GARY FRANK SIGNS EXCLUSIVE WITH DC

[MattBrady]

by Steve Ekstrom

No sooner does Gary Frank’s first issue of The Incredible Hulk hit stands when DC Comics and the artist confirm for Newsarama that he has signed an exclusive contract with the publisher. As for his project? A short while back, writer Geoff Johns hinted at a big name artist coming to Action Comics after the “Bizarro World” arc comes to a close. Enter Gary Frank—the new regular artist for Action Comics.

Newsarama contacted Frank a second time to get insight into this sudden change of venue and to find out some specifics about his upcoming project with Geoff Johns and Richard Donner on Action Comics.

Newsarama: With your return to a fan-favorite character like the Hulk just now coming to fruition, what prompted this move to DC Comics?

Gary Frank: Nothing more or less than one of those projects you don't turn down. It's not that I chose DC over Marvel but, as a freelancer, you have to go where the project is that excites you the most at the time.

NRAMA: In your last interview with us, you seemed to be really happy with your return to the Hulk—did a change occur?

GF: I finished my Hulk commitments a while ago—long before the other interview—so there hasn't been a dramatic falling out with Marvel. I totally love drawing the Hulk and I really hope one day that I get the chance to return to the book.

NRAMA: Was there a situation at Marvel that may have caused this departure? Likewise, was there anyone in particular from DC who aided in your decision to make this change?

GF: Ha! You really do smell a conspiracy, don't you? Honestly, there is nothing beyond the fact that, at this particular moment in time, for reasons I'll explain, DC have the project that I most want to do. I have nothing but good things to say about my treatment at Marvel. Joe and Axel and the others have a sofa and some blankets ready for them if the ever get thrown out of a hotel over here in Europe—not an unlikely scenario.

Okay, Okay, Mark Paniccia proposed marriage and it all got awkward. There! There's your scoop. (laughter)

Seriously, though, this is what happened: Over the last few years I've kept sporadically in touch with Geoff Johns. We always talked about doing something together but the timing was always bad. The last time I was out of contract with Marvel, it was in the middle of Supreme Power and I loved the project too much to consider leaving.

Then, my contract ran down again and Supreme Power ended; I felt this was a good occasion to weigh everything up. Geoff was telling me about his plans for Action and I just kind of got swept away with it all. Then Paniccia turns up at my door with this giant-ass diamond ring…

NRAMA: Sounds romantic and complicated! It’s been almost 10 years since you’ve done anything substantial for DC Comics, (you worked with Peter David on Supergirl)—in your opinion, what are the differences in the two working environments at Marvel and DC?

GF: It's hard to say since both companies are continually evolving. I guess Marvel has a little more of a seat-of-the-pants feel than DC. I don't know if that feeling in any way reflects the reality but that's how it seems from the periphery. They both have their styles and they are both comfortable in the respective skins. I could never sign a lifetime contract for either because I enjoy elements of working for both.

NRAMA: Are you expecting a change in the creative environment transitioning from Marvel to DC? Is one company more “creator-friendly” than the other?

GF: Well, Marvel has been very creator-friendly to me personally for the last few years. I guess you'll have to ask me the same question again a few years from now; I'll let you know how DC is doing.

NRAMA: Are you a fan of DC’s venerated roster of characters? If so, who are some of your favorites?

GF: When I grew up, the only times I could buy American comics were when I visited my grandmother. There was a small newsagent there that had a very occasionally refreshed stock of comics which were almost entirely Marvel. That fact, coupled with the black and white UK reprint books like Spider-Man Weekly meant that I grew up making mine Marvel.

When I got into comics professionally, I still had a slight partisan hangover from those days but—after working for a few years with DC—I realized that there was another, equally exciting, universe of characters about which I was pretty ignorant.

Another thing that professional involvement has taught me is that, not matter how much you think you love a character, the most important thing about a project is the writer. I had no particular affection for the Squadron Supreme until I saw what JMS was doing with them.

