TALKING JSA WITH DALE EAGLESHAM

[MattBrady]

by Vaneta Rogers

Long-time readers of Justice Society of America said the story would be good. They knew. They'd been hearing about all the new characters and learned from experience that the variety of personalities on this team made it something unique within the DCU.

And although many critics and fans have praised writer Geoff Johns for having achieved a new level of storytelling in the relaunched series, that's not what has surprised people the most.

The big surprise is Dale Eaglesham.

Through the first four issues of Justice Society of America, Eaglesham's interpretation of Johns' dense and character-filled scripts, as well as his visual introduction of several vibrant new characters among the team's ranks, have won the penciller the type of critical acclaim he's rarely seen before. Even though Eaglesham's been working in the industry for decades, on characters from Conan to Kyle Rayner to the Punisher, fans seem to only now be sitting up and taking notice of his work.

So what does the artist think makes this comic and his work on it so special? Newsarama asked, and along the way got a lesson on how Eaglesham approaches character, storytelling and the subtle art of utilizing close-ups and alternate expressers.

Newsarama: We just saw in issue #5 that you took a break from interiors. Why? And when will you be back on interiors again?

Dale Eaglesham: I'll be back on interiors in issue #6. Issue #6 is a really busy, intense issue, and I knew it was going to require special attention from me. There were time constraints emerging at the time, constraints that would definitely have forced me to reduce the quality level across the board. Given the potential of these crossover issues, Geoff and I thought it would be better for the fans if I could put everything I had into one issue with a fill-in artist doing the same in the other. It was a tough, tough choice as to which one to do and which to let go. However, in giving one up I was able to put everything I had into Issue #6, and I was thrilled about that. Fernando Pasarin stepped in and did and amazing job on Issue #5, so all in all, it was the right move to make.

Newsarama: Four issues into it, what's your general reaction to having worked on the first four issues of Justice Society of America?

DE: I feel as though we achieved the objectives we set out for ourselves for this first arc. The first arc of this Justice Society relaunch is the appropriately titled, “The Next Age.” We’re introducing the “next age” in the history of the Justice Society of America, and this incarnation will play its own distinctive role in the history of this title.

NRAMA: You say you achieved your objectives. What were those objectives?

DE: We wanted to add new blood, not as replacements for older members, but to round out the cast and give us some new dramatic layers to work with. We’re still dabbling in continuity and big action, but we wanted this latest JSA venture to focus on character development as well. Overall, I think we sought to create the kind of team book that’s not afraid to break the team book rules of conduct, and venture out into new territory. These characters are quirky, fun, dangerous and distinguished. This book can now handle any kind of story we can throw at it. That versatility is what we really gunned for and I think we found it.

NRAMA: A few months before #1 hit the shelves, you and I discussed your strengths, and you talked about your ability to convey emotions in characters' faces. You said writer Geoff Johns had told you he was going to try to play to those strengths. Did he?

DE: A lot of the scenes in this opening arc required subtlety of emotion and character. I think this is the key to this incarnation of the JSA. We will still be dealing with heavyweight storylines in this title, the type of thing that we already know Geoff excels at, but the stories are also showcasing Geoff’s skill in weaving the personal drama of the characters in among the big scenes. Drama, when applied to people in colorful costumes, can sometimes come off as ridiculous and campy. That’s not the case here. Geoff has really thrown down the gauntlet with some great scenes.

NRAMA: Can you give an example of a scene that you think really, as you said, “threw down the gauntlet?”

DE: The scene with Damage losing his mask. It was a heart-rending scene. I mean, it read that way, and it was my job to make the reader feel for a character that had been, up to that point, as bristly and lovable as a cactus.

NRAMA: So you’re getting the opportunity to explore some inner conflict in this story?

DE: The story material has presented me with a great opportunity to travel through the psyches of the characters, and give vent to those personalities and how they move and act through a scene via posture, mannerism and overall appearance.

NRAMA: Did your approach to any of the characters change since last time we talked -- or evolve?

