Clint Barton
27.04.2004, 21:27
TELLING THE TALES OF TWLIGHT WITH JOE WIGHT
by Chris Arrant
In the Twilight X series, Joe Wight explores what would happen after World War 3. In the aftermath of the destruction, disparate factions are fighting amongst themselves to rule the world. The story follows a group of individuals, who despite their differences, banded together to try to make sense of the confusion and try to help "the good guys", whoever they might be.
Wight?s style blends hyper-detailed illustrations of military craft and surroundings with a more comical, anime-style approach with the characters themselves. Although it might not seem compatible, it adds considerable depth to the story and provides a unique vantage point for this action adventure. Newsarama recently had a chance to talk with Joe Wight about Twilight X, his art techniques, and other projects he's worked on previously.
NEWSARAMA: The world of Twilight X seems very complicated, with many different factions trying to establish their dominance in the wake of WW3. Can you tell us about each faction, and what they're about?
JOE WIGHT: I imagine there are any number of factions who've been seizing power all over the world in Twilight X, but my story focuses on three or four distinct groups. The first would have to be the Neo-Nazi force known as the White American Nationalist Klan, who've managed to conquer and hold much of Central and South America, as well as Mexico and parts of the Southern United States.
Directly opposing them are the remnants of Old America, who are fighting to restore the United States to its pre-War condition. The third major group has only recently been introduced. It's known only as "Elysium", a technocracy with VERY different plans for post War Earth. I've also had a few minor warlords appear, who basically behave in a very feudal fashion.
NRAMA: One of the main characters of Twilight X is Jed Saxon, an ex-Special Forces soldier. Without spoiling too much, can you tell us about him and what he goes through in the story?
JW: Jed is certainly a hero of the story. He possesses a strong moral code that sometimes makes him appear reckless. He still considers himself a soldier of Old America and a representative of U.S. authority, even though he may not have any legal claim to it. I see him as idealistic as well as practical. His idealism and conviction have kept him going. All of his friends have died, and he wants to make sure they didn't die in vain. Jed arrives in the Caribbean to find the Neo-Nazis expanding their control. Naturally, he declares war.
NRAMA: The character Toots is very much an anomaly. What's her story?
JW: I think Toots' anomalous presence is kind of the point of her character. She's insightful and brilliant, but she's still childish and naive. I always see her as an incredibly perky person, but I constantly look for moments where she can drop knowledge on someone else. Those are some of her truest moments. Her goofy behavior is her left jab, her profound understanding is her uppercut.
NRAMA: Do people need to read Twilight X: After War before reading Twilight X: Storm ?
JW: It might be helpful. After War is 600 pages, collecting everything I've done leading up to Twilight X: Storm, but jumping in at Storm is not impossible. While there's a ton of adventures happening in After War, the main thrust begins with Storm.
NRAMA: Twilight X is a story told in numerous series. Is this an ongoing set of mini-series, or do you have a definite ending in mind?
JW: There is definitely an end. It'll take a while to get there, but eventually, there will be a second volume like After War, which will wrap up everything.
NRAMA: For someone new to Twilight X, which book would you recommend picking up first?
JW: Speaking as the artist, I'd say Storm is the place to start. Some of my old work is embarrassing. That's what we all say, but in my case, it's true! Speaking as the writer, obviously After War begins the story. Twilight X is also being collected in the Pocket Manga format, and there are almost four of those out at this time. The Pocket Mangas contain everything from After War, plus some additional "director's notes" and sketches.
NRAMA: The technical details you illustrate in the various vehicles and craft are incredibly detailed. How much research did you do to get it down?
JW: I do a ton of research. My reference fills eight bookshelves and much of the floor around my machine. Even so, sometimes I don't have the time to get everything just right. Many of my readers have sent me links to great pics and info about tanks and aircraft, which I really appreciate. They, in turn, appreciate the time and effort I take to be as accurate as I can with military and civilian gear.
NRAMA: One of the things that can be picked up early on in reading Twilight X was the cinematic effect you've delivered in your panels. How has the book been affected by films?
JW: Film and television are definitely the most influential visual sources for Twilight X. I've never approached comics in the traditional style. I see each panel as more of a storyboard, which tends to expand my page count for a scene. I think in terms of camera and motion.
NRAMA: Were there any specific films that inspired you in creating Twilight X?
JW: Specific films? Tough one. I think the things I enjoy in films are stored subconsciously for the most part. The things I hate in films resonate more, and make me think in terms of how not to do a scene or dialog. Good films would have to be Blade Runner, Stagecoach, The Empire Strikes Back, Apocalypse Now, A Bridge Too Far, Angel and the Bad Man, and Midnight Run. Bad films would be too numerous to mention, but I'd have to include around 90% of Hollywood movies in the last ten years. No amount of camera jiggling and CGI monsters will be a substitute for character and story.
