Later this year IDW will be publishing Half Past Danger, a new series written, drawn, and created by Stephen Mooney. After working as artist on several IDW titles including Star Trek and Angel for the last few years, Mooney decided it was time to set up a creator-owned project, which he’d have full control over. In order to do so, he had to set aside a year in which he scripted, designed, pencilled, inked, coloured and lettered the project – six months in which he wasn’t earning money from any other gigs. It was quite the risk, taking himself out of the comics scene for a year in order to focus on a comic he had no idea would ever see the light of day.
However! The good news is that IDW decided to pick up the book, starting with issue #1 this May – preorderable now! I spoke to Stephen about making the leap into creator-owned work, the inspiration for Half Past Danger, and how the experience has been.
Steve: Half Past Danger is dedicated to your father, “who took me to the movies”. What kind of films would you go see? Were there any in particular which served as inspiration for Half Past Danger?
Stephen: Oh wow, yeah. Loads! The first film I can remember my dad taking my brothers and I to see was E.T. in the Savoy cinema in Dublin in 1982, when I was five years old. Still my favourite cinema to this day. I can remember it like it was yesterday; its one of my first real memories. The whole experience made such a huge indelible dent on my psyche, in so many ways. The bustling anticipatory atmosphere of the jam-packed theatre, the crowd reactions as the movie ebbed and lowed. I was absolutely hooked. It also started my love affair with Spielberg’s eighties ouevre. Films that followed included The Return of The Jedi, Indiana Jones and the Temple of Doom, The Goonies, Back To The Future, Big Trouble In Little China, Indiana Jones and The Last Crusade, and many, many more.
The most obvious influences on Half Past Danger filmically-speaking are undoubtedly the first three Indiana Jones movies. They really colour and inform my entire storytelling style. That bang-zip-wallop rapid-fire action beats-ridden kind of a narrative, with a few gags interspersed. Half Past Danger aspires to be that style of tale. Strong influences also would be the very early Connery Bond films, and pulpy matinee-style fare like The Treasure of the Sierra Madre. Then of course you have the classic Harryhausen dino movies. Great stuff, all.
Steve: How did the story of Half Past Danger start to come together? When did you first have the idea for it?
Stephen: The idea has been in my mind in some shape or form for years now, in that I’ve always known that if and when I ever attempted a story of my own that it would be 100% mired in that kind of pulpy action-adventure style, simply because that’s the genre I feel most comfortable in, and know so well. I always knew also that I’d want the main character to be an Irishman, since that’s the one thing I’ve been all my life, and nobody could tell the story of that particular character better than me, to my mind. I guess somewhat inevitably I injected much of my own personality and traits into a somewhat idealised version of myself, and placed him squarely into this scenario I’d begun to dream up. Hell, the guy even looks like me. If that’s not vanity wit large, I dunno what is.
The story came together over the last couple of years, I knew the high concept from the start, Nazis versus dinosaurs, but I wanted to really take my time and write something that hadn’t specifically been seen before, since as everybody knows, a lot of these themes have been done before on many occasions. The real trick is to give readers something they haven’t experienced as of yet, and I didn’t want to press too far ahead until I was sure I’d come up with a new spin on what in some ways could be seen as an old tale.
Once I figured out the main wheres, whys and whats, the rest came fairly rapidly.
Steve: This is your first creator-owned work – how did you decide that Half Past Danger was the right project to get off the ground?
Stephen: Well, it’s the only project that I’ve ever completely fleshed out, to be honest. I had this one idea that I thought was really strong, and it was bang in the middle of my wheelhouse, or more specifically what I wanted my wheelhouse to be, so I ran with it. To be honest I didn’t question it too much. Do I have other ideas? Yeah, but they all revolve around this universe! I guess I just had a single, enormous itch I needed to scratch for the time being, and I’ll see where I go from there.
Steve: You’ve said that you took six months off to focus on this project, writing, drawing, inking, colouring, lettering…. Where did you start with the project?
Stephen: With the writing. I didn’t put pencil to paper drawing-wise until the full series was totally written and put to bed. Then pencilling, inking, coloring, lettering, in that order. Then back to the start again for issue 2 and go again; rinse and repeat.
Steve: Did you work issue-by issue on the story, or plot out an entirety and then start filling it in? How did you approach the story once you had the concept locked down, in essence.
