Comicsgirl: What brought you to comics? 

Barbara Slate: In the 70s, I created the first feminist greeting card line featuring a character called Ms. Liz. We sold over two million greeting cards. I appeared with Ms. Liz on the Today Show, and drew a Ms. Liz comic strip which appeared monthly in Cosmopolitan magazine. Ms. Liz was my obsession for nine years but competing with Hallmark was no easy task and for various other reasons, I was definitely looking for something else. So, when a friend suggested I contact Jenette Kahn, president at DC Comics, I did. Luckily, the timing was fortuitous. Jenette was looking to create a girl’s line of comics.  

CG: What makes you prefer that over other forms of storytelling? 

Slate: Comic books have it all! I can create my own characters, draw them, and write their stories. I think comic books are beautiful in their simplicity. Every month my work appears in a 24 page story produced on cheap paper and held together by staples! How lucky can a girl be?! 

CG: What keeps you wanting to create comics?

Slate: I love telling stories. My latest graphic novel is Getting Married and Other Mistakes. I also love teaching teens and adults how to do a graphic novel. I find this work rewarding and it takes me all over the country as a teacher and speaker on the subject.

CG: How did Angel Love come about? It did seem like it was part of an era where DC Comics was trying new things.

Slate: In the early 80s, the comic book reader was 95% boys, 5% girls. Jenette and her staff liked Ms. Liz, so she asked me to create a character for DC Comics. Writing and drawing greeting cards is very different than comic books. Although Ms. Liz has a personality and point of view, she did not have the depth of a character like Angel Love where a Character Bible and Plotline were part of her backstory. I am forever grateful to Jenette. She handed me the Wonder Woman Bible to study and had her two vice presidents, Dick Giordano and Paul Levitz, teach me how to plot using color code. Then she introduced me to my editor, the amazing Karen Berger. In a month’s time, my education through DC Comics was like attending a four year college in how to do a comic book.  

CG: I know you teach graphic novel workshops. I constantly hear from other teachers of sequential art classes that their classes are at least half female, if not more than half.  Has that been your experience?

Slate: When I first started teaching, I was afraid there would be 15 super hero inspired boys but instead it was half boys and half girls. That is a wonderful thing to see. The super hero genre is usually about 15% of the class. My book You Can Do a Graphic Novel breaks down the steps  so anybody can learn to do a comic book. It may not be a graphic novel that gets published by Marvel Comics, but it is a fun and rewarding process.  

CG: Is it important to you to encourage girls specifically to make their own comics?

Slate: It’s a funny thing about being a woman in comics. There is an unwritten code that you are supposed to “empower girls.” When I first started, it was just me and Trina Robbins writing and drawing comics for Marvel Comics and DC. That was the time to encourage girls specifically to make their own comics. Today, I teach girls who are already empowered.  I really don’t see the purpose of encouraging girls specifically over boys. Writing and drawing comics is an equal opportunity passion. 

CG: What changes in comics overall have you seen in comics during your career?

Slate: Certainly, computers have changed the way comics are created, especially in coloring and lettering. Another big change is that the comic book reader is now 50% girls due mostly to the Japanese manga influence. When Angel Love hit the market in the 80s, there was no place for her in comic book stands. She was literally squeezed in between superheroes. It is disappointing to see that Marvel and DC Comics still have not embraced a line of comics for girls; however, mainstream publishers saw that kids love comics and have created their own divisions. The change is that they call them graphic novels. 

My theory is that the name “comic books” was so demonized in the 50s, that main stream publishers thought if they changed the name to “graphic novels”, the mothers wouldn’t notice that their kids were really reading the dreaded comic book. (Will Eisner was the one who originally coined the name “graphic novel” with his publication of his book, A Contract with God.) 

And it worked! Teachers today use comic books as a teaching tool. Librarians have special sections for the graphic novel. It is a proven way to get teens into the library. The movie industry uses the comic book series to create block buster movies and art critics take the genre seriously. Even mothers are encouraging their children to read comics. 

Today, more and more women are writing their stories in graphic novel form. My dream is that one day there will be enough female graphic novelists that we will have our own section in a bookstore instead of being scattered everywhere amongst superheroes and novels. Yes, we’ve come a long way baby, but boy, we still have a long way to go. 

Near Miss is a semi-regular feature that will be appearing on Comicsgirl throughout 2013. This project is sponsored by Big Planet Comics.

Editor Russ Kick managed to find time during his current tour in support of the book to answer a few questions via email.

Comicsgirl: For those unfamiliar with The Graphic Canon, what do you want to say to introduce them to the concept?

Russ Kick: I asked 150 comics artists and illustrators to adapt the great works of literature from all ages. I asked them to stay true to the source material, but artistically they were given free reign — any style, any approach, any medium.

CG: I’m always interested in projects that may attract non-comics readers. Was that one of your intentions with this project?

RK: Definitely. I see The Graphic Canon operating on many levels and in many directions. I think it will draw non-comics readers to comics and non-literature readers to literature. From a purely artistic standpoint, I hope the sheer creativity and power of the adaptations and illustrations will go a little way toward propelling the art form in new directions. On the literary side, it contains some unusual choices, so it may spark some debate there regarding what belongs in the canon of great lit. But beyond all those agendas, I wanted it to be a powerful, self-contained experience.

