End of Summer

    Welcome! It is January 1999 and this month we feature a special treat: the first of a two-part FANZING interview with writer…

Mark Waid logo

Bio data:

Born March 21, 1962 in Hueytown, Alabama. Blew through grade/high school in ten years, left home at 16 under ugly circumstances to pursue three years of college at Virginia Commonwealth University, changed majors three times--journalism, English, and for the bulk of the time, Physics--and learned virtually nothing.

Started freelancing for CBG, AMAZING HEROES in the early 1980s. First published comics work: ACTION 572, 1984. Staff editor at Fantagraphics in 1986, DC editor 1987-1989. The rest has been one long lucky streak. (Editor's note; He was kidnapped briefly by space aliens in 1995 but don't ask!)

I would like to thank Mark for being so approachable, honest, and thorough. This is a man who speaks his mind ferociously. Yet he also comes across strongly as one who cares passionately about the future of the comic book genre, characters related to that genre, and the people whom he works along with.

"So, Mark… would you like to tackle the questions about your personal life this month or else the questions that relate to your work?"

"Let's tackle the work-related questions first since they're easier and since I have a mother of a head cold and my blood is about 30-proof NyQuil right now…"

1) Ross Kingdom ComeKINGDOM COME has been out for a couple of years now. Do you think that all the attention is somewhat overblown? Some critics say that KC is essentially a derivative story that "cuts and pastes" from some of the better, and worse (they say), stories of the past 30 years. As well, did you guys anticipate the attention that the series would generate in advance? Was it just another work project at the time?

It was never "just another project," though I wish I could have convinced myself it was as I was writing it. That would certainly have made the job easier. The pressure was immense, particularly once the advance publicity wave began and I really sensed how desperately people wanted to see this thing. The weekend before the second issue came out, I auctioned off the original copy of that issue's script for the CBLDF and watched it go for over a hundred bucks. I couldn't believe it. People were NUTS for KC.

That said, yeah--while I'm glad people responded so well to KC, the attention's overblown. WATCHMEN and DARK KNIGHT redefined how we tell stories in this medium. KINGDOM COME, as I'm convinced later generations will realize, isn't in that league and doesn't carry that sort of lasting impact. I wish it had, but in the end, the same creative friction between Alex and me that made for some of the series' best moments--inarguably, a necessary evil--also cost us that clear epiphany.

Perez's Kal-l Crisis #12
2) Aging super heroes… here is another theme that never really gets treated often (exceptions are the JSA in the 70's to the 90's, the Dark Knight Returns, some future set stories, The Watchmen, etc…). Readers aren't to blame because the comic books companies (rather the companies that own the franchises that own the comic companies) won't allow it. Who knows, maybe the hypertime equation will change it all. The plain fact of the matter is that in the KC event we see a Superman who personally crumbled in defeat and retired. Other heroes also retired or else applied their meta-human abilities in more covert ways.

What is it about the concept of the aging hero\heroine that gives the writer a special challenge? Is it perhaps that one needs to truly have lived a long life and be old to actually "walk the walk, and talk the talk"? How do you feel yourself about aging?

Aging terrifies me beyond measure. My entire adult life has been built around trying to recapture what it was like to be ten years old, and if I've ever admitted anything more pathetic in public, I'd be surprised. Time is the enemy of all living things, and its jackboot march rings in my ears quite literally every second of every day. You'd be hard-pressed to find anyone as time-centered as I, surrounded by expensive atomic clocks as I am. Overall, for me, the passage of time symbolizes loss and distance far more than it symbolizes anticipation and arrival. This year, 1999, is the year I've determined to stop living in that mindset and begin living in the moment. Let's see how well I succeed.

The "aging hero" is a simple lure to explain. No story has impact, no story is even really a story, unless your protagonist advances as a character--and those of us who wrangle company-owned super-hero comics for a living are constantly bound by the notion that our characters CANNOT advance or change in any significant way. To get a hold of an older character is a chance to tell stories about a man who HAS advanced, who HAS grown and learned something and changed. Would DARK KNIGHT have been half the story it was had it not been set at the end of Batman's career?

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Ross Superman oval

3) In KC, we see a world where one mentor\role model had a far greater influence than even he possibly imagined. We see heroes of the past grow old, grow weary, and also grow indifferent. And the world around those aging heroes grows violent, nihilistic, and very fearful.

