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Từ Rumble đến Ultramega, từ kaiju đến pomodoro - Phỏng vấn James Harren Comicon Napoli
Nghệ sĩ nổi tiếng đã có mặt tại hội nghị Ý để nói về minh họa, phương pháp, thông điệp và cách diễn đạt với Gamereactor.
Phiên âm âm thanh
"Hi friends, I'm at the 25th Comicon in Napoli. It's the end of day three for me.
We are all tired, but that's why I'm thankful to be joined by James.
Thank you so much for joining us."
"We've been talking with many artists.
One thing that I found really intriguing and interesting about you is that, if I'm correct, you draw inspiration from manga action.
How did you sort of draw that inspiration and translate it to this sort of Dark Horse format?
Well, it's not really conscious. I wouldn't know how to draw any other way."
"I was raised on manga and I was raised on American comics, so that's just what comes out.
I'm not trying. That's just how it is, unfortunately.
How would you define your style yourself?
Yeah, I don't know. Like you said, it's a bit of a fusion of a lot of different things."
"I like American comics, manga, and I like European artists a lot, so that's what it is.
Speaking about coincidences and things that come as naturally, let's talk about Ultramega.
So I wasn't sure if that was inspired by the pandemic, by the COVID, or, you know, in the comic, something breaks out, there's Kaiju all over the place, there's this big sort of monster to beat, and I thought you might have been inspired, but it's actually not the case."
"It was just perfect timing.
Yes, yes. Just a very strange coincidence.
I started in 2019. I was writing it and drawing it. It just happened to come out, I want to say, 2021 in the US, either early 2021 or late 2020."
"COVID was raging and it was just a weird, really weird coincidence.
Like I said, there was even that panel of somebody sneezing and people freaking out.
It's, you know, just one of those things. Bad or good timing, I guess.
And looking back on Ultramega, what can you tell me about the whole success of the work and how you feel about the messages you wanted to convey with that work?
I mean, the fact that anybody was willing to read it, it's just, I'm very grateful for it."
"It's been awesome. This was my first time writing and drawing for myself, which is something I was very nervous about.
And the fact that people are receiving it so well, especially the Italian audience, the fans have been incredible. It's just, I'm very, very humbled by it."
"The reactions have been amazing.
So let's talk about something that's slightly different, which is Rumble.
Rumble is crazy.
We could wrap it up there."
"Tell me a bit more about the concept behind it, the way you guys approached it, what you really wanted to do and how people came back to it, the feedback you got.
Yeah, Rumble, I mean, that was a labor of love.
It was really the brainchild of John Arcudi."
"He's been in the business forever.
He's, I think, one of the best comic writers America's got.
Total dream to work with.
Yeah, I mean, I want to say the weirdness is his fault, but I guess I drew it, so I didn't really center it that well, I guess."
"But no, it's such a crazy idea.
I love that he took something such an epic, mythological, monstrous, huge scale of a story, and it's very grounded and very human.
And John doesn't shy away from our frailties and the human condition stuff."
"He's one of the best.
You're also a cover artist.
Let me ask you about that specific role.
I've talked with several artists here about this, you know, being different."
"Sometimes you have to interpret what's going on inside that might or not might be your work.
Some of the times it's just adding your own, you don't touch to it.
But, you know, readers have to get a glimpse of what they are going to feel when they read the book.
So what can you share about this experience with covers?
And what can you tell artists perhaps interested in this specific role?
Oh, specifically. Okay."
"So, yeah, with variant covers, they're a really good opportunity to explore worlds and comics you wouldn't necessarily have the time for.
Yeah, like there was an Alien cover I did that I'm a huge Alien fan.
And I spent a long time sketching and trying to find my own thing, what I was trying to say about Alien, but also to pay proper tribute to something that I feel very deeply for."
"Something like Alien, I'm glad I brought up Alien because that's one of those properties that's really difficult to bring your own style to.
I've noticed it's like Star Wars where it's kind of like it has to look like the thing.
And you can sort of lose your individuality while you're trying to do it."