CG: I love the diversity of both the works of literature adapted and the styles of art. How much of that was a goal and how much of that just happened?

RK: Diversity was definitely a goal from the beginning, and I did what I could to make it happen, but the exact ways that it happened came down to chance and synchronicity. I purposely approached amazing artists whose approaches and styles are all over the map (and sometimes off the map). Once in a while they had a work of literature in mind already, but most of the time I offered specific suggestions or a large “wish list.”

CG: What was the most surprising part of working on The Graphic Canon?

RK: Every time an artist emailed me final art, it was like Christmas. Pretty much each time I opened a newly arrived adaptation, I was amazed all over again at the level of energy they all brought to the project.

CG: After The Graphic Canon, do you have any other comic-related projects in mind?

RK: Yes! There will be further volumes of The Graphic Canon, and I’m also wanting to compile multi-artist anthologies of newly conceived mystical and religious art of various kinds. I’m also trying to figure out how to create unthemed collections that exist to show the astounding amount of sequential/illustrative talent out there.

Russ Kick will be signing copies of The Graphic Canon Vol. 1 at Big Planet Comics‘ Bethesda location (4849 Cordell Ave.) from 1 to 3 p.m. on June 2.

The collection of the first four issues should be out soon and Whitley was kind enough to answer a my questions via email.

Comicsgirl: Congratulations on the Eisner nominations. How much of a surprise was it? Anything you want to say about it?

Jeremy Whitley: It was a huge surprise! Action Lab has asked if I was okay with them sending it in for consideration, but I had never imagined that it was an actual possibility, especially not for the individual issue award. Obviously I believe in the book but there is a lot of great competition out there. I’m ecstatic about being nominated.

All I really have to say is thank you to those who believed in the book and please vote if you haven’t already.

CG: There’s a tendency to make action heroines nearly perfect — they’re strong and smart and without flaws. Adrienne is definitely smart and capable, but she’s also someone who doesn’t seem to quite know what she’s getting herself into. How did you make sure she was still a character to admire while still feeling real?

JW: I based her a lot on my wife and my sister-in-law (after whom she is named). She’s somebody who seized her freedom and overflows with determination, but the reality is that determination does not necessarily win the battle for you.

It’s very important to me that if she’s a character that girls are going to look up to, that they can also see themselves in her. It doesn’t do any good to have a role model if you can never live up to them.

CG: Adults have happily embraced this title, but we’re not necessarily the target audience. What has the reaction from children — girls as well as boys — been?

JW: Well, understandably not as many of them write Internet reviews and send me Facebook messages about how much they love it, but all the kids and parents I have talked to have said they loved it.

I met sci-fi author J.L. Hilton at a convention last year and sold her the first few. When she found me at another convention a few months later, she snatched up the other two issues saying “My daughters and I read the first two issues every night before bed. They love them. We NEED these other two.” I’ve actually had a couple reviews where the reviewers have mentioned handing them off to their kids or reading them with their kids. Those are some of my favorites.

CG: You touch on many social issues — race and racism, gender roles for both boys and girls — as well as media presentation of female characters. While one of my favorite scenes is Adrienne’s horrified reaction to the skimpy “armor” Bedelia initially presents to her and I think it does work in context, it’s still very self-aware in the statement its making. How do you balance the points you want to make while maintaining telling a good story?

JW: To be honest, when I wrote issue 3, I wasn’t sure that I had. I kept having people read it and asking “Is this too preachy?”

Thankfully, they mostly said that they didn’t think it was and I left it. That seems to be one of people’s favorite scenes too.

As far as race, I wanted it to be a part of the book, but in the way that it always is. As a fact that isn’t constantly talked about. Adrienne is black and that’s the way it is. Too often I think that people struggle when they spend their time pointing it out. In Adrienne’s land, however, she is one of the royal family. White girls can look at Cinderella and Belle and Sleeping Beauty and relate to them without constantly having to be reminded that they’re white. Black girls deserve that sort of comfort as well. I made a point of pointing it out in the first issue, gave her a chance to jump up and down and shout it, then I moved on.

As for the armor chapter, I wanted it to be both a bit of pointed satire and a kind of mission statement for the story. I want to tell and action story about girls that’s for girls and doesn’t feel it’s necessary to rely on some of the older tropes.

CG: Princeless: Save Yourself, which should be out soon, collects the first four issues of this series. What’s next? How much more of this story can we expect?

JW: Well, the original plan was to continue to produce mini-series until we finish the story of Adrienne saving her sisters, which should run about 25 issues.

In addition to that, we’re actually now working on a series of short comic stories about the characters and their world. These stories are being illustrated by a team of amazing female artists for a collection due out late this summer. I think fans of the book so far are really going to enjoy these.

Meanwhile, Volume 2 is well under construction and should be available this winter. I’ll be posting a lot of the progress on both the second volume and the short stories online at princelesscomic.tumblr.com and on my (@jrome58) and the Action Lab‘s Twitter accounts.

