Under editor Shelly Bond’s watch, assistant editor Greg Lockard grills J. Bone in the days before he begins working on iZOMBIE issue #21 (on sale 1/4). cover #21 by Mike Allred GL: What was your first thought when you heard you'd be guest-jamming with Roberson and Allred on iZOMBIE? JB: “Awesome!” I've been a fan of Allred's since getting a Madman ashcan in an issue of Heroes magazine. I'm always looking for excuses to work with Mike, having drawn the Mr. Gum one-shot with him and inking him on X-Statix years ago. I like the way Chris and Mike have updated the movie monster clichés in iZOMBIE. And I use the word "clichés" with all the love in the world. As a Universal Movie Monster fan I like seeing the mummy, vampires, wolf-man (in the form of a were-terrier), and the quick glimpse of the Creature from the Black Lagoon (the first mini-story in the second trade). So awesome to be working with Chris and Mike. GL: What was the first comic you worked on? JB: That would be Solar Stella. I did everything on that one - wrote it, drew it, lettered it. There's only the one issue, and I left it on a cliffhanger. That was twelve years ago. It was my first published work and also the only time I've ever been nominated for an Eisner (Talent Deserving Wider Recognition). I didn't win. GL: You will next time! What was the first comic you read? JB: When I was a kid my sister had a subscription to Humpty Dumpty magazine which printed Tintin in black and white. I remember reading those (and then discovering Tintin albums at the library years later). I also remember my dad having a stack of superhero comics and distinctly remember an issue of Batman with Man-Bat flying over a car on the cover. GL: What do you do when you're not scribbling? Hobbies? Crafts? Reading? JB: I love reading. At any one time I've got a few books on the go. Inevitably one book becomes my focus and I dive into it when I take a break (or ride the subway or before bed). Right now I'm reading Arthur & George by Julian Barnes. My friend Cliff recommended A Sense of an Ending by the same author, and I loved his writing so much I sought out his other books. I also crochet. I learned how to crochet and knit (there is a difference) a few years ago so that I could make my own superhero dolls. I made a Doop (can we mention Doop? :)) doll for Mike which he mentioned in an interview for Wizard magazine -- who then featured my crocheted menagerie in a sidebar interview. Very cool. GL: I love Doop, too! I’m not sure we can mention him, but the risk feels sexy. GL: Soundtrack to your iZOMBIE issue? Music you listen to while you draw? Or do you have the TV on? JB: I actually mostly listen to soundtracks and classical music. I love Klaus Badelt and Hans Zimmer's Pirates of the Caribbean soundtracks and pretty much listen to any or all of those every day. That's what I've been listening to as I get started work on the issue of iZOMBIE. Otherwise I've just got the local classical station on in the background or CBC radio's talk radio channel.

Shelly Bond, editor of such titles as FABLES, iZOMBIE and HELLBLAZER shares her firsts.

What was the first...

Convention you attended as a fan?
Okay, I’ll admit it. I was a professional before I was a true fan. I was invited to ITHACON the year after I graduated college which was a pretty big thrill since I bought my first comic book at Ithaca’s very own Comics for Collectors (shameless promotion!) the year before.
OR
Actually, I was dressed more like an air conditioner than a fan and it wasn’t really a convention but rather a mock version of “Let’s Make a Deal” at Camp Asodi circa 1975. My sister was dressed as a die...it seems my mother wasn’t too skilled with the sewing machine but she seemed to have an abundance of cardboard boxes.

Convention you attended as a pro?
See above.
OR
I’m quite the skilled kickboxer but I wouldn’t say I’m at the pro level...yet.

