can you tell us about your latest graphic novel, Across a Field of Starlight? And what can readers expect from the characters?
Across a Field of Starlight is a young adult space opera that just came out from Random House Graphic. It’s about two teenagers from two very different spacefaring societies who had a chance encounter as kids, and who keep in touch surreptitiously as the galaxy around them gears up for a devastating war. Both Fassen and Lu are nonbinary, but the paths their lives take are very different – Fassen’s training to be a soldier in a scrappy militaristic rebel force, and Lu is doing scientific research for a reclusive, peaceful space commune. It turns out that can make a huge difference in your concept of who you are and what you deserve!
Where did the inspiration for this story come from?
I’m personally very interested in the concept of utopia and post-scarcity societies, and how science fiction authors explore them. My favorite prose authors in that genre are Ursula K. Le Guin and Iain M. Banks, if that tells you anything. I also love the spectacle and visuals of the space operas we get in film and comics, but I’m often frustrated by the ideological stances put forward by the creators, or the lack of consideration for what it would be like to be queer in these worlds – or how queerness affects the world. That’s what I set out to try and explore. Visually it was also an opportunity to explore an aesthetic I love very much when it comes to space stuff – the beat-up, brightly colored, 1970s look. That was a big departure from what I had done for O Human Star.
How did you get into comics and storytelling in the first place?
I got majorly interested in comics when I was in middle school. Originally I had thought about going into the field of animation, but as I learned about the amount of teamwork that goes into producing even the smallest bit of animation – and as I pored through everything I could find at my local comic store – I realized that with comics I could create entire worlds and stories on my own. It’s still a lot of effort, since as a comic artist you are simultaneously a writer, a director, a camera operator, a costume designer, and performing a bunch of other creative tasks. But the medium fascinated me. And funnily enough, it’s given me a chance to get closer to my childhood career aspirations, which were all based around outer space.
How would you describe the process of making a comic book?
My work is very character driven, so I will often sketch out characters, explore their potential, and get to know them way before I ever start writing their story. From there, I write an outline that lets me see the entire shape of the story and figure out the conflict and what I want the story to say as a whole. From there, it really depends on if this is a webcomic like OHS, where I’m serializing it page by page online, or if this is a graphic novel for a publisher like AAFOS. For OHS I was entirely on my own time, and I would draw a page completely before moving on to the next one – thumbnail, pencils, inks, colors, and lettering. I would do every step over the course of a week, queue the page on the site, and start all over again. It can’t work like that for graphic novels, which has benefits and drawbacks. I would be working from a complete script and would complete a create step for the entire comic at once, such as pencilling the whole thing or coloring the whole thing. Naturally that also meant I could work on page 52 immediately after page 237 if I wanted, and I think that helps my artwork look more consistent. But once I send my files off to the publisher it’s still another nine months or so before anyone reads it, so I miss that instant feedback I’d get from doing a webcomic.
What are some of your favorite parts of writing/drawing comics? What do you find are the most difficult?
I would say I really enjoy thumbnailing – the small initial sketches where I figure out how to make panels fit on a page and what gives them the most impact. The inking stage can also be relaxing, because by that point I’ve already done the stages that take most of the brain power and I can throw on a movie or audiobook in the background as I put the final lines over my pencils. Coloring is still the biggest challenge for me – I’m really proud of how my colors turned out in AAFOS, but they took so much work to get right!
What’s (another) question no one has asked you yet or that you wish was asked?
Hmm… I guess “what am I reading right now?” I always like hearing about what authors are reading for pleasure or reference or what have you. Right now I happen to be reading a nonfiction book about what childhood might have been like in the Paleolithic – Growing Up In The Ice Age by April Nowell. I’m alternating that with the manga Golden Kamuy by Satoru Noda, which… I’ve never read anything that attempts what it’s attempting. I can’t help but admire how outrageous, absurdly violent, and unironically homoerotic it is. It’s a blast.
What advice might you have to give to aspiring graphic novelists (both writers and artists)?
Just start drawing and creating your own stories – challenge yourself to draw a short, complete comic so that you get experience planning out and structuring a story beginning to end. Try developing hobbies other than just drawing – it’s a labor-intensive and isolating job sometimes, so find something that lets you socialize and think about things that aren’t just comics. Your other interests can also influence your creative work in ways that will surprise you!
Are there any new projects you are currently working on or project ideas you are currentlynursing and are at liberty to speak about?