Whitley will be signing copies of the Princeless: Save Yourself that collects the first four issues (copies should be in stores soon) May 5 (Free Comic Book Day!) at Big Planet Comics in Vienna from 11 a.m. to 1 p.m. and at the College Park store from 3 to 5 p.m. Jorge Aguirre, writer of Giants Beware! from First Second will also be signing copies of his book.

And yes, I know that the Vienna signing conflicts with watching The Legend of Korra (although these signings were scheduled before the airdate for Korra had been set so it’s forgivable), but I’ll just have to catch it later.

Comicsgirl: Bizarro Heroes is a collection of your cartoons skewering superheroes. Are you (or were you) a superhero comics fan? What appeals to you about the subject?

Dan Piraro: Though I am a regular reader of various kinds of literature now, I hated to read as a kid, so my interest in comic books was entirely about the art. I bought tons of them but only followed the stories by looking at the pictures. I still had the same fantasies of super powers that attracts most people to super heroes, of course. I think the contrast between those childhood fantasies and the reality of an adult world are what amuse me about the topic now, and many of the comics in this new book deal with that aspect of fantasy world meets real life.

CG: Why comics? What is your creative process when it comes to creating them?

DP: Good question, I wish I had an answer. I’ve always loved comics, especially single-panel ones like I used to see in magazines when I was growing up. Back then, all magazines were peppered with cartoons, not just The New Yorker. As an adult, I was inexplicably drawn to creating them and still am. It’s just a creative urge that has remained constant all these years. I suppose it is the way I am wired.

My process when creating them is frequently to surf the web for other people’s comics. Looking at good comics makes me want to create ones of my own. I find the same thing to be true of fine art; when I go to a museum or gallery, I want to rush home to paint.

CG: Most of your comics are one-panel comics. Do you find it hard to express a joke clearly given those constraints? Do you ever have ambitions to do longer-form work?

DP: Single-panel comics have always been my favorite because the story is not spelled out for the reader. You have to put it together in your head –– what just happened before this picture and/or what is going to happen after? –– and that little feat of mental gymnastics is what makes you chuckle. I sometimes think of long-form comics and use them in my Sunday panel, where there is room to expand. But for the most part, my brain works in the single-panel form and I have no trouble getting my idea across that way.

CG: You also do standup comedy (as you are at the Riot Act Comedy Theater on Sunday). How do you approach performing standup differently than creating comics?

DP: Stand-up comedy is entirely different. What is funny in speech is not always funny in print and vice versa. I’ve tried, however, to combine elements of both in my comedy shows. I don’t do strictly stand-up, I also show images of cartoons and other things that bring visual humor to the show.

I learned to do live comedy by trial and error, just like everyone else. You start by tossing out one-liners in school as a kid and if you can make people laugh, you just build on that skill over the years until you have the courage to try it in front of a roomful of strangers in a comedy club. There is no quick way to learn it, you just have to gut it out, fail, and build on the few things that work. Eventually, you learn to make people laugh one way or the other and your performances are relatively successful most of the time. If you have the basic talent and you practice enough, you can actually get to a place where you never fail in front of an audience.

The bottom line is that you become addicted to the adrenaline. Stand-up comedy is one of the scariest things you can do and it feels like dying when you fail. But when you succeed, it is exhilarating!

CG: You are very openly vegan (which is awesome) and I admire your activism there. Your comics dealing with animal rights are both funny and thought-provoking. What advice do you have for someone who’s interested in becoming vegan?

DP: Thanks, glad you like my activism cartoons. I’d say if someone is interested in veganism, they should comb the web. There are so many great resources out there now: how to begin, how to shop, recipes, how to stay healthy, how it benefits your body, mind, and the environment, how animals are treated in the food industry, etc. There is no one way to do it, but if the idea appeals to you, you should have no trouble finding plenty of info. For practical info, I’d start with Nutritionfacts.org.

Piraro will be signing copies of Bizarro Heroes at the Big Planet Comics U Street location (1520 U St. NW) on March 11 from 6 to 7 p.m. He then will be performing at The Riot Act Comedy Theater at 8 p.m.

Comicsgirl: I like that Kill Shakespeare includes a broad range of Shakespearean characters, from the ones everyone knows to ones that are more obscure. How did you pick which characters you wanted to include?

Conor McCreery: We always joke that they chose us. After the main characters, though, we did do a bit more work on choosing the cast. Oddly enough we agonized a lot more over the inclusion of the Parolles and Philip the Bastards of the world then we did over Iago or Juliet.

Anthony Del Col: As Conor said, the main characters came very naturally to us. We immediately could see Juliet and Othello fighting together, Falstaff serving as a comedic sidekick/mentor, and Lady Macbeth and Richard III fighting against them. Hamlet was the last main character that we realized should be in it, which is a tad surprising as he is the main character. But once we realized we need to include him it brought everything together.

CG: How do you balance the legacy of Shakespeare with the need to keep the story moving and accessible? Do you feel like you have any responsibility to stay true to the spirit of Shakespeare?

