by Troy Brownfield
Earlier this week, we had the first part of a two-part interview with Fabian Nicieza, covering his earlier work and
Captain Action. We now connect Part Two to our ongoing
Trinity interviews, as Nicieza will be co-writing the totality of the book with Kurt Busiek.
Newsarama: Fabian, you're working on
Trinity with Busiek, Bagley, and the gang. How did you get involved?
Fabian Nicieza: Basically, I think the fact Kurt and I get along and can work together with a minimum of ego clash, the fact that I know more about the DCU than most people would expect, the fact I’ve known Mike Carlin for about sixty years – I still got some Transformers inventory pitches to show you, Mike – and the fact that I still type pretty fast all created the perfect storm in my favor.
NRAMA: Can you explain at this point what the split in the book is like? You're not exactly writing back-ups . . . will you have a consistent cast?
FB: The nature of the back-ups is understandably a question raised by lots of potential readers, and we’ll keep telling you the cold hard truth so as to dispel those concerns. The back-up stories are second chapters in each issue that will expand on various aspects of the lead, follow certain story threads in greater detail, develop certain characters
(villains and heroes alike) and introduce new characters while always being not only in service, but happily quite integral, to the greater whole.
Kurt came up with a
big story with tremendous scope and scale – think of how he approached a cosmos-quakin’ rumble like
JLA/Avengers a few years back. We’re dipping our toes into the worlds of outer space-science fiction, the mystic realms and the supernatural and even seemingly innocuous stuff like museum robberies and an L.A. girl who does tarot readings to make some cash.
All of it ties together in a big way: the gathering of the means by which a group of people plan to access and usurp a wellspring of tremendous power.
We’ve been joking that it really is such a big story that 52 issues might not be enough to accommodate it! Certainly, there’s more than enough story content for the back-ups to keep us very busy and very integral to the whole.
We don’t really have a “consistent” cast in the backups, but we sure have a lot of great characters appearing, some of them semi-regularly. The lead story focuses on the
Trinity, who have a personal as well as professional stake in the simmering crisis
(I didn’t mean Crisis, crisis, I just meant crisis crisis!), but the story threads weave their way through many aspects of the DCU, and that’s where we come in.
So far, in eight issues, I’ve gotten to write Morgaine le Faye, Green Lantern, the return of Ga—well, you’ll see, Hawkman – freaking Hawkman, baby! – Firestorm and Despero, while also introducing brand-new characters like Konvikt, Tarot, Enigma and more.
As I work on the plots for #9-#13, they include Nightwing, Robin, Oracle, Riddler and continues the story thread involving Hawkman – freaking Hawkman, baby! – and Ga—well, you’ll see.
NRAMA: Clearly, this is a very collaborative effort, and you've worked with these fellows before. What's the process like on your end?
FB: Kurt had a rough outline for the entire story broken down into three acts. I read that months ago and sent a ton of notes. He broke it down into a very tight first act while keeping acts two and three loose enough to accommodate shifts in the wind.
We talk on the phone several times a week, fleshing out the details of the lead and what the back-ups will need to do. He sends me his plot for the lead and I send back notes when necessary. I send my plot breakdown and he tweaks, cajoles and sometimes even connives, and then I write the final plot. Same with script, I see his and provide feedback and he sees mine to debabble it. I babble too much in script, especially when I know it’s just a rough draft, so he takes out chunks of babble, thereby debabbling it.
We all share the artwork back and forth, usually commenting in flurries of group emails where everyone spends far too much time being nice and complimentary of each other
(all of which goes completely against my better nature ;-).
And all of it gets funneled through Mike Carlin and Liz Gehrlein, who are wondering what the heck they ever did in this life to be punished by having to edit a weekly title directly on the heels of Countdown
(here’s a clue, they’re good at what they do, that’s why they get the tough assignments!).
NRAMA: Do your stories have a consistent team of artistic collaborators?
FB: So far, yes, and we’re hoping to maintain a steady group of what I am calling “The Not Ready For Prime Time Players.” How many of you are old enough to get the reference and how it specifically pertains to this series? Feel free to discuss on the boards and I’ll chime in later.
