I’ll admit, I’m one of those people who seldom notices lettering unless it’s bad, so when I was offered an interview with Deron Bennett, the letterer of Archaia’s Cyborg 009, I jumped at the chance to expand my horizons a bit. Bennett, who was nominated for an Eisner Award last year, has lettered both manga and Western comics, and he worked on both the original translation of the Cyborg 009 manga and Archaia’s Western-style retelling, so he has a unique perspective on this particular work. I also stole the opportunity to ask him some more general questions about being a letterer and what he looks for in other people’s work.
Brigid Alverson: I saw on your blog that you worked on Tokyopop’s translation of the original manga version of Cyborg 009 as well as a later Ishimori Productions edition. What sort of work did you do for them?
Deron Bennett: So here’s the breakdown on that: I was a production artist for Tokyopop when they first brought Cyborg 009 to the U.S. A friend and co-worker of mine, James Lee, actually did the lettering for the manga. I was involved in post-lettering duties at the time, handling things like corrections and pre-press. That role came in handy, years later, when Itochu Corporation decided to revitalize the property through an agreement with Ishimori Productions. They wanted to digitally distribute the Cyborg 009 manga that Tokyopop had produced, but it needed some updating. I was contracted to add translations to the sound effects and fix some existing errors. That, in turn, got me lettering duties on two other Ishinomori classics, Skullman and Kikaider, which were also being prepped for digital distribution. You can currently find the versions of all three titles that I worked on on the comiXology app.