I’m currently working on a new comic that I plan to debut in the ShortBox Comics Fair this fall. It’ll be quite different from Across A Field of Starlight in that it’s contemporary fiction and very much for adults, but I’m pretty excited to share it with everyone.
Finally, what LGBTQ+ books/comics would you recommend to the readers of Geeks OUT?
So many great queer comics of all genres are being made right now, especially by people I know! I would recommend the works of Otava Heikkilä and Pseudonym Jones – they have such distinct voices and they’re really exploring what the medium of comics can do. Recent releases I recommend include Artie and the Wolf Moon by Olivia Stephens and Displacement by Kiku Hughes, which I think both accomplish that thing I mentioned earlier of exploring the impact of queerness on particular subjects or topics, albeit in very different ways! It really goes to show that there is no LGBTQ+ “genre” – more of a lens you can view everything through.
Balazs Lorinczi is a comic book creator and illustrator born in Hungary, now living in wonderfully gloomy Scotland.
While he previously worked as an animator, illustrator and did smaller comic book projects, this is his first time creating a full-length graphic novel (but not the last).
When not cursed with a day job he spends all his free time drawing, watching cartoons, and trying to unsuccessfully restrain himself from buying more books.
I had the opportunity to interview Balazs, which you can read below.
First of all, welcome to Geeks OUT! Could you tell us a little about yourself?
Hi, Thanks for having me!
I’m Balazs. I’m mainly a comic book artist, but I love to draw a lot of different things. I’m originally from Hungary, but I’m living in Scotland now. I used to work in animation for a little bit. I still have a ton of love for the medium but comics is my passion when it comes to working on things.
How did you find yourself getting into comics? What drew you to the medium?
When I was little, (late 80s, 90s) comics were the only truly limitless medium where I felt like anything could happen. Books are great, but comics have a visual element that wowed me! Unlike movies and tv, comics could be with you anywhere. Bored on a train ride? Read a comic! No good show on tv at the moment? Pull out one of your comics! (yes, you can tell I grew up before the internet and streaming services, haha)
It just felt natural to me to try creating my own as well. The beauty of it is that you only need a pencil and some paper to start.
What drew you to storytelling, particularly fantasy?
I guess I just have a tendency to try and do the things I admire. Since I love reading comics, I always wanted to make my own. Ever since I was little, when I got interested in a story, I tried to come up with my own take on it. For some reason, my brain just thinks it’s very important to have my own stories and characters created. It’s an unexplainable urge I’ve had ever since I can remember.
Fantasy just feels cozy to me and I think it has almost limitless potential for storytelling. You can mix it with any genre. You can world-build as much or as little as you like. Even the well-worn tropes still work today (just look at all the DnD-inspired stories out there today, thriving).
Urban fantasy is my personal favorite. It’s grounded and more instantly relatable but spices up the everyday mundanity with magic.
How would you describe the newest book, Doughnuts and Doom? What inspired the story?
I usually describe it as a magical rom-com. It’s a fun and simple story about finding the strength and courage to achieve your goals, and learning to rely on someone.
I had the basic idea of a cursed doughnut as a funny, little, short comic for a while. Basically the opening confrontation between the two leads, but the characters looked nothing like them. I was struggling to create a full story and narrative out of it, until I decided to make it a rom-com.
The characters are loosely inspired by my everyday experiences: working in fast food, trying to do a band, and also just my love of witches.
Are you a fan of donuts yourself? What other yummy treats do you find yourself drawn towards?
Oh yes, very much so! I also love apple turnovers and cookies too. My sweet tooth will be the downfall of me one day, haha!
As an artist, who or what would you say are some of your greatest creative influences and/or sources of inspiration?
I have so many artists that inspire me! When I first decided to be serious about drawing, it used to be Mike Mignola, Francis Manapul (people who I still admire). In recent years I’m more drawn to styles like Fran Meneses, ND Stevenson, Rosemary Valero-O’Connell, Kat Leyh, and my absolute favorite, Max Sarin.
Also, I have to mention Stjepan Sejic’s creator-owned work. If you look at my stuff, we have nothing in common but it was a huge inspiration.
But other than specific artists, I’m constantly inspired by the endless slew of genre fiction I consume. Be it books, comics, movies, or cartoons (a LOT of cartoons in the last couple of years).
What are some of your favorite elements of the comic book/graphic novel medium? What craft elements/techniques stand out to you the most?