ADC: We’re trying to make Kill Shakespeare appeal to those that love the Bard (by playing fantastic ‘What if?’ games and including Easter Eggs) but – just as important – making his work accessible in a whole new way to new audiences. We know that we could never write anything better than Shakespeare does. He is the best writer of all time – no debate on that. However, we’re trying to shine a spotlight on his characters in a very interesting, unique manner.

CM: True to the spirit? Absolutely. We VERY much want to tell a story that has sophisticated human emotion and that is, at its core, a humanist tale. But we don’t feel too much responsibility to regurgitate
scenes or tropes from Shakespeare’s plays – at least not ALL of them, GRIN.

CG: The reaction overall has been very positive. Have any of the reactions surprised you?

CM: It is always a pleasant surprise when people like your work. I think I might have been a bit surprised at how much intellectual rigor has gone into the criticism (both good and bad) of the work. That’s actually
very flattering.

ADC: The best reactions are the reviews where the writer states that reading Kill Shakespeare has made them want to go back to re-explore a play that they had read/watched in their pasts. Or, on the flip side, hearing from people that are big Shakespeare fans but have never read a comic book before and now want to check out other series. Those are the best reviews we could ever receive.

CG: Neither of you really had much of a background in comics before this. What do you find satisfying about the medium of comics? How does it compare to the other media you’ve worked in?

ADC: I love the instant – and unfiltered – feedback. It’s very creatively fulfilling to be able to put out an issue and talk about it with fans and readers to see what they liked and what they didn’t like. We’ve tweaked aspects of our story as we’ve gone on based on this feedback. I also like that comic readers are very honest with their feedback – if they like or don’t like something, they are NOT shy to tell you. It’s quite refreshing.

CM: I think the speed at which your ideas become reality is very satisfying. Working in film and TV takes a long time and you never know when the whole thing could come unplugged. I’ve also loved the ability of comics to be the perfect delivery system for both melodrama and delicate emotion. Plus in a comic if you want 600 guys on horses charging a 2,000 person army of lizard men, well, you just have to buy your artist a lot of beer.

CG: After Kill Shakespeare wraps up, what are your future plans?

ADC: More Kill Shakespeare, hopefully! We’d love to continue the series beyond the current twelve-issue arc and know what subsequent stories could involve. We’ve had a lot of people ask for more so we’ll see if we can make it happen. We really love working on this series and it would be a dream to be able to continue.

CM: We also had a kid’s show we did together that we’d love to find a home for. And of course we both have a lot of projects that have gathered dust while we worked on Kill Shakespeare. It would be a dream come true if this work gave us the credibility to move some of that forward.

Check back tomorrow for my review of Kill Shakespeare: Vol. 1

Published in 1998 by Flypaper Press/Image, writer Maggie Whorf tells the story of four friends — the contemplative Catherine, the sarcastic Amy, hippie Vicki and rock-star wannabe Stew — as they navigate late ’90s pop culture. References to Hanson, Kevin Smith movies and Dawson’s Creek do feel a little dated now, but the emotions and interactions between these friends still remains genuine. Byron Penaranda’s quirky angular style and the candy colors give the comic a bright and distinctive look. The issues also featured essays and commentaries by teenagers and women about topics ranging from dating to pop culture.

Inspired by the latest round of “women making comics for women,” I decided to track down Maggie Whorf to get her thoughts on her experiences with BoHoS via e-mail.

The comic had its origins after Whorf and two friends created a zine called “Whore-Hey,” which was “filled with the teen angst of three over-taught and highly privileged private school girls,” Whorf wrote, adding “We also said fuck. A lot.”

This, along with the fact that they were selling their zine on school grounds, led to some trouble for the three — they were suspended for three days. (The punishment “wasn’t very effective,” Whorf wrote and that the girls’ parents were proud.)

After attracting some media attention, Flypaper Press came calling and Whorf was the one to respond.

Whorf says she had creative control over the comic: “There was an amazing sense of freedom and my opinions were always respected. I was set up with a great editor and she taught me how to break down a scene and write with the panel in mind.” and that she “created the characters, the storylines and supervised the design.” She does admit “There were times I was treated like a commodity” but also understood “The story of a 16-year-old girl writing a comic book was the thing they could sell.” She wrote that she “loved it” and “felt very grown up” during the whole process.

After some movement on pitching it to production companies, Whorf headed off to college, thus ending her comic book career (for now, anyway).

I asked Whorf if she had been comic book fan previous to BoHoS and she wrote that she used to draw pictures of X-Men to sell to friends in elementary school and came back to comics through Tank Girl. She wrote that she’ll “always love Batman” and loved the Civil War run. Other than that, she hasn’t kept up with any of the other attempts to entice teenage girls to read comics, like DC’s Minx line. “That’s kind of shameful, isn’t it?” she wrote.

Whorf is currently working for “a large internet company” and writes a fashion blog call The Pudge.

I was delighted to be in touch with her and even more delighted to hear her experiences with BoHoS were good ones. As for the comic itself, it’s never been collected, but issues are pretty easy (and cheap!) to come by on eBay.

Siegel grew up around Omaha, Neb., graduated from high school in Malvern, Iowa, and attended Southern New Hampshire University. She’s about to start on her Master’s of Science in Publishing at Pace University. She lives in New York.

