Tag: Ande Parks

10 Questions for Ande Parks

Ande Parks
When you line up the residents of planet Earth in order of charm and charisma, Ande Parks is way to the front of that line. He’s a multi-talented guy who’s made a name as one of best inkers in the business (Green Arrow, Ant-Man, Exterminators, El Diablo, etc.), and as a writer of the acclaimed graphic novels Union Station and Capote in Kansas. He’s also written comics as diverse as the superheroics of Daredevil and the political satire of Uncle Slam.

He lives in Baldwin City, Kansas (where he may be better known as a member of the local school board). Want to catch up with Ande? Your best chance is on Facebook.

Question 1: When did you first decide that you wanted to create your own comics for a living?

After a couple of pointless years of college. I only went because that’s what was expected. I had no idea what I wanted to do for a living. After a couple of years, I decided to give comics a try. I liked inking, so I got a job at Pizza Hut and started doing samples and going to shows.

Question 2: Who has had the biggest influence on you outside the comics industry, and how did they affect your life?

Something in my genes makes me stubborn and independent, and those two things are essential for making a go of it in this silly business. My dad has probably influenced me more than anyone. After that, my mom, and then my lovely wife. My wife’s support has meant more to me than just about anything in the 18 years of our marriage.

Question 3: Who has had the biggest influence on your comics career, and how has that person changed your work?

I fell in love early with Jack Kirby and Neal Adams. The biggest overall influence, though, has probably been Frank Miller. His voice pushes me to be bolder, simpler, more direct, whether I’m writing or inking.

El DiabloQuestion 4: What do you do to recharge your creative batteries?

Usually, I turn to the little bookshelves right next to my drafting table. Those shelves are full of work I love, from Neal Adams’ Batman work to lots of Kirby to the best of John Byrne. Oh, and lots and lots of Frank Miller. Also close at hand are the Kurtzman EC war books. Sometimes, when I need help writing, I’ll read some prose that I love or put in a movie with great writing; some Welles, Scorsese, or the Coen Brothers.

Question 5: Describe your typical work routine.

I try not to work more than six hours a day, by which I mean six hours actually spent at the board or writing. That doesn’t seem like a lot, but that is six hours of real concentration, and that’s about all I can muster, happily. How many hours of real concentration does the average person in the workplace pull off each day? The kids are in school now, so I try to get most of the work done during the day. I often put in some hours at night, though. I left things like all-nighters behind a long time ago — I’m too old for that nonsense.

Question 6: What writing, drawing, or other tools do you use?

I ink with Hunt 102 and Brause 511 pens, and a Raphael #3 brush. I write with Word.

Question 7: What element of your work gives you the most personal satisfaction?

Knowing that I have written a scene such that it fulfills my expectations is the greatest joy in my career. It happens very infrequently.

Question 8: What has been the most rewarding project in your professional career – in or out of comics – and why?

The four year run on Green Arrow with Hester, and Capote In Kansas. To be identified artistically with a character that Neal Adams did such incredible work on is mind-blowing. With Capote, I feel like I did a genre I love, historical fiction, about as well as I am capable of.

Question 9: We’ve all met very talented newcomers who are trying to get their first professional projects. What’s the best advice you’ve ever heard given to a promising new creator?

I don’t know where I got this, but I always tell people who come up to me at shows, saying they want to do comics, to go ahead and get busy! It’s not like you need a huge budget to make a comic. Draw it on some typing paper and head down to Kinko’s with a few bucks. Do some good work, don’t give up, and things will happen.

Question 10: Time to get philosophical: What’s the most important “big idea” that you’ve learned in life – in or out of comics – and why is it important?

Find out who you are and don’t be afraid to be that… whatever it is.

Want more? See the index of “10 Questions” interviews.

Discuss “10 Questions” in the ComicsCareer.Com Forum.

Are you a professional comics creator? Participate in the 10 Questions project.

10 Questions for Phil Hester

Phil HesterComicsCareer.Com is asking professional comics creators to answer 10 questions. Our first featured creator is writer/artist Phil Hester. Phil is based in small town Iowa, and his credits include Swamp Thing, Green Arrow, The Wretch, Nightwing, Superman Confidential, Ant-Man, Taboo, The Coffin, The Darkness, Firebreather, Golly, and much more.