Job in the comic book Industry?
I was the editorial assistant at Comico The Comic Company. Which meant for three months, I took a 40 minute train ride from Center City Philadelphia, walked two miles to get to the “office” (in rain and snow), answered phones (connecting Matt Wagner to his favorite editor), stuffed envelopes with comps (to young turks like Adam Hughes and Steven T. Seagle), and replied to submissions (from aspiring creators like Mike Allred). I worked directly with Diana Schutz (thanks again for giving me the op, Lady Di!) and also with Bob Schreck for three months (thanks for teaching me how to Xeros!) until they escaped Chapter 11 for brighter pastures in Portland. Upon Diana and Bob’s departure, Comico’s co-owner Phil La Sorda asked me if I wanted to become the entire editorial department. I was 22 with no experience. And there was no way I wasn’t up for the challenge. Two years later with tremendous guidance from art director/department! Rick Taylor, a Peter Gross, Joe Staton and a Willingham later I designed my very own editing manifesto. The rest is history.

Comic book you worked on?
E-Man was the first title I edited at Comico with artwork by the legendary Joe Staton. Funny that you should ask that question today...I just met E-Man writer Nick Cuti for the first time at the San Diego Comic Con last week! Nick and Joe really showed me the ropes back in the day.

Comic book you read?
It was either an issue of Grendel or Love & Rockets. Those were the first two books that blew my mind. I had no idea what comics were in the late 80s — and less of an idea of what they would become.

Graphic novel you read?
The books that moved me (which were called Prestige Format at the time, as opposed to what we consider graphic novels today) were Moonshadow, Blood: A Tale and Electra Assassin. I studied film and video production in college and took a lot of art and grahic design classes. And basically, when it came to these painted volumes, I couldn’t keep my eyes off the artwork. They were just so poetically lush and riveting. I devoured everything by JM DeMatteis, Jon J Muth, Kent Williams and Bill Sienkiewicz from that time period.

Series you collected?
Love & Rockets, HELLBLAZER and Grendel were the first monthlies I followed religiously. Without fail.

Writer you followed?
Matt Wagner was the end all to me before I took the job at Comico. However, once I discovered Bill Willingham’s Elementals upo working at Comico, I couldn’t get rid of the guy. I mean, sure I had to chase him around the country to get scripts out of him, as I was the last editor on the original Comico run of the series. But Bill really blew my mind when it came to superhero comics. I didn’t have much interest in the proverbial “capes and tights” crew as I was way too “art house/french film” cool for geekdom, until I watched Bill single-handedly subvert the genre in the mid-80s. And then I was stuck to him like glue. In case you didn’t notice.

Artist you followed?
Love-loved the Hernandez Bros. and whenever Matt Wagner drew Grendel I would need smelling salts to wake me from my visual storytelling coma.

Piece of original art you bought?
I bought an amazing page of Duncan Fegredo’s artwork from the 3-issue miniseries GIRL from an auction that I spearheaded in 1997. The most beautiful art I was ever given was the cover to YOUNG LIARS #7.

Digital comic you downloaded?
Are you kidding? I’m the original technophobe.

Shelly Bond: When you first read issue #104 of FABLES script and noticed that a double-page spread is on the table, what's your first reaction? Panic? Joy? I believe you once told me you disliked them...

Mark Buckingham: These days it's joy but, yes, once upon a time they often used to fill me with dread. I used to find them daunting. I have mostly gotten over that by not getting too preoccupied by the details, but instead focus on a major element or structural framework that will help give the piece it's initial impact. After that you can then begin to work in all the smaller details without fear of getting lost.

SB: What's your process? How do you decide whether to give us a high angle shot vs. a direct widescreen shot or a domineering and often low angle?

MB: With the double page spread in #104 my initial thought was to do a straight forward side view approach, with the super team rushing into action from the left and Mister Dark dominating the right side, but that just didn't seem powerful enough.

I realised that the central moment of the action was going to be Grimble hitting Dark.

I chose a high angle, directly above Mister Dark's head, from which the point of impact of the punch would dominate the image, giving the spread the raw power at it's heart I was looking for.

Working out from this I soon became aware that if I positioned their arms and legs carefully I could create a series of negative spaces through out the scene that would effectively become insert panels to frame each of the other heroes as they leapt into action and demonstrated the use their powers.

SB:What was your favorite double-page spread to draw in FABLES?