Stephen: I worked out the entire plot first. I’d be terrified to embark on a story without knowing how it was going to end. To be honest, I’d probably never GET to the end in that scenario, I’d just circle the drain narratively until I eventually flushed the project. In order to commit myself to this massive body of work, I had to make sure everything was utterly and clearly signposted. Otherwise I wouldn’t be able to visualize my goal, and I’d be second-guessing myself all the while. Because the writing was the only element that I’d never approached before, I wanted to give it all of the respect it deserved, and to take the time to get it done right. Or, at least as right as I could get it!
Steve: How long has each issue taken you to complete? Did you find yourself surprised by how difficult certain aspects of the process were?
Stephen: Man, too long! The writing took about 2 months all-in, including research. That was fine. It was when I got stuck into the art side of things that I began to get bogged down a little. One of my dreams for the book was to do absolutely everything myself; complete creator control. That proved to be somewhat of a pipe dream in a way, though. The first issue of the book took me four months to pencil, ink, colour and letter. That was just unsustainable, the book would take another two years at that rate, and I was already six months in. Hence the addition of Jordie Bellaire as series colorist from issue 2 onward.
Something had to give, and of all of the aspects visually, I was spending the most time on the colours, which was crazy. Jordie is a very close friend, and when she saw me floundering she offered to dive in and help me out. She’s an amazing colorist, and a big fan of a lot of the same source material as I am, so it was a pretty seamless transition really. It also doesn’t hurt that Jordie’s a phenomenally talented colorist, in constant demand at all the biggest companies. I’m certainly beyond delighted that she chose to climb aboard.
With Jordie alongside, I’ve been spending two months a piece on the subsequent issues, almost all of that time spent drawing and inking the 26-odd pages per issue, then a couple of days of lettering at the end.
Steve: I was really struck with a blog post you wrote about the role of writing and art in comics - http://www.halfpastdanger.com/2011/10/writing-vs-art-this-time-its-personal.html . Now you’re further into the story, how have you found the balance between writing an issue and drawing it?
Stephen: It’s very hard for me to separate the two, if I’m being honest. In this instance, it’s all just the story. When I was writing it, I knew exactly how every beat and scene would look on the page (or at least how I’d like it to look), and now that I’m drawing it, I almost know off by heart the entire story and script, so it all just flows onto the page. Again, it’s all just utmost inseparable elements of the story, for me. The script is more a broad outline with fairly tight dialogue than anything. Stage directions.
Steve: I’ve read the first issue of the series, and really enjoyed the central character, Tommy Flynn. Did you find the design process easier for a character you created, and would be writing yourself? Has it been easy translating your ideas to the page, rather than interpreting an established work, as you’ve done before for IDW?
Stephen: Yeah, I think it has. I wouldn’t say easy, but I certainly haven’t had to wrestle it into submission or anything like that. Probably because the main character is a bit of a cypher, in that he acts and reacts pretty much the way I would assuming I were a lot braver and a tad more selfless. Working with the established characters, like say Angel or Spike wasn’t that difficult either though, in terms of working what was written on the page, because I had such bloody good writers whom I trusted implicitly. I’ve been very lucky that way. I’ve never had trouble portraying any given character on the page, the acting and character beats are one of the very few aspects of the drawing that come totally naturally to me.
Steve: With more control over the final product, have you noticed yourself experimenting more with pacing and panel layout?
Stephen: Oh god, yeah. WAY more. I’m very respectful of a given writer’s script when I get it on a work-for-hire job, I’m loathe to mess with what they’ve asked for in their direction. They spent time working that stuff out, so I stick pretty religiously to it when at all possible, even when I might disagree on the shots called for. Or maybe there might be a crazy talking order or something going on that just isn’t feasible without the addition of an extra panel or the use of a slightly different angle. Perhaps I should go more with my own gut, I don’t know. Usually I just want to make the writer happy. If there’s leeway there, I’ll certainly take it. This kind of touches on that article on the Half Past Danger process blog that you mentioned in one of the earlier questions.
On my own book, I’m much freer to go with my initial instincts, storytelling-wise. It’s one of the most satisfying elements of the whole venture, and one of the reasons I actually wanted to attempt it. I think one of the reasons that people seem to be responding to how ‘cinematic’ the storytelling is, is because that’s my natural modus operandi, and my default setting.
Steve: How has the experience of working on a creator-owned project been for you?
Stephen: Absolutely wonderful, so far. Dizzying highs, terrifying lows, creamy centres. It’s as hard as I’ve ever worked, and in even more of a vacuum than before. It’s incredibly scary and daunting, because at the end of the day, for better or for worse, it’s all me on the page; nobody to hide behind. But at the same time, that’s pretty much the most incredible aspect. Where else can a sole creator be responsible for almost every aspect of production? Film? Animation? It just doesn’t happen, and that’s one of the reasons I love comic books so much.