NRAMA: I understand that Twilight X originally began as a few doodles during a session playing the RPG Twilight: 2000 . How did it develop over time?
JW: Mostly, Twilight X has developed because of ideas I get while writing and drawing the books. My core story is the same, and it's very loosely based on some of the role-playing sessions - 12 years ago, but as I've grown and changed, so has the book. It's less slapstick and more adventure.
NRAMA: You have a B.A. in English from Whitworth College. How has the degree helped you in creating comics?
JW: It's very helpful to have a nodding relationship with some classic literature. Much like how film influences me, literature is stored subconsciously, and many of the books I read and wrote about in college possess timeless themes and ideas. I think my writing background helps me with dialog timing and what not to do with dialog structure and story.
NRAMA: You are also an avid model/ prop builder. Have you build any models/props to use as reference for your comics?
JW: I've built many models for Twilight X. Time keeps me from enjoying the building process much, as I often have to slap them together for reference rather than taking my time to make a sharp looking kit, but even so, I love building models. Mostly aircraft for Twilight X reference: a Hornet, a Skyhawk, a Huey, a Corsair II, etc. I've been doing some armor recently, including an M-60 and a Merkava, and I need to build my aircraft carrier and my battleship for future issues. I'm convinced that building models helps my artwork, since I ca!n visualize and actually touch and turn my subject matter to get a feel for it and experiment with "camera" angles.
NRAMA: What props/models are you working on now?
JW: I've been working on a blaster for a Sandtrooper costume, and scratch building some very small spaceships. I've got a bunch of Warhammer 40K marines and tanks in the works. I haven't had time to really work on any new props or kits lately (not that the bug hasn't bitten). I have so many model projects in my head, it gets a little daunting! My scratch built Star Destroyer is still in drydock. At seven feet long, I'm less excited about adding the detail it needs to get it finished. I've got around 200 kits to build, mostly Star Wars, some anime, some military, but I always want to add more details or lights, so many sit in their boxes, partially done. In this respect, I'm like a lot of modelers; it's not always the completed model that's
the goal, it's the building process.
NRAMA: You've worked with several comic companies in the past, such as Dark Horse, Wildstorm, Marvel and Antarctic Press. Besides a beginning run in your own company, Pork Chop Press, Twilight X has been an Antarctic Press title. What's it like working for AP?
JW: As far as my book is concerned, I can't imagine working for anyone else. A.P. has given me so much encouragement and support; it's just great to work here. There's a creative energy, and really no shortage of ideas and directions. When I have a day when my work is creatively slow, I can always head up to the office and get re-energized by seeing what Rod Espinosa or David Hutchinson or Sherard Jackson have on their drawing tables. Or I can talk to Joey or Joe Dunn or Lee or Bobby and see what they are planning for future books. Or I can see what Robby and Wes are working on on their machines. Or I can hang out with the Pauls and Doug and Ray and cover any number of topics, comic and otherwise, that give me perspective and energy to get back on my drawing table. They might not realize what I've been doing when I just show up to gab - until they read this! I'm glad to work with them all. And I can say that sincerely, because I've been with A.P. for thirteen years!
NRAMA: Along with your years at AP, you?ve also collaborated with Adam Warren on Dark Horse's Star Wars Manga. Can you tell us how that got started, and what kinds of things you did with Adam?
JW: That was a real treat. Friends of mine might know that I enjoy Star Wars a little. I've known Adam for years, and I think some of my Robotech paintings might have made him think of me when he got the gig - though maybe it was my constant babbling about the Trilogy. We did twelve covers in all. To give everyone an idea of how spoiled we all are now, Adam and I didn't have internet or FTP access, so we actually had to mail things back and forth!
We'd first talk about what the cover subject matter might be by seeing what parts of the story would be included in each issue. Then we'd sort of brainstorm a few scenes that might be cool. Then Adam would do several sketches for approval, and then I'd get his original ink to scan and paint. Then I'd print it out and send it to Adam, and we'd talk about questions and changes. Then that would go to Dark Horse and Lucasfilm for final approval. After the first couple covers, we decided to have me paint the backgrounds entirely, to give it a more anime feel, so I got to paint Death Stars and x-wings and stuff, which was lots of fun. No doubt Star Wars Manga will be my only Eisner-by-proxie! Many thanks to Adam.
