20 Questions w/ Paul Guinan: Steampunk

I first met Paul Guinan at the Spokane Comic Con '09 and was introduced to his book Heartbreakers Meet Boilerplate. He was working on a new book staring Boilerplate and got me excited about it... though I have yet to buy my copy (sorry Mr. Guinan)
Finding Mr. Guinan to always be of a pleasant disposition, I endevored to interview him for my blog. But schedules as they were after the premiere of Boilerplate: History's Mechanical Marvel, I resolved to shoot him 20 questions via email. Here is the result!

1. In Heartbreakers Meet Boilerplate you use photographs instead of traditional pencil drawings. Could you tell us about this process a photo goes through to become a panel in your comic book? Would you call this a modern form of Rotoscoping?

GUINAN Rotoscoping, an animation technique that involves drawing over footage of live actors, is a good analogy for how I approached the art in Heartbreakers Meet Boilerplate. Nearly every image began as a series of photos, which I then digitally composited and drew/painted over. I call my technique Paintography™! Hopefully it produces an effect that immerses the reader into the reality of the story. I was flattered that a select panel of judges nominated my work for an Eisner Award in the category of "Best Multimedia Artist."

2. Would you encourage others to use this technique, or would you prefer to keep the competition to a minimum?

GUINAN Of course anyone is welcome to give it a whirl, and other artists are already using a wide variety of digital techniques. Some of them are similar to mine, but I don’t think anyone’s doing anything exactly like it. As a photo-based technique, it has limitations—for example, if I were drawing a Western, I’d have to get cowboy outfits and horses.

3. Does this style affect how much action you can put into a panel?

GUINAN It might affect the type of action I can pull off, but not the amount of action, scenery, and characters. The biggest challenge in Heartbreakers Meet Boilerplate was compositing all the clones played by my wife, writer Anina Bennett, who had to change outfits constantly.

4. Are you limited or liberated by this way of making comics?

GUINAN It’s a mixed bag. I mentioned some of the limitations already. On the other hand, I am liberated from having to sweat over rendering details like architectural perspective drawing, or how light falls on the clothing folds of a hunched-over figure—that sort of thing.

5. Your wife (Anina Bennett) is the face behind Queenie and the Heartbreakers. What was her response when you told her she was going to be the basis for the Heartbreakers?

GUINAN She giggled like a schoolgirl. Nah, just kidding. Although I’ve always used Anina as a model in my work, the original model for the Heartbreakers in the late 1980s was actually her stepsister, Tamara Braun. Tamara later went on to become a soap opera star. Anina started modeling for Queenie and company in the mid-1990s, after we moved to Portland. By the time we did the Boilerplate crossover graphic novel, they looked so much like her that the transition to photo-based art was seamless.

6. How did you talk your friends into posing for your comic book?

GUINAN I say, “Wanta play a part in my next graphic novel?” And the response is always “Yeah, that’d be way cool!” It seems everyone loves comics these days.

7. Do your friends get residuals for their modeling work?

GUINAN They get copies of the book and bragging rights to being a comic book character. Plus our eternal gratitude. Our friends know that these kinds of creator-owned graphic novel projects don’t make much in the way of profits. When the Hollywood deal comes through, though, I’ll remember my pals!

8. As you know I'm deploying to the desert soon so I have to ask, may I take Boilerplate with me to Iraq?

GUINAN Boilerplate would want to go instead of you, since its purpose is to replace human soldiers in military conflicts.

9. You’ve said of your new book, “It’s more a history book than about the robot. It’s kinda a sneaky way to get people to read history. I just snuck the robot into parts of history.” I gather you are a history buff. Has this project added to your love of history? What time period do you find most fascinating and why?

GUINAN I’m a huge history buff, with a bent towards military history. The turn of the 19th/20th century was the origin point of our present-day culture and economy. From major inventions or discoveries such as airplanes, electric lighting, and telephones, to rights and protections we take for granted such as child labor laws, national parks, and women’s suffrage—it all began at the dawn of the last century.

10. You were the guest of honor at SteamCon in Seattle, WA last fall. Could you tell us about that experience and will you and Boilerplate be attending the next one?

GUINAN It was an all-around terrific experience! Boilerplate was a huge hit. The author guest of honor, Tim Powers, declared it “the most fascinating history book I’ve ever read”—and he’s read a lot of them. Anina and I did readings from the book, and I MC’d the combination high tea and steampunk fashion show.
Most of the convention attendees were dressed up, in straightforward Victorian outfits as well as elaborate costumes with Jules Verne-like accessories. Best of all, everyone we met was smart, creative, and well-mannered. Steampunks rule. Anina and I plan to go back this year.

