As penciler of Kurt Busiek's
Astro City, artist Brent Anderson gives form to the vision
of one of the top creators working in comics today. Recently,
Brent spoke with Westfield Creative Director Bennett Neuhauser
about what it's like to work with Kurt Busiek and what's in store
for Astro City fans, as the Eisner- and Harvey-Award nominated
title is relaunched this month from Homage Comics. The interview,
while excerpted for our Worlds of Westfield catalog, is
available in its entirety exclusively here on Westfield's Internet
web site!
Westfield:
It's only natural, given the success of Marvels,
that the majority of the attention lavished on Astro City
has focused upon Kurt Busiek and Alex Ross. Nonetheless, have
you ever felt like the "unsung hero" of the Astro
City creative team?
Brent Anderson:
Well, I wouldn't quite put it that way - the unsung hero.
Alex and Kurt both had a more recent exposure in the industry,
and at the time I took on Astro City, I had been
out of the industry for probably three and a half years, doing
things outside or things that haven't seen print yet, so there
was this sort of absentee quality in my career at that point.
One of the reasons I took on Astro City, at the
behest of my agent, was to regain that exposure.
Westfield:
What attracted you to Astro City? What was the challenge
as an artist?
Brent Anderson:
The main attraction was the enthusiasm Kurt showed for the stories
he wanted to tell. He approached me at WorldCon (World Science
Fiction & Fantasy Convention) when it was at San Francisco.
That must be three years ago now. I had never heard of Kurt. I
only recognized his name, very vaguely, because I had talked to
Scott McCloud about comics and stuff on one occasion, and he said,
"ya know, they way you're talking about comics, there's a
guy who would really like to talk with you and his name is Kurt
Busiek," and he gave me Kurt's phone number, but I never
had the chance to call him. So, I never made the connection between
that guy and Kurt at WorldCon until after the fact.
Westfield: It
sounds like you had a sort of philosophical chemistry going on.
Brent Anderson:
There was, yeah. At WorldCon he came up and said, "Hi, I'm
Kurt Busiek. I did a book called Marvels, have you
heard about it?" And I went, "No." [laughter] I
said I'd been out of the industry for awhile and I hadn't seen
it. He started telling me about this project he wanted to work
on, but he didn't name it. We kept in touch and then at WonderCon
(a year later) he asked whether I wanted to do this series, Astro
City. I was looking for work at the time, but I wasn't
sure what I wanted to take on. Then in San Diego, a couple months
later, I had decided to go ahead and try and get the book.
So, Kurt and I got together at San Diego
and sat down at a lunch table and he told me the story of the
first issue. As he told the story, I just got sucked into it.
I kept thinking this is great, this is great, this is a neat story.
Then we got to talking further about other story ideas he had.
It seemed like Kurt had a never-ending supply of really fun,
interesting point-of-view stories about this place that had superheroes
in it. I've always enjoyed working on books and stories that deal
with the human condition ... where the characters would see the
world they lived in and the world they lived in was a superhero
world. But superheroes and superpowers are only metaphors for
the human condition, so the stories really have to tap into the
reader's identification with the characters for them to work,
and Kurt does this very well.
Westfield:
What's it like to work with Kurt and how do you two interact when
you create a story?
Brent Anderson:
Well, I think we have a very clear understanding from the outset
what our roles are. Kurt is the visionary for this series and
I never want to lose sight of the fact that I'm here to facilitate
his vision. ... I don't mean to downplay my contribution to the
series, because I work very hard to realize what I think Kurt
wants. But it is his project and they are his stories, and I don't
want to overshadow that. And I certainly don't want to try to
make his vision my vision. I want to contribute whatever I can
to his vision and make that part of the vision. We work
very well together ... do you want to hear a typical day in the
life?
Westfield:
Sure that would be great.
Brent Anderson:
The story usually starts out with Kurt telling me what he's working
on - I'll give him a call - and he'll describe to me the story
and the characters. I get all excited about it because the off-the-cuff
way he tells the story is very rough and very spontaneous, so
I get jazzed. I don't know if you've ever experienced late, late
nights at conventions, sitting in hotel rooms with your friends,
talking about comics and stories, and how the later it gets the
more exciting and interesting the stories about comics and comics
characters get to be, well, that's the way I feel with Kurt. I
feel like I'm, you know, 12 - 13 years old again [sitting up way
too late] with a friend talking over stories. [laughter] ...
