NIGEL RAYNOR ON BATTLESTAR GALACTICA

[MattBrady]

Yesterday, we spoke with Greg Pak, the writer up Dynamite’s upcoming Battlestar Galactica series, and today, we catch up with series artist Nigel Raynor. A Brit who’s previous work has appeared in 2000AD, Galactica marks the artists firat major comics work.

Newsarama Note: Newsarama will have a First Look preview of Battlestar Galactica by cover artist Steve McNiven and interior artist Nigel Raynor next week.

Newsarama: To begin with Nigel, were you familiar with the television series before joining the team?

Nigel Raynor: I was already well aware of the show from having seen the miniseries late last summer. In fact I was already three or four episodes into the Season 1 DVD when I got the gig! I was becoming a big fan of the series, squeezing in an episode whenever I could, and got caught up in that initial buzz when something comes along that fires your imagination. To then have the chance to channel that into the book was a thrill.

NRAMA: How would you describe its visual look?

NR: I think the first thing to hit you about the series is how fully realized and beautifully crafted the Battlestar Galactica universe is. The design is stunning and really gives the viewer a sense of a functioning military Battlestar, warts and all. It’s old, dirty utilitarian and there's stuff all over the place but it feels absolutely real. This coupled with the way it’s lit and shot gives it a rich cinematic flavor and gravitas. Essentially though, it just looks damn cool!

NRAMA: So how do you capture that look on a comic page? Do you try to replicate it, or do you have a different sort of spin in mind?

NR: If it ain't broke, why fix it? The ships, their interiors, the costumes, weaponry and props all have a sense of place and purpose and it wouldn't be Galactica if we weren't true to that. I get a kick out of drawing military hardware anyway and Galactica is essentially just an aircraft carrier in space. Like I said, I love the design of the show so, yeah, I'll be sticking as close as I can to the look and feel of it. I've always thought comics work best when the artist takes the time to illustrate a detailed world around the characters, giving the drama an anchored stage to play out on.

NRAMA: That said, what sort of reference material do you work from? Do you use DVDs, does the studio send you pictures (of the actors) and blueprints of the ships, weapons, etc.?

NR: Well, I've watched every episode of season 1 about 6 or7 times each and have done a whole bunch of sketchbook notes and research. The best tool for an artist these days though is the internet. Not that long ago, if I was sourcing reference for a comic or commercial work you'd have to spend the whole afternoon in the library or set aside a room in your house for a small forests' worth of magazine and paper clippings. These days though, you just sit down, type in two or three words into Google, and you're off and running.

NRAMA: Speaking of the actors, what's it like trying to translate them into comic characters? Will you be doing strict likenesses, or do you get to create the comic equivalents of Starbuck, Apollo and the rest of the cast from scratch?

NR: To be honest, the most important thing to me when I'm making or reading a comic is narrative flow. I want to be engaged in the story, flipping the pages to see what happened next or pausing to appreciate a well executed moment. What I don't want, is for the reader to be drawn out the book by looking at a panel and thinking "Wait just one second... good God! That looks nothing like Starbucks nose!" The best way to avoid that, in my opinion, is to try and nail the essence of the actor whilst maintaining a consistent look for the character. So no, they won't be photo-realistic likenesses which, ironically, always look a little lifeless to me. After all, Battlestar Galactica has a massive cast list and that's a lot of noses!

NRAMA: You've done a lot of stuff for 2000AD, but American readers may not be too familiar with it. Can you explain a bit about your sci-fi art background?

NR: Well, I don't know if its fair to say I did 'a lot of stuff' for AD but they were good enough to give me a start a few years ago. I was still green and feeling out a style of my own but it was really great as an experience and I learnt a lot about the process.

NRAMA: So how would you describe your artistic style?

NR: I have absolutely no idea! Different people have drawn different comparisons and I’ve never been able to see any of them. I guess it’s up to the individual to judge. I know where I am and where I want to get to but that's ok as no artist should be completely content with what they're doing.

<b>NRAMA: You will, no doubt, have to draw plenty of space battles in the pages of Galactica; what's it like drawing interstellar dogfights? How do you keep those sequences active/visually stimulating?