11. What has the tour experience for Boilerplate been like? Are you comfortable plugging your own work?

GUINAN Anina based this letter from Boilerplate’s inventor, Archie Campion, on my attitude: “So accustomed had I grown to working day in and day out, utterly absorbed in constructing my mechanical soldier, that upon its completion I felt at first a sense of great relief and accomplishment, followed at once by panic. Having created this marvel, I now face the far more onerous chore of peddling it like a street vendor.”

12. How did Periscope Studios come together?

GUINAN David Hahn organized the studio back in 2002, with nine members. It was originally called Mercury Studio. Today we’re up to two dozen members, and the remaining founders are myself, David Hahn, Steve Lieber, Ron Randall, and Karl Kesel. Studio members do work for all the major comic book publishers as well as commercial clients such as movie studios and ad agencies. We all also do small-press, online, or self-published comics, which generally allow more room for creative freedom.

13. Any chance I could talk you into letting me visit the studio?

GUINAN Well, since you’ve had your inoculations, I think you’ll be safe. Come on down!

14. The website says you’ve all worked for DC at some point in your careers. How did it feel to get your first job from one of the big guys? How did Chronos come about?

GUINAN I started out doing advertising storyboards, then worked as a staff artist at First Comics, then freelanced for First, DC, Marvel, and Dark Horse. Since I came up through the ranks, instead of “breaking in” by sheer persistence, freelancing for DC was just another gig.
As for my stint on Chronos, I blame the greatest comic book editor who ever lived: Archie Goodwin, the namesake of Boilerplate’s inventor. He knew how much I wanted to work with him on some kind of period piece. When he green-lighted a heroic revamp of the time-traveling DC villain Chronos, Archie approached me with the opportunity to redesign the character, co-create, and draw the monthly series.

15. In your autobiography cartoon strip you mention the Heartbreakers. What kind of influence did the 1970’s punk rock band have on you as a bellbottomed youth?

GUINAN I was even more into the Ramones, Buzzcocks, and Clash. All part of my raging-hormone years. It’s nice to see teenagers slouching around in the same clothes and listening to the same music I did—makes me feel relevant in my dotage. The generation gap died sometime in the 1980s, as far as I can tell.

16. Have any of the surviving members of the band contacted you about the homage to their name?

GUINAN Not yet. I’m also still waiting for Jenna Jameson to admit that her broken-heart tattoo is based on our comic book.

17. Do you ever miss working on television? What could bring you back?

GUINAN An 11:30 p.m. time slot on NBC.

18. What was the first comic you ever owned/read?

GUINAN I can’t remember the very first one, but I can tell you that my favorite comic as a kid was Jack Kirby’s Kamandi. When that series came out, I had straight, shoulder-length blond hair; I was totally into Planet of the Apes, gangster movies, and Westworld; and I lived in Chicago. So when the apes vs. Chicago robot gangsters story arc ran in Kamandi, I flipped out—this comic was being created just for ME!

19. What/who is the most important influence on your comic book career?

GUINAN All of the 1970s naturalist comics illustrators: Nick Cardy, Russ Heath, John Severin, Gray Morrow, Curt Swan, etc. When I started drawing professionally, Howard Chaykin’s page layouts were also a huge influence.

20. Who would win in a battle, Mr. Hero or Boilerplate?

GUINAN Hmm, good question. Boilerplate has a super-durable body, tremendous strength, military training, and simple power source. I’d need more detailed specs on Mr. Hero in order to make a proper judgment. But if I had to pick, of course my money’s on Boilerplate! What do you think?...

Adam Watson Interview Part III

Part III

W/I C: Lets switch gears a bit and discuss your history with comics. When did your love affair with comics begin? What was your first funny book?

Watson: My love affair with comics first began around the time my parents divorced when I was eight-years-old. My dad was a truck driver and would buy them for me to read when I was along for the entire day.

The first comic I remember ever buying was Willow #1. On a side note, I really, really hate the term “funny books”.

W/I C: (Laughs.)

Watson: I first picked up Willow, not for my love of comic books but because I really really love Willow!”

W/I C: Have you read the Chris Claremont novels?

Watson: No. I own them but haven’t gotten to them yet. You need a lot of time to read anything Claremont writes. (Laughs)

W/I C: How long had you though about doing comics before you began dabbling?

