Dinosaurs, apes and beautiful babes : Interview with Frank Cho
by Antonio Solinas

 

     Hi Frank, you are one of the hottest artists around, right now. How would you introduce yourself to our readers?

     I'm a Marvel exclusive artist-writer for Marvel Comics. I'm also the creator of Liberty Meadows comic strip.

     Here's a quick background of me.

     Liberty Meadows is an offshoot of my college newspaper strip. While attending University of Maryland Nursing School, I drew a daily comic strip, UNIVERSITY2 (pronounced University Squared) for the student newspaper at the University of Maryland main campus in College Park.

    I won the prestigious Scripps-Howard's Best College Cartoonist award and Charles Schulz Plaque for Excellence in Cartooning, This eventually lead to national syndication. UNIVERSITY2 morphed into Liberty Meadows when it was launched as a syndicated newspaper comic strip. At its peak circulation, it was in about 100 newspapers.

    Liberty Meadows is the name of the animal sanctuary that houses the unwanted, insane and homeless animals. Some of the main animal characters are: Dean, a male chauvinistic pig who's in for detox. Ralph, former circus bear and mad inventor. Leslie, hypochondriac bullfrog. Truman, a baby duck rescued from an oil spill. Oscar, an abandoned wiener dog. Liberty Meadows is a place where anything and everything happens. Brandy Carter is the primary care-taker and Frank Mellish is the resident animal doctor. It's basically a love story between Frank and Brandy.

     When did you first get interested in comics?

     I first started reading and collecting comics when I was in the fifth grade and it never stopped.

     How did you manage to have your first work published?

     I first self published my comic strips, University2, in a book form back when I was in college.

     You have one of the most appealing styles in the business. How did you develop it? What are your influences? Is there any of your influences that might not be so obvious to spot?

    I picked up drawing from copying other artists. Fortunately, I copied artists who were classically trained. I learned to draw by copying Norman Rockwell, N.C. Wyeth, Al Williamson, Frank Frazetta, Don Newton, John Buscema, all those great guys. And also classical painters and sculptors like Michelangelo, Velazquez, John Singer Sargent - people like that.

     You are renowned for your fantastic women, as you are a master in portraying them not only visually, but as three-dimensional characters. How did you learn to create such wonderful women?

     Playboy.

     I saw the envelope picture that was published by Wizard years ago (and I found the whole thing quite funny, considering that you are such a superstar, now). How do you relate to the comic press? What about the boards on the internet?

     I've been under the radar for a long time. I've developed a strong and loyal fan base with Liberty Meadows and my cheesecake art. It's only recently when I signed my exclusive contract with Marvel did the big comic press start noticing me.

     Until a while ago, your work consisted almost exclusively of comics strips. A few years ago, you started doing "proper" comic books. What was the reason for that choice?

     I was first and foremost a comic book fan since childhood. I ate and breathed comic book. So I was well versed in the mechanics of comic books. The real challenge was to learn how to tell a story and entertain people in a four panel newspaper COMIC STRIP format. So when I made the transition from comic strip to comic book, it was rather an easy one for me.
I was a huge Marvel fan growing up. Ever since fifth grade, I wanted to draw comic books. So when Marvel offered me a contract, I naturally jumped at it.

     Liberty Meadows, your "magnum opus", is now published by Image in the "traditional" comic format. How difficult did you find to adapt yourself to a new format?

     Well, I didn't make any changes. I'm still doing Liberty Meadows in a comic strip format since it's still syndicated in Europe.

     You have being publishing Liberty Meadows with Image for many years now. What has Image brought to the table that has convinced you to stick with them?

     Image is a great company to be part of. They have increased my circulation and they take care of all the business stuff. All I have to do is to focus on my art and writing.

     Besides working with Image, you also did the Shanna miniseries for Marvel. How do you compare the two different publishers?

     They're both fun to work for. I have complete creative control at Image, while at Marvel, I have to check with my editors from time to time before I write and draw.

     About Shanna, the sexy she-devil is a character that fits your style beautifully. Why did you decide to do corporate work? Did you pitch for Shanna or were you asked to do such character? What was the biggest challenge working for Marvel?