DE: My approach to the characters, all of them, is evolving as I get to know them better. Alan is more taciturn than I first thought. I think he’s depressed by Jade’s death and it’s affecting him. For this initial period, I see him being colder and more efficient. I see him coming out of this detachment as we go, perhaps even reaching out to Courtney or Maxine as a replacement for the daughter he lost during the Crisis. Damage is fast becoming a fascinating study in duality. He’s a troubled person and explosive in personality as well as in power. However, there is that in him that cries out for love and acceptance. I find that the characters I’m encountering in the Justice Society have an unexpected depth to them that intrigues me artistically. How deep can you go in a superhero title? Geoff is paving a yellow brick road of opportunity for finding out.

NRAMA: I think the two-page spread in Issue #2 where the line-up of the Justice Society is shown in boxes across the top and bottom of the pages really highlights the way you draw facial expressions -- from Damage, whose demeanor just screams anger, to Wildcat, whose face says he'd rather be in the boxing ring. It's a different take on the "team line-up" boxes -- was that a real effort on your part to portray the personalities within those frames?

DE: That line up of boxes was really important in setting the tone for the story, the entire approach to this book. I want each and every character to be a vital cog in the Justice Society machine. I wanted the character boxes to not just identify the characters, but to encapsulate the personality and spirit of the characters. It is so important that the reader receive that information because it contributes to the vitality of the stories. The blood flowing in the veins of these stories is personality and spirit, and I take every opportunity to bring that across.

NRAMA: Then let's look at that spread. In one or two sentences, go through each of the frames and what you're trying to say through your art in these boxes -- and really, throughout the story -- about each character.

- Alan: There is a darkness that has descended on his soul because of the death of his daughter, so among the boxes, his face had the most shadow to it. His demeanor is stern and unreadable here, which is exactly the face he is showing to the public. He’s hurting though.

- Jay: A bit of a smile shows his good nature. I see Jay as the senior member that is easiest to get along with. He is a good-natured guy and the flippant cant of the helmet tells us that he has a bit of style and playfulness to him. One eye is striped with shadow though, telling us that there is definitely some tough stuff there, should it be required.

- Ted: “Are we done with this, yet?” Yeah, he wants to get down to the gym and get busy with the newbies. The compressed, pouty mouth and the careless glance to the left tells us all of this.

- Power Girl: The lock is the key, the lock of hair that is. She doesn’t care and just lets it fall where it will. Her right eyebrow is arched and coupled with the compressed and smiling mouth it tells us that she has lots of attitude and gumption. The fact that we don’t see teeth in that smile indicates a slight restraint and hints at a maturing nature.

- Mr. Terrific: Pretty serious face shot here. We see a “T”sphere clearly in behind, emphasizing his analytical aura.

- Hourman: The head tilt and the emerging smile suggest that Rick is leading you on about something and is on the verge of smiling or laughing about the joke. Isn’t that completely Rick? He is playful and impish and perhaps a little unpredictable.

- Liberty Belle: Sexy, and direct. The head is positioned straight on, honest and no nonsense, with a bang of hair draped seductively across one eye.

- Dr. Mid-Nite: The head shot is more sideways than the others and it hints at his reclusive nature. He is less sure about showing himself here and indicates his relative shyness.

- Stargirl: A real pronounced head tilting, almost mugging the “camera” as it were. She’s the cheerleader of the Justice Society of America and is not shy at all. She looks us in the eye and acknowledges us by her “posing” for us.

- Damage: This shows his darkness and volatility. The far eye falls into darkness and he is showing himself only reluctantly. He is probably turning away here.

- Starman: He looks normal here. Don’t be fooled.

- Maxine Hunkel: Two hands on both cheeks, almost as if she were keeping her head from flying off. She is blown away by everything. I wanted a look of infatuation on her face as she thinks about where she is and the group she is now a part of. She is dreamy but also a little worried about whether she will measure up.

NRAMA: You know, Maxine Hunkel seems to have such an expressive face. In this story, her reactions went from giddy hero worship to shock at the sight of Mr. America's death to an unsure departure for battle. Is my perception correct that she's got an expressive face? Is that part of the way you're approaching this character?