I like how it’s a medium usually both relying on text and visuals, but it can still be a very subjective experience in the way you absorb the story. It has the visual storytelling and spectacle of a movie but also allows you to meditate over it and use your imagination to a certain extent, like a book.
I really enjoy it when I get absorbed into a comic and just experience reading it like I’m watching a movie. All styles of comics are great and valid, but that’s just my favorite.
What’s a question you haven’t been asked yet but wish you were (and the answer to that question)?
I only know the questions I’m afraid people will ask me, haha!
I think the question nobody asked me yet but I wish they did is a surprise even to me. But when someone finally brings it up (whatever it may be) I will say, “You know, I never even thought about this before, but now that you mention it…”
Can you tell us about any new projects or ideas you are nurturing and at liberty to discuss?
I just finished another graphic novel! I’m putting on the final touches, but it’s basically ready to go! It’s a 180-page story and has girls in a band (recurring theme I guess). One is a werewolf and the other is a ghost. It’s a lot of fun and I hope someone decides to publish it!
I also just started working on my third book. It’s gonna be centered around vampires and skateboarding. I already have a new idea I’m trying to develop and it seems like I’m sticking to the urban fantasy, YA, rom-com genre for now.
What advice would you give to other aspiring creatives, especially those interested in writing their own graphic novel one day?
Don’t write it “one day”. Do it and do it now! Nothing is stopping you! It might take a long time and if that scares you, just start with a short story or start with chapter one and see if it makes you want to go further. You don’t even have to show it to anyone if you don’t want to, but you are more ready than you think you are! And even if you are not, you will be by the time you are on page thirty.
I wrote and drew Doughnuts and Doom while working full time and it was very exhausting. I wouldn’t necessarily recommend that to everyone, but I think pouring energy into something you love is ultimately a rewarding thing (just make sure to take care of yourself, stretch and hydrate).
Finally, what LGBTQ books/comics would you recommend to the readers of Geeks OUT?
Pretty sure I missed something I will regret later, so just go to your local bookshop and pick up any LGBTQ+ books you find interesting! That’s what I usually do and nine out of ten times I don’t regret it.
In this installment of the Queer Creator spotlight I spoke with Steve Orlando about his career and his various works and what it was like to work on the iconic landmark issue of Wonder Woman #750!
Orlando began pursuing his dream of writing comics at the tender age of 12 when he attended his first San Diego Comic Con. Steve pounded the convention floor, as it were, where he met his mentors Steven Seagle and Joe Kelly who happened to be writing X-Men at the time and the rest is modern history.
Chris Allo:What made you want to work in the comics industry?
Steve Orlando: It’s not a lie, in my case, because I started breaking in when I was 12 years old, but I always kind of had my eye on this. It was always something I wanted to do, whether it was writing, or editing, or being part of a visual art team. That didn’t really come into play until I was a little older. Going back to when I was young, even when I was about three or four, my father sold sports memorabilia, and I was not a fan of sports. So I would always be collecting all these non-sports cards at baseball card and baseball memorabilia shows.
And that gave me a strong fascination with superheroes, because they all looked incredible! You know, you’re a kid and here are all these brightly colored costumes and all these things. I was also going through, like, Garbage Pail Kids and things like that, but that’s a little less viable these days. There was a lot of Alf. A lot of fucking Alf cards as well. That’s going to date my childhood. But what stuck with me, I think, was the vibrancy of the worlds. Especially because I came in from both trading card collecting, and also back issues at flea markets while my dad was out collecting things.
I think that’s why I have such an appreciation of “deep cut” characters and concepts, if you’re talking about the lore outside of like the Big 2. You don’t know any of the characters as a kid, and when you’re that young, you don’t even really know who Superman and Batman are. They all seem just as important, right? That’s why I love Big Sir just as much as I love Wonder Woman, or loving – take your pick at Marvel – Slapstick, or Quasar, as much as I like Storm or Captain America.
So it all came from following my dad around really early on, but when they made Superman permanently electric and blue in the early 1990s, because he was never going back, they made an article in the Syracuse Standard – I’m from upstate New York – it really made it a time to get in. Because here you are in a ground floor moment, when Superman’s powers are changing forever. In that article as well, there were interviews with the folks who were putting it together. Of course Dan Jurgens, but I can’t remember who else was involved. Probably Stuart Immonen and Tom Grummet. And more, because at that time Superman was essentially a weekly book. I was fascinated with the creative process, and that made me think “hey, maybe this is something I want to do.”