Siegel gives some great answers via email about she got started in comics and what her job entails.

(Full disclosure: I know Siegel online, but I was delighted to have her answers my questions.)

Comicsgirl: When did you first start reading comics?

Janelle Siegel: I first bought a comic when I was 10, and it was Spider-Man Annual #9, featuring the Cadre! I don’t know why I chose that one, but it was on a rack in a gas station while my family and I were on our way to the Black Hills in South Dakota. I had watched the Spider-Man and X-Men cartoons and really enjoyed both and my older brother had a few comics here and there that I had picked up, but comics were just not something that were easily obtained for a 10 year old kid in a town with no comic shop.

On that very vacation, I ended up buying a whole bunch of comics including some other Spidey books, some X-Men stuff, and the Rogue mini-series, because I have always loved Rogue.

So I read for about a year, but the fact was that I had a hard time really figuring out comics. No one in the shops would talk to me, because I was a 10-year-old girl and I didn’t really get how the numbering and stories went. I stopped reading for a long time, until I was about 19 and I started dating someone who was nerdy like me. One day I mentioned that comics weren’t abhorrent to me, and next thing I knew, we were sharing a $200 a month comic book habit. That was really when I got fully into the world of comic books. I started with the X-Men books I had already been interested in, and then moved through pretty much every Marvel series at the time. Eventually I made the jump to reading DC stuff, starting with Birds of Prey by Gail Simone and then stuff like Green Arrow and Young Justice. And even later I started trying out indie stuff and branching beyond superhero books. But superheroes are always going to be my main comic book love.

CG: How did you end up working for DC Comics?

JS: Well, about 5 years ago I realized that editing was what I wanted to do and that perhaps I could combine that desire and my love of comics and be a comic book editor! I started going to conventions and really immersing myself in the comic book world. I basically just talked to as many people in the industry as I could. I have a rather ridiculous collection of friends from all walks of life who all share one thing, a love of and desire to create comics. Through this collection of friends I met people like Troy Brownfield, who asked me to join the Best Shots @ Newsarama team and later the Fangoria Comics editorial staff as a part time assistant editor. However, after endlessly sending out my resume and trying to get my foot more firmly in the door, I realized that unless I lived in the same city as a comic book company, it was going to be really hard to get a job. So I decided to move to New York! Once the plans were in place, I started really working to find out what job openings there were at the big two. There were some openings at DC, so I submitted my resume, and now here I am! It’s all made even better by the fact that the group editor I now assist, Mike Marts, was the first editor I met, years ago at a convention, and who gave me advice about being an editor!

CG: I’ve always been curious about what editors (and assistant editors) for comic books do. What’s your typical work day like? (If you have a typical work day.)

JS: Oy, a typical work day, huh? Well, not much of it is typical, but let’s see. First, I grab a Diet Coke and chug half of it as fast as possible to wake up. :) There are really only two things that happen on a mostly regular schedule every day – one is that I meet with Mike around 10:30 and the other is that I eat lunch around 1. Everything else is really based on urgency. For instance, in the morning I might get in and see an email that some inked pages are in that desperately need to get to the colorist. The first thing I’ll do is ask our production department for printouts of them so I can turn them in. Once they get turned in they eventually make their way back down to production, who sees them as “approved” and sends them to the colorist. Other mornings, I read a script that I never find time to read in the afternoon and get my notes together. Or I proofread lettering on a book and mark up my copy to add to the other copies floating about our office. Or I get together vouchers for an artist or writer that just started working with us. But honestly, a lot of my day revolves around my email. What comes in there can completely change what I’m working on from moment to moment.

Some other stuff that editors (or at least this assistant editor at DC!) deal with are getting artists and writers paid, putting together paperwork to get a new series approved or get a new artist or writer set up with a rate, talking to writers or artists on the phone about what they’re up to or what they might need, signing off on the different steps of the publishing process from lettering to the final version that goes to the printer, and ummm … even more paperwork for routing lettering, artwork, etc. And of course then there are meetings to talk about the future of our group of books or the entire DCU, which involve either just the Bat-group or, of course, all of DCU editorial. I feel like I’m not making it sound very exciting, but I have to say, it’s very fast paced and I find it endlessly thrilling. I am a geek, after all. We have weekly deadlines but beyond getting those books out the door, we’re also planning far into the future. It’s a lot of juggling, but ultimately it’s worth it to not only be working to put the best books out in the now but also planning for the best books in the future.

CG: What DC Comics titles are your favorites right now?

JS: Here’s a guilty admission – the one book that I have to read as soon as it comes in my stack every month is Tiny Titans. MAN that book is good. :) And of course, honestly, I really do love all of the books I work on. For the curious, the monthlies I work on would be: Batman and Robin, Batman, Red Robin, Batman: Streets of Gotham (featuring the Manhunter co-feature edited by yours truly!), Gotham City Sirens, Azrael, Batman: The Widening Gyre, and Batman Confidential. I’m also currently working on the Arkham Reborn mini and have a couple of upcoming projects that I can admit are my favorites when I can talk about them. :) Outside of the Bat-group, like everyone else, I’m enjoying the Blackest Night stuff, although it is giving me nightmares a little bit. JSA vs. Kobra and Secret Six are other books I really enjoy.