DE: One thing Maxine doesn’t have a problem with is expressing herself. She doesn’t curb her reactions or apply any guile. What you see is what you get, times ten. Her introduction to the Justice Society has been sudden and chaotic. She craved acceptance and the invitation to join the team really touched her, but she didn’t really give much thought to what that invite would mean or entail. As a result, there have been a lot of surprises and Maxine wears her emotions on her sleeve. That expressive reaction is tempestuous, and it’s what she’s all about.

NRAMA: There's a close-up of Maxine when she talks about having Stargirl on a pedestal -- where we only see her eyes. You've got several of those types of panels in this story, from Wildcat's eyes to Damage's eyes. Why? Is it particularly powerful to get in that tight? And how do you approach trying to tell a story with just someone's eyes?

DE: It is a direct and personal delivery of a message. What the character is narrating to the reader in those panels is being delivered to the reader of the comic and no-one else. There is a similar shot of Damage in issue four when he realizes that he injured Liberty Belle. Getting up close to the eyes makes it personal because the image in that one panel pushes out all the peripherals in the scene, and the character makes direct eye contact with us. It works really well in comics because you can see the rest of the scene in the panels around the eye shot, or at least take them in with your peripheral vision as you look at this one close-up of the eyes. In a movie, you see one frame at a time, and the effect of such a close-up would be almost comical. In comics, it becomes the all-seeing eyes, the windows to the soul embedded in a dramatic scene.

NRAMA: We talked last time about drawing Damage's emotions behind that full mask. Now that we saw the reason he wears a mask -- his disfigured face -- it makes the pain in his eyes even more understandable. You mentioned that you were touched by that scene in particular. How did you approach that scene, and how will you handle this part of Damage as the comic continues?

DE: We can never see the full extent of the damage to his face. The fact that we haven’t leaves it to our imaginations, and that’s a very powerful technique to use.

NRAMA: Because our mind fills in the blank?

DE: Yes. What would be the most painful thing to us? It’s different for everyone, and so this technique really pulls the reader in through their imagination, enticing them into investing into the character. Damage is a marked man and he chooses to remain so for reasons we’ll explore as the series progresses. His disfigurement stands as a bulwark to him and those around him. How the characters deal with this is the artistic fodder that is to die for.

NRAMA: But with Damage and so many other characters, it's not even always their eyes that show their emotions. The man who will become Citizen Steel, Nathan Heywood, in particular has already experienced a lot of pain when he's introduced in the story, but when you first drew the character in Issue #2, we only saw his hands and the top of his head – no face. Yet the full-page image really communicated his pain. How did you decide to go with that image? Did it need to be that subtle?

DE: That subtlety is a similar technique to not revealing the extent of the disfigurement to Damage’s face. The subtlety draws us in by causing us to question who he is and why he is so troubled. Why do we question it despite the obvious clues present in the splash? We can’t see his face and we want to. We look to the face to tell us what the character is feeling, to explain to us what he is feeling. Is it anger? Is it sadness? Is it madness? The hidden face in the splash invites you to ask because you don’t know for sure.

NRAMA: It’s interesting to hear that applied to art. I’ve heard comic book writers talk about how characters don’t always need to come out and say something – that it’s sometimes more effective to let the reader fill in the blank. So you’re doing something similar with your art here, aren’t you? Does our mind tend to look for those emotional indicators visually, when we can’t see Nathan's face? And does that make a more powerful statement?

DE: The thing to realize is that we look for these expressers in art and in life in general. When we don’t find them we seek other indicators in a cascading array of expressers. When we can’t access the facial expression, we jump to the second most expressive aspect of the human expressive arsenal: The hands. His hand is gripping, and rather fiercely, the knee of his good leg. Doesn’t that tell us all we need to know, and wasn’t your attention forced there by being denied a facial expression of what the character is feeling? The passive left hand by his head, in conjunction with the violent grasping of his right hand, is telling us that he is in a conflicted, terrible state. I think that approaching the art through these secondary channels, although difficult and challenging, involves the reader more and in the end, is more effective.

NRAMA: Nathan also experienced a nightmarish scene in Issue #3, watching his family murdered by the Fourth Reich during a reunion picnic.