     I hooked up with Axel Alonso through my computer animator friend, Scott Sava. Marvel made an offer that I couldn't refuse. As I said before, there were some editorial hurdles that I had to jump over for Shanna. After all, Shanna is their property that I was working on.

     A few uncensored pages of Shanna surfaced on the internet. How did you handle the censorship by Marvel and did you make the corrections yourself?

     The censorship was a pain but I understood their position, so I really didn't have any problem with it. The job just took longer to do since I had to go back and cover up the nudity. I made all the corrections on the computer in Photoshop.

     I noticed that you tend to write your own comics. Is this a conscious choice to retain as much control as possible on the way the stories are told or just the result of the fact that you haven't found a project, written by someone else, that has tickled your interest?

     I'm a control freak. I've been writing and drawing my comics since I was a kid. I feel more comfortable doing everything myself. But that doesn't mean I won't draw from other people's script. There are many writers that I would love to work with. However if I had a choice, I would rather write and draw the book myself.

     Apart from being a superb penciller, you are a renowned cover artist. What are the different approaches that you take to interior art and covers?

     I try to get to the essence of the character. When I do covers and pinups, I think of it as a poster that you can see from across the room. So I try to make it bold and direct using only one or two figures in very iconic poses.

     There are a few "babe-artists" on the market (and some of them are really good). Does it bother you when people consider you only a babe-artist?

     No. I love women. I love drawing women.

     Your style is very strong both in black and white and in colour. What are the differences in the approach?

     When I do black and white art, I try to incorporate large areas of black into my composition. With color work, I try to figure out the overall color scheme.

     Do you still read comics? Which authors or series do you follow regularly?

     Oddly enough since I started working professionally as a comic creator, I read less and less comics. Not from boredom but from lack of free time. But the books I do follow are Ultimates by Mark Millar (anything by Mark Miller), Walking Dead by Robert Kirkman, PvP by Scott Kurtz, Invincible by Kirkman again, Sin City by Frank Miller, Cavewoman by Budd Root, Jack Staff by Paul Grist, New Avengers by Brian Bendis, Fables by Bill Willingham, and couple of others that I can't think of.

     What are your current projects?

     I signed a 3 year contract with Marvel Comics. I'm about to start on a huge secret project with Brian Bendis. After my Marvel contract expires, I have several creator-owned comic book projects lined up. Here's a partial list:

     FIRST KINGDOM, a tale of a suicidal immortal who teams up with the US military to stop an ancient evil from reawakening in the Arctic Circle.
     ZOMBIE KING, a horror book for Image. Oddly enough, it's about zombies with a modern twist. Definitely not for the weak of heart.
     WEEPING BLADE SAGA, a sword and sorcery epic. It's a story of a 1000 day war, elves, goblin king, cursed sword, a deadly bargain and true love.
     GUNS AND DINOS, an action adventure book that I've been writing for few years now. It's a cross between Jurassic Park and Tremors. Great beginning and middle but no ending. I'm struggling to figure out a suitable ending for this.
     LIBERTY MEADOWS: COLD, COLD HEART, the fourth Liberty Meadows collection book.
     LIBERTY MEADOWS COLOR SUNDAY COLLECTION BOOK which will collect all five years worth of Liberty Meadows Sunday strips. It will be fully colored and remastered.
     A NEW ART BOOK through Image Comics. It will collect and showcase my latest oil paintings, illustrations, and pin-ups.

     Do you know anything about the European comics scene? What about Italy?

     I'm embarrassed to say that I don't know too much about the European comic scene. But the few that I know I follow religiously. I love Druuna by Serpieri, Black Sad by Juan Diaz Canales and Guarnido, A Jew In A Communist Prague by Giardino, The Wind In The Willows by Michel Plessix, and anything by Claire Wendling.

     The trademark question we always ask: what would be the three comics a genuine comic fan should have on his shelf?

     Essential Spider-Man collection by Stan Lee and Steve Ditko, Batman Returns by Frank Miller and Calvin and Hobbes Collection by Bill Watterson.