A GOOD-BYE TO Y: MASSIMO CARNEVALE, JOSE MARZAN JR.

[MattBrady]

by Zack Smith

Here at Newsarama, we like to go the extra mile. So, when it came time to celebrate the final issue of Y: The Last Man, we decided to not only interview co-creators Brian K. Vaughan and Pia Guerra, but to also talk with some of the other talents who helped put the book together.

First, it’s cover artist Massimo Carnevale, whose paintings adorned every cover of Y from issue #23 to #60. Filled with symbolism and clever integrations of the “Y” symbol, Carenvale’s covers offered witty and subtle clues to each issue’s twisty contents. Carnevale generously answered some questions from over in his native Italy – and personally translated his answers into English. Here are the results.

Newsarama: Massimo, how did you come to work on Y?

Massimo Carnevale: There (had) already been contacts with Vertigo in the past, but I think they waited for the right story that could fit with my drawing style. So they offered me the opportunity to work on Y. I made a sketch for issue #23 where I decided to highlight the Y symbol, a distinctive sign that I used on many of the following covers.

NRAMA: Had you read the book before you started to work on it?

MC: No. I didn’t know Brian K. Vaughan’s other works either.

NRAMA: What types of artistic materials did you use in painting the covers?

MC: My coloring process can be defined (as) classic. I use the acrylics as if they were watercolors, because I want to have total control of lights and shades while I paint. I’m testing digital coloring (John Doe, Northlanders) and I like it because you can see immediately the result, I like it for the effects, more color controlling, etc…

However, I think that nothing can replace the feel of the paper, the colors’ smell, the brushes… I’m not saying that hand coloring is superior, just different.

NRAMA: How did you create the designs for the covers? Did you work with Brian and Pia in creating them?

MC: The creative part is what I like the most. I never had any problem with Brian and Will [Dennis, the book’s editor]. They always gave me generic suggestions letting me free to elaborate them as I wanted to. I always tried to not simply reproduce a scene inside the issue. I wanted the cover to be a story itself. Sometimes I succeeded to do it, sometimes I didn’t.

I (give) you an example, the cover for issue #40: Beth hanging between the clouds, like Michelangelo’s Adam on the Sistine Chapel, along with monkeys and sperms. I’m still wondering why they accepted it!

NRAMA: What are your favorite covers you did for Y, and why (pardon the pun)?

MC: I love synthesis and white, so I think cover #50 is my favorite.

NRAMA: What did working on Y mean to you?

MC: A beautiful opportunity to let (people) know my work in the US

NRAMA: Why do you feel Y connected so strongly with readers?

MC: Because it’s simple, but (at) the same time very fascinating to read. The writing is synthetic and the relationships between the characters are very intriguing. Then Pia’s work is perfect for Y.

For these reasons also people that don’t usually read comic(s) love Y.

And then for the covers…

NRAMA: What are you working on next?

MC: Now I’m working on Northlanders for Vertigo. Here in Italy, I’m working on John Doe and on an entire issue of Dylan Dog.

For the future, I don’t know. I don’t make plans too far ahead of time. I’m a quiet type of person.

Next, we have the only person besides Brian K. Vaughan to work on all 60 issues of Y. Inker Jose Marzan Jr. was previously known for such superhero books as Action Comics and The Final Night before coming to work on Y, but soon became an integral part in defining its look and feel. Now, Marzan tells us about his time on the book, and what it was like inking the end of the world.

Newsarama: Jose, how did you come to work on Y?

Jose Marzan Jr.: I’m not really sure... I had mentioned to my friend Trish Mulvihill that I was looking for some extra work, and she said to speak to then editor Heidi MacDonald. A few samples later, I was hired. However DC Art Director Mark Chiarello tells me that he recommended me to Heidi for the job. So, I really don’t know, and I’ve never had a conversation with Heidi about it...

NRAMA: You've had a very prolific career as an inker. What were some of the unique challenges that Y posed?

JM: I think that the most unique challenge in Y: The Last Man was that we were creating these characters from scratch and establishing their “look.” In all my previous work, the characters had their look, costumes details, hair styles, ways of being rendered etc. already established. With Yorick, 355, Dr. Mann, Pia and I were the ones establishing the look that anyone after us (Chadwick, Sudzuka, Parlov) had to follow. Nice feeling to set a standard look for a character, and then be able to tell others “No. You got it wrong”.

NRAMA: How closely did you work with Brian and Pia?

