The Dark Side of the Fable: a John Bolton Interview
by Alessandro Pinna and Antonio Solinas

     You are a very eclectic artist. You drew comics, illustrations, covers, and art for card games. Do you prefer any of these activities to the others or do you see them as complementary and part of the same job?

    I see them all as part of the same job as there is a dark fantasy theme that connects the work. But each time I paint it is an exciting challenge and requires a different approach in composition and content.

    Together with Barry Windsor Smith, you were one of the first British artists to work for the US market, back in the 80s. What are your memories of that period? Was it difficult to break in?

    The break into the US market was quite easy. A freelance journalist working for Comics Journal in the UK had been following my work, which had appeared in a number of British Publications. He wrote an article about me, which included samples of my work, which was seen by an American editor working at Marvel. He called me and asked me if I wanted to work for the US market and I said “yes!”. Because of my interest in Robert E. Howard we decided on a one off King Kull story written by Doug Moench, which then appeared in Bizarre Adventures No.22. I really loved doing the story, but the jump from 15 to 55 pages was, for me, a baptism by fire. But other commissions soon followed. I really enjoy the freedom that the US give to me, something I am still lucky to have.

    Do you think the other artists that followed you and Barry Smith, in some sense, took advantage of the fact that you had already paved the way?

    I have no idea! Perhaps they would be best to answer this.

    You worked with all the most important publishers in the US. With which one did you have the best working relationship?

    My relationship with all the publishers is really good. I like working with all the different publishers because it allows me the opportunity to tackle new characters and to work with different creative teams.

    You have worked for many of the most famous comics characters, like Batman or the X-Men. Although you are not very fond of superheroes, is there any other major American character you would like to draw?

    One day I would like to tackle Superman and Plastic Man (separately) in feature length stories. Plastic Man is a fantastic character, which I would handle in a realistic manner. To take a character able to mould himself into anything he chooses. Handled in a realistic style I think this would look totally surreal. And with Superman I would tackle him in a totally exaggerated art style.

    Most of your influences come from outside comics, for example from painting. Why do you think that is? Are you afraid of the fact that if you only look at comics your style will become stale?

    Good question. I think it would be very bad to only look at comics for influence. Just as if you were a director to only watch films for inspiration. You have to embrace all kinds of inspiration wherever you can find it, from real life, film, literature - everything. I think to limit oneself to any one category could make your work stale. As a friend once told me, if your going to write a Horror story, don’t buy a book called, How to write Horror, buy one called How to write Romance and then use those tips to write your scary story.

    Another of your big loves is horror. When did you first get involved with the genre?

    My mother was and still is a big horror fan. She would allow me to stay up and watch horror films on television when I was at an impressionable age. She would also take me to the cinema to see all the new movies. So it’s really her fault I turned out like this!

    You seem to be very interested to the dark side of fables (I am thinking about the There are no Strings on Me illustration or to the story that you adapted from Cristina Rossetti’s work, Goblins Market...). Do you want to elaborate on this?

    I think that the dark side of any story throws up the most interesting characters, like Darth Vader or any of the villains in Disney movies.

    Early in your career, you were sometimes using brush and ink, like your work on the Classic X-Men series. More recently, instead, you seem to prefer the fully painted approach. Why is that?

    I have always painted, but when I started to work on comics strips for the US there were few publishers who were publishing painted art. The opportunity arose with Epic Illustrated and since then there has been a greater demand for fully painted art.

    Has the Photoshop age changed your approach to painting? Do you use computer-based techniques to integrate your work?

    I did experiment with the computer and still use it, but just as another tool in my studio. The recent David Gemmell book covers had a CGI look combined with paint, this was a style requested by David and the publishers. I am primarily back to painting, but am always on the lookout for new and exciting ways to experiment with my art.

    You worked with many fantastic writers on very good stories. Did this ever spoil you? Is there any writer you haven’t worked with in the past that you would like to team-up with?

    Yeah I have worked with some excellent writers but I would still like to work with Frank Miller and Alan Moore. Currently I am working with some exciting writers such as Devin Grayson and Mike Carey. And you are right I have been spoiled because these writers have always written to my strengths and they know what excites me.

    I think some of the painters on the comic market do a really good job of fooling the readers with flashy techniques to cover their flaws. Obviously this is not your case: of the many artists that do painted comics, is there anyone you like in particular?

    It is difficult to pinpoint any one artist, but I have always liked Bill Sienkiewicz’ style.

    Do you know anything about the Italian comics scene? Who do you like?

    I don’t know individual names but the art is great. When the few publications come my way I am impressed with the style and fluidity of the Italian artists.

    What are your current projects?

    I’m working on a dark Urban fairy story written by Mike Carey, of Lucifer fame. I can’t at the moment expand further as it is at such an early stage, but I will keep you informed as the work progresses.
I’m also embalming some bats I have found in my loft. They make good models.

    The Comics Code million-dollar question. Name the three comics that every comic fan should have on his shelf?

    Dark Knight. Watchmen and, of course, Menz Insana - because it still makes me laugh.