DE: The scene was enacted to strike a chord with readers and establish just how depraved the Fourth Reich are and how far they and their unseen master are willing to go. Some readers were upset by the violence and we wanted them to be. The tactic the Reich were using was not OK, and being upset by it is the necessary and forgone reaction on the part of the reader. These Nazis meant business and they needed to be taken down hard.

NRAMA: How difficult was that scene to draw?

DE: Any scene where innocents pay the price for the malicious goals of others is a hard scene to draw. That applies to any situation in life. It was necessary because it was the emotional engine of the story and the precipitating factor in the birth of a new hero in Nate, the future Citizen Steel.

NRAMA: The picnic marked the return of Hawkman. His entrance was surprising and violent. You know, there are a lot of people out there praising the way you draw that character. How did you approach drawing Hawkman and his return? What do you think is important to remember when drawing that character?

DE: Hawkman is at once a brutal figure but also an epic and poetic one. He evokes mythology as easily as he does Conan the Barbarian. That balancing act makes him a fascinating draw from one scene to the next and it is the one thing that any artist who tackles this great character should keep in mind. As savage as he can be, he is somehow noble in his savagery and I really think the Italian sculptor Bernini would have had a field day with Hawkman. The wings are unique in today’s comics. They can’t help but harken back to bygone times, in history, mythology and in comics, and to draw them well is to infuse your art with all of that.

NRAMA: One of the main storylines in the comic's first arc has concentrated on Wildcat. You've really drawn the face of a boxer on him, haven't you? So many details about this character and his costume are distinctively Eaglesham touches. Talk about how you approached this character, his costume and his subdued emotions during his conversations with his son.

DE: Having a son or a daughter is not something Ted ever concerned himself with. I think he has settled into his role with the JSA and his life in general was going according to his lack of planning. I get the feeling that in issue #3, ol’ Ted was holding his breath throughout that entire meeting with Tommy, afraid of how it was going to play out. He thought that Tom was going to pursue a relationship for sure. When that didn’t happen, I think Ted surprised himself by feeling just a little disappointed. What I wanted to indicate was that he was saying one thing on the outside while another side of him was awakening, one that thrilled at the prospect of being a dad. This conflict is all internal throughout the scene. Look at Ted’s eyes in Issue #3, Page 10, Panel Five, when he says, “Lemme finish my beer first.” Also, the panel where he says, “Good luck, Tommy,” and he’s headed out the door puts this inner conflict on display. He’s putting his mask back on before he goes out, but he‘s doing it roughly, scrunching up the material and hiding his face in the process. I think he’s hiding his expression from Tommy, not wanting him to see how he feels. I’m trying to capture the old-time boxer like Graziano and La Motta in Ted and throwing in a bit of Clark Gable as well.

NRAMA: And Tom's a cat!! How fun was that to draw? Or was it more challenging?

DE: It’s challenging to draw a were-cat because it’s so easy for it to look ridiculous. I think Tommy is a work in progress and will be for some time. I think if he’d turned into a real panther it would have been a little easier to handle. He is different!

NRAMA: You also got to draw Vandal Savage. How did you approach his character and demeanor? He's a cocky jerk, isn't he?

DE: He is definitely a jerk! There is no question about that. He is, however, a caveman in modern times. I imagine he could be a lot worse! I love that he is a caveman and I really went with that in my depiction of him. We begin with the entrance of a very polished general in full military dress. It was my intention to devolve his appearance steadily, scaling back his civility and ultimately his humanity as he descends into a limbic, caveman rage. The clothing gets ripped away, revealing the hairy body underneath. His hair braid breaks loose and his long hair is falling across his face to frame a screaming mouth or a red eye of hate. I found showing just a mouth while obscuring the other facial details to be scary as hell and disturbing. What I find interesting about Vandal is his terrifying rage. Unlike the rage of most villains, it is blind and unreasoning. His rage is a pure expression of the id in all its furious uncontrollable glory. Like a bull seeing red, he will come at you and stop at nothing until he gets you. This proves to be his undoing as it is a weakness that Ted, a consummate soldier and fighter, noted and exploited by drawing Vandal out at the crucial moment.