What is it about futuristic stories that seems to assume the worst? We both know that "dark future" stories sell better than "bright future" ones. Is it simply an undeniable fact that an Armageddon or apocalypse is our destiny despite the best of intentions?

For Western civilization? History would certainly bear that out, wouldn't it? I no longer believe in inevitable Armageddon, but I do believe that Western civilization reached its zenith in the early 1960s and that the assassination of John F. Kennedy, the Last American Hero, began a chain of events which changed our course forever for the worse, systematically replacing dreamers with opportunists in every walk of life. Personally speaking, the last man alive I had any confidence in ended up screwing up the country over a blow-job from his intern; count me in the "cynic" camp, as well. Maybe it's the NyQuil talking, but for my money, things are only going to get worse, and the best we can hope for is to hang on by our fingernails.

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4) What have been three career highlights from being a writer?

One: Receiving a congratulatory letter on a whodunit story from Rand B. Lee, grandson of Manfred B. Lee, co-creator of Ellery Queen and one of my biggest inspirations.

Two: As shallow as it sounds, winning the CBG Favorite Writer award the one and only year I'll ever get it.

Three: Having Garth Ennis and Matt Wagner talk to me as if I were an equal.

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5) Why has religion been so downplayed in comic books? Do you see this as intentional (i.e. avoiding the controversy) or is it simply a matter of neglect or, perhaps, an area that many writers feel uninvolved in or untrained in enough to accurately write about? Maybe I have missed an obvious reason.

Maybe you have. The most obvious reason is that, in corporate-owned comic books, the last thing in the world anyone's allowed to do with any depth is to create controversy. Look at the recent SUPERMAN incident where the editor was afraid to even USE the word "Jew" to describe AN ENTIRE RACE PERSECUTED BY NAZIS. Too many High Sheriffs at DC and Marvel are hanging onto their jobs, their entire industry, by their fingertips to risk making waves. So it shall be, so as it ever has been.

KIngdom Planet Kypton

6) Was Alex Ross offered to do any of the artwork in the KINGDOM series that you know of? Earlier this week you intimated that he was being a wee bit over reactive about the KINGDOM event and his lack of direct involvement. Do you two have any future projects that you will be working on together?

Unlikely. Alex was offered every chance to do any number of things for the KINGDOM books, but declined them all for reasons that perplex and baffle. Creative differences. Honestly, I'd love to work with Alex again someday, but Alex, like most rock stars, is continually surrounded by groupies and hangers-on who will tell him whatever he wants to hear in hopes he might paint them a comic book cover or a picture of Nightstar naked or whatever. From what we can tell anthropologically, this species of groupie regails Alex morning, noon and night with sweet sonnets describing him as the true creative genius behind his projects, characterizing Kurt Busiek and I and others as mere hangers-on. I'd like to believe Alex has more perspective and class than to take that totally to heart. Time will tell.

JLA:Year One

7) Many see you as the penultimate figure in comics who has brought back the "fun", the "joy", or the "pleasure" that was formerly associated with comics. Your work on the Flash and JLA: YEAR ONE have been referred to as examples. Now I am aware that you have done Kingdom Come (definitely not cheery stuff; though I must say that I find the ending to be too fanciful and somewhat sentimental) and the Marvel X-Men project with Apocalypse (which I loved).

How do you respond to the thought that you have changed the whole tone of comics from venerating the anti-hero to appreciating the valiant hero\heroine again in the 90's? How accurate is this viewpoint from your own eyes?

First, congratulations for being the one thousandth person this month to misuse the word "penultimate" in a letter to me. WHAT IS IT WITH THIS WORD? Ghaaaaaah. {Editor's note: "Thanks! I live simply to amuse you, Mark…. heh, heh, heh.." BBB}

How do I respond to that thought? By glowing so bright with pride I eclipse the sun, until I'm brought back down to earth by being reminded that I didn't do it all myself and if I start thinking so, I'll become insufferable.

In all honesty, while I would love NOTHING MORE than to have the words "The Light Knight" inscribed on my comic-book tombstone, while I take great joy in a career dedicated to the simple notion that IT'S OKAY TO MAKE COMICS FUN AGAIN, I don't really know how much I've had to do with changing the gestalt. I'd like to think I was partly responsible, but I'd also not like my ego to manifest its own gravitational pull, so I'll let others judge.