NRAMA: Keeping the setting of your past, with Shotgun Mary #1, you were one of the first comic artists to digitally color a comic. Can you tell us what made you want to color with a computer?
JW: When Ben [Dunn] offered Shotgun Mary to me, I knew it had to be color. It's possible that I was thinking in terms of how to save time by avoiding the inking stage. But I do remember thinking "has anybody done this yet?" and getting excited to try it. My digital painting skills were nonexistent. I'd colored a couple of covers and two pages of Warrior Nun Areala, but it was a challenge I wanted - I was young and indestructible then. There was a high learning curve, and a lot of trial and error, but how else can one improve? We managed to beat all the other digitally painted books that came out, but not by more than a month, so there were lots of guys with the same idea.
NRAMA: How do you think digital coloring has changed the industry?
JW: Tough one. Certainly, comics look really good these days, mostly because of digital paint, but I always fear that this gloss will overcome story and character. Reader expectation is very high today as far as what the art looks like, but will good art become a substitute for any effort in story? The trick is to have both, so the reader can read it again and again. I don't lament digital color at all, especially since I'm also a digital colorist with Guru eFX, but I think it's dangerous to rely on flashy style over story substance.
NRAMA: Speaking to your art style, over the recent years, manga has really exploded in the United States. Not just in comic book stores, but into bookstores nation-wide. What do you think about the popularity it?s seeing now?
JW: I think manga exploded because it was different in many ways to American books. The art style is often expressive, energetic, cinematic, and epic. The subject matter is very diverse. It includes romance, sci-fi, sports, war, and history, unlike mainstream superhero comics - I suppose the superhero titles can include these themes, but are usually focused on super abilities. Facing facts, most American comics aren't for girls. Lots of manga offer stories interesting to females, and women are buying a lot of it in the bookstores.
NRAMA: How do you think the manga explosion affects the American comics industry?
JW: Hopefully, manga sales will help comics as a whole. It can't hurt if more people read sequential art stories. The problem as I see it, is that readers tend to become polarized, liking manga and shunning everything else, or vice-versa. Purists on both sides miss the point; story and character. It shouldn't matter how big a character's eyes are for a reader to dig something. Manga has borrowed from American comics and film, and comics are now borrowing back. Big deal? Nah. Get over misplaced loyalty to one or the other and get into the stories!
http://newsarama.com/forums/showthread.php?s=&threadid=12305
by Chris Arrant
In the Twilight X series, Joe Wight explores what would happen after World War 3. In the aftermath of the destruction, disparate factions are fighting amongst themselves to rule the world. The story follows a group of individuals, who despite their differences, banded together to try to make sense of the confusion and try to help "the good guys", whoever they might be.
Wight?s style blends hyper-detailed illustrations of military craft and surroundings with a more comical, anime-style approach with the characters themselves. Although it might not seem compatible, it adds considerable depth to the story and provides a unique vantage point for this action adventure. Newsarama recently had a chance to talk with Joe Wight about Twilight X, his art techniques, and other projects he's worked on previously.
NEWSARAMA: The world of Twilight X seems very complicated, with many different factions trying to establish their dominance in the wake of WW3. Can you tell us about each faction, and what they're about?
JOE WIGHT: I imagine there are any number of factions who've been seizing power all over the world in Twilight X, but my story focuses on three or four distinct groups. The first would have to be the Neo-Nazi force known as the White American Nationalist Klan, who've managed to conquer and hold much of Central and South America, as well as Mexico and parts of the Southern United States.
Directly opposing them are the remnants of Old America, who are fighting to restore the United States to its pre-War condition. The third major group has only recently been introduced. It's known only as "Elysium", a technocracy with VERY different plans for post War Earth. I've also had a few minor warlords appear, who basically behave in a very feudal fashion.
NRAMA: One of the main characters of Twilight X is Jed Saxon, an ex-Special Forces soldier. Without spoiling too much, can you tell us about him and what he goes through in the story?
JW: Jed is certainly a hero of the story. He possesses a strong moral code that sometimes makes him appear reckless. He still considers himself a soldier of Old America and a representative of U.S. authority, even though he may not have any legal claim to it. I see him as idealistic as well as practical. His idealism and conviction have kept him going. All of his friends have died, and he wants to make sure they didn't die in vain. Jed arrives in the Caribbean to find the Neo-Nazis expanding their control. Naturally, he declares war.
NRAMA: The character Toots is very much an anomaly. What's her story?
JW: I think Toots' anomalous presence is kind of the point of her character. She's insightful and brilliant, but she's still childish and naive. I always see her as an incredibly perky person, but I constantly look for moments where she can drop knowledge on someone else. Those are some of her truest moments. Her goofy behavior is her left jab, her profound understanding is her uppercut.