NRAMA: You mention just seeing a mouth or eye -- it's interesting that the action sequence between Vandal Savage and the two Wildcats seemed to have a lot of close-ups, even more than the other battles you drew in this storyline. What does that type of sequence say about the battle?

DE: It is a furious, violent battle and I wanted to fill the frames with the combatants, despite the amount of property damage. Vandal’s fury knows no bounds, and so I literally wanted him challenging the boundaries of the panels themselves. I wanted him bursting those panels at the seams, threatening to explode right out of them and at the reader. Also, close-ups are just plain cool.

NRAMA: As long as we’re talking battles, Issue #4 started out with tons of action -- one group is battling at the Liberty Bell, one is protecting Courtney Whitmore's family, and Vandal Savage is taking on a couple Wildcats. You’ve mentioned that you thought part of the reason you got this gig was your ability to draw lots of characters. Well, you got your chance! How did you approach the battle scenes?

DE: A battle is a chaotic scene that the heroes ultimately bring order to. How they approach the scene of action is totally based on who they are and their abilities. I’m paying close attention to the combinations of characters as well. I like to show the characters interacting to help each other, fighting in tandem and bailing each other out of tight spots. I think this is integral to the Justice Society approach to team action. They are less of the sudden and violent strike force and more of a family. I want to reflect that even in combat. There are relationships and bonds in this team that make the consequences of combat potentially worse. Even with this approach, I still think the Justice Society makes for a great fighting unit, being able to mount an endless combination of skills and a profound depth of experience.

NRAMA: We have to talk more about Starman. One thing that is so striking about his character is that his "look" doesn't fit his personality at all. Dr. Mid-Nite just looks quiet and bookish, Stargirl looks colorful and bright, and Hawkman looks tough. But Starman's muscular statue, dark colors and almost cosmic presence makes you think that when he speaks, he's going to have a deep voice and an intimidating feel about him. But he's such an unsure goofball! How do you play with that contradiction as you draw him?

DE: That duality plays out fine because when it counts, we see the heroic Starman come to the fore and do what that physique implies he can do. He is a potent character either way, and that’s what I love about him. We see him in his bizarre form more often than not so we get to enjoy the dichotomy, milk it even, but at the end of the day we can still count on him to be the powerful superhero we want him to be. He is the best of both worlds and a brilliant design of Geoff’s.

NRAMA: Switching gears entirely, but specifically for Ma Hunkel fans, how do you think your decision to put Ma Hunkel in a suit is working out? Does it fit?

DE: I think it was the right thing to do. I understand the desire of some to see the old Ma in her apron, baking cookies and darning socks, but to me that is ageism. Ma Hunkel is a grandma, but far from an ordinary one. I think Ma is tough and capable still. I think she is an imposing five-foot-eleven to six-foot-tall woman, and around two hundred and thirty pounds. This old lady can still hurt people. Ma is a former hero herself and she knows what it takes to be a hero. This grandma took on the crime syndicates of her time, and I just can’t see her sweeping floors and dusting statues. I think she is still a hero and I want to see her become more active in the Justice Society. She knows the JSA facilities and how to use them, and I would love to see her occasionally fulfill a backup role on missions, just like Alfred the butler! I also want her to be the administrative face of the JsofA, and I think that position should be dignified and stately, with the attire appropriate to those ends.

NRAMA: You got to draw Sandman for the first time in Issue #3. So much for facial expressions! The guy's got a mask that doesn't move! How do you approach this character? It must be impossible!

DE: What can I say? He’s a mystery man and that’s what we love about him! The key to Sandman is to hide what he’s thinking to keep us guessing.

NRAMA: So you’re using the mask as an asset? Hiding his characterization?

DE: He’s the one character where characterization is a no-no. Characterization would ruin his character! Expression? Blasphemy! Sandman is about deep mystery and he is fiendishly designed by Alex with that in mind. No humanity shows through at all. He could be a bag of bones for all we know. Creepy!

NRAMA: Speaking of creepy, you know, I barely notice Obsidian anymore, but he's always lurking around in the shadows. Will he have a bigger role in upcoming issues?

DE: We will be looking at Obsidian in more depth in future issues. Until then, be careful what shadows you hide in!