"So for me that challenge was how do I express my love for Alien but also kind of do it in a way that people would recognize it as my work or recognize it as something a little different than maybe what they would normally see.
So I feel like that's the tension is serving the property, serving the story or the book, but also having fun, putting your own spin on it."
"There are two other things I'm asking other artists about.
One is the elephant in the room, which is AI.
Let's leave that for the last one.
And the other thing is how you guys manage time."
"Because I think that this is very important for many of you.
Also for junior artists that are starting, how can I shave time from this process?
How can I be quicker but keep my quality to it?
So how did you manage?
You, of course, worked for several labels."
"You worked with Marvel, with DC.
With time, I guess, you got better and quicker.
Yeah, it's the eternal question.
I still struggle all the time, daily, weekly."
"I feel like the schedule is always there, the deadline is always there.
So I have different techniques I use to make sure I don't spend too long on something or that I don't rush something.
So for me it's a lot of trial and error."
"I use the Pomodoro technique a lot.
I don't know if you've heard of that.
It's like if I have a page to do and I've got my work day, I've got six hours ahead.
I'll split up the panels where it's like one hour for this panel, two hours for this panel."
"And I have a timer to let me know that I'm counting down.
So I'm looking at that hour and I need to finish this panel in one hour.
So that way I'm not noodling around and it keeps me focused.
And then I break down everything into chunks."
"It's the Pomodoro technique.
Is it this annoying kitchen Pomodoro that goes like click, click, click?
Well, the trick is to do it before it goes off.
That's the trick, is I try to finish early."
"So it's not as annoying.
So I'm not getting annoyed by all the chiming and the alarms.
Pomodoro is a very Italian word.
Tomato, if I'm correct."
"Is it? I don't know.
I've never, I didn't even think about it.
There's a bunch of Italians around.
Perhaps we can ask.
All right."
"Closing one.
Yeah, I had to ask you about AI.
I'm getting different feedback from different artists.
Do you see it as a potential tool that can help you out in the future or precisely talking about time to reduce the time you use?
Or do you see it as a potential threat?
Stealing your style and your ideas or both?
God."
"Yeah, it's so complicated.
You know, I'm not the right guy to ask because I had a flip phone until 2022.
I'm not an early adopter of technology.
I use Photoshop."
"I like my iPad for sketching sometimes, but I very much like drawing on paper.
I don't foresee myself ever using it.
There's a lot of negativity around it.
I don't want to add more negativity to the world, but yeah, I'm offended by it."
"I'm offended by AI art.
I don't really like what it looks like.
For me, the art is human and it's about the process.
It's about the sweat and the human spirit that you put into creating it."
"Yeah, my hope is that people like art made by the human hand.
You asked me a pickle.
This is a tough one.
Tannino Liberatore, Magister for this event, just told me it also removes the pleasure."
"Perhaps there's a way to juggle it.
That's an interesting thing.
I don't want to be one of the many people.
Is it alright if I just take the question over again?
I loved it already."
"You can complete it.
I loved it already.
For me, the pleasure of art is making it.
The pleasure of art is the audience receiving it and enjoying it."
"Not to be too grandiose, but it's also the suffering of it.
It's the pain of it.
It's the pain of it.
It's the pain of it."
"It's the pain of it.
It's the pain of it.
Not to be too grandiose, but it's also the suffering of it.
It's the fact that it's difficult."
"It's the fact that you overcome a lot of our human frailties to make it.
I don't know.
There's nothing more human than making art.
Prompt generating just doesn't do it for me."
"I'm just not interested in it.
That's a double nice question.
Just to close, what is your latest work that we can enjoy or something that is upcoming that we can be looking forward to?
I can't announce anything."
"I'm working on a lot of things in secret.
Confidential?
Recently or the latest?
What we got to look forward to is the conclusion to Ultramega."
"The last issue is currently being colored by the great Dave Stewart.
That's volume number...
For the European market?
I don't know."
"It's issue 9 in the US.
It's the very last one.
I'm sure it will be collected very shortly here.
Looking forward to that one."
"Thank you so much for your time, James.
Let's take some rest."
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