NRAMA: Do people need to read Twilight X: After War before reading Twilight X: Storm ?
JW: It might be helpful. After War is 600 pages, collecting everything I've done leading up to Twilight X: Storm, but jumping in at Storm is not impossible. While there's a ton of adventures happening in After War, the main thrust begins with Storm.
NRAMA: Twilight X is a story told in numerous series. Is this an ongoing set of mini-series, or do you have a definite ending in mind?
JW: There is definitely an end. It'll take a while to get there, but eventually, there will be a second volume like After War, which will wrap up everything.
NRAMA: For someone new to Twilight X, which book would you recommend picking up first?
JW: Speaking as the artist, I'd say Storm is the place to start. Some of my old work is embarrassing. That's what we all say, but in my case, it's true! Speaking as the writer, obviously After War begins the story. Twilight X is also being collected in the Pocket Manga format, and there are almost four of those out at this time. The Pocket Mangas contain everything from After War, plus some additional "director's notes" and sketches.
NRAMA: The technical details you illustrate in the various vehicles and craft are incredibly detailed. How much research did you do to get it down?
JW: I do a ton of research. My reference fills eight bookshelves and much of the floor around my machine. Even so, sometimes I don't have the time to get everything just right. Many of my readers have sent me links to great pics and info about tanks and aircraft, which I really appreciate. They, in turn, appreciate the time and effort I take to be as accurate as I can with military and civilian gear.
NRAMA: One of the things that can be picked up early on in reading Twilight X was the cinematic effect you've delivered in your panels. How has the book been affected by films?
JW: Film and television are definitely the most influential visual sources for Twilight X. I've never approached comics in the traditional style. I see each panel as more of a storyboard, which tends to expand my page count for a scene. I think in terms of camera and motion.
NRAMA: Were there any specific films that inspired you in creating Twilight X?
JW: Specific films? Tough one. I think the things I enjoy in films are stored subconsciously for the most part. The things I hate in films resonate more, and make me think in terms of how not to do a scene or dialog. Good films would have to be Blade Runner, Stagecoach, The Empire Strikes Back, Apocalypse Now, A Bridge Too Far, Angel and the Bad Man, and Midnight Run. Bad films would be too numerous to mention, but I'd have to include around 90% of Hollywood movies in the last ten years. No amount of camera jiggling and CGI monsters will be a substitute for character and story.
NRAMA: I understand that Twilight X originally began as a few doodles during a session playing the RPG Twilight: 2000 . How did it develop over time?
JW: Mostly, Twilight X has developed because of ideas I get while writing and drawing the books. My core story is the same, and it's very loosely based on some of the role-playing sessions - 12 years ago, but as I've grown and changed, so has the book. It's less slapstick and more adventure.
NRAMA: You have a B.A. in English from Whitworth College. How has the degree helped you in creating comics?
JW: It's very helpful to have a nodding relationship with some classic literature. Much like how film influences me, literature is stored subconsciously, and many of the books I read and wrote about in college possess timeless themes and ideas. I think my writing background helps me with dialog timing and what not to do with dialog structure and story.
NRAMA: You are also an avid model/ prop builder. Have you build any models/props to use as reference for your comics?
JW: I've built many models for Twilight X. Time keeps me from enjoying the building process much, as I often have to slap them together for reference rather than taking my time to make a sharp looking kit, but even so, I love building models. Mostly aircraft for Twilight X reference: a Hornet, a Skyhawk, a Huey, a Corsair II, etc. I've been doing some armor recently, including an M-60 and a Merkava, and I need to build my aircraft carrier and my battleship for future issues. I'm convinced that building models helps my artwork, since I ca!n visualize and actually touch and turn my subject matter to get a feel for it and experiment with "camera" angles.
NRAMA: What props/models are you working on now?
JW: I've been working on a blaster for a Sandtrooper costume, and scratch building some very small spaceships. I've got a bunch of Warhammer 40K marines and tanks in the works. I haven't had time to really work on any new props or kits lately (not that the bug hasn't bitten). I have so many model projects in my head, it gets a little daunting! My scratch built Star Destroyer is still in drydock. At seven feet long, I'm less excited about adding the detail it needs to get it finished. I've got around 200 kits to build, mostly Star Wars, some anime, some military, but I always want to add more details or lights, so many sit in their boxes, partially done. In this respect, I'm like a lot of modelers; it's not always the completed model that's
the goal, it's the building process.
