Ben Raab: Ghost Writer

By Shawn Patty

Ben Raab began his career in comics in 1993 as a special projects intern at Marvel where he assisted in the production of various licensed merchandise. In 1994 he became an assistant editor coordinating all aspects of the monthly publishing production of the core X-Men titles and their spin-off series, assisted in the development of characters and storylines over extended periods of time and edited numerous trade paperbacks.

In 1996 Raab became the online editorial manager for Marvel where he launched the highly-trafficked Marvel Online website and award-winning domain on America Online and oversaw all aspects of content provision, including art selection, writing and creative planning. He also conceived and developed interactive CD-ROM projects and acted as the liaison between Marvel Interactive and Editorial departments.

In '97 he became a freelance writer and worked on numerous comics, including The Avengers, Excalibur, X-Men, Union Jack, Beast Boy, The Phantom and Vampirella. His most recent run on Green Lantern concludes with the series’ 175th issue, which goes on sale March 31.

SHAWN PATTY: Geoff Johns attended Michigan State University while Brad Meltzer and Judd Winnick and you all went to the University of Michigan. Can you confirm or deny that there is a “Michigan Conspiracy” within the comics industry right now?

BEN RAAB: If I did, I’d have to kill you…GO BLUE!

PATTY: How did you get involved with The Phantom?

RAAB: I first started writing The Phantom for Egmont Scandinavia’s Fantomen series back in 1999. Though I knew very little about the character - beyond the thoroughly entertaining and totally underrated movie starring Billy Zane - I was instantly fascinated by the concept of a heroic family tradition passed down throughout history. So when I heard Moonstone was going to begin publishing Phantom graphic novels here in the States, I contacted them and expressed my interest.

The rest is history.

PATTY: Considering the worldwide popularity of The Phantom and its many loyal followers - especially the Swedes and Australians because you know how they can get - how daunting was it to step into writing a character with that much history and worldwide popularity?

RAAB: Very. But that’s always the case whenever you take over chronicling the adventures of a character that’s been around longer than you have. Everyone who’s ever read their stories already has their own favorite version of that character and any deviation from that is considered heresy, blasphemy and worthy of eternal damnation. But you’ve just got to do what you think is right and tell your stories to the best of your ability. I sincerely believe that so long as you have respect for what’s come before, no matter what you do, you can’t be faulted for going in a different direction. Because ultimately, it all comes from the same place: the desire to tell a good, fun, entertaining story.

PATTY: Where are you looking to take this latest incarnation of The Phantom?

RAAB: All around the world and back! And, through time, but not literally, of course. Some of our upcoming stories will not only take place in different parts of the world, but they’ll span generations, as well. That’s the great thing about The Phantom. You can incorporate his family’s history as well as current events. He’s truly a timeless hero.

Our next 2-part story arc on sale in May – “Curse of The Phantom” – pits the Man Who Cannot Die against a threat from his ancestors’ past that ties directly to his early origins and may determine the future fate of his family. Then, in “The Aviatrix”, The Phantom comes up against an old, airborne foe. Beyond that, I’ve got an idea for an arc set entirely in the past that will then play into the subsequent arc that reintroduces The Phantom’s greatest nemeses: the Singh Brotherhood. Big things are definitely in the works!

PATTY: You’ve done some work with the Swedish folks over at Fantomen. Did you have to make any adjustments in your writing style for the European/Scandinavian audience?

RAAB: The two biggest things I had to adjust were my script formats and the tone of the stories based on the target age group. In Sweden, Fantomen - and Norway’s Fantomet - is marketed mostly toward a younger audience than the comics here in the States. 8-12 was pretty much the mean age range of the Fantomen readership, so there were definite boundaries you couldn’t cross.

Because the old newspaper strips were the influence for the Scandinavian Phantom comics, my scripts had to follow a similar format. This meant no splash pages or double page spreads, a minimum of 5 panels per page and no more than one dialogue balloon per character per panel. It was definitely a more constrictive approach than we’re taking with Moonstone’s Phantom, which we want to feel as big, bold and cinematic as possible.

PATTY: What differences have you noticed between the American, European and Australian comic fans?

RAAB: So far, I’ve noticed that the American fans are a bit more forgiving about the depiction of action in the books we’ve put out to date. I’ve read some international fan commentary that laments how our presentation is too graphic and violent and completely out of character for The Phantom. Compared to some old Phantom stories, perhaps it is, but that was then. Though I do recall one instance of the Phantom taking a woman over his knee and literally spanking her. And that was in the 1930’s!

We certainly don’t want to alienate our foreign readers, but we also have a responsibility to our audience here in the United States and the demands of our market place. Even beyond that, the bottom line is, if Hearst Publications – the owner and licensor of this property – gives what we’re doing the green light, then you can be sure it’s consistent with their take on the character. And really, who’d know better?

PATTY: Have you noticed any differences on the editorial or business side?

RAAB: Moonstone and Egmont are two very unique publishing entities producing books for two very disparate markets, so there are dozens of differences between how they edit their books and conduct their business affairs. But the one thing that’s consistent with both is their treatment of and respect for their creators. I’ve been lucky to work with some great people in both companies.