Look for his current pencilling work in El Diablo (DC) and his writing in The Darkness (Top Cow), Golly (Image), Firebreather (Image), and Masquerade (Dynamite).

You can find out more about Phil and his work at shocktraumastudios.com

Question 1: When did you first decide that you wanted to create your own comics for a living?

Probably age twelve, maybe eleven. I had all those crazy Marvel stickers from the 70’s plastered on my dresser and after countless hours of idle gazing it dawned on me that each was drawn in a different style. I started paying attention to the credits in comics and began to daydream about being there myself.

Question 2: Who has had the biggest influence on you outside the comics industry, and how did they affect your life?

My wife for never questioning what I was doing with my life even when she probably should have. Her constant patience and support give me a safe harbor when the comics business kicks me in the ego or wallet (Hint: often).

Question 3: Who has had the biggest influence on your comics career, and how has that person changed your work?

My inker partner Ande Parks. I was very shy at the beginning of my comics career and had to be prodded into talking to other pros. Ande’s a very confident guy, at least he projects confidence, and he sort of pushed me into doing things like going to New York to look for work or chatting up editors at cons.

We also have a shared aesthetic that grew out of our collaboration and pulled me toward a more minimalist, high contrast style than I would have developed on my own. My early, early work looks like a feeble imitation of Mike Ploog, but after working with Ande for twenty years I’ve honed a modern, hard edged style with its roots in the old school economical ideals of Toth or Wood. All that said, I think spending countless childhood afternoons soaking up Kirby comics might have made the most indelible mark on my artistic mind.

Question 4: What do you do to recharge your creative batteries?

I stop working. I work a lot, so taking a day off really clears my head.

Question 5: Describe your typical work routine.

Kids on the bus at 8. I try to write until noon or so, then switch to drawing until the kids get home at 3:30. I go back to work, usually drawing, from 10 until I can’t stay awake. I quit caffeine a year or so ago, so that’s usually 1 AM at the latest.

Question 6: What writing, drawing, or other tools do you use?

I don’t have any kick-ass writing tools. I mean, I have a template that I print out so i can draw little thumbnail layouts to accompany my scripts, but I don’t have any cool screenwriting or comics writing program. Does anyone?

I draw on smooth Strathmore 400 series bristol. Ply matters not. I do small thumbnails then sketch directly on the board with non-photo blue (Staedtler), then do finished pencils with a plain old Dixon Ticonderoga #2 school pencil, Bruynzeel Design F, or mechanical pencil with a Pentel .5 mm F or HB lead.

Question 7: What element of your work gives you the most personal satisfaction?

I love storytelling, so the thumbnail stage is always my favorite. I am not a big fan of my draughtsmanship skills, so everything looks its best before I start pencilling proper.

I enjoy writing and drawing short stories a lot, so whenever I get the chance to do that (like in The Wretch, or Postcards) I’m most in my element.

Question 8: What has been the most rewarding project in your professional career – in or out of comics – and why?

As a writer probably The Coffin with Mike Huddleston or Firebreather with Andy Kuhn. As an artist probably the Daredevil vs Magdalena crossover I did last year. As both writer and artist probably the short story I did for Postcards: True Stories That Never Happened.

Question 9: We’ve all met very talented newcomers who are trying to get their first professional projects. What’s the best advice you’ve ever heard given to a promising new creator?

Don’t wait for anyone’s permission to do your thing. Just go. Make mistakes. No one’s keeping score. Nothing teaches like work, so put yourself to work. Now.

Question 10: Time to get philosophical: What’s the most important “big idea” that you’ve learned in life – in or out of comics – and why is it important?

Be sweeter.

Which is a simpler way of restating that old saying of Plato’s “Be kind, for everyone you meet is fighting a hard battle.” Or Jesus’ “Do unto others…” Or Vonnegut’s “God damn it, babies, you’ve got to be kind.” Being alive is sometimes very scary and very discouraging, so the best thing we can do for each other is offer comfort, either through art (doesn’t mean it has to be comforting art, just engaging), friendship, good works, whatever. I forget all this immediately in traffic.