NRAMA: You've created a lot of characters for this comic, Dale. I know Alex Ross was behind the costume designs and Geoff probably gives you a lot of insight into the characters. But how challenging was it to design/re-design some of the characters and their looks? Was there added pressure on this job because of it? Or was it something you enjoyed?

DE: I always enjoy creating new characters because it gives me the opportunity to reside in that character’s mind and make determinations about how they will act and be. I’m simultaneously playing the roles of actor and director, and it’s a lot of fun. Art to me isn’t just drawing superheroes; it’s about expanding your mind intellectually, artistically and emotionally as you create. There’s no pressure involved in this kind of development because it comes naturally to me. Can you tell if a character is thinking while he isn’t speaking in a panel? It’s personality development that will get you there and the work you put into your art toward that goal is some of the most rewarding you will do in your career.

NRAMA: You know, I was trying to put my finger on what’s different about your overall depiction of a scene. And it occurred to me that while other comics usually feel like a well-staged movie, your art feels more real. And I think part of it is because you seem to draw characters in more candid poses -- sometimes even with their eyes closed or only part of their face showing at the edge of a panel. At the risk of oversimplifying the effect -- to me, it feels more like a documentary than a film. Is that something you do on purpose? Do you prefer "snapshot" staging as opposed to more strict theatrical views of these scenes?

DE: I use both approaches, but I prefer the natural staging for all my scenes. I never intended it as a “style” per se, just an honest interpretation of the characters and their emotions though the various scenes. I enjoy composition that takes you to the main idea but via unexpected routes. I want people to travel through the panel, not just focus on the cool hero shot and quickly moving on to the next cool pose. There is a story going on within the panels, and I want readers to enjoy every moment of it. I think all of that contributes to the “documentary” style you mentioned, presenting an approach that is more laden with “point of view’ and “perception” than it is compositional shape or pattern. It comes off as more “real” this way.

NRAMA: On the other side of the coin, let’s just talk fun now. Favorite scenes so far -- either that you enjoyed as a reader and/or thought you executed well as an artist?

DE: My favorite scenes so far? Our first view of Starman as he sings and dances his way back to the Sanitarium. Maxine’s introduction tugged at my heartstrings a little. I think a lot of people can relate to the alienation she feels. I loved the Ted and Tommy scene in the apartment as they get to know each other in an awkwardly encapsulated way. Hawkman’s explosive entrance in the park was an absolute joy to draw because he was in his glory with that entrance. Tommy revealing he’s a were-cat; the entire Vandal/Wildcats fight; and a two-page spread from issue #6 that I can’t talk about!

NRAMA: Mental note: Check out two-page spread in Issue #6. OK, Dale – with this huge cast, what character do you look forward to developing more?

DE: I’m looking forward to Maxine maturing as a team member. The developing relationship between Ted and Tommy promises to be very entertaining. I’m really anticipating some growth from Damage as well. He’ll be a character to watch down the road because more than anyone, he has a long road to travel before he’s integrated fully as a member and as a friend. I’m also interested in seeing Ma Hunkel expand her role in the Justice Society and maybe even step up to the plate in the field in a support role.

NRAMA: What's next from you? What are you drawing now, and can you tell us anything about the story?

DE: I just finished issue #6, our second part of the JSA/JLA crossover. We’re going to learn more about the mysterious Starman, and while we’re doing that, we’ll keep everyone entertained with a JSA/JLA fight against a massive villain. Let’s just say we’re going to find out what everyone is made of.

NRAMA: Besides your penciling, there's also a lot of critical acclaim for the comic as a whole, including the writing, coloring ... you name it. Assuming you agree it's deserved, how do you feel about the work you are all doing -- and what does it mean to you as an individual to be involved in Justice Society of America now?

