MattBrady
11-21-2003, 10:39 AM
<a href="http://www.newsarama.com/Marvel/FF509_72.jpg" target="_blank"><img src="http://www.newsarama.com/Marvel/FF509_72_t.jpg" width="175" height="263" border="0" hspace="1" align="right"></a> Following a tumultuous summer that saw him leave <b>Fantastic Four</b> and then come back on it, Marvel today announced that Mike Wieringo has signed a two-year exclusive contract – his second with the publisher, which will keep his services on Marvel properties through 2005. Newsarama chatted him up about the deal.
<b>Newsarama</b>: Bluntly - why sign on with Marvel? Was there any particular straw that broke the camel’s back in this case, or were they just the first to ask?
<b>Mike Wieringo</b>: When the situation in which Mark [Waid] was removed as writer of <b>Fantastic Four</b> occurred, it was clear to me that the decision to "fire" him didn't come from the editorial level at Marvel. In fact, Joe Q. and Tom Brevoort were asking Mark to stay and work on other things at Marvel. I "left" <b>FF</b> in a show of solidarity with Mark-- but I never harbored any ill feelings for anyone in the editorial ranks. They made it clear to <b>me</b> from the very beginning as well, that they wanted me to stay and continue on <b>FF</b>, or anything else I wanted to do.
Even though I had begun to talk with the folks at DC about several possible projects—I was very flattered and impressed that Marvel was giving me the option of not only staying on <b>FF</b>, or taking on one of several other cool projects that they had coming up-- but they were also encouraging me to propose my <b>own</b> ideas of the kind of Marvel characters I'd like to work on. I had never really had that kind of opportunity given me before-- and it was a good feeling. It made me feel wanted, so to speak. So, in the end, when the opportunity for the entire creative team to pick back up on <b>FF</b> came through-- and on the very issue that -I- would have come back on anyway-- as well as an offer of exclusivity thrown in, I jumped on it.
<b>NRAMA</b>: What makes the current Marvel such a good place to work that you’re hooking your wagon up to them for the immediate haul?
<b>MW</b>: For one, the opportunity to continue working with Mark on <b>Fantastic Four</b>. I've enjoyed working with Mark and on the <b>FF</b> so much-- and the fact that it can continue was a big draw. The only other time I've enjoyed working on company owned characters this much was when I was working with my buddy Todd Dezago on <b>Sensational Spider-Man</b> years back for Marvel. Unfortunately, that title was cancelled in Marvel's restructuring during their bankruptcy back then.
Another reason is that there seems to be a real free creative feeling coming back to Marvel now-- which is really similar to the way it seemed just a couple of years back when Joe Quesada took over as EIC. They're trying new things-- seeing what works and what doesn't. And that's always an exciting feeling. The possibilities seem broad and promising-- so it feels good being at Marvel right now.
<b>NRAMA</b>: Let’s talk your workload. While the contract pretty much guarantees that you and Mark will have a nice solid run on <b>FF</b>, what else are you looking at?
<a href="http://www.newsarama.com/Marvel/FF510_72.jpg" target="_blank"><img src="http://www.newsarama.com/Marvel/FF510_72_t.jpg" width="175" height="263" border="0" hspace="1" align="left"></a> <b>MW</b>: They've told us that <b>Fantastic Four</b> is ours to work on as long as we want it. That's a great feeling-- and I'm having a great time, so I don't feel the itch to leave any time soon. Having said that-- Marvel's "toy box" is so full of so many great characters that I'm sure there'll come a time when I'd like to take a crack at one or more of them, yeah.
<b>NRAMA</b>: Are there any caveats in the agreement for outside work, such as Tellos, or are you all Marvel, al the time?
<b>MW</b>: We didn't really work any caveats into the agreement for outside work-- but Todd and I have been discussing creating more <b>Tellos</b> stories as well as maybe creating other projects for ourselves. And I've got some ideas for personal projects I'd like to write and illustrate on my own-- but that's all stuff that I can work on in my own spare time and just keep in a drawer until my exclusive agreement is up. Actually, working on personal stuff is a great way to keep fresh when working on a monthly book-- that way there's no burn out from working on the same thing day in and day out.
<b>NRAMA</b>: These days there seems to be a pretty big battle going on for top level talent between Marvel and DC. Overall, what’s your view of exclusivity?
<b>MW</b>: I think it's a result of a more competitive atmosphere between the two companies-- and competition is a good thing, I think. It's a rough market out there right now, with only a finite number of readers, and both companies vying for those readers. If this makes them "headhunt" for folks they perceive as the best talent to sign to exclusive agreements-- my hope is that this will lead to those folks producing better comic books as well as getting a few of the perks that exclusive agreements bring financially.
It might keep me off that project at another publisher that I'd be perfect for, yeah-- but hopefully that opportunity might still be there in the future.
<b>NRAMA</b>: But also, with the “headhunt” mentality, is there ever a hint that you’re not being brought over for your individual talents, but instead just as another chip as the two publishers try to gather as many as they can?