Steve: Do you see yourself doing more creator-owned work in future, or are you looking to alternate with some more work-for-hire projects?
Stephen: In a perfect world, I’d love to do further HPD series every year or two in the Hellboy model, with the odd work-for-hire gig interspersed between. But obviously, that all depends on how the first series is received. I’ll certainly stick around for as long as Chris Ryall and the amazing guys at IDW will have me, I genuinely don’t think that there’s a better home for Half Past Danger.
Steve: Jordie Bellaire will be coming on as colourist as of issue 2, as you’ve mentioned, whilst I believe Declan Shalvey will be drawing a backup strip for each issue. There seems to be quite a growing community of comics creators in Ireland recently. How important is it to have that sense of a creative community? Is it helpful to have people to bounce these ideas off?
Stephen: Oh, it’s invaluable. it really is. Having guys (and gals!) like Dec, Jordie and also Nick Roche, Will Sliney, Stephen Thompson and all the other Irish pros to bounce stuff off and get opinions from is simple indispensable. We’re a very close network. Almost collaborators in a way. I couldn’t do this without their help, I mean that. Otherwise I’d just be floating along in a nebulous void of gibberish. And I wouldn’t even know if it was good gibberish. So yeah, absolutely essential.
Steve: What advice would you give to anybody looking to create their own comics?
Stephen: Get off the pot and do it. Let go of the doubts and the maybes, and just make it happen. Everybody is afraid; everybody wonders if they’re actually good enough. I know I do. The only way to find out is to light that touch-paper, and have at it.
At the end of the day, even if Half Past Danger doesn’t hit that sweet spot critically or commercially, I’ll still have the satisfaction of knowing I tried.
I did my best. Otherwise, as dramatic as it sounds, I’d go all the way to the grave wondering what might have been.
Many thanks to Stephen for his time! If you’d like to find out more, you can read all about the process on his blog, which has been constantly updating with information and thoughts on the creation process for the last few months. You can find his pencilling, inking, colouring, bits of script, all sorts of things on there – I really recommend you have a look. You can also find him on the twitters! Half Past Danger #1 is out in May.
Artist Chris Sprouse, who would have been drawing controversial writer Orson Scott Card’s contribution to the upcoming Superman anthology Adventures of Superman, has stepped down from the project today. He cites the media furore over the comic as his reason for dropping the project. As a result, the first issue of this digital-first series will feature stories from Jeff Parker/Chris Samnee, Justin Jordan/Riley Rossmo, and Jeff Lemire.
DC have also issued a statement hoping to see Sprouse on a new project soon. Hopefully this will be a Superman one as well, because his Superman is super-aces –
Sprouse’s statement regarding leaving the comic, which became controversial due to Card’s well-known association with anti-gay activism, is as follows:
The media surrounding this story reached the point where it took away from the actual work, and that’s something I wasn’t comfortable with. My relationship with DC Comics remains as strong as ever and I look forward to my next project with them.
DC have responded amicably to the artist’s decision, saying:
We fully support, understand and respect Chris’s decision to step back from his Adventures of Superman assignment. Chris is a hugely talented artist, and we’re excited to work with him on his next DC Comics project. In the meantime, we will re-solicit the story at a later date when a new artist is hired.
The issue was scheduled for April, and had sparked a massive debate over whether Card was the wisest of choices for DC to hire on a Superman story. Some people thought he should have the right to free speech, some people thought maybe DC shouldn’t have hired a real world villain to write a Superman story. That oil-and-water combination of opinions has basically been interminably floating over comic book comment threads, and everybody’s had a really good, friendly time of things.
The real news from all this? It’s that there’s no need for people to boycott issue #1 anymore! Jeff Parker! Chris Samnee! Superman! Wooooooo!!
This is all just breaking!
Marvel are at South By Southwest right now, announcing some new digital projects. The first is ‘Marvel Infinite’ comics, Marvel’s own digital service for comic books. It appears that Marvel will be making 700 of their #1 issues available for free, so new readers can try the first issue before seeing if they want to continue on and buy the rest. Also announced is a new weekly digital Wolverine series called ‘Japan’s Most Wanted’, which will be headed up by Jason Aaron but overseen by a number of different writers. And finally, they’ve revealed that ‘Project Gamma’ will be an adaptive audio addition to their digital comics, putting sound to their digital stories.