PATTY: You have gone on record as being a big fan of music, and Rush in particular. How big of a role does music play in your creative process?

RAAB: Music is always playing when I’m writing. Sometimes thematic elements from favorite songs find their way into my stories. Other times, certain music helps me set the mood for a script I’m working on, or the mindset I need to be in to write a certain character with a certain attitude. And when I get stuck with a bad case of writer’s block, I pick up my guitar and play - just like yesterdaaaay! - until the muse hits me again and I break through the wall to get to what I’m really try to say with a story.

PATTY: I am a big fan of Green Lantern. As someone who has written Green Lantern, what is your take on the whole Hal Jordan/Kyle Rayner debate?

RAAB: Well, since my last issue is about to come out next week, I feel I can finally be brutally honest and go on record as saying I think the whole debate is ridiculous. Having been on the inside of the fence, looking out at the two camps and their incessant bickering, I honestly think it’s done more harm for the series than good over the past ten years.

Granted, this is just my opinion, but I believe the real star of Green Lantern is not Hal Jordan or Kyle Rayner or John Stewart or Guy Gardner or G’Nort or whoever. The real star is the power ring itself. Despite variations in function, the power ring is the sole consistency to all Green Lantern series, past or present. It is the central icon and metaphor. It brings out the best in the person who wears it and literally shows them the light of their true potential. Without it, Hal Jordan is just a pilot. Kyle Rayner is just an artist. John Stewart is just an architect. Guy Gardner is just an ass.

Yes, it reflects the wearer’s will, and the more powerful the user, the more powerful the ring becomes, but how can you quantifiably argue that Hal’s will was in any way greater than Kyle’s? They both proved themselves worthy of wielding the ring on dozens of occasions. They both saved the universe time and again. Which is why I think it’s a zero-sum game to stack one up against the other.

But, apparently, that’s just me.

PATTY: It seems that there has been a slew of exclusive contracts announced lately. How do you feel about exclusivity? Would you be inclined to sign an exclusive contract?

RAAB: I think it’s great. The freelance lifestyle can be pretty hard. It’s a feast or famine existence. Ain’t nothing like professional peace of mind to help an artist to put aside fiscal concerns and focus on their craft. Believe me, if there was an exclusive contract on the table, I’d sign it.

PATTY: How did the death of Julius Schwartz affect you?

RAAB: I was sad to hear he’d passed away. I never had the good fortune of meeting the man, but his work certainly affected my life. Like virtually everyone else in this industry, I probably wouldn’t be doing what I do without his influence.

PATTY: In a recent interview with fellow SBC writer Brandon Thomas, Joe Quesada commented about on-line comic news sites, in particular rumor sites, stating: “it affects the creative community in Comics. We now have to be careful whom we talk to and what we say, and it’s crazy. Also a wedge has been driven through the community and sometimes into friendships because of this.” How do you feel about on-line comic news sites? Do you feel they serve a purpose in the world of comic-dom?

RAAB: “Actually, I see both the good and the bad,” he said, treading cautiously…

Any means of spreading the word about comics and the people that work on them is good for business. The ‘Net presents the possibility of expanding our audience from the hundred thousand or so people who buy comics in this country to the potential billions worldwide. Plus, it’s a chance for people who don’t normally read comics to be exposed to them, for free, in the comforts of their own homes. That untapped consumer is gold. Of course, if those people never visit comic news sites? Well, hey at least they’re out there. It’s up to us to find them.

On the down side, there’s way too much negativity floating around in cyberspace. Having been on the receiving end of criticism throughout my career, I know firsthand how nasty fans, reviewers and even journalists can get. And why? Because everyone has an opinion and the means of expressing it, yet, strangely, when you meet these people at a convention or in a comic store, they kiss your ass telling you how much they enjoyed the book they just panned online the other day. It’s weird. Anonymity is a shield that far too many fans cower behind when they want to take potshots at creators.

When I was a kid, the only interaction we, the fans, had with the creators and/or publishers was the letters page. You never got to interact directly with the people behind the scenes like you can now. And because of the ‘All-Access Pass’ that is the Web, much of the mystery has definitely been sucked out comics now that you can find out the latest industry gossip at a moment’s notice online.

But in the end, it’s better to be talking about comics than not at all.

PATTY: What’s on tap for you in 2004?

RAAB: In addition to The Phantom and possibly Cryptopia for Moonstone, I’ve got a sci-fi inspired, action-adventure maxi-series for DC called The Human Race that I co-created with artist Josue Justiniano that’s due out sometime this year. Beyond that, I’m developing a couple of TV pilots and feature film screenplays with my writing partner that we look forward to shopping around Hollywood later this year.

So stay tuned!

	Shawn Patty is a recent addition to the SBC news staff. When he's not hunting down news stories, he is a technical writer for an insurance company in southeastern Virginia. Shawn is a Capricorn and in his spare time enjoys sunsets and long walks on the beach.

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