NR: All action scenes present their own problems. I don't know how other artists do it but personally, I run through the whole scene in my head as though it were a movie then go back in a pick out the right moments and the right 'camera' angles that'll best bring to life the speed, ferocity or excitement of the scene. Making your own sound effects is obviously optional!

NRAMA: As you mentioned, Galactica itself--the ship, that is--is essentially an outdated version of a futuristic fleet of starships; what's it like trying to convey “older” futuristic technology?

NR: I don't have to; the art department on the show already did it! Like I said before its just a matter of taking the work that's been done and transferring that world onto the page. All the reference you'll ever need is right there in the frame.

NRAMA: Alright, so you’re not doing absolute likenesses, and you’re relying on the art department’s designs…what's the most challenging thing about penciling the series, then?

NR: The fact that I'm the first. There's a certain weight of responsibility that comes with adapting a series that is not just one of the best sci-fi dramas on TV but one of the best dramas, period. There's no back issues to look on for pointers or direction. All you can do is set out your stall and hope that your vision for the book meets with the approval of the considerable fan base. Personally, I just want to knuckle down and do my part to make it feel like a worthy companion/extension of the series as well as a standalone book in its own right. Hopefully we’ll be bringing along as many fans as possible.

NRAMA: So what's the best part of your new gig?

NR: Actually, I think I just said it. Also, I'm really looking forward to seeing what Greg comes up with in future issues and further developing the look and feel of the book...and oh, did I mention I get to draw Vipers and Cylons?

NRAMA: Finally, then - which character are you most looking forward to drawing? Why?

NR: Starbuck....if you have to ask you'll never know!

[OM]

Q: How do you ensure that the first issue is a sellout?

A: Put SiBH in a sexy red dress that's about to fall off on the cover!

[Reliant]

Nigel Raynor:
To be honest, the most important thing to me when I'm making or reading a comic is narrative flow. I want to be engaged in the story, flipping the pages to see what happened next or pausing to appreciate a well executed moment. What I don't want, is for the reader to be drawn out the book by looking at a panel and thinking "Wait just one second... good God! That looks nothing like Starbucks nose!" The best way to avoid that, in my opinion, is to try and nail the essence of the actor whilst maintaining a consistent look for the character. So no, they won't be photo-realistic likenesses which, ironically, always look a little lifeless to me.

Y'know, I very much agree. I've seen some Star Wars and Star Trek comics ages ago that did the realistic-likeness route, and the panels did come off like stiff production still tracings.

Yes, it's important that the characters be recognizable, but I do think that they have be modified for comics--not with traditional superhero-type bodies, but with the heightened sense of visual drama that comics do so well. Often the best Star Trek and Star Wars comics were the ones that didn't forget that they were comic books...

[Cyphon]

I'm really looking forward to this project, and can't wait until we get some preview art!!

BTW, the gorgeous but evil Cylon is Canadian. Further proof it's better up here

[samnoir]

It would be nice to see the artwork along with these interviews.

___________________________________

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[dudeabides]

It would be nice to see the artwork along with these interviews.

I agree. It is hard to get excited about the art--or even the book, for that matter-- when there has been absolutely no preview art. Showing a series of photographs from the show just sells the show, not the comics.

I wonder why a company wouldn't submit art for an article of this nature. Very strange.

[naphtha]

useless without pics.

[MrThatGuy]

Originally posted by Cyphon
I'm really looking forward to this project, and can't wait until we get some preview art!!

BTW, the gorgeous but evil Cylon is Canadian. Further proof it's better up here

don't tell them about it... keep this place the paradise that it is!!!
subconsciously even Stan "THE MAN" Lee knew it, that's why the most popular character Marvel has is a Canadian!! so what if he's short, hairy & has a temper? The hotties love that

[billmausart]

I love the new show so much-- Im looking forward to getting, at least, some kind of look at the art of the book--

wish you guys all the best-- you have a great license on your hands

[Goldliop]

yeah
love the show.
hope he doesn't mess up the comic though.

I REALLY don't feel like sendind my hundreds of rabid ninjas to kill him in his sleep.

Itr just takes sooo much effort ya know...?