MB: Tough to pick one. I like them all so much these days that I rarely sell any. I keep them for display at home and for exhibitions. I really like the one of modern military fighting the Adversary's medieval army in Sons of Empire. The Dragons attacking the airship in War and Pieces. Blue Beard and Shere Kahn at the head of an army in The Good Prince, and the one of Flycatcher relaxing in the long grass talking to the assembled flock of birds. I like the spread of the wooden army being assembled in March of the wooden soldiers, along with the one of them fighting against Beast, Grimble, Hobbes, Weyland and Blue. When I look back at some of these I'm amazed at the detail I put in! One of my all time favorites is still the Valley of Sleeping Giants from my first story arc on Animal Farm.

SB: Your least favorite?

MB: I must admit I'm never as keen on large crowds just standing around. Much tougher to make those interesting. Especially if there are a lot of regular looking people. Scenes at the Farm are easier because I can add animals and fantasy creatures into the mix.

SB: What's your all-time favorite double-page spread in comics?

MB: Wow! Tough question! All the ones that spring most immediately to mind are Jack Kirby ones. He did some amazing ones in all of his 70's series for DC. My up coming variant cover for STRANGE ADVENTURES #1 was in part a tribute to his Promethean Giants double page spread from New Gods #5. Magnificent!

Rookie Vertigo Assistant Editor Gregory Lockard here with my first blog for GRAPHIC CONTENT and it’s regarding HELLBLAZER #275! This issue features both the wedding of John Constantine and Epiphany Greaves in an over-sized anniversary special by one of my all-time favorite writer/artist teams AND it is my first issue as Shelly’s assistant editor. “Holy crap” would be a boring understatement but my thumping heart won’t let me concentrate. Since I don’t have the proper words to celebrate Vertigo’s longest running series, Shelly gave me a chance to go directly to Peter Milligan and Giuseppe Camuncoli to find out some specifics about the matrimony of John Constantine.

Gregory: John Constantine was instantly likeable for me in the hands of the
Milligan/Camuncoli team. For you, what makes him such a enduring and popular
character--even though he is completely unafraid to go to the dark places?

Giuseppe Camuncoli: Exactly that... The fact that in spite of everything he went through (or maybe just because of it), he still keeps on going. He never gives up going to the dark places, no matter what he'll find there. And he does it
fashionably, with his own unique style. Let's just say that he can move in
mysterious ways...

Peter Milligan: I think he’s popular mainly because he is able to carry something essential of himself – some quick-witted bastardry – even in the most dangerous and terrifying situations. Situations that would have normal mortals screaming or crying for help. John Constantine doesn’t cry for help. He utters a bon mot and lights another cigarette. For me though there’s something else. I see him as a complex person. Beneath that tough wise-cracking surface he has feelings, vulnerabilities.

Gregory: What about Epiphany makes her "The One" for John?

Peter: Leading on from my previous answer about Constantine possessing feelings, the main thing about Epiphany is that she brings out or can access these often hidden feelings in him. She is his match – which most people aren’t – and rather than being scared or put off by his strange occupation, she’s quite thrilled by it. The life she’s led – the harrowing death of her mother when she was young, the strange school she was sent to, and having a dangerous and unpredictable dad like Terry Greaves—in some way this is a perfect training for being with Constantine. There’s something else which works—and that is as indefinable as why any other couple are right for each other. I mean, I hadn’t intended Epiphany and John to marry, hadn’t even intended a long term relationship (though I thought from the start that a one night stand was on the cards). But something about the way this character – this young woman – developed forced her towards John. I think this is why there’s a degree of verisimilitude about their relationship. It has the messiness of real life.

Giuseppe: When designing Piffy, I had no idea she was going to become so important
in John's life and to the series. So I went for something that could make
her look unique, and proper for what Peter described her to be. Maybe it was
just some unexpected alchemy (indeed!) between writer, artist and editor
that made her perfect for John. You know how sometimes characters tend to
get a life of their own, and steer away from the initial programs... That's
what happened with Epiphany.

Gregory: Without spoilers, what can Constantine's fans look forward to after the
wedding issue?