So! Let’s break that down as best as possible. The first news involves Marvel Infinite, which was previously revealed to be the new name for Marvel’s digital comics program. As part of their rebrand, which Todd spoke about a few days ago, Marvel are going to make a series of issues available for free to readers. These will be the first issues of every respective series – Guardians of the Galaxy, for example – offering readers a chance to try the books before they decide to pick up the following issues and start following the books proper.
However! This will be a limited offer from Marvel, and it looks like the books will go back to regular pricing – ranging from $1.99 to $3.99 – so you have until Tuesday.
Wolverine: Japan’s Most Wanted is a digital series, which will be released weekly. The first issue will be out in July, with Jason Aaron overseeing the storyline. Jason Latour will also be writing, with Paco Diaz on art. CBR have an interview with the creative team, and Marvel have offered a solicitation for the series:
Marvel Comics’ latest innovative Infinite Comic is here! Wolverine stars in a weekly adventure from the mind of super star writer Jason Aaron (WOLVERINE AND THE X-MEN, THOR) that pits Wolverine against classic villains and a threat unlike any he has ever faced!
The Wolverine series will last 13 weeks, and then be followed by three other stories, which will all also last for 13 weeks each.
And finally, Project Gamma. This will be another addition to Marvel’s digital comics, where readers can add audio to their comics as they read them. The sound will be fully adaptive, with no loops. It’ll move with you, in essence, following you as you follow the story. There’ll be music played which changes depending on location and character. There’s no official date for this yet, but Marvel plan to roll this out later in the year. Rolling Stone seem to know a lot about this, actually. You can also find a video from Marvel here.
Kieron Gillen is already furiously writing an email to Kenickie’s manager as we speak, asking for clearance rights.
Frequent collaborators on mysteriously short-lived Image projects, Jim Zub and Edwin Huang have been announced as the creative team for a new issue #1 from Image in June, Dark Skullkickers Dark #1. And that’s not a typo – the extra Dark is there for a reason.
And that reason is because the comic is dark.
This is, of course, the most recent ‘relaunching’ from the Skullkickers team, who have spent the last few months designating each new issue of Skullkickers as a different #1 relaunch. Each time they relaunch, they add a different adjective in front, like ‘Mighty’ or ‘Savage’, poking fun (but also emphasising) the bizarre importance that the comics market puts on relaunches and short-term storytelling.
Next month will probably see Trinity of Sin: Skullkickers announced. In a fun press release (and you know there’s nothing I find more entertaining than a press release, guys!), Zub quotes Image’s PR and Marketing Director Jennifer De Guzman thus:
It’s a pale reflection of the industry’s need to spin rebooted series through endless hype, turning the crazed hamster wheel of entertainment promotion until it’s fallen apart. Good-bye, integrity.
This whole thing – which has generated consistently higher sales for the series – is a pointed criticism aimed at all the comic book websites which value a quick spike in internet traffic over covering important or worthwhile news stories. Here’s the variant cover for the issue!
Where was I? Ah yes, comic sites which are obsessed with printing press releases and quoting verbatim rather than writing something new or useful for readers. Here’s a quote from Zub about the subject:
Fun comic books are a thing of days past. In order to grab a modern audience I’ve dipped into the darkness of my own heart and spilled my blood upon the pages of this sequential masterpiece. Oh yeah, there’s beer in it too.
(The first issue of Dark Skullkickers Dark will be out in June.)
The Brit Zone continues, sort of, with a new announcement from Titan Comics. This week Titan unveiled a new co-publishing deal between themselves and Atomeka, which will put out ‘Monster Massacre’. This anthology will feature stories all about – you guessed it – monsters. On top of stories from creators like D’Israeli, Ian Edginton, Ron Marz, and Dave Wilkins, the book will also include a Joe Simon/Jack Kirby story, ‘The Greatest Horror of Them All’, taken from Black Cat Mystery.
The cover is far too rude for me to post on The Beat, so instead here’s a page or two of interiors.
Put together by writer/artist Dave Elliott, the anthology’s full list of credits are:
Joe Simon/Jack Kirby, Andy Kuhn, Dave Dorman, Mark A Nelson, Ron Marz /Tom Raney, Dave Elliott/Alex Horley,Vito Delsante/Javier Aranda, Dave Wilkins/Dave Elliott, Jerry Paris/Arthur Suydam/Dave Elliott, Ian Edginton/D’Israeli, Alex Horley and Steve White.
A little bereft of female creators perhaps, but that’s a fine line-up. There are ten stories collected in total, along with two art galleries.
The anthology will be released in September, and be day-and-date digital.