JM: I worked more closely with Pia than Brian. Brian and I would communicate a bit by phone or email usually if I had a question about the script as compared to Pia’s pencils.

Pia and I would stay in pretty close communication about the art. Perhaps less so later on than in the beginning. In the beginning there would be a lot more talk, discussing details about characters, locales, ideas on how to approach things etc., but after a while, we developed a short hand where Pia knew how I would/could handle things. I could see in her pencils what she was going for. I think there was a lot of trust between us in the work.

NRAMA: What were some of the challenges of keeping a consistent visual style for the fill-in issues?

JM: At first you think “oh geez, I have to match the fill-in penciller to Pia!”, but then you realize it’s not necessary. No one was explicitly asking for that, and comic readers know that different pencillers have different styles. It’s ok for it to be different. But at the same time, I did try to keep certain consistencies (355’s hair texture for example), but the fill-in pencillers were also aware of this and did their part in maintaining the look.

NRAMA: What were some of the techniques you used for inking the book?

JM: I didn't use any different techniques on Y than (I) had used on any previous job. I used my usual black India ink, hunt, Gilliot and Esterbrook pens, and #3 and #4 Windsor Newton and Raphael brushes. In a few instances I did drop in some rug patterns using Photoshop (I now scan the art myself and send it to DC electronically), but other than that, I’ve been very traditional.

NRAMA: What were some of your favorite moments and storylines in the book?

JM: As an inker, I always have favorite pages or panels. Areas that I think were drawn nicely, and that I’m proud of. Maybe a panel that no one but me will ever notice... Storylines? I’m partial to the “Ring of Truth” and “Kimono Dragons” storylines. I think they were good exciting and interesting reads, and I was pretty happy with how the art turned out.

JM: What characters/scenes/storylines were particularly tricky to render?

NRAMA: I think anytime we had an intimate moment it was a bit more tricky to draw/ink/render. Brian's script would call for subtlety in the character’s expression, which Pia would do, and it was up to me not to loose that expression. Other than that the characters were pretty straight forward to render. One challenge were all the locals! New York, straight, Japan, Australia, Paris etc... Toward the end I started to hate Paris! All those fountains, monuments, towers, etc! But I think we did a pretty good job.

NRAMA: What's next for you?

JM: Nothing at the moment.. I’m currently looking for a replacement book, so if anyone reading this would like to work with me (or have me work for them) drop me a line at jmjstudio@cfl.rr.com.

NRAMA: Thanks!

JM: Anytime! Thanks to you and to all those who supported us during our 5 year run. I think people will enjoy the last chapter to Y: The Last Man....

Next at Newsarama: Our salute to Y: The Last Man concludes with special testimonials from Brad Meltzer, Robert Kirkman and more!

[LunarDaydreamer]

Jose Marzan Jnr was an absolute legend in his time inking Flash, utterly flawless over so many great artists, in particular my favourite ever art when he worked over Oscar Jiminez's pencils.

One of the best and certainly the most unappreciated in the business.

Kudos to you, Sir.

[charles]

i'm so sad to see this book go... so much great talent was involved with it.

[Arkadian]

Both artists have done an absoloutely fantastic work on this, and they had a lot to do with why i even continued reading the books, as the covers were the first things that intrigued me to the series, but the art works have been just perfect for the series.

A thumbs up and thanks to all artists and creators for this wonderful book =)

[JusticeLeaguer]

I own an original art page from Y The Last Man featuring 355, Ampersand, Yorick and Mann, and I bought it from Jose himself. He's a really nice guy, whose work really added to the look and feel of this book and you see that on the original pages. I'll really miss this book, and Jose's contribution to it. DC get this man on another book ASAP.

Rob Zedic
Myths, Legends & Heroes
Ottawa,Canada

www.mythslegendsandheroes.com

[MR2525]

Carnevale's covers really grabbed me and made me want to not only get the trades but pick up the single issues as well. Great job to everyone involved. One of the best series to come out in a while - and I recommend it to everyone.

[Heidi M.]

Jose, I think it was a combination of Trish and Marc, or the "Marzan Mafia" as I call them. Plus I wanted someone with a lush, classic line who could bring out the heroism and strong compositions of Pia's pencils. I've been rereading all the trades this week and noticing what an amazing team you two became. Wonderful work!

[-Armando523-]

awesome artist.
much respect

[Thephanboy]

man i hate seein this series end. i loved this series since i first picked it up around issue 6 or so. last issue was a very nice end to this series. there will now be an emtiness in my pull list. great job and a great book.