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Batman with gun

8) Is the whole dark, brooding anti-hero thing pretty much "tapped out" popularity-wise?

Jesus God Almighty, let's hope so--at least until someone can figure out SOMETHING else to do with it that isn't a cheap Frank Miller riff. Seriously, while I'm a shameless proponent of bright shiny happy heroes, I also realize there's great power in the dark side of heroism. There's room for that in comics, there always will be. It just shouldn't define ALL characters from Batman to Wonder Woman to Archie.

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9) What has happened to the comic industry in the past decade that has left it in general ruins (e.g. Marvel's excruciating bankruptcy)? It may seem harsh but I think that Warner doesn't really give damn about the comic end of things. It can make hundreds of millions from the movies, merchandise, and other products based on the characters. It is almost like the comic book end of things is their last concern? How serious are your ideas taken? You were only recently screwed around (along with Grant Morrison, Dan Jurgen, and others) by DC in regards to writing for the Superman titles with promises that were not honored. Are Warner beancounters the ones who really make all the important decisions or does DC Comics have a good deal of autonomy? And what about your influence as a writer. Do you have a lot more authority, functionally, now that many readers and peers have endorsed your talents or are you still fighting the same BS that you always had to deal with?

In short, the destruction of comics has come from an unwillingness to find and cultivate a new audience. Guess what, guys? We're an old-time radio drama and it's 1954. Time's up. We're making buggy whips. Either we make some radical changes in content and distribution or just surrender to the notion that we've gone the way of drive-ins and automats. Marvel really, honestly could go any minute now, and the only thing that saves DC is that it's R&D for Warner Bros. Generating a character like Batman or Superman from which one movie hit can be made every few years buys DC a LOT of slack.. If they're treated well by WB, that's the ONLY reason. You think it's because someone in some boardroom has a soft spot for comics?


News flash: Warner Bros. DOESN'T give a damn about the comics business. Why should they? We're a gnat. We're nothing. The first Batman movie made a quarter-billion dollars worldwide. The last one made a hundred million, easy. DC's entire Batman line for a month brings in maybe, what, forty thousand dollars in gross pre-overhead profit, if that? In all likelihood, DC made more off of Hawkman by lending him out to a humiliating Baby Ruth commercial than they did off the last ten years worth of Hawkman comics. Yes, Warner Bros. seems to delight in reminding DC that DC doesn't own Superman or Batman, WARNER BROS. does, but the truth's the truth--if something besides comics makes them money, that's where they'll go, and comics be damned.

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I don't agree with this, but I understand it: if they're planning on pouring fifty million dollars into an ad campaign for the upcoming SUPERMAN movie, the LAST thing they want is for DC to steal their thunder with pre-publicity that might, in their eyes, "overexpose" their valuable property before the time is right--which is why not much big is done with Superman, and when it is, it must be signed off on by WB execs. Remember when Batman changed his costume a few years back, stopped wearing his underwear on the outside? Remember how an enterprising DC editor made sure we got New York Times newspaper coverage on that? No publicity is bad publicity, right? Wrong. He almost lost his job because WB had a fit. They had their own carefully measured ad campaign engineered for the next Batman movie; how DARE DC "scoop" them?

Does that sort of nonsense hurt comics? Sure. Can we fight back? No. Look at the numbers. What are we going to do? If we called up Warners tomorrow and said, "You're ruining the comic book industry with that kind of crap!", they'd say "What industry?"--AND THEY'D BE RIGHT. We're a flea. Frankly, I often suspect that Superman and Batman are about five years away from becoming Mickey Mouse, Buster Brown, and the Sta-Puft Marshmallow Man--corporate icons that have nothing to do with storytelling.

On a related note, am I still fighting BS? Yeah. Whatever slack I've been given because I've proven I know what I'm doing has been eaten away in equal amount by the recent and growing mindset-revival at both major companies that editors have the real creative vision and freelancers are but cogs in the great machine.

Not that I'm bitter. {Editor's note: "Not bitter??? Yeah, right!"}

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10) Ten years ago I went to college and met a guy named Kent Clarke.. Have you met any "super heroes" with real super hero names in your travels?

No, but I have a picture of myself in Buffalo, standing at the intersection of the only Clark/Kent crossroads in America. Does that count?