Justice League America/DC Entertaninment
I gravitated more towards the visual side when I was younger, and I still like visual art, but it quickly became apparent to me that the speed of my ideas, and what was going to be most interesting to me in a visual sense, was going to be writing. So I started hustling and doing it! You know, my friend? Some kids do can drives to get themselves, I don’t know what normal kids are into, a shiny new bike? But what I wanted was a plane ticket to San Diego Comic Con. So that’s what I did.
Allo: Good for you.
Orlando: At 12 I met Steve Seagle and Joe Kelly, who were writing X-Men at the time, and they started mentoring me on this whole business. It took almost 20 years, but that’s how it all began.
Allo: I read this before about you, but you kind of just hit the convention floor and pounding the pavement and approaching companies and editors?
Orlando: Yeah, I mean I don’t have any shame. And also, the narrative at the time was like “oh, you know Jim Shooter was writing the Legion of Super-Heroes when he was, what, 14 or 15? And it was Paul Levitz who only worked for one company his whole life, and it was DC Comics, kid! And he got in when he was 17!” So I was like, “shit, I’ve gotta get moving! If I’m going to be the next Jim Shooter, with no concept of what that entails, I need to get my ass in gear!” I tend to still be someone who doesn’t really sell fame. So I began approaching Seagle and Kelly. They kind of looked identical in the 90s, so it was easy to find them.
And that was also when Crossgen was starting to get going. I was following them almost monthly, I really loved those books. And because not as many people knew them at the time, they were really easy to talk to. I always talk about people like Seagle and Kelly, but I should really talk about people like Tony Bedard, and Barb Kesel, who also took a lot of time to kind of show me the ropes really early on. To this day I always remember to bring my balloons, and that’s because Barb Kesel told me that anybody who doesn’t do it is an unprofessional fool, and I’m not going to argue with that woman, so I always remember my balloons!
Allo: I worked with Tony Bedard when I was with Marvel. He’s a really good guy, and a really good writer. So you did a creator-owned first?
Orlando: Yes, that’s true by numerous tokens. My first published work was in 2008, in the Eisner-nominated Outlaw Territory anthology through Image. I had two shorts that I made with my co-creator on that, an amazing hearing-impaired artist named Tyler Niccum. He actually has a book out that you can buy right now actually, about his life as a deaf hitchhiker. We worked together in 2008 and even that was through networking, actually. He was like “shit, I need someone to work with. Let’s make it Steve.” So we did that, and then I also worked with Celal Koc, a European artist, for Outlaw Territory volume 3. And if I’m mixing up which volumes I’m in, come and slap me in the face, because I did that a long time ago.
Allo: (laughs) Okay.
Orlando: And then in 2012 I had already been networking with DC for over a decade. So I got the opportunity to do a story there in the Strange Adventures anthology, about centaurs taking space peyote and hallucinating gladiatorial combat.
Allo: (laughs) Very topical!
Orlando: I know, all the time, right? That’s how bisexuals decide. We take our straight half and make it fight our gay half, and whoever wins, you know, gets to choose where the dick goes. Anyway, so I did that, and that was with DC, with editors Will Dennis and Mark Doyle. The funny thing is this was around the same time Tom King broke out with an anthology called Time Warp. This was years before we would meet, but it was the same round of early Vertigo short stories. That was around 2014, when I did Undertow, and I also appeared in the “yellow” issue of the CMYK anthology, with future friend and collaborator Gerard Way. So my past was really prologue in a lot of ways. I didn’t know it at the time.
So we did Undertow at image, and a lot of my friends and peers at DC were following my work and said “look, this is somebody reliable who can be trusted with work.” So thanks to the success of the Burnside Batgirl repackaging, I got an opportunity to pitch whatever I might do in a similar mode. Which ended up being Midnighter.
Undetrtow/Image Comics
Allo: Which is awesome!
Orlando: It is funny when you think about it. I was in an anthology with Gerard, who ended up being a good friend and collaborator. And I was friends with Tom. He and I both had these poorly selling but well-regarded books at DC at the time.
Allo: I wouldn’t blame yourself. A lot of it has to do with marketing. DC was pushing out so many books at the time. It’s like, “what do I buy this month?”
Orlando: Not Midnighter and Omega Men, I’ll tell you that much! But that was in 2015. We’re both doing fine.
Allo: Would you consider Midnighter your breakout hit?