I stick to the script as closely as
I can. I even trust Kurt to give me little thumbnail layouts of
the panel shapes that he envisioned in his mind when he was writing,
because Kurt has a very good sense of how he wants to tell the
story. I say he has a good sense because it agrees with the way
I like to tell stories. [laughter] I've been learning quite a
bit about storytelling through Kurt.
Once I have a script and the thumbnail
layouts, I literally draw on those panel boxes, then I blow them
up on my copier and fax them off to Kurt so he can comment on
them. His comments lead me to the finished pencils. If I'm inking
myself, I don't really do pencils, I just do layouts, but I take
the full-size layouts and reduce them on my copier and send those
to Kurt, so he can refine them a little more. If there's any suggestions
he has or any changes he'd like to see made, it's easier to do
it at that stage than on the finished, inked product.
Westfield:
As far as plotting and story development, it sounds like, if Kurt
asks you to "take the ball and run with it," you will.
Brent Anderson:
Exactly. Or, I'll take the ball if I don't think Kurt is hitting
the mark, if I feel, in reading the script, that somehow it hasn't
been thought through completely, as to what the motivations of
the characters are or what the point of the story is. This happened
with issue four, with (the character of) Marta. Kurt, admittedly
at the time, really hadn't thought through the motivation of the
character or, if he had, he was having trouble getting it across
to the readers - and at the time my wife and I were the
readers. We read the story, figured it was missing the mark somewhere,
and together we wrote Kurt a three-and-a-half-page critique suggesting
a possible change in the plot or a change in the motivation of
the character. Kurt really appreciated the interest we showed
helping him "fix" the story. He didn't use any of the
stuff we had suggested, but in reading our reaction to the original
story and recognizing the ambiguity that was there for us as readers,
he was able to think it through and come up with the story he
really wanted to tell.
Westfield:
That's interesting, especially since issue number four, Safeguards,
has been nominated for an Eisner Award (for Best Single Issue).
Was that issue a favorite of yours?
Brent Anderson:
I don't know if it was any more or less of a favorite than the
other five issues. I've enjoyed all six issues for different reasons.
Of the six issues, that particular story was unique in how it
came about.
Westfield:
It certainly brought up a lot of questions for me as a reader.
There were probably a lot of people who questioned Marta's decision
to remain in her home neighborhood at the end.
Brent Anderson:
The big question was about empowerment. It was an empowerment
story. It was to learn to use your talismans, but also trust yourself
and your decisions, and to empower yourself to make the decision
that's right for you. From Kurt's point of view - and you might
want to call him and find out if I'm interpreting it correctly
[laughter] - Marta was empowering herself by choosing to stay
in the place she felt the most comfortable. But other people might
see her as copping out and retreating from the "big, bad
world" so she could stay with mommy and daddy. That seemed
to have been the main sticking point. My wife and I had a long
discussion on that very point.
Westfield:
Was that the topic on which you gave Kurt feedback?
Brent Anderson:
Yeah. That was the basic point. At the time we wrote up the little
critique of the story, Kurt hadn't really thought through the
many facets of Marta that would lead him to the decision to have
her empower herself by staying in her home - the Shadow Hill area.
Kurt stuck to his original idea, but I think he made the story
clearer to both those people who agreed with Marta's decision
and to those who didn't. So, it wasn't that they didn't understand
the story, it's just that they clearly didn't agree with the main
character's decision. And to me a successful story elicits an
emotional response from people.
Westfield:
Absolutely. The story also served as a metaphor for America. It's
the question of whether the immigrant family is going to keep
their traditions, even down the generations, or are they going
to blend into the big melting pot. I thought it illuminated the
fact that there are people with traditions and things about them
psychologically that other people on the outside might see as
limiting, yet at the same time it's what gives them their strength.
Brent Anderson:
Right.
Westfield: Speaking
of the part of town Marta lives, your art style is unique, yet,
like Kurt's writing, it seems to pay homage to many of the great
Silver Age artists. Which artists past or present do you feel
influenced your style the most?
Brent Anderson:
To varying levels of success, I try to adapt my style to fit the
story. I don't really think in terms of trying to change my style
overtly. I just try to tell the story appropriately and whatever
influences I have from artists who told stories in a similar manner
may leak through. Astro City is very much a reflection
of, and even an homage to, the entire history of comic books,
the comic book industry and comics published during certain eras.
The character, The Silver Agent, that appeared in issue two, which
is set in 1959, refers to the beginning of what's considered the
Silver Age of comics. The Silver Agent dies in 1973, which is
considered by many to be the end of the Silver Age. That's not
a coincidence. [laughter] Kurt plans these dates to coincide with
the real comics time line. The origins of Astro City
coincide with the origins of comic books. Astro City
existed as a city before comic books existed, but it wasn't called
Astro City, it was called something else.