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The Kingdom #111)Many readers say that the DC universe has never really settled from the events of Crisis On Infinite Earths, let alone the Zero Hour series from almost five years ago. In particular, the Legion Of Super Heroes has never really grounded (though Giffen did some really fine work), Hawkman is a total joke, Superboy (the original) was retconned out of existence (a mistake that Byrne admits in hindsight), and the one man who established the entire comic book industry, the Golden Age Superman, was literally annihilated from DC continuity (though teases from a few KINGDOM pics may lead some of us to believe otherwise!).

Then came Zero Hour. In my mind it was a hurried, sloppy, though somewhat interesting (if still pale) 90's version of Crisis (though I do thoroughly enjoy other Jurgens stuff). The JSA get retconned with the same shameful "sweep under the carpet" that took away the original Huntress and Earth-2 Robin in Crisis.

JLA:Year One
This all said and done, you realize that you could have destroyed your credibility with DC fans on a wide-scale if you had made THE KINGDOM into a similar fiasco. My concern was bringing back the Earth-2 Superman (the Golden Age one, for our readers knowledge) only to have Gog kill him. Others shared the same concern. How much does your respect and rapport with the buying public affect your decisions in matters of radical storylines such as THE KINGDOM?

Would (and have you) risked your reputation with fans to re-create again the DC universe in a manner of speaking? Is there simply going to be a Crisis-event every so many years that simply functions to give writers "artistic liberty" to reconstruct (or deconstruct) the whole universe?

Kingdom: Son of the BatLet's address the second question first. I hope not, but probably. However, Kingdom is the OPPOSITE of that. All things are true, all continuities exist, all stories happened, and now we have an actual in-story construct to make that possible. No reconstruction/deconstruction involved.

Would I risk my reputation to recreate the DCU as I knew it? Only if it made for a damn good story.

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12. Are we going to be seeing OFFSPRING again any time soon (that issue is a favorite among fans, so far!)? Also, is the proposal for an ongoing regular Kingdom Come series still in the planning and, if so, are you going to be involved in the project?

To the second part, not precisely, but we're still talking. I'm told KINGDOM did PHENOMENALLY well, to which I credit my co-conspirators, the artists who knocked themselves out. Somehow, some way, we'll see Offspring again.

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13. The one consistent disappointment with THE KINGDOM is that the art (especially in issue #2) is simply sub-grade (I have got to agree that the art in #2 is very poor). How good DC put anything but it's best artists on the project when they put one of their most talented writers on it? How much influence did you have in this regard? Are you satisfied with the visual renderings in issues #1 and #2?

No comment..

14. Is the introduction of hypertime in The Kingdom #2 a step to, primarily, maintain continuity with the diverse past of the DC universe (namely, the Pre-Crisis element) or is it a step that will give diehard fans an idea of the rich diversity of stories and tales that await us over the next year? What has been the response so far from fans about the whole THE KINGDOM series?

The response has been very enthusiastic except from that small contingent of fans to whom Rip Hunter was practically breaking the fourth wall and speaking to in the series' conclusion. As Grant and I explained to the powers that be, as far as we're concerned, it's ABSOLUTELY NOT just some cheap device with which I can go tell Krypto the Super-Dog stories next month. I have no interest in that anymore. The entire rationale behind Hypertime was simply to once more throw open the doors at DC, to remind readers that continuity should follow stories, not vice-versa, and that the DCU should be a place where ANYTHING can happen. We're especially proud about the structure of Hypertime--that is to say, if you want to use it, you can, but if you're a creator or editor offended by it, that's fine, too, YOU DON'T HAVE TO USE IT.

It's there as a tool, NOT AS A RULE.

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15. You are a well-known critic of the r.a.c.* atmosphere. What do you feel are the good and bad points of comic book discussions on the Internet? Can you tell us about the best and worst experiences you've had on Internet communications with fans?