Orlando: Oh, very much so. I’d consider that my “Freebird,” actually. I’ve gone on to put out stuff that I’m much more proud of. But any creator evolves over the course of seven, eight years. At this point it’s been long enough that I can go back and… unquestionably it showed folks who I was at DC, and I made a huge fan out of Dan DiDio. I got signed as an exclusive probably about a year after Midnighter launched.
Allo: So being at DC, you got to write Midnighter, and then Midnighter and Apollo. You went on to write Supergirl, and then Wonder Woman… obviously Wonder Woman is a heavy hitter. What was that like for you?
Midnighter and Apollo/DC Entertainment
Orlando: It was fascinating to work on a character and see… you know she’s one of the Trinity, but I think her character is easily the most complex. She has a lot of oppositional forces in her life, and she’s in one of the greatest corners of the DC Universe, and she’s also an agent of peace, which is something we tried to wrestle with throughout all my two-and-a-half runs. But I loved building parts of that world. It’s something I’d love to come back to, but sometimes I feel that I’ve said what I’ve said. I had wanted for years to do Martian Manhunter, and I was lucky enough to do a 12-issue series. I think it’s my best. It’s the best work I’ve ever done, and easily my best DC work. I worked with one of my favorite people ever, Riley Rossmo. The editors I worked with, Chris Conroy and Dave Wielgosz. I felt that I said exactly what I needed to say. It was unadulterated. I don’t know if I ever need to write J’on again, even though he is my favorite DC character. But with Diana, it’s like the more the world gets shittier and more hateful, there’s always more to say with Wonder Woman. It was an honor to be part of that, but of course there’s always stuff on the drawing board that couldn’t get done. That said, Conrad and Cloonan are doing a great job, along with of course Stephanie and Vita, who are doing stuff that I wish I could have done when I was there. So I’m really excited right now.
Allo: In recent years, comics have become more inclusive of LGBTQ+, black and brown characters. Obviously not enough, but things are changing. As a creator on that front, what are some things creators can do to help facilitate more exclusivity and even exposure to queer folks and lifestyles within comics?
Orlando: The thing is, my answer is not going to be sexy. One thing they can do is buy the books. And they can pre-order the books and not buy them in trade and not buy them in digital. I’m going to be honest because I just said that, and it sucks. But that’s also the reality right now. And people come to Orlando for reality when the reality is shitty. The reality is that right now for the publishers, their customers are retailers, and the retailers’ customers are readers. For better or worse, the industry is in need of a ballistic overhaul. But we’re not there yet. So right now, the best we could do is… the language of the Big 2 publishers is preorder numbers. It’s not ideal by any means, and I’m speaking euphemistically when I say “ideal.”
I remember when my friend David Walker was on Nighthawk… he’s a good friend of mine, and that was with Ramon Villalobos. That book was canceled shortly after it came out. And I don’t fault the publishers either, because the markets are so tight that they’re going to do what they have to do. There’s not really a villain here, or maybe there are so many villains that nobody is a villain. But that happens because preorder numbers weren’t high.
There are many other problems in the world, but if the question is how you can support more inclusive content, for better or worse, support the places that are supplying it. For the Big 2, that means you have to preorder and support the periodical editions. That said… the world doesn’t stop and start with the Big 2. There are other publishers with different metrics, like book market numbers and they expect books with a longer tail. Support books that you are interested in, but if the question is how you can support books at big publishers, the answer is preorders.
Rainbow Bridge/Seismic/Aftershock
Allo: Talking about the landscape of comics, obviously right now there are more publishers. Of course smaller than Marvel and DC, but there’s definitely a lot more publishers and a lot more content out there. How exciting is that for you as a writer? Do you approach other companies? Does the new world of comics, with the amount of publishers right now… is that a good thing?
Orlando: More competition is always a good thing. More options for creators is always a good thing, because at the end of the day… if this wasn’t comics, say you were a farrier, the first job that comes to mind because I’m an idiot. Say you were a cobbler, and other jobs that don’t exist right now. The point is, if you have any type of office job, as we all know, it’s not a guarantee that you’re going to remain in that office. And if you work freelance, there’s no guarantee that it’s going to work out. If you work in comics, you’re probably working in 10 different offices in a given month. You know, sometimes you need to refresh yourself. You need to revitalize. A pitch that you might have at one company may be a nonstarter. That might be because of the people you pitch it to, and it might be because of what they publish. But it might be gold somewhere else. And that doesn’t mean, because one person turned down the idea, that it was bad. It just wasn’t a good fit for that company.