CG: Any advice for young women who’d like to work in the comics industry?

JS: Learn your craft and the industry and find your place, but most importantly, don’t give up and don’t believe the naysayers! This industry may be “male dominated” but that doesn’t mean it will stay that way, and in order for it to not stay that way, women have to be willing to take a chance to work in comics. Even since I first read comics, things have changed and changed for the better. I have had an amazing experience working in comics and I have never been made to feel weird because I’m a woman. I know not everyone has that experience, but that has been my experience, and I don’t see any reason why it can’t be repeated for others.

I think if you are a woman and you’re trying to break into comics, focus on the work you want to do and the industry, not your gender. If you’re an artist, become the best damn artist you can be; ditto if you’re a writer or an editor. Learn your craft and also learn the industry. It’s important to find your place, because not everyone is suited to doing the same thing. Certain art styles work better at different publishers and certain people are less comfortable in big corporations. That’s true in whatever industry you work in. But ultimately, the important thing is to not be distracted by the gender of the people in the industry but instead focus on the work.

Instead of linking to a Web site, I’m just going to recommend you pick up any (or all!) or the books Siegel works on.

Kay is a sweetheart so it’s no surprised she happily answered the questions I e-mailed to her.

Comicsgirl: You’ve been involved with several comics-related projects since Who Wants to Be a Superhero? Have you always been a comics fan? Are there any comics you read regularly?

Tonya Kay: Do comic strips count? My favorite is Garfield. Now who’s the geek of geeks? I learned to draw that cat and gave mine a new character name an personality. His own adventures. You see, my Garfield was different though because he wore a bow tie and had no mouth. Call it: style.

CG: How did your appearances in Tarot: Witch of the Black Rose come about?

TK: Conventions are almost cosmic intentional communities. Magickal meetings are mishapped upon and families are formed with afore strangers. I met a photographer from Germany named Steffan Volkmer when I was appearing at San Diego Comic Con in 2008. He followed my work and we kept in touch. The real life action hero things I do in my career and spare time include whip cracking, knife throwing, fire dance … you know, the fun stuff the other girls don’t do! Well, I had just modeled for LA photographer Dave Klingsick of Day Bright Studio with some weaponry my talented Hollywood film blacksmith friend, Dave Baker of Hollywood Combat Center forged. Seeing my recent broadsword warrior shoot, Steffan was inspired to introduce me to the owner of Broadsword Comics, saying we might be a tight fit. I sent one of the photos to Jim Balent and to my astonishment, he responded right away saying he was familiar with my character on Stan Lee’s original season of Who Wants to Be A Superhero? and more specifically, appreciated that I was open about my lifestyle, wearing a small upside-down pentagram around my neck on national television. Then Jim said he’d like to feature me this year!

I hardly knew what was in store for me at that point. Working with Jim Balent has become a powerful and fulfilling ritual! Through the year I’ve gotten to know Jim and his wife/business partner, Holly GoLightly and what extraordinary human beings, artists and business people they are. I’ve reference modeled for my character, offered personal life experiences for storylining, written a Chaos spell for the comic and have had much of my modeling work published as well. In July, I experienced a full circle, when Jim invited me to appear at the Broadsword Comic booth with him and Holly at San Diego Comic Con 2009. There I got to see Jim’s rendering of the cover of Issue #59 starring me! I almost fainted when I saw myself featured on the cover of the Tarot: Witch of the Black Rose comic. I also got to interact with fans, meet new friends and Steffan, the man who originally introduced Jim and I, even arrived to officially complete the circle – conventions really are cosmic intentional communities!

CG: Do you have any other comic-related projects on the horizon?

TK: I am available for comic reference modeling. I’m a real life action hero! And if you would like to see my heroism in action, look for me playing a reoccurring role on Comedy Central’s Secret Girlfriend this fall. Secret Girlfriend is a new series airing in the time slot right after South Park. I will be playing Cassidy, the lesbian burlesque dancer who beats up boys. I will be cracking whips, throwing knives, and grinding sparks off my metal warrior bikini – no kidding! I hope to continue combining my acting talents and action skills in unique roles like this. And I hope to continue modeling for comic artists, like Jim Balent.

CG: I think one of the most awesome things about you is that you’re a raw vegan. How did you get started on that path? Do you have any recommendations for someone who wants to pursue it?

TK: I’ve been vegetarian for 25 years, 15 of which were vegan and the past 7 raw vegan. I got started on the raw vegan path, specifically, when I decided that I was one of the animals I wanted to take care of. Basically, I had been taking care of all the other animals and hadn’t discovered yet what it was really like to be a healthy human animal! If there is anything on this earth that makes a real super hero, it’s eating straight from nature. She’s never wrong and I don’t question her. I am fit, emotionally and athletically, I am connected to the seasons and can process higher levels of stress without problem, the people whom are drawn to me reflect the care I give myself — it is definitely worth working into your life as well.