There are no best experiences, other than the occasional piece of supportive e-mail. Though the Internet plays host to a few good eggs, the r.a.c.* atmosphere in particular describes a group whose loudest contingent is angry, vituperative, unnecessarily rude, deliberately unconstructive, and not for a million dollars worth listening to for even an instant. These people would nit-pick Shakespeare's plays just to show how witty and clever they are, but despite what they believe, someone whose review column is titled "All The Things That Sucked" hardly belongs at the Algonquin Round Table. And yes, and yes, and yes, I know that there are plenty of polite fans on the Internet, but they are SO drowned out by the idiot faction that their voices are but whispers in the typhoon. Too many of them are forty-year-olds who still live in their mother's basement and look to the Internet as a place they can win their fights and be strong and impressive through rhetoric where flesh has failed them. Cloaked in anonymity, they'll say things to you that they'd never say to your face, they'll insult you then stand in line at conventions for your autograph, they'll say deliberately hurtful things and then stand behind that old chestnut, "Well, if you're gonna write (or draw), then you've gotta not take criticism personally."

Pardon the language, but where the F___ did that old chestnut come from? It's the thing non-creative people hide behind when they're called on the carpet for sniping, and it irritates me to no end. What if I said, "Hey, if you're gonna let your children out of the house and somebody calls 'em 'ugly,' you gotta just smile and say, 'point taken. Thanks!'"

I DON'T "have" to be thick-skinned if I want to do this for a living. It would be easier for me sometimes if I were, but I don't "have" to do anything except try my damndest to tell stories with meaning and with passion. Frankly, I'm here to tell you that, like it or not, I would be ABSOLUTELY INCAPABLE of producing the work I produce if I WEREN'T personally attached to it. The up-side to the process is that I'm invested, that my work carries genuine emotion because it carries a small piece of me in it. The down-side is that because it's a reflection of me, it's hard NOT to wince when people say deliberately hurtful things about it. SHOULD I be thicker-skinned? Probably. But do you have the right to make that judgment for me? Hell, no.


Anyway…the Internet groups, by and large, are cesspools of negativity, and the only thing that gives me hope is knowing that, despite their continual claims to the contrary, they're not even remotely representative of our audience. I know they like to think they are, but if they really were, then UNTOLD TALES OF SPIDER-MAN would be the best-selling comic book of all time.

Pour me another drink.

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16. It seems as if your own frustration with R.A.C. "losers" simply is "fuel for the fire". It then gives this guys reason to be as scathing as they are because "Mark Waid is just as cynical and brutal in his attitude" (we both know that some are asking this one). How do you reconcile being as blunt as you are with the bluntness of those guys?

I'm rubber, they're glue.

More to the point, I'm by every account, not just my own, pleasant and polite unless provoked. Many of the r.a.c. crowd need no provoking.

17. You seem to have a fondness for writing about young super heroes… young meaning well under 13 (the young Wally West stories, for instance.) But, the 10-year timeline has virtually eliminated all the kid super heroes of that age and restarted the original sidekick's careers at 13-14. How do you feel about that trend, and is there any way around it?

Not until comics stop being written almost exclusively by guys in their thirties and forties. Frankly, I think we can for the most part be glad that not many writers are writing young characters; they'd suck at it. I'd probably suck at it. But you've given me an interesting challenge to examine--is it possible to introduce a straight kid sidekick character in this day and age? Hmm….

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Captain America

18. In what ways do you identify with Captain America after having written him for the past decade and a half (almost)? Where would you see a Cap who is 55 years old, tired, and yet still wants to do his part to free the oppressed and give them freedom?

Funny; I don't identify with Cap nearly as much as I do with the other characters I write. Primarily, he and I share a common belief in the basic decency of human beings and in the power of ideas and ideals to galvanize society. Fortunately, he's much smarter than I am.

Where would I see him at 55 years old, still wanting to do his part? As a semi-retired teacher inspiring a new race of super-soldiers, dancing on the fine line between helping keep the peace and creating a police force.

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The Flash #14619. Is Wally going to eventually go the same road as Barry? He avoided once, but is it a matter of time before the mystery of the speed force (great idea, by the way!) has "its way with him"?

FLASH #150 answers that question pretty definitively.

20. Have readers seen in Wally and Linda (in the Flash) snippets of the way that you and your wife relate to one another? What is the deal with the recent "deconstruction" of Linda, anyway?

FYI, I'm not married. I have no kids. Now…

The Wally and Linda relationship was very strongly based on a real-life relationship in my past. My great failing with Linda, however, has been in giving her any depth at all other than "cutely sniping girlfriend." Luckily for me, I've learned more about women in the past two years than in the previous thirty, so I hope to rectify that creative error should Linda ever appear again.

