Comic book editors at Marvel and DC take note. At the well-attended, very-impressive-for-a-first-show Portsmouth Comic Con, in conversation with Joel Meadows, Frank Quitely (nee Vincent Deighan) has told the room that he’s really like to draw a Hulk comic book. Also, Daredevil and Spider-Man, though he’s not as sure about all the New York buildings. But he also wants to write and draw a Scooby Doo comic book, and has already been making them for his daughter. Just in case an editor of such a title wants one of the most critically acclaimed artists in comic books to draw a comic for them.
But before that he has a number of his own short stories of his own, many that link together, and he would like to draw them first.
The panel also saw Vincent talk about his first sample pages sent off to publishers after working on Electric Soup magazine that was meant to be a four-page Batman chase and fight scene, but that he got bored with the fourth page and so ended up sending 3 1/3 pages of Batman instead…
Of being asked to draw Flex Mentallo and having to constantly ask about references in Grant Morrison‘s script, such as who is Billy Bate-son?
How he thought WE3 was Grant’s first lame idea.
How Morrison still does thumbnails and breakdowns for all his work but doesn’t show the artist until after. But for Pax America, he made sure Vincent saw them first. And how the problem solving when drawing the art was more arduous – and also for a comic that referenced Watchmen like Pax Americana did, Morrison wrote a Moore-length script too.
There was the story about when he was severely suffering from sciatica. fellow studio mate Gary Erskine told a room full of comic creators that he had been crippled with cystitis.
He talked about the big difference between drawing for Grant Morrison and Mark Millar in that Morrison’s scripts are simple but change a lot in style and tone from project to project, but Mark Millar’s script style from The Authority to Jupiter’s Legacy has hardly changed at all – maybe slightly more concise.
He feels that Grant pushes him creatively more but that he loves a Mark Millar script as it is easier to work with.
He also gave us a great anecdote as to why he creates under a pseudonym – I’d heard that he had done so for Electric Soup because it was rude and he didn’t want his mum to find out what he was writing and drawing. But also, that he was signing on the dole (welfare) at the time and didn’t want the authorities to find out.
The statue of limitations should have run out on that a while ago though…
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