[Multiple Eisner Award winning cartoonist Matt Wagner has long been known for his sure hand with adventure comics; the breadth of imagination for his signature creations Mage and Grendel and his distinctive re-imaginings of Batman in various titles over the years. Now he’s imagining for the first time John Tower, a new character created by Legendary Pictures studio head Thomas Tull and debuting this week as part of the new Legendary Comics line. THE TOWER CHRONICLES: GEISTHAWK #1 is being published in the “prestige” format—a squarebound 64 page comics—well-known to 90s comics readers but not much used today. But it seems appropriate for the story that Wagner is telling, along with artist Simon Bisley inker Rodney Ramos and colorist Ryan Brown. In the following interview Wagner walks us through the process of developing John Tower and talks about his entire approach to making comics. We previously talked to Legendary’s COO Tim Connors here. ]
The team at Long Beach Comic & Horror Con has spent much of the last week working on booking new dates for 2013. We discovered that Stan Lee’s Comikaze had booked our traditional dates for 2013 and we needed to decide what the best course of action was for LBCHC. When it came down to it the answer was a lot easier than you’d expect.
Do we stick with our dates and get ready for a battle or look into new dates for 2013? Our immediate thought was that staying put is not fair to ANYONE. Attendees are forced to choose. Our partners, our exhibitors, and creators, are then all put in the middle and forced to choose where they will be. It will cost LBCHC more money and will certainly result in less than desired results from not only our comicon but for Stan Lee’s Comikaze as well. Everyone loses. And that’s just not how we conduct business. We have our attendees and partners to consider as we do when making any major decision about LBCHC. And frankly, we just don’t do ‘Con Wars.’
“How does it feel to be here, surrounded by cats?” The moderator’s already off to an auspicious start, given his (what I believe to have been, given my complete lack of German comprehension) promise not to discuss “why mice, why the holocaust.” It’s the proverbial gorilla in a room full of cats, of course, and while Spiegelman has visited the country a number of times in the past 25 years or so, it seems an odd choice not to discuss it the day before the opening of a retrospective on the cartoonist’s work. And here we are, like clockwork, dipping our toes in the water, the moderator asking how it feels sitting in this room, being, you know, the guy who got famous by writing a comic book about the Holocaust.