Want more? See the index of “10 Questions” interviews.

Discuss “10 Questions” in the ComicsCareer.Com Forum.

Are you a professional comics creator? Participate in the 10 Questions project.

On Beyond the Planet


As far as I’m concerned, this past weekend’s Planet Comicon was a great success. There were far too many highlights for me to possibly cover them all, but I’m going to ramble through what comes to mind. I’ll just have to fill in the rest later.

First, my biggest regret: I was so busy that I didn’t manage to take many photos. I guess it will just have to live in my memory (but if anyone’s got photos they’d like to share, I’d love to have some.) I was constantly scrambling during the show because I did double duty, serving as Panel Coordinator and also making courtesy car runs to transport our out-of-town guests between the hotel and convention center. The courtesy car service meant that I always hit the convention hall after the show was up and running, so I never managed to catch up with all of the programming duties. Next year I’ll have to do one or the other.


Thanks to Seth Wolfshorndl for allowing my to swipe this image of Kenny Baker at Planet Comicon!!

Next, the most special memory: I had the pleasure of driving Kenny (R2-D2) Baker and Valerie Gale during the convention. My Chrysler Concorde, it turns out, is well-suited for Kenny’s needs. It’s low enough to the ground for easy entry and also has a large trunk to hold the rented wheelchair that helped him get around. They are an absolutely charming couple and were wonderful to escort. My kids were delighted that Kenny gave them signed photos. I was thrilled when Valerie kissed me on both cheeks as we said our goodbyes – and she got quite a razzing from Kenny for that!

The parade of courtesy cars: I also provided transport for sci-fi icon Walter Koenig, scream queen Brinke Stevens (who “liked my chariot”), editor/publisher/artist representative Renee Witterstaetter, and artists Angel Medina and Bernie Wrightson. Each and every trip was a pleasure and it was great to get a chance to spend some one-on-one time with some very talented and interesting people.

The parade of panels: As coordinator of the panels, I was happy that promoter Chris Jackson and I were able to come up with a well-rounded roster of presentations. Walter Koenig was kind enough to handle an hour on Saturday and then a second full solo session on Sunday. He had the crowd enthralled for the whole time. (Thanks to Rob Davis who oversaw both Koenig events and also to Victor Péna, Phill Dutcher, and Mark Runyan for wrangling the sound system)

Through pure coincidence we had a terrific assemblage of Ghost Rider talent on hand for a fabulous panel (pictured above). Ghost Rider co-creator Gary Friedrich, current series writer Jason Aaron, long-time GR artist Javier Saltares were interviewed by Jai Nitz (with the microphone in the photo). Another definitive GR artist, Mark Texeira, was slated for the panel, but unfortunately a delayed flight kept him from making it in time.

Jai Nitz also interviewed Kurt Busiek on Sunday. Unfortunately I wasn’t able to see more than a few seconds that panel, but they ran long, so the large crowd must have been enjoying it.

I got the chance to moderate three panels. Panel one featured local talents Hector Casanova, Travis Fox, and Daniel Spottswood. Panel two had the current Superman Confidential creative team B. Clay Moore, Phil Hester, and Ande Parks. Panel three featured the terrific artistic talent of Eric Powell, Tony Moore, and last minute pinch hitter Jeremy Haun.

The last panel of the weekend featured your truly and Renee Witterstaetter providing tips to aspiring creators about how to crack into the comics biz. The session was modestly attended but seemed to be received well. Those in attendance were the first to hear an announcement that affects this blog.

My wife and I are drafting a business plan to launch a full-scale ad supported site for comics creators. I’ll finally make use of the comicscareer.com URL that I’ve had parked for ages (if you go to it now you’ll just be redirected back to this blog). The plan is for Kelly to run the day-to-day operations for the foreseeable future while I maintain my “real job” as Marketing Director of MCH, Inc. There will be much more to announce as we finalize the business plan and move toward a launch date. Check back regularly. If you would like to get our upcoming weekly e-newsletter for comics professionals and aspiring professionals, just send your name and email address to us at comicscareer@yahoo.com.

Whew. Now it’s bedtime!