Axel-In-Charge: In-Depth with Alonso on Marvel's "All-New, All-Different" Lineup
One of the perks of working with Robot 6 is often getting to see a glimpse at a new project before it is available for purchase. This past week (thanks to the project’s colorist, Rico Renzi) I was able to read the first issue of Loose Ends, a four-issue southern crime romance miniseries by writer Jason Latour and artist Chris Brunner, which goes on sale this Wednesday, July 13. As a native of the South, it is not often I get to read comics set there–so the comics caught my attention purely on that level at first. But then, when I started reading the issue, I realized it reminded me on some level of Ed Brubaker and Sean Phillips’ Criminal. That’s not to say Latour and company have done a wannabe story, far from it, as the creators have their own distinctive voices/styles, that mesh quite well. If the remaining three issues are as strong as this first one, I expect it will land on a few best of 2011 lists (at least mine, for sure). Latour and I discuss the first issue and other aspects of the series in this email interview. If you want a preview of the miniseries, be sure to enjoy the one CBR posted a couple of months back.
Tim O’Shea: The opening page of the first issue is all art, no narrative boxes or dialogue. Was the script always that way, or was that a creative choice you made after seeing Chris Brunner’s art for that page?
Jason Latour: Well as an artist myself I’ve worked on a few stories where I was dying to stretch a moment or let something play out visually and it just wasn’t possible. So from the start there was always an allowance for some organic growth in this script. The simplest reason for that is because I trust Chris. We’re collaborating. His point of view is equally important as mine is. If I’m doing my job then I’m inspiring him, not fencing him in. The medium itself, the page limit already does that. I tried to give him a script that communicated the tone, the pace and specific details needed to tell the story within that space. From there it’s on us as a team to communicate. If he has an idea, I listen. If he nails a scene and I’m in the way… I try to move. If he needs me to pick him up, hopefully I’m ready and able.
This week’s interview with Rus Wooton in one sense is long overdue, given that the last time I interviewed a comics letterer at Robot 6 (Todd Klein) was more than two years ago. But in another sense, the timing is perfect, considering that Wooton recently (and amicably) left Chris Eliopoulos’ Virtual Calligraphy (VC) lettering company in order to be free for his own creative projects–writing and drawing. One example of his new projects is his new webcomic project, Siblings, set to launch in July. My thanks to Nate Cosby for helping make this interview happen–and thanks to Wooton some insightful perspective on his craft. In addition to learning how he came to be a letterer in the first place, Wooton also was happy to discuss his ongoing lettering assignments for Robert Kirkman (among many other creators) as well as upcoming Cosby projects.
Tim O’Shea: You became a quadriplegic at the age of 20, were you already training to become a letterer prior to then, or did your pursuit of that career occur after then?
Rus Wooton: That’s a great question that might need a long-winded answer, but I’ll do my best to keep it brief. I’d never planned on being a letterer, but I’d always planned on working in comics in some way, at least since I was a kid in the late ’70s. I had been drawing for as long as I could remember, and I was also into graphic design from a young age, influenced by my Dad who was an Art Director and Creative Director at an advertising agency. He actually designed the CNN logo while working at Sheehey-Dudgeon in Louisville in 1980, and he’d occasionally take me or my brothers to the office evenings and weekends when he was working overtime on a project.