The more companies we have that are trying to do different things and push out different kinds of comics, the better. Unquestionably. RIP the companies that tried along the way and failed, like Speakeasy and Crossgen, which I referenced before. I referenced those before because I love Crossgen books and I love Rocketo, which Speakeasy published. Frank Espinosa, amazing. Not only are those different places to work, but each company brings in a slightly different kind of creator, and they’re gonna know how to best hone their ideas and get them out there.
The onus is on us as creators to not just cold pitch things, but… something that I might pitch to Aftershock, who I have a great relationship with – and honestly, they’re kind of my ride-or-die because they supported creators intensely during the pandemic – a book that would be a good fit there maybe wouldn’t be a good fit for Vault, who are also doing great work. And vice versa. There’s nothing wrong with that. You’ve got to know which brands you’re going to. The problem is now there’s more brands than ever. Which means there are more homes than ever for unique stories.
Allo: You worked at the Big 2, you worked at smaller publishers, you worked creator-owned… what are the benefits of work for hire versus creator owned? What do you enjoy the most? What things about those experiences do you like or not like?
Wonder Woman 750/DC Entertainment
Orlando: I think the best situation is to have your feet in both pools. There is unquestionably something exciting and invigorating about being part of what is really a gigantic, decades-long ongoing story. Listen, I was the lead writer of the 750th issue of Wonder Woman. Nobody else can claim that, it was just me.
Allo: It was great, by the way!
Orlando: If I make it to 100 years old, I will still be the writer of Wonder Woman 750, and it will still be an amazing thing. And yeah, that’s a responsibility. It’s an honor, it’s exciting, and there’s no question there. I’m in the X-Men office now, and that’s an honor. I would argue it’s the biggest renaissance the mutants got in at least a decade. Not that there wasn’t incredible work in the interim there. To act like it’s not an honor and a privilege… anyone who says otherwise is complete horseshit. So those are exciting moments.
Darkhold/Marvel Entertainment
At the same time, you can’t take those things with you. So you also wanna be working on originals where you are not part of an 80 year tapestry. You are thread one on that tapestry. And it’s not that it isn’t exciting, it’s just a totally different thing. The way that I think you stay fresh for either one of those is by doing the other. Like, if I spend a month in the work for hire mind, I get that hunger to work on originals, and vice versa. And it’s not really like I just spend on a month on one or the other. Let’s be real, I do both every day, seven days a week. That’s what it takes to be a creator. A freelance creator, at least. But I think one fuels the other. And I think there’s a certain amount of freedom when you know there’s not going to be any sort of S & P person telling you can’t do this.
But that can also become a negative, because the reality is that you can’t say that with 50, 60, 80 year old franchises. There’s always going to be S&P on a huge character that’s also on lunchboxes, backpacks, or whatever else. To expect otherwise is folly. I expect to have different hurdles at different companies. I think that’s part of the game. Again, I’m not negging myself when I say to myself that more people are reading Wonder Woman or the X-Men, than a book like Loaded Bible: Blood of my Blood, a book in which Jesus was makes out with Dracula and wants to fuck with him. That’s just a fact. There are freedoms and restrictions that come with both of those scenarios.
Allo: You’ve been doing some really great stuff at Marvel. Last year you did the Darkhold with Wanda. You’re working on Marauders now. Not to compare DC to Marvel, but what have been the good experiences from working at each company? What do they do differently that’s great for writers? What could they do better?
Orlando: A lot of times as creators we talk about… I think there is a fundamental difference between, at least the classic characters at Marvel and DC. And I think it’s a product of when the characters were born. What we love to say, when we’re fingering our assholes as it were, is that DC is the world as we wish it was, and Marvel is the world as it is. But, you know, that is flowery fucking bullshit. The reality is that DC characters tend to be much more mythological and aspirational, and Marvel… not to say they were built around Spider-Man, because they did acquire Timely and other characters, but their trademark characters are mostly people you could meet on the street. That’s why Peter Parker was so revolutionary. He could shoot webs, but he’s also just like you. He can’t make rent, and he can’t get the girl, and the old Parker luck, and…
Allo: And he’s late for school.
Orlando: And Batman… look, I love Batman, but he does not have the old Parker luck. He has the old Tony Stark billions. Again, the general DC character is more mythological, and the general Marvel character is more… I don’t want to say more street level, but more humanistic and relatable. There are exceptions to both rules. Batman is more like a Marvel character, and Thor is more like a DC character. So they stand out in a world that contrasts them. And then of course there are characters like Captain America and the Destroyer, the original Vision, Sub-Mariner, the original Human Torch… they were all created in World War 2, and the way that they function was more like a DC character. But they’re a rarity, and I think that makes them special at Marvel. And Captain America, by the way, was fighting the Nazis before we were! That’s always going to be one of the coolest fucking things. Not like I was fucking around then, but still.