For virgins who wish to experience a little of the raw vegan goodness, I’d suggest working in more and more raw food (how else?). What I mean is, I don’t suggest going 100% raw vegan over nite. Heck, if you look at my progression through dietary change, you could say it took me over two decades to make the transition from vegetarian to raw vegan. The good news is, you can work a smoothie in as your breakfast, 3 pieces of hand fruit in as your snacks, and a phat salad instead of your pasta or rice at nite and … for virgins, that IS increasing their raw food and they WILL feel a difference.

The difference just might be so easy and so rewarding that you decided to work more in in another six months. You started out as 40% raw and within 2 years you might find yourself at 70% without really having felt like you’ve made any changes at all.

Make raw friends now. Even if it is just on the internet at first. Get to know the community and how supportive it is. Make some easy recipes. Soon you’ll be the one inspiring people around you.

My first hero was Popeye, by the way. He said, “I YAM what I YAM”, dated a woman named Olive Oil, cared for a child called Sweet Pea and ate spinach to get those hulky forearms. He’s still my hero.

CG: And finally, any advice for girls or women who want to also be real-life superheroines?

It’s the perfect time to be a woman and I wouldn’t trade it for the world! Not long ago, women weren’t allowed to attend University. As recent as my own mother’s youth, girls sports weren’t an option in the school curriculum. And today, women control 53% of the nation’s wealth! We’ve come a long way in a short period of time, grrls, and that’s not only because it’s right and it’s fair, but because our feminine energies are needed, now more than ever to balance out a structured civilization that got way out of hand. Over the years, women have learned a lot from our magnificent men. And now I see men thirsting to learn from us. Do not hold back, ladies. It is our diplomacy, ability to communicate, compassion for nature and sensuality that is being called upon to “save the world.” We are all heroes and heroines when we balance our male and female energies.

I have an unstoppable performance career. I am a female business owner. I am a green role-model, fitness expert and animal activist. I am a fun friend, good neighbor and devoted Lover. I do not feel like anything is holding me back and I’m going all the way. All I have to say to other girls and women who are budding real-life superheroes is … welcome aboard – we value you!

Martin was kind enough to answer my questions via e-mail before her upcoming appearance at Baltimore Comic-Con.

Comicsgirl: How did you first get into comics? Was there a title that initially inspired you?

Laura Martin: I was in college studying graphic design, hoping that I’d land a job in the art department of some theme park in Orlando. I was working nights at Kinko’s, and made friends with several hardcore comics geeks there. I’d read comics off and on, but these guys reintroduced me to them. One of them was my friend Ian Hannin, who answered a talent search in the back of a Wildstorm comic. He got the job, and convinced me that I should pursue comics as well. I changed all of my senior projects to comics-related stuff and, as soon as I graduated, I headed for San Diego to join Wildstorm.

During that year when my friends immersed me in comics (1994 to 1995), I began absorbing every title I could that had the “Image style” of coloring. So my biggest inspirations were WildCATs, Wetworks, Witchblade, and Cyberforce. I very much wanted to be a part of that magic.

CG: While I’m sure every project is different, what’s your typical work process?

LM: Typically, I’ll start by receiving scans of the pages from the editor, along with the script. I’ll take a look through the book and see if there’s anything that requires clarification, such as characters I’m not familiar with or settings that might have been established earlier. The next step is to flat the page. Essentially, this is where each object on the page is filled in with a flat color, so that it is separated from adjacent shapes. The result is kind of like old-style comic strips or animation. I’ll often hire a flatter to do this part, so that I can concentrate on the rendering.

The color choices that my flatters choose are not necessarily my color choices, so when I get the flatted page back from them, I’ll go through and choose the colors that I want on the page. This helps me to establish a color scheme to set the mood for the scene. This step moves straight into the rendering step, which is where I add highlights and shadows to give the objects dimensionality, depth and focus.

When the page is finished, I’ll send a jpeg to the editor and the penciler for any possible corrections. Notes come back, I make any necessary changes, and I trap the page (kind of a difficult process to describe, but essentially, trapping is a system to make sure the page prints correctly) and send the final file back to the editor.

Regardless of what kind of art I’m coloring, or how I adjust my technique to compliment the art, these steps are constant throughout every page.

On average, I color about three to four pages a day. This can change drastically depending on the art; the more detailed it is, or the more rendering I have to do, the longer it takes. The time I spend on each page also changes drastically based on the deadline. When a book’s gotta go out, it’s gotta go out, and I gotta color fast!

CG: How much freedom do you have when it comes to coloring?

LM: It depends on the penciler. Some pencilers are very hands-on, and I’m happy to accommodate their requests, while others just let me do my thing. I like having an open line of communication with the colors, because ultimately, the book is a collaborative effort.

CG: While you’ve already worked on some of the biggest titles and creators in comics, do you have a dream project?

LM: I’m pretty sure I just did my dream project — recoloring all of Dave Stevens’ The Rocketeer. I mean, it doesn’t get any better than that, and it really was a once-in-a-lifetime thing. I wouldn’t mind revisiting The Authority one day; I’ve always had a soft spot for those characters. And I’m just a tiny bit jealous of Chris Sotomayor for getting to color Pet Avengers!