I guess nostalgia will always mean that the Marvel characters have a special place in my old, dried-up, freelancer heart. As far as working on something day-in, day-out is concerned, it's the quality of the story that really matters.

NRAMA: Would you like to have a hand in creating new heroes and villains for the DC proper? Or would you like to just play with the toys that already in their toy box so to speak?

GF: Well, since a lot of the toys are new to me anyway, I'm happy playing with what they give me.

NRAMA: How well do you know Geoff Johns? This isn’t your first collaboration with him, right? How did the two of you get to know one another?

GF: This is actually our second time working together. We did a couple of Avengers issues way back. We stayed in touch by e-mail but it's only in the build up to the Action Comics project that it's become clear how close our sensibilities are. We've talked a lot about approaches to the characters and it's been uncanny how "on the same page" we are.

NRAMA: Working on Action Comics is quite a big responsibility in that it is DC’s most time-honored title—starring their number one, flagship character—no pressure right? (laughing)

GF: I'm getting a stamp made up that says, "Geoff wanted me to do it that way." and that baby is going on everything.

The thing with Superman, though, is that he is—and I don't think even Marvel would argue with this—the greatest superhero icon of them all. Every artist must, at some point in their career, try and tackle Superman. He'll always be there and over the years there have been, and will be, a lot of Superman books. The trick is to try to get on a great Superman book. You have to pick your moment and I'm absolutely confident that this is it.

NRAMA: Being privy to such a large universe full of characters—what other DC properties would you want to work on after Superman? Do you prefer single character titles or would you rather get your hands on something like the League or Teen Titans?

GF: At the moment, I'm not thinking past this book; I hope to make this a substantial run. I don't want to spend the next few years flitting around from book to book when I could be getting to really know a set of characters and letting things develop.

NRAMA: In your mind, as an artist, what is the best kind of rapport you can have with a company? With an editor? With a writer?

GF: It really depends on the people involved. You definitely need to be able to trust an editor. That's paramount.

Some writers know exactly what they want from the beginning or—if they are going to debate things—they'll do it with editors or other writers before they put pen to paper. Then it's simply a matter of the artist interpreting their vision. This approach works partly because it gives a clear division of responsibilities. It's less likely that the artist will find himself trying to defend an alternative vision or feeling that his opinions aren't being given weight. It's also fun to see the story unfold in the same way that the readers eventually will.

Other writers may want to pick your brain and spitball throughout the process. This may not throw up a single usable idea, but it's great for generating enthusiasm. This approach gives a much deeper feeling of investment in the book and—when things go well—a great feeling of satisfaction too. It's also possible that, once in a blue moon, an artist can have a good idea, too.

When all's said and done, though, it's unfair for an artist to expect a writer to change their workings methods. So, ultimately, the only two questions you need to ask yourself are ‘Am I going to enjoy doing this?’ and ‘Is it going to be a good book when it's finished?’—you can get a ‘yes’ to both of those questions in an enormous range of different situations. If you get a ‘no’ then you just have to pass.

NRAMA: For the young aspiring artists, are there any pieces of advice you can give in regards to interaction with and from potential employers—things to understand, things to beware of, things to not tolerate?

GF: Because I'm based in Europe, it's always been impossible for me to really know what's going on in the ‘Comic Halls of Power’. So, my approach has always been, by necessity, one of keeping my head down, doing my thing and hoping for the best. Even if, on occasion, I've picked up the odd bruise that I didn't see coming from this approach; I'd still say it's the best one to take.

In general, all of the companies want to make you happy. Every time there is a convention, there'll be a bar full of freelancers sharing their experiences, good and bad, and the companies know this. They want everyone to be saying, "It's great over at ‘X Comics’!" not, "I just got shafted by ‘X Comics’!” so they've become pretty good at looking after freelancers.

NRAMA: To close, what can readers expect from your tenure on Action? Give us all a taste of things to come.

GF: All good things—Geoff and Dick [Donner] have some real challenges planned for the character, both physical and emotional. I guarantee that it'll be a fun ride.