<b>MW</b>: If that's been Marvel's motivation, they've done a great job of hiding it. They've never given me any indication that it's for any other reason other than that they like my work and want me to draw their characters. Honestly, I don't really see how the number of exclusive creators that one company or another has would make a difference to anyone except those lucky folks who get the exclusive offers. It may give one company bragging rights over another-- but ultimately, unless it results in better comics with better sales, that's not much.
<b>NRAMA</b>: Fair enough. Wrapping things up then, many exclusive creators state that with the contract, a level of anxiety decreases, allowing them to be freer in their work, and essentially enjoy it more. Do you subscribe to that line of reasoning?
<b>MW</b>: If that's a truism, it's because being offered that exclusive makes you feel more important and "special" by the company offering it-- at least to <b>my</b> mind. But that is very dependent on the creative situation at the company that you are exclusive with. It can also be very stifling and frustrating if the atmosphere at the company you’re tied to is poisoned with negativity.
<a href="http://www.newsarama.com/Marvel/FF511_72.jpg" target="_blank"><img src="http://www.newsarama.com/Marvel/FF511_72_t.jpg" width="175" height="263" border="0" hspace="1" align="right"></a> I was exclusive with Marvel once years back when I was working on <b>Sensational Spidey</b>-- but, as I said, that title was cancelled in the bankruptcy turmoil-- and I wasn't offered anything that was fun or creative to do after that. I was stuck in an agreement I couldn't get out of legally, working for a regime at Marvel at the time that was under siege, scared, and most of all, totally <b>uncreative</b>. It was a very bad time-- and I ended up sitting on my hands for the last six months of my contract because they wouldn't release me from the exclusive, and no one else would-- or <b>could</b>-- hire me while I was under that agreement. So I went all that time with no income because I refused to draw any of the horrible, badly written projects they were throwing at me during that terrible time.
This situation feels completely the opposite, though. It feels good now to be hooked up with an excited and creative bunch of editors that Marvel has at this time. So-- under this situation, yeah-- it's a good atmosphere for creating better work.
And in the press release sent out to the comics press by Marvel, Editor in Chief Joe Quesada said:
"I've been a fan of 'Ringo's work for years. As an artist his clean line work and wonderful characterization has made me envious of his skills for way too many years. And I think that fans will agree with me when I say that Mike's work on the FF has redefined the look of the characters and book in a way that has made it accessible to a whole new audience!
"I'm thrilled that Mike has decided to stay at Marvel and make it his home for the next few years. Along with li'l Marky Waid, fans of the FF and Marvel fans in general are going to be in for many more issues of great comics entertainment from the World's Greatest Comic Magazine!"
<i>Ringo returns to <b>Fantastic Four</b> with January’s issue #509, part one of “Hereafter.”</i>
<b>Newsarama</b>: Bluntly - why sign on with Marvel? Was there any particular straw that broke the camel’s back in this case, or were they just the first to ask?
<b>Mike Wieringo</b>: When the situation in which Mark [Waid] was removed as writer of <b>Fantastic Four</b> occurred, it was clear to me that the decision to "fire" him didn't come from the editorial level at Marvel. In fact, Joe Q. and Tom Brevoort were asking Mark to stay and work on other things at Marvel. I "left" <b>FF</b> in a show of solidarity with Mark-- but I never harbored any ill feelings for anyone in the editorial ranks. They made it clear to <b>me</b> from the very beginning as well, that they wanted me to stay and continue on <b>FF</b>, or anything else I wanted to do.
Even though I had begun to talk with the folks at DC about several possible projects—I was very flattered and impressed that Marvel was giving me the option of not only staying on <b>FF</b>, or taking on one of several other cool projects that they had coming up-- but they were also encouraging me to propose my <b>own</b> ideas of the kind of Marvel characters I'd like to work on. I had never really had that kind of opportunity given me before-- and it was a good feeling. It made me feel wanted, so to speak. So, in the end, when the opportunity for the entire creative team to pick back up on <b>FF</b> came through-- and on the very issue that -I- would have come back on anyway-- as well as an offer of exclusivity thrown in, I jumped on it.
<b>NRAMA</b>: What makes the current Marvel such a good place to work that you’re hooking your wagon up to them for the immediate haul?
<b>MW</b>: For one, the opportunity to continue working with Mark on <b>Fantastic Four</b>. I've enjoyed working with Mark and on the <b>FF</b> so much-- and the fact that it can continue was a big draw. The only other time I've enjoyed working on company owned characters this much was when I was working with my buddy Todd Dezago on <b>Sensational Spider-Man</b> years back for Marvel. Unfortunately, that title was cancelled in Marvel's restructuring during their bankruptcy back then.
Another reason is that there seems to be a real free creative feeling coming back to Marvel now-- which is really similar to the way it seemed just a couple of years back when Joe Quesada took over as EIC. They're trying new things-- seeing what works and what doesn't. And that's always an exciting feeling. The possibilities seem broad and promising-- so it feels good being at Marvel right now.