Peter: First off, married life certainly does not mean comfy evenings in front of the TV, not for these two. The issue of where they should live comes up – as it does with any married couple – but it’s dealt with in a very “Hellblazer” way. Also, after a terrifying incident, Epiphany demands that John does something with his missing thumb. This sets John off on a strange and often grotesque storyline called PHANTOM PAINS. In this story we’ll find out some dark secrets about Epiphany. And while all this is going on, John’s niece Gemma is plotting revenge. She believes John assaulted her at the wedding – in fact it was Demon Constantine – and she sets about having a suitably demonic revenge. Which as you can imagine goes pretty horribly wrong.

Gregory: I know you are a fan of the entire series but do you have favorite
creative team --or storyline-- you would recommend to readers? Favorite
creative team, other than the current one (whose run begins with JOHN
CONSTANTINE, HELLBLAZER: SCAB TPB, plug)

Giuseppe: Ha! That's a very tough question to answer... I've always loved the
series and the character, and all of the creators that have worked on it
have managed to make him their own without making him something else. I
loved every run so far, including of course (and maybe one of the most loved
ones for me) the Alan Moore issues of SWAMP THING in which John was created.
The very first story-arc by Jamie Delano and John Ridgway still holds a
sweet and scary place in my memory, the flavor is still intact. But for some
reason, though, Brian Azzarello was the one that really got me addicted to
the character, with his first run drawn by Richard Corben and then by
Marcelo Frusin, whose John Constantine I've really observed and absorbed for
my own version. That's the face and attitude that I've based my own version
on, graphically speaking.

Peter: I wouldn’t dream of saying I had a favorite team. The fact that this book has lasted so long is testament to the fact that a veritable roller coaster ride of brilliant teams has worked on it. Having said that, for a new reader who doesn’t have a month to spare I’d suggest reading some of Jaime Delano’s early HELLBLAZER stories. And then jump forward to Garth Ennis and Steve Dillon. After that you can hop to this current run.

Gregory: HELLBLAZER has been written and drawn by many of the top creators in our industry (including you two). How did you get into the character's head? Was
it a gradual process while preparing the early issues?

Peter: I was always aware of him and had my own thoughts about the kind of geezer he is. When I took over writing the character I remembered chatting to a bunch of people and so many of them said he was a “complete bastard”. I was convinced there was a lot more to him than that. I’ve known and seen complete bastards and Constantine is not one of them. Not quite. He is at heart a pretty decent and moral man who has learnt to be a bastard to survive. Maybe he’s learnt it too well, sometimes he forgets he isn’t a complete bastard. It’s this grey area that I find fascinating about the character.

Gregory: Giuseppe, you modeled the chapel scene after your own nuptials. Did any
demons show up on your day to cause supernatural havoc?

Giuseppe: Not that I know, but there definitely was a moment in which I thought
there was something strange going on. Immediately after I got into the
church, there was a sudden burst of heavy rain. People started running
inside, and I was getting nervous that my soon-to-be wife would've refused
to step out of the car to "ruin" her wedding dress, as we were in the
countryside and puddles of mud were beginning to form on the ground. Luckily
enough, just as it started, it ended, and then I was detached cool again.
Almost.

Gregory: Where do the newlyweds head off to next? How do they keep things fresh & exciting?

Giuseppe: I don't think that John and Piffy would ever have any
problems in keeping things fresh and exciting. After all, if they don't, I
guess something or someone else would make life interesting anyway. John
Constantine can never stay too far from trouble, right?

Peter: Epiphany gets pregnant. They buy a bungalow in Eastbourne, John gets an office job and grows a moustache. As if…

Gregory: Ha! Thanks, gentlemen. Now I will go home and shave off my moustache…

And thanks to all of you for reading. HELLBLAZER #275 is in stores now! Our letter columns have returned so please write to us at:

Letters to the Editor
DC Comics
1700 Broadway
New York, NY 10019

Or go to the letters website at dcletterspage.com and put HELLBLAZER in the subject line.