If I announce something i'm making sure I'm doing it.
I'm not used to saying I'm gonna do something and i don't do it.
I don't wanna be that kind of guy that just sits there and announces things.
I wanted something where I could explore comics and music at the same time.
As long as somebody is guaranteed a certain number of sales you know you're gonna keep seeing these vanity projects. I mean they have a place, they serve a function they can bring people into comics.
Since I started as a comic person then became a musician to me it was interesting because I have this really great, interesting fanbase that's really smart and energetic and uh how could I steer them towards a medium that shaped who I was? You know, steer them toward comics. That was really the goal, to bring a lot of readers cuz they were reading a lot of comics but most of them hadn't been reading American comics, they'd be reading manga sitting on the floor of a Barnes and Noble.
If you go to a really great shop that stocks really great stuff and it doesn't makes it feel like a super secret club there's tons of stuff to find all way time.
A lot of the other things in my life like making music, you know that's a very collaborative thing so I work on comics because it's not something that's a solo activity.
The whole thing about comics is the reason I think you shoot to be a comics author is because it's a very solitary activity and that you sit down and you're arguing with yourself that's kinda the plan.
I think the most important thing is that everybody is happy creating, and doing what they want to do, and have really great relationships with each other.
When you've written a song, sometimes it's really hard to wrap your brain around what somebody else is doing, or maybe the way that they see the song.
For Cave Carson, I have a co-writer, so that takes off a lot of the pressure.
I was talking to Cecil [Castellucci], who writes Shade, and I was saying to her, and she was saying the same thing, that I'm not even the same person who wrote the first issue of Doom Patrol, and that was six months ago. I'm a totally different person now, already. It's weird to look back at stuff, but it's an honor that there's a legacy of people who still keep it in their heads. It's really cool!
I have schedules that separate everything.
Thinking visually is my starting point, and then the writing happens.
I'm a visual thinker, so I think of everything visually, first. A lot of what an issue will become for me starts with me thinking, "What's a great cover?," or "What's the splash image?," or "What is the title of the issue? How do I see the text?" I think about all of that stuff, and then the story comes out of that imagery.
I don't know if I could [do a TV show]. I would if it had nothing to do with the comic. It would be really weird and maybe not feature any of The Umbrella Academy characters.
Now I have notebooks that are filled up, mostly with Doom Patrol, but also angry letters to myself mixed in with the comic.
It's cool if people want to make movies of stuff, but I'm really interested in the comics.
I start my process hand written, and then I dump it in. It's like you're getting a second draft 'cause when I put it in the computer, I fix it and change stuff. That's my process. I picked that up from speaking to Neil Gaiman and Joe Hill. I was messing around with the idea of starting to write more, writing a book and doing things like this, and I reached out for advice. They were like, "Oh, we hand write, and then we dump it all in." I was like, "Great! There's no more blank pages."
Sometimes it can be really exciting, but I avoid the blank page now. What I do is hand write everything. When you're hand writing, there's never a blank page, really. There's so much you can do with that.
The way I write is that, every time I reintroduced a character, I'd have to face some kind of inner demon.
Cecil Castellucci is writing Shade, who is the perfect writer for it. I love her young adult stuff, and it's pretty hardcore and visceral, so I knew she was going to bring that to the book.
Jody Houser, who writes Mother Panic, has this noir-ish superhero style. She's very adaptable.
I think everybody's book is about somebody's daughter, in a lot of ways. I dig that.
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