Kurt is very much attuned to comic book
history, especially with number two, which shows you Astro
City in the late 1950s. I was trying to make it look like
the '50s and, in that endeavor, I would invariably be drawing
it, I guess unconsciously, like the guys that were popular in
the 1950s when they were doing romance comics and there was a
wider variety of comics. For the Silver Agent himself I tried
to recreate the nobility of The Golden Guardian or Captain American
or that kind of 1950s post-World War II hero.
Westfield:
Very noble ...
Brent Anderson:
Very noble, but very single minded. My favorite line and
my favorite scene in that issue was when Shirak the Devourer,
this big apparition from an interdimensional rift in the time
and space continuums, says he's going to take over the Earth with
his shark man army, and the Silver Agent points his finger at
him and says, "Your army's not going anywhere, chum, except
to the stockade!" [laughter] I mean, that line just says
it all about who that character is, and believe me I'm as anxious
as the next guy to find out what his "shameful death"
really was.
Westfield:
Speaking of stories you've done and stories you plan to do, each
of the first six issues was a stand-alone story. Will that trend
continue or will we begin to see more multi-part storylines?
Brent Anderson:
The first issue of the relaunch is a stand-alone story. It's a
re-introduction to what Astro City's all
about. Issues two and three will be the first two-parter and it
deals with the youngest member of the First Family, Astra, going
off on her own, as young people are wont to do, to find her own
identity. Kurt's explained her as being like Bridgette Fonda.
There was Henry Fonda, who was considered a tremendous actor,
the leader of the Fonda clan. Then you had Jane and Peter who's
abilities were questioned: "are they really good actors or
are they just Fondas?" Then, Bridgette Fonda came along
and they said: "Is she a good actor? Of course she is, she's
a Fonda."
Westfield:
And that holds a whole other set of expectations.
Brent Anderson:
Exactly. Astra is like Bridgette Fonda. She wants to have her
own identity independent of being a member of the First Family.
This story Kurt has structured to be a two-parter. Then, issues
four through nine will be the first six-parter.
Westfield:
As Astro City evolves, which characters or themes
do you hope to explore in greater depth?
Brent Anderson:
I'm going to continue my initial emphasis, which is to visualize
Kurt's stories as best I can. I have a file cabinet with two dozen
file folders in it and each one has the name of a different character
we have created (Alex, Kurt and I), wherein I keep reference material
for each. I'm dying to explore any one of them more in depth.
I don't really have a favorite. I have favorites that I like to
draw ...
Westfield:
Like, for instance ...
Brent Anderson:
One of my favorite characters is the Old Soldier. I love to draw
him, but, unfortunately, he's a one trick pony. He could not star
in his own comic book, because he's the guy that shows up to tip
the scales from evil to good whenever evil threatens to win, and
that doesn't happen very often. It would be like one of those
comics that's supposed to come out monthly but comes out annually.
[laughter] He'd only show up in his own comic book for two or
three panels. [laughter] So maybe the reason I like drawing him
is I don't get to draw him all that much.
Westfield:
I think the Old Soldier and the Bouncing Beatnik are classic walk-on
bit players.
Brent Anderson:
Kurt's told me a little bit of background, that I'm probably not
at liberty to discuss, about who the Bouncing Beatnik is. Kurt
wants to reveal that in a future story I guess, but the Beatnik
is not really what you think he is. Which is true of just about
any of Kurt's characters in Astro City, when you
come to think of it. He constantly surprises me, and I think he
surprises the readers, with just who the characters are in contrast
to the images they may evoke.
As I've told Kurt, and as I'm going
to tell you, if the reader support is there and the book sells
well enough to keep going, and as long as Kurt has stories to
tell, then I'll be with Astro City for 10 years.
I can only hope that Kurt and I have the same creative synergy
Lee and Kirby had creating the Fantastic Four, because
I want to be on Astro City at least that long!
Westfield:
In closing, are there any conventions at which you will appear
in the coming months?
Brent Anderson:
Sure. I'll be at the Heroes Arn't Hard to Find convention
in North Carolina. That's June 14th, 15th
and 16th. Then, my wife and I are planning on going
to the San Diego ComicCon this year, which is Fourth of
July weekend. Then on November 9th & 10th
I'll be attending a convention called SuperCon, in Oakland,
California. And, of course I will be a recurring resident of Astro
City for the foreseeable future, so you can always find
me there!