Marauders #1/Marvel Entertainment
Allo: Of course. Obviously this is a visual medium, so can you name some great artists that you’ve worked with? And maybe some great artists who you’d like to work with?
Orlando: Great artists that I’ve worked with… I’ve never worked with a bad artist!
Allo: Well, the standouts. I know you love all artists, but who really brought your work to life?
Orlando: I would love to say I love them all equally, but I would be lying (laughs). Well I’ve already said that I love to work with Riley Rossmo, who’s at a few different companies right now which bums me out, but stay tuned because I might get the band back together for something really quick. Riley and I hit it off from moment one. We worked together on “Night of the Monster Men,” and we worked together with Roge Antonio. And Andy MacDonald – Andy actually has a book with me coming soon, so keep an eye out.
But Riley and I, we just got each other. We’ve always loved the same kind of stuff. And he’s someone who always wants to be challenged, which is good because I’m a bastard when it comes to writing challenging scripts. We loved working on “Night of the Monster Men,” he was the first name that came up when DC offered me Batman/The Shadow, and I’m probably one of the biggest Shadow fans at DC. I’m probably one of the biggest Shadow fans around. He is my favorite character.
Allo: Really?
Batman/The Shadow/DC Entertainment/Dynamite Entertainment
Orlando: Yeah. I’m frequently asked who my favorite Marvel and DC characters are, and there’s different answers for that, but my favorite character is The Shadow. So it could only be Riley, and it led to an incredible visual reinvention of that whole world. Sure enough, as soon as we got the final pen stroke of that book, we began lobbying DiDio, who’s one of my strongest supporters, for Martian Manhunter. Once again, I’m a kid in a candy store. I would work with Riley in a second, and not just because he’s one of the nicest Canadians in comics, but that certainly helps.
But he’s not the only one. I want to point out that I loved working with ACO and Hugo Petrus during my Midnighterand Apollo run. Fernando Blanco… Ryan Sook on The Unexpected. I’m going to lightly fluff him here and say Ryan Sook was like, in Wayne’s World “we’re not worthy!” But he’s just the kindest guy. Of course his work was off the chain. His work was incredible, but always so humble for someone I consider a giant. And funny story, he actually drew a portrait of me for my alumni review at my college. So I’m gracious, I’m not lying. I don’t know that I’ve ever worked with Joelle Jones, but I love Joelle Jones. I’ve met her a lot at summits and stuff like that. Maybe I got a cover or something like that, but she’s incredible. I’m probably forgetting countless people at DC.
Allo: It’s okay!
Orlando: Oh, and of course, beginning to work with Ivan Reis on Justice League of America. And getting a Kevin Nowlan cover, are you fucking kidding me? Who am I, what’s going on? On the Shadow/Batman crossover.
Allo: That was incredible.
Milk Wars/ DC: Young Animals
Orlando: Getting a Frank Quitely cover to Milk Wars… I could go on! Oh, and RIP by the way, getting a John Paul Leon cover for Midnighter. Just the nicest guy, and gave me the cover for a very gracious price for someone who, again, I consider one of the greatest artists in the history of the industry.
Allo: Definitely.
Orlando: That was great. It’s a small thing, but Brittany Holzier and I campaigning for Ramona Fradon to be a part of Wonder Woman 750. Something I’m incredibly proud of. Something that was mostly Brittany’s work, but she and I came together and I’m incredibly proud of it. Easily the most historic living female comic artist. There are no words that could be heaped upon her that would be undeserving.
And at Marvel, they lined up a murderer’s row for me. Cian Tormey on Darkhold… everyone I worked with on Curse of the Man Thing… Andrea Riccardo… Francesco Mobli… they’ve all gone on to do incredible work at Marvel. Eleonora Carlini on Marauders… the energy she brings is incredible. It’s a revelation. Folks who haven’t checked out the book really don’t know what’s coming.
Allo: Any tidbits about… well of course my favorite character is Psylocke, so any big plans for Psylocke on the Marauders?