NRAMA: You've worked with several comic companies in the past, such as Dark Horse, Wildstorm, Marvel and Antarctic Press. Besides a beginning run in your own company, Pork Chop Press, Twilight X has been an Antarctic Press title. What's it like working for AP?
JW: As far as my book is concerned, I can't imagine working for anyone else. A.P. has given me so much encouragement and support; it's just great to work here. There's a creative energy, and really no shortage of ideas and directions. When I have a day when my work is creatively slow, I can always head up to the office and get re-energized by seeing what Rod Espinosa or David Hutchinson or Sherard Jackson have on their drawing tables. Or I can talk to Joey or Joe Dunn or Lee or Bobby and see what they are planning for future books. Or I can see what Robby and Wes are working on on their machines. Or I can hang out with the Pauls and Doug and Ray and cover any number of topics, comic and otherwise, that give me perspective and energy to get back on my drawing table. They might not realize what I've been doing when I just show up to gab - until they read this! I'm glad to work with them all. And I can say that sincerely, because I've been with A.P. for thirteen years!
NRAMA: Along with your years at AP, you?ve also collaborated with Adam Warren on Dark Horse's Star Wars Manga. Can you tell us how that got started, and what kinds of things you did with Adam?
JW: That was a real treat. Friends of mine might know that I enjoy Star Wars a little. I've known Adam for years, and I think some of my Robotech paintings might have made him think of me when he got the gig - though maybe it was my constant babbling about the Trilogy. We did twelve covers in all. To give everyone an idea of how spoiled we all are now, Adam and I didn't have internet or FTP access, so we actually had to mail things back and forth!
We'd first talk about what the cover subject matter might be by seeing what parts of the story would be included in each issue. Then we'd sort of brainstorm a few scenes that might be cool. Then Adam would do several sketches for approval, and then I'd get his original ink to scan and paint. Then I'd print it out and send it to Adam, and we'd talk about questions and changes. Then that would go to Dark Horse and Lucasfilm for final approval. After the first couple covers, we decided to have me paint the backgrounds entirely, to give it a more anime feel, so I got to paint Death Stars and x-wings and stuff, which was lots of fun. No doubt Star Wars Manga will be my only Eisner-by-proxie! Many thanks to Adam.
NRAMA: Keeping the setting of your past, with Shotgun Mary #1, you were one of the first comic artists to digitally color a comic. Can you tell us what made you want to color with a computer?
JW: When Ben [Dunn] offered Shotgun Mary to me, I knew it had to be color. It's possible that I was thinking in terms of how to save time by avoiding the inking stage. But I do remember thinking "has anybody done this yet?" and getting excited to try it. My digital painting skills were nonexistent. I'd colored a couple of covers and two pages of Warrior Nun Areala, but it was a challenge I wanted - I was young and indestructible then. There was a high learning curve, and a lot of trial and error, but how else can one improve? We managed to beat all the other digitally painted books that came out, but not by more than a month, so there were lots of guys with the same idea.
NRAMA: How do you think digital coloring has changed the industry?
JW: Tough one. Certainly, comics look really good these days, mostly because of digital paint, but I always fear that this gloss will overcome story and character. Reader expectation is very high today as far as what the art looks like, but will good art become a substitute for any effort in story? The trick is to have both, so the reader can read it again and again. I don't lament digital color at all, especially since I'm also a digital colorist with Guru eFX, but I think it's dangerous to rely on flashy style over story substance.
NRAMA: Speaking to your art style, over the recent years, manga has really exploded in the United States. Not just in comic book stores, but into bookstores nation-wide. What do you think about the popularity it?s seeing now?
JW: I think manga exploded because it was different in many ways to American books. The art style is often expressive, energetic, cinematic, and epic. The subject matter is very diverse. It includes romance, sci-fi, sports, war, and history, unlike mainstream superhero comics - I suppose the superhero titles can include these themes, but are usually focused on super abilities. Facing facts, most American comics aren't for girls. Lots of manga offer stories interesting to females, and women are buying a lot of it in the bookstores.
NRAMA: How do you think the manga explosion affects the American comics industry?
JW: Hopefully, manga sales will help comics as a whole. It can't hurt if more people read sequential art stories. The problem as I see it, is that readers tend to become polarized, liking manga and shunning everything else, or vice-versa. Purists on both sides miss the point; story and character. It shouldn't matter how big a character's eyes are for a reader to dig something. Manga has borrowed from American comics and film, and comics are now borrowing back. Big deal? Nah. Get over misplaced loyalty to one or the other and get into the stories!
http://newsarama.com/forums/showthread.php?s=&threadid=12305