From the art point of view, I'm going to try and chip away at some of the superhero baggage that comes with the character. I'd like to avoid, if possible, the traditional poses: chest out; hands on hips—those kinds of things. Geoff and I have talked a lot about the type of guy Superman is and how that would inform the way he carries himself. It's a lot of fun trying to work this stuff out and I hope that we'll have something that the readers will enjoy at the end of it.

[skeletorjr]

How often does poor Metallo end up getting his guts ripped out by Luthor? I mean really. Metallo, get caller ID! If you see Luthor's calling, don't pick it up!

[shady878]

Wow good move by DC.

[Charlie Hustle]

well that's sudden. Not a fan of supes but that's good news for people that are.

[Dragavon]

Ah crap, there goes my hopes for the Squadron.

Anyway, good luck to Mr. Frank.

[Clem]

So i guess Squadron Supreme has gone completely down the shitter.

[bcondray]

Awesome news indeed!!!!!

Gary Frank is awesome, too!!!

~giggles with glee~


Thanks DC...I can not wait....

[aylwinatrix]

Does this mean Action is going to start coming out on time? And will have HIGH quality art? If it means a change in the art department on Action, it is DEFINITELY great news. Frank's art has a stylish, Dave-Gibbons quality.

[zodcomplex]

GREAT move! Gary Frank's run on Hulk is one of my all-time favs. I can't wait to see him make his mark on Superman. Awesome news.

[Adm_Snackbar]

This is great news! No more Action Comics Quarterly!

[Bane122]

This raises my hopes a bit for Action. I've just not been digging Adam Kubert on the book.

[Jay Figgs]

Originally Posted by Dragavon

Ah crap, there goes my hopes for the Squadron.

Anyway, good luck to Mr. Frank.

Yeah, pretty much what I thought too.

[jza1218]

Wow...amazing looking Metallo panel

[Scorned1]

Best news of the day, Gary Frank will be doing great things now that he's with DC. I always thought he should be really drawing the JLA rather than the fake JLA of Marvel that they dressed up as Squadron Supreme.

[Marc_Spector]

I hate exclusive contracts.

[PreCrisisDC]

While, this is sad news as Frank's Squadron Supreme was the S%^#$, I am most certainly looking forward to his portrayals of the DC characters....just hope and pray what ever got into the Kuberts does not happen to him.

[stingermck]

Im happy and sad. Frank is my #1 artist and he drew a great Supes in Supergirl, and a JLA pinup, but what about Squadron now? He only said he was done with Supreme Power, or am i hoping against hope?

[Floyd Lawton]

Sweet...........

[vbartilucci]

Sweet merciful pancakes, this is some great news.

I've liked that guy's work since I first saw him on the Hulk, so I'm quite happy about this.

Almost makes up for losing Kitson.

[Punchy]

Why draw this rip-off when he could have stuck with Hyperion, the real deal?

[SMARTASS8]

THIS IS GREAT NEWS!! I usually hate these exclusive contracts. Since I only buy DC and independents, if a creator I like goes to Marvel, I'm screwed. It recenty seemed, imo, that Marvel got most of the good exclusive artists(although they don't have Perez, Jim Lee, and Benes), while DC got the good exclusive writers. With this deal, DC is definitely going in the right direction. They just need to get Ed Mcguinness back, along with Frank Cho and JRJr.

[bomaya]

Nooooooooo!

I love Gary's work and am sad to see him go exclusive with DC. Good for him though.

[spidertour02]

Why would Marvel hype up his Hulk run without having him locked up to a new contract? Jesus.

[Crusader K]

As a Superman fan this is totally awesome.

As a Supreme Power fan, I'm saying, "What happened?"

[RDuarte]

I'm glad Gary is going to get his exclusive benefits (steady pay, health care, etc,) but I's sorry to see him leave Marvel behind. He seemed to be doing some nice work on the Squadron and Hulk.

I probably won't be picking up his Johns/Donner/Action Comics stuff. That title has left a sour taste in my mouth, and I'm not quite ready to give it another try.