DE: The entire team is dedicated to this title. Geoff is writing some of the best comics I’ve read, writing the kinds of stories that thrill the kid in me, but packed with the kind of human drama that can bring a tear to the adult in me. He balances the two to a striking effect. The result is a depth of story that’s difficult to match in comics today. [Inker] Ruy [Jose] brings a craftsmanship to the pencils that is just incredible. I look forward to getting my pages back just to see what he came up with. What I get back is faithful to the pencils, but improved and enhanced. Ruy is an artist, and it really shows in his background renderings. He brings excellence to the smallest lines in the work. There is absolutely nothing he cannot ink well and I am very fortunate to have his gifted ink work over my pencils. [Colorist] Jeromy Cox is phenomenal. His work on issue #4, despite a very tight deadline, just floored me. I have never, ever had such a talented artist coloring my art. Getting my comic copies each month has become a joyous occasion because of these guys. I really can’t thank them enough for their excellence and their dedication. We have the chance to create something truly unique with the JSofA, something that will stand out on the racks as the team book from out of left field.

I can easily say that I have never been in such a great creative situation.

NRAMA: A lot of critics have called this your best work ever. Are they only saying this because they just now noticed you, or do you think you've really stepped up your work for this story?

DE: My first reaction is to say that they just now noticed me, but then I went back and compared my work of the past with this work and I agree: This is a career best run so far. There are two reasons for this. The first reason is the excellence of the material I’m getting. There’s an immense depth of character to this cast, and Geoff is taking full advantage of that, creating a wide variety of characters and scenes that are allowing me to stretch out and grow as an artist. The stories project drama, action, danger, horror and humor. I think that rich panoply is allowing me to thrive artistically like never before. The second reason is that I don’t think there were high expectations for the book, and as a result, we sort of did things the way we wanted to do them. We created the kinds of characters we wanted to create and openly decided we wouldn’t tell this epic team tale the way it was supposed to be told. We did it our way, and judging by the response from Justice Society of America readers new and old, we have their permission to keep right on going.

I feel like I’m on a book that can allow us to tell any kind of story we want. There are no limits. For these reasons I just can’t get enough of this book – it’s really inspiring me to rise to the challenge and do the best I can.

For more information on Dale Eaglesham’s art, visit www.daleeaglesham.com

[palefire]

Dale has always been very good - but I would agree that this is the best he has ever been.

[Duke Jupiter]

It's Dale's work that keeps me buying the book. He's awesome.

- DJ

[KoozyK]

i'm really enjoying the series. the art is great! part of me wishes the variant covers are the actual covers. while ross' covers are great, i like the variant more, but i refuse to pay extra for a cover.

[EmeraldGuy32]

Eaglesham is an AMAZING penciler. Probably the best that DC has that's not only on covers or wildstorm.

[prolix]

This is a title I was holding out on - waiting for a hardcover copy. I hope my strategy doesn't bite me in the butt - this book gets rave reviews everywhere!

[foxhound09]

I wish he didn't make Power Girl so muscular. Everyone else is great, especially Hawkman.

[New Way]

Originally Posted by foxhound09

I wished he didn't make Power Girl so muscular. Everyone else is great, especially Hawkman.

I agree, ever since, Alex Ross did it their seems to be trend to make her look almost masculine.

[PreCrisisDC]

Kudo to Dale E.--his art on this series so far as been nothing short of phenomenal..not too flashy, but just the right touch of sophistification and not overlooking the subtleties. All fans of a book they love want is great writing and art that is not distracting(eg. Bachalo and Ramos on Xmen).

[dantebk]

It's insane how good this book is, especially since I was never a huge fan of the old JSA title Geoff Johns wrote... this doesn't even seem like the same writer or the same team. It is simply AWESOME. I hope this creative team stays together for a long long time.

[Moriarty]

Yeah, Eaglesham's certainly come a long way since his contributions to NML. Keep it up!

[Ye Olde Iowa]

This book is, hands down, without a doubt, the single best superhero comic on the stands and a HUGE part of that is the fact that Eaglesham is all aces. I think that this interview showcases a huge reason why. He isn't just drawing the script by mapping out the characters and haphazardly putting it all together, he really tries to understand the characters and get inside their heads. That makes for some of the best art of his career and some of the strongest art in mainstream comics today.

[JackHarkness]

Originally Posted by MattBrady

DE: Any scene where innocents pay the price for the malicious goals of others is a hard scene to draw.

Good luck drawing a Geoff Johns comic, then...