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21. I know, after having read KINGDOM COME a couple of times in the past years, that you have a special fondness for the Man of Steel. The Superman in KC is a brilliantly written figure. He is tragic. He is passionate. And he is driven by a sense of higher purpose\calling, inevitably. Give us a couple glimpses into what Mark Waid would like to do with the man as a character were you in charge of him.
Ross Superman

A year or so ago, I was listening to a Superman radio documentary produced about the time of the first movie. In it, Jerry Siegel spoke for a minute or two about who Superman was in his mind, what made him unique and what allows him to stand the test of time. Fascinating stuff--and terrifying--for it quickly dawned on me that EVERYTHING he said about Superman WAS NO LONGER TRUE. The love triangle between two people, the role of Clark Kent as the Everyman, the alien who lived among us in disguise…NONE OF IT APPLIED any more. What would I do with him were I in charge? Simple. I'd restore all of that, every bit. But that's not exactly what you asked.

You asked what I'd do with him as a character. Different question. In a nutshell, and Grant Morrison and I have talked about this for hours on end, I'd characterize him as a benevolent angel, as someone whose ethical perception and clarity served as an eternal beacon of hope and inspiration to the human race. There is a right and a wrong in the universe, and that distinction is not hard to make. Simple as that.

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22. Are there any major differences in working for DC or Marvel?

Nah. One gets more contemptuous and dictatorial, the other becomes more nurturing and enriching. Then the next week, they swap.

The Flash

23. Your fans love you for the simple and intelligent joy that you bring to a portion of their lives.. Do you have any words for them in general (seeing as they enable you to earn that vast sum of money that was listed at Comic Resources a month back… heh, heh)?

Okay, let's talk about the money for a second. Not that you asked, but let's talk about the money. In the first place, that's sure as hell not an every-year salary. That was a REALLY GOOD YEAR. Next year, I'll be collecting the nickels on my soda cans same as everyone else. And in the second place, had I known what a big deal it was going to end up being, I never, never would have let Parade Magazine run my picture. I did it only in hopes parents might start taking their kids a little more seriously when they say they want to grow up to draw and write comic books, and because I knew my grandmother would get a kick out of it. No ego involved.

Do I have any words for my fans in general? Sure.

  1. Thanks for the support.
  2. Thanks for the kind words.
  3. For the last friggin' time, grab your bats and chains and go teach those r.a.c.* loudmouths some manners!
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24. It is ten and twenty years down the road, respectively. What do you see wanting to do, and what are you more likely to be doing from today's perspective?

While I don't ever foresee a day I won't be writing comics, I want to be more involved in other media: tv and movies, particularly. It's an old story: "What I really want is to direct." But seriously, I've wrapped my entire life around comics for so long now that it's begun to be unhealthy for me and if I don't start exploring other worlds, I'm gonna snap. In a perfect world, ten and twenty years from now I'll be diversified in a number of fields.

In reality, I'll more likely be a burned-out hack begging my editor friends for fill-in jobs.

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25. What have been three career decisions that you regret in hindsight that you would care to share?

First and foremost, following up the monster success of KINGDOM COME with, of all things, X-O MANOWAR. What an idiot. Kurt follows MARVELS with ASTRO CITY, I follow KC with X-O. This is a move that will haunt me to my grave.

Second and related, not already having creator-owned material in print.

Third, giving Scott Lobdell his first work in comics.

26. What was your first comic as a kid?

BATMAN #180, March 1966--"Death Knocks Three Times." That was a LOT of people's first comic--it was the first Batman issue published after the debut of the TV show and I've seen sales figures--it sold a phenomenal 98% of its 1,000,000 print run. I keep that comic framed on the wall above my desk to remind me in the harsh times why I keep doing this.

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27. You are a fan of the Silver and Golden Age. Please give me a hint… is Kal-l, the Golden Age Superman, back for good?

Not fully in the way you'd like, I suspect…but, yeah.

return of kal-l

A very special thanks goes to Ray Randell for graciously giving permission to use the oval Big Three graphic and the S-Shield paragraph separator graphic for the interview. His Alex Ross Gallery can be visited at:

Kingdoms: The Art of Alex Ross

In February, I will post the second part of FANZING's exclusive Mark Waid interview. It will look at the man behind the talent… his experiences growing up, his dreams, and his perspectives on matters other than the comic industry. Look for it in just a few short weeks!

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