CG: Is there anyone at Baltimore Comic-Con you’re looking forward to seeing?

LM: It would be lovely to see old friends I haven’t seen in a while, like JG Jones and Tom Raney, and to meet people I’ve worked with but never met, like Doug Braithwaite. I hope I get a chance to get out from behind the table a bit — I tend to stay put most of the show, but really, I need to walk around this time! This is my first Baltimore Con so I have to check it out.

See Laura Martin this weekend at the Gaijin Studios table — #2108 — at Baltimore Comic-Con. Find out more about her and her work online at Gaijin Studios and at her blog.

Chen will be appearing at Baltimore Comic-Con on Oct. 10-11 and was awesome enough to answer my questions about her work through e-mail.

Comicsgirl: You’re probably best known for your covers for Dark Horse’s Buffy the Vampire Slayer Season 8 series, a comic that seems to have brought in a lot of readers who probably weren’t comic fans before. How much responsibility do you feel to the fans of the TV series?

Jo Chen: Well the responsibility really flows down from Joss thru Scott Allie and Dark Horse to Georges, Karl and me. My part of that responsibility is to ensure that the covers are recognizable enough and compelling enough to entice the fans of the TV series, who are not necessarily comic book readers, to slip between the covers of an issue and take the ride. My guess is that the fans of the show know the characters (and the actors that portray them) and their voices so well and simply project those things onto the pages while reading. As a result, they accept that the books are indeed an extension of the television series. It’s hard not to do. So, to get people to trust/take a chance on the books is part of my job with the cover art.

CG: I love the glimpse into your creative process that you offered with your tutorial on Dark Horse’s site. While I’m sure it varies from project to project, what kind of direction are you initially given for each cover? How much freedom do you have?

JC: It depends. Most of the time, the writer of the arc, Joss or the Dark Horse editors, who already know what is in the script before I do, have definite ideas about what elements he/she/they want to see on the cover and I work to create that within that framework. It’s easy enough to ask for people drinking yak butter tea on top of a submarine that is wedged on in mountain peak with beasties roaming the grasslands underneath and another to attempt to work in all of those elements into a sound and attractive composition while still keeping the players recognizable. Whew! So, that is where my skills as an illustrator enter the picture (composition).

Conversely, there are instances when whatever is being asked for just doesn’t work. Sometimes, it’s too many elements to include; sometimes it’s the angle, etc. When this happens, I communicate that the idea isn’t working and that the concept needs to be modified or rethought entirely. That happened on one of my Runaways covers. It was a cover to feature Cloak & Dagger (Runaways #9) in a kind of split screen thing with Cloak on one side and Dagger on the other. The finished cover simply didn’t look right and I told them that it would be better to just have Cloak with the NYC skyline in the background. I can’t recall if this has happened on any of the Buffy covers. I think it has but I can’t recall right now which one.

CG: You’ve been in the comic industry for a number of years, both in the U.S. and Asia. What changes have you noticed since you first started?

JC: Not too many. I’m not really an industry-observer. Oh, I mean I hear when Disney acquires Marvel and things like that but I really don’t keep an ear to the ground for details of what is hot, what is now out of favor, what changes are afoot. I’m more acquainted with what is happening in Taiwan because there are fewer players and many of my closest friends still work and struggle there so I hear more. Sorry, that is a lame answer but there it is.

CG: While you’re probably best known for your covers, you have created your own comic, The Other Side of the Mirror. Do you have any more plans for your own comics in the future?

JC: Sure. As I’ve stated previously elsewhere, I love doing interiors and telling stories. It’s just that it is so time consuming that with kids and the workload I currently have, I can’t even entertain the idea of creating interiors for an ongoing series. The Buffy short “Always Darkest” was me getting to put my toes back into the water and splash around a little It felt good to do and I’m glad that it came off as well as it did. I will state that after its publication, I did receive an increased number of email messages suggesting that I should draw a Buffy one-shot from cover to cover and while that is both intriguing and flattering, it is simply too much work for me at the moment. I must sound like such a wimp given the crushing monthly deadlines met by Georges Jeanty, Karl Moline, Adam Warren and other interior artists I know and have worked with. But for me, right now, I simply cannot consider it. When I do venture into panel territory, it is to create some short story interiors for myself and friends’ doujin. That helps keep the rust scraped off.

CG: Is there anyone at Baltimore Comic-Con that you’re looking forward to meeting?

JC: Well, I hope to meet with Scott Allie who will be there and with C.B. Cebulski who may or may not be there. Both are editors/former editors and people I consider friends. I don’t get to cross paths with them very often in person so it’s nice to see them. As far as others whom I’ve not met or whose work I like, there are many on the list. So, when I get a break from my table, I will be moseying up and down the aisles like everybody else rubbernecking at great artwork.

See Jo Chen at Baltimore Comic-Con on Oct. 10-11. On Oct. 10, she will be apart of the Dark Horse Comics Buffy Season 8 Panel at 2:30 p.m. On Oct. 11, hear her discuss her work during Spotlight on Jo Chen at 12:30 p.m.