[BanMan]

Originally Posted by New Way

I agree, ever since, Alex Ross did it their seems to be trend to make her look almost masculine.

Apparently you can't be "heavier" without being muscular if you're a superheroine (or Big Bertha). There really is little to no reason for her physique to be as masculine considering the whole being a kryptonian angle.

[biscuit022]

Justice Society is definitely one of DC's best books right now and Eaglesham's art works perfectly with Johns' writing. Great interview.

[MichaelH]

Originally Posted by prolix

This is a title I was holding out on - waiting for a hardcover copy. I hope my strategy doesn't bite me in the butt - this book gets rave reviews everywhere!

The HC is solicited in the current Previews.

[kong]

Originally Posted by Duke Jupiter

It's Dale's work that keeps me buying the book. He's awesome.

- DJ

I concurr!

[Kevenn]

I thought Eaglesham's work in Villains United was byond incredible, but his Justice Society artwork is blowing even that out of the water. Simply amazing, and a true pleasure to behold each issue of his.

[ultraaman]

I strongly second the praise heaped on Dale. I've re-read the first 4 issues about 3 times now and they still blow me away. But let's not forget how magnificent the coloring is - like Laura Martin (Depuy) magnificent. The books rocks hard and while I also like JLA, this book far and away deserves the moniker Flagship Title.

[tomburgos]

Originally Posted by New Way

I agree, ever since, Alex Ross did it their seems to be trend to make her look almost masculine.

I totally disagree.

I am not gonna argue with you what's sexy or what is "masculine" but muscles don't necessarily make anyone masculine, male or female.

If anything, artists like Adam Hughes, Dale and Paul Pelletier know how to perfectly balance their musclebabes, they draw them muscular, sexy AND feminine, imo.

Just like many male superheroes aren't hugely built and ripped (Spidey, Blue Beetle) like the norm is, -and nobody calls them "feminine"-, I think it's refreshing that not all female superheroes are stick-thin with implants and supermodel-looking,
I love that PeeGee is exactly the opposite of the other Kara, meaning, healthy-looking, big-boned and built like a truck.

[durkadurka]

Originally Posted by MattBrady

Newsarama: We just saw in issue #5 that you took a break from interiors. Why? And when will you be back on interiors again?

Dale Eaglesham: I'll be back on interiors in issue #6. Issue #6 is a really busy, intense issue, and I knew it was going to require special attention from me. There were time constraints emerging at the time, constraints that would definitely have forced me to reduce the quality level across the board. Given the potential of these crossover issues, Geoff and I thought it would be better for the fans if I could put everything I had into one issue with a fill-in artist doing the same in the other. It was a tough, tough choice as to which one to do and which to let go. However, in giving one up I was able to put everything I had into Issue #6, and I was thrilled about that. Fernando Pasarin stepped in and did and amazing job on Issue #5, so all in all, it was the right move to make.

Fine, i'll accept it. Bah i say. Bah! Issue 6 better blow my ever-loving brains out.

[Korvac]

Dale Eaglesham is a fabulous artist and although he could probably have his pick of books to draw, I really hope he stays with JSofA for a long time.

[LunarDaydreamer]

Dale Eaglesham - art God and lovely bloake to boot.

I love how he brings such nuance to his figures, within stance, movement, their own characteristics and mannerisms which speak far beyond the written word.

[achilles140]

Originally Posted by New Way

I agree, ever since, Alex Ross did it their seems to be trend to make her look almost masculine.

I don't know, he draws her muscular, sure, but a LOT less than has done with some artist, including Ross. I like his Power Girl. Though I wish he'd get rid of the one button over the shoulder cape and go back to the classic two button outfit.

I agree though that he's doing some of the best art in comics these days. He's just a huge asset to the book, no two ways about it.

[achilles140]

Originally Posted by BanMan

Apparently you can't be "heavier" without being muscular if you're a superheroine (or Big Bertha). There really is little to no reason for her physique to be as masculine considering the whole being a kryptonian angle.

Yeah, you're right, there isn't any real reason for her to be very muscular given her heritage, but Dale doesn't draw her as muscular as a lot of artists.