We have Scott McDaniel with Andy Owens, Tom Derenick with Wayne Faucher and at least three issues of Mike Norton’s sweet storytelling with finishes by the I- can’t-believe-I-finally-get-to-work-with-him Jerry Ordway.
We’re getting a good feel now for which artists work best within the context of the tones required by each story, i.e. SF adventure, street stuff, magic-stuff, etc. Maybe a few more miles into the marathon, they’ll gravitate towards those “specialties,” but right now, I’m having too much fun – and I hope they are as well – getting everything but the kitchen sink thrown at them. Scott got to draw Despero, Kanjar Ro, Hawkman and Nocturna in one month! Who is Nocturna? Someone post her pix, please. Thank you.
Troy’s Note: We should have a picture right here. Nocturna was a one-time adversary and love interest for Batman. She was so ingrained in the lives of the cast for a while that she adopted Jason Todd. When last seen, to our recollection, she had been stabbed by her former partner, Night-Slayer, and sent up in a balloon. Really.
NRAMA: In your career, you've done less work overall for DC. Is it harder shifting into a "DCU" mindset, or did that come naturally to you as a reader?
FB: Not at all. I’ve been reading DC Comics since I was 5 years old. I cut my comics teeth on DC. I have thousands of DC Comics from the sixties all the way to present day, where I’ve dropped my hard-earned cash on the counter to buy my comics every week like all the other readers.
I have wanted to write for DC since I’ve wanted to write comics. I almost sold a
New Talent Showcase story back in like `81 while I was still in college. I almost got a job in the DC publicity department in 1985. I co-wrote the
Justice League: Midsummer’s Nightmare series in the early 90’s and continued to try pitching stories all through the first part of this decade. Luckily, when Kurt asked if I could help him out with some schedule crunches on Superman a couple years ago, it kind of got my foot in the door and some of the editors there realized I’m not the complete ass I seem to be, more like a half-ass. But a lovable one.
Comics writing is only a part of my overall work week now, so I couldn’t be happier getting to play in the DC sandbox, especially on a weekly series with all these people involved. It makes my “comic writing days” very sweet and something I am anticipating with excitement now.
NRAMA: What characters out there in the DCU might you wish to get your writer's hands on someday?
FB: Ironically enough, I’ve gotten to write my favorite all-time comic book characters in the last year: Nightwing and Superman. I also got to write some JSA characters in a
JSA Classified issue last year and now in
Trinity, I’ve already gotten to write another character I’d been
dying to get a shot at, namely Hawkman.
That being said, even with some friggin’ great writers working on Nightwing, Superman and JSA right now, I’ll write any of those guys again any day of the week.
Next on my hit list: everyone else in the DCU. Honestly, there are too many characters I want to try that listing them would take too long.
NRAMA: Shifting gears a bit, you've been a consistent, prolific writer across several larger companies; what advice might you have for the young writer who wants to break in at a big company?
FB: Honestly, I don’t know that breaking in has changed all that much from when I did portfolio reviews for Marvel. You have to find and maximize the opportunity to get noticed. You either have to know a writer, artist or editor in the business, build a body of work in independent comics or build a body of work outside comics, either film, television, prose, etc.
The big change is that easy access to the Internet should make it easier for people to see your work without requiring the expense of having it printed, delivering it to people, etc.
NRAMA: What other projects do you have in the offing?
FB: “Other” than 40 pages a month on
Trinity? Other than all the non-comic work I do with Starlight Runner Entertainment in NYC? Sheesh, okay, taskmaster…
Well, the
Captain Action material I did for Moonstone prior to
Trinity will start coming out in April. The 5-part
Batgirl story with Kevin Maguire for
Batman Confidential will be starting with issue #17 in May. It’s a fun romp with lots of humor and naked flesh (something you really can’t say too often about story arcs in
Batman Confidential).
Otherwise, I’ll wait until we have
Trinity going on a real steady flow before sniffing around for any other possibilities at DC. I’m sure my schedule could accommodate more, but our main focus has to be on making
Trinity as good as we can possibly make it. In that, I really think we’re off to a very good start…
Previously:
The Trinity Sessions: Part I: Kurt Busiek
The Trinity Sessions: Part II: Mark Bagley
The Trinity Sessions: Part III: Busiek's Back