Watson: The thought had been in my mind since I was about twelve years old. But I didn’t start writing scripts til I was about 21.

W/I C: Many of us who proudly proclaim our geekhood or discretely hide it in our parents’ attic or basement found something in comic books that we didn’t have in real life. Could you share with us how comics have influenced your childhood and adult life?

Watson: Comics helped me escape from the reality of my parents’ divorce, which is probably why they were so appealing to me in the first place. Besides giving me a mild case of OCD it’s hard to pinpoint exact things it’s done for me. I’ve certainly made a lot of good friends I may not have met other wise.

And I’ve always been an out of the closet geek.

W/I C: You’ve talked a lot about the cost of producing your books. As the writer you have to hire your artists. For other writers out there who want to tell their stories in graphic form could you tell us how you find your artists?

Watson: The easiest way I found is through the talent search on Digital Webbing or by befriending one through a show or through some one you know.

W/I C: You met your artist for El Bovine Muerte, Nick Larsen through your wife, is that correct?

Watson: They had been lifetime friends. She told me he wanted to get into comics and he should talk to me.

W/I C: What did you have him submit to you before you choose him for the web comic?

Watson: I had him do character designs for Diary of a Deadman (2011?)

W/I C: Could you share your best/worst experience with hired help?

My worst… I prefer to keep that private; I don’t air such things publicly.

It’s hard to narrow down [my best] I’ve worked with a multitude of great talent.

W/I C: What would your advice be for those considering hiring help?

Watson: Make sure you have enough money to do it. It is very expensive to do correctly. Save your money, budget wisely and don’t skimp on quality. It can be a great process when done correctly but a horrendously bad one if you go into it blindly.

W/I C: Have you seen a decline in sales during these harsh economic times?

Watson: Online, yes. At conventions, not as much but I’ve scaled down the amout of cons I’ve gone to comparatively to last year. The comic world seems to have it’s own economy. Which has certainly been hit but luckily I think people still need their escapism.

W/I C: Has the countries economic crisis affected you and your family?

Watson: No. In fact we are making more money now that we have before. But in the long run who can tell.

W/I C: Who had the greatest influence on your career and are there any comic stars you would call yourself a fan of?

Watson: Oh, plenty! The writer I most look up to is Garth Ennis. My comic hero is Jeff Smith. I’m also a big fan of Warren Ellis; Kurt Busiek; Gail Simone; Fabian Nicieza; the list goes on and on. When I met Nicieza at a con I was 13-years-old. I had some sort of weird overwhelming thing occur that wouldn’t let me speak.

How do you recharge your creativity?

My mind is constantly going. I can’t ever seem to shut the damn thing off. Usually going to the movies or strip club works but even then I have the occasional story idea or business idea pop into my head.

I’m probably one of the few comic creators who have done networking at strip clubs.

W/I C: Can you tell us a bit about your writing habits?

Watson: My habits are sporadic. Somedays I’ll write for five hours straight. Then sometimes I’ll go weeks without working on a thing. I’m nowhere near as disciplined as my good buddy Alan [Bennett]. However, I’m always thinking of new marketing and business strategies. So even when I’m not writing I’m working on the company in one fashion or another.

W/I C: When it comes to spreading to spreading the gospel of Darkslinger Comics, you use the web like a dirty little whore. Can you tell us why you believe this is so important for indie creators?

Watson: It’s the easiest way tot get seen for free! If a prostitute ever offers you a freebie should you ever say no? (Laughs) Besides I’ve never heard of any one getting syphilis from using thee Internet.

W/I C: Is it true you have groupies?

Watson: Define groupies.

W/I C: What is the Darkslinger Mafia?

Watson: It is the official street team of Darkslinger Comics. It’s’ my creators, my fans, and anyone who will drop my companies name to a comic nerd. Think the kiss army divided by a million.

W/I C: Groovy. K, got a couple more. If re-incarnation exists what animal would you like to come back as?

Watson: A wolverine. They are clumsy and not very talented but through shear meanness they get the job done, damnit!

W/I C: Last one, if you could live in any comic universe beyond your own, which would it be?

Watson: Any? The Eros Universe.

W/I C: (Laughs.) Okay, okay. Good stuff. Thanks for taking the time to answer my questions.

Well that is the end of our interview with Darkslinger Comics’ creator, Adam Watson. Don’t forget to visit us again next Monday when our interview with enigmatic Tony Morgan the author and artist behind The Chicken Leg Bone Boy will be posted.