Orlando: Well, before I answer that, why don’t you explain more, because I think a lot of folks who are Psylocke fans… I have an answer for you, but I wanna hear you turn the tables. I’m always fascinated about why people like Psylocke. I think we both know that the person in the body that we once believed to be Psylocke is not the same character. As she always should have been, the actual Japanese woman is back in the Japanese body. When you say it’s your favorite character, do you mean Qanon, who appeared in roughly three issues before disappearing for roughly 30 years, or do you mean Betsy Braddock?
Marauders #1/Marvel Entertainment
Allo: I mean, it’s funny because I loved Betsy when she was introduced, and when she was introduced in New Mutants and took on Sabretooth, I fell in love with Betsy. And then the evolution happened, and the visual of Kwannon was something I loved too. Those are kind of my favorites. I follow Captain Britain, and I follow Marauders because I follow Kwannon wherever Kwannon goes.
Orlando: I’m just always interested. Psylocke is a war captain, and you’re going to see her… I don’t want to spoil too much, but she’s going to step up in a leadership role more and more over time. You kind of see that evolution as she’s more confident in herself and can do a lot more now that the correct mind is in the correct body, so to speak. You’ve already seen that in Marauders #1, but it’ll become text, not subtext, by the time the year’s over.
Allo:Awesome, that’s exciting. They’re both really great characters.
Orlando: And look, she goes to fucking space if she wants!
Allo: Your book Party And Prey touches on the “Party and Play” gay subculture. Which is known as the “PNP” crystal myth fueled sex scene. It’s known to be a bit scary filled with predators, extortion, suicide and addiction. What was your interest in this and what was the impetus for the story?
Orlando: In regards to PARTY AND PREY, since I co-wrote the book I tend to not do solo Qs for it. BUT I think a lot of what you’ve asked is answered by the text piece my co-writer and I included in the book? We try to let the work speak for itself on things we’ve done together, and intended that to be our statement on the content.
Party and Prey/Aftershock
Allo: Any advice for up and coming queer creators, or creators in general, that you wish you had when you were starting out?
Orlando: Look, comics is a challenging business. There are less spots at Marvel and DC… it’s easier to play for the Yankees or Red Sox. Know that it is a challenge, but know that it can and will happen if you don’t give up. I like to tell my story because it’s a story of almost 20 fucking years. I know someone can buy a pie for someone in a diner and get a book the next week, but that is not my story. And there’s nothing wrong with that story either. There’s no one way to break into the comics industry, just as there’s no one way to break into the comics or any other entertainment industry.
The thing is, make your books and hone your craft. It’s easier than ever. When I was a kid we didn’t have crowdfunding, and we barely had the internet. Now all those things exist. It’s easier to connect with likeminded creators whether they are established or aspiring. And make content! Make the content, and make it short. Almost everyone, myself included, is guilty of saying “this is my Dune, or this is my Lord of the Rings. My first book will be 100 issues long, and everyone will see!”
Killman/Aftershock
No one will see, because no publisher will take a risk on the faith of an unproven talent. Make eight page stories, make 10 page stories, which, by the way, are harder to tell than a 100 issue story. And find peers or editors or creators who you respect and you think have your best interests at heart and get critiqued. Get ready to hear some things that you’re not necessarily excited about, but that’s why I say make sure to find creators who you respect and have your interests at heart. Even if they’re things you don’t want to hear, they’re probably things you need to hear.
Look, I was mentored by one of the most lovably gruff people in comics. When I met Steve Seagle, he told me “here’s what’s unprofessional about your work, kid. Either I’ll see you next year or I won’t.” It doesn’t have to be that harsh, but you have to find folks whose critique you respect, and you have to get ready to take it. If you do that, it could be a long process, it might be a short process. And maybe you won’t get there. But use the resources that are out there, like crowdfunding. It’s easier than ever to tell your story unadulterated. You don’t have to be like me sneaking in in 2008. You can do your book with 38 dicks like Euphoria, and it can get funded, as long as you’re speaking your truth. Don’t be deterred by speed bumps and things like that. You can get there. And also, know that before they got in, every creator you know probably quit trying to make comics a thousand times. God knows I quit many times, and the only reason I didn’t is that I’m extremely stubborn. That’s what you take to heart. I would call Steve Seagle and he would be like “this isn’t fair, I want to quit!” And he’d be like “no you don’t.” And that’s when I’d be like “fuck you, old man! I’m never going to quit!” Even though he was probably the same age that I am now.
Allo: Thanks so much, Steve for a great interview!
For more info on Steve Orlando and to see a list of his works check out his Twitter and Instagram.