<b>NRAMA</b>: Let’s talk your workload. While the contract pretty much guarantees that you and Mark will have a nice solid run on <b>FF</b>, what else are you looking at?
<a href="http://www.newsarama.com/Marvel/FF510_72.jpg" target="_blank"><img src="http://www.newsarama.com/Marvel/FF510_72_t.jpg" width="175" height="263" border="0" hspace="1" align="left"></a> <b>MW</b>: They've told us that <b>Fantastic Four</b> is ours to work on as long as we want it. That's a great feeling-- and I'm having a great time, so I don't feel the itch to leave any time soon. Having said that-- Marvel's "toy box" is so full of so many great characters that I'm sure there'll come a time when I'd like to take a crack at one or more of them, yeah.
<b>NRAMA</b>: Are there any caveats in the agreement for outside work, such as Tellos, or are you all Marvel, al the time?
<b>MW</b>: We didn't really work any caveats into the agreement for outside work-- but Todd and I have been discussing creating more <b>Tellos</b> stories as well as maybe creating other projects for ourselves. And I've got some ideas for personal projects I'd like to write and illustrate on my own-- but that's all stuff that I can work on in my own spare time and just keep in a drawer until my exclusive agreement is up. Actually, working on personal stuff is a great way to keep fresh when working on a monthly book-- that way there's no burn out from working on the same thing day in and day out.
<b>NRAMA</b>: These days there seems to be a pretty big battle going on for top level talent between Marvel and DC. Overall, what’s your view of exclusivity?
<b>MW</b>: I think it's a result of a more competitive atmosphere between the two companies-- and competition is a good thing, I think. It's a rough market out there right now, with only a finite number of readers, and both companies vying for those readers. If this makes them "headhunt" for folks they perceive as the best talent to sign to exclusive agreements-- my hope is that this will lead to those folks producing better comic books as well as getting a few of the perks that exclusive agreements bring financially.
It might keep me off that project at another publisher that I'd be perfect for, yeah-- but hopefully that opportunity might still be there in the future.
<b>NRAMA</b>: But also, with the “headhunt” mentality, is there ever a hint that you’re not being brought over for your individual talents, but instead just as another chip as the two publishers try to gather as many as they can?
<b>MW</b>: If that's been Marvel's motivation, they've done a great job of hiding it. They've never given me any indication that it's for any other reason other than that they like my work and want me to draw their characters. Honestly, I don't really see how the number of exclusive creators that one company or another has would make a difference to anyone except those lucky folks who get the exclusive offers. It may give one company bragging rights over another-- but ultimately, unless it results in better comics with better sales, that's not much.
<b>NRAMA</b>: Fair enough. Wrapping things up then, many exclusive creators state that with the contract, a level of anxiety decreases, allowing them to be freer in their work, and essentially enjoy it more. Do you subscribe to that line of reasoning?
<b>MW</b>: If that's a truism, it's because being offered that exclusive makes you feel more important and "special" by the company offering it-- at least to <b>my</b> mind. But that is very dependent on the creative situation at the company that you are exclusive with. It can also be very stifling and frustrating if the atmosphere at the company you’re tied to is poisoned with negativity.
<a href="http://www.newsarama.com/Marvel/FF511_72.jpg" target="_blank"><img src="http://www.newsarama.com/Marvel/FF511_72_t.jpg" width="175" height="263" border="0" hspace="1" align="right"></a> I was exclusive with Marvel once years back when I was working on <b>Sensational Spidey</b>-- but, as I said, that title was cancelled in the bankruptcy turmoil-- and I wasn't offered anything that was fun or creative to do after that. I was stuck in an agreement I couldn't get out of legally, working for a regime at Marvel at the time that was under siege, scared, and most of all, totally <b>uncreative</b>. It was a very bad time-- and I ended up sitting on my hands for the last six months of my contract because they wouldn't release me from the exclusive, and no one else would-- or <b>could</b>-- hire me while I was under that agreement. So I went all that time with no income because I refused to draw any of the horrible, badly written projects they were throwing at me during that terrible time.
This situation feels completely the opposite, though. It feels good now to be hooked up with an excited and creative bunch of editors that Marvel has at this time. So-- under this situation, yeah-- it's a good atmosphere for creating better work.
And in the press release sent out to the comics press by Marvel, Editor in Chief Joe Quesada said:
"I've been a fan of 'Ringo's work for years. As an artist his clean line work and wonderful characterization has made me envious of his skills for way too many years. And I think that fans will agree with me when I say that Mike's work on the FF has redefined the look of the characters and book in a way that has made it accessible to a whole new audience!
"I'm thrilled that Mike has decided to stay at Marvel and make it his home for the next few years. Along with li'l Marky Waid, fans of the FF and Marvel fans in general are going to be in for many more issues of great comics entertainment from the World's Greatest Comic Magazine!"
<i>Ringo returns to <b>Fantastic Four</b> with January’s issue #509, part one of “Hereafter.”</i>