Wearing the Black Coat: Adam Cogan (Interview Two of Four)
The career of The Black Coat is a journey for the creators. The Black Coat first appeared as a self-published mini promotional comic at ComixPress.com and moved to Speakeasy Comics. After Speakeasy's untimely and mysterious demise, Ape Entertainment recovered some of Speakeasy's series. Along with this recovery came The Black Coat. Terry Hooper sat down with co-writer Adam Cogan to continue discussing the series and its voyage to a new home.
(This is the second feature in a four-feature series.)
TERRY HOOPER: Adam, thanks for taking time out for this interview. Let's begin with the favorite of all hack interviewers: where and when were you born?
ADAM COGAN: They tell me it was in Columbia Missouri, 1970, but the details are hazy.
TH: We'll now take a huge leap from birth to your first comics! Can you remember the first comics you ever read?
AC: I’ve read that many creators have a very personal relationship with their very first comic, and I truly envy them for that. I wish I had that moment encapsulated in time forever. I’d love to be able to track down that issue and read it again and again and have it take me back to that time. Unfortunately, my memory is pretty blurry. I must have been quite young. I can only tell you that when I held that newsprinty goodness in my hands, I instantly fell in love. Superman was definitely one of the first. I also started reading Star Wars comics when they started coming out. But the first time I became totally strung out on comics was back when Chris Claremont was writing the X-Men in the 80s.
TH: You mention that you began drawing at an early age -how young were you and was it comics that pushed you into drawing or were you "crayon-in-hand" before reading them?
AC: Crayons, markers, sticks in the dirt, whatever made a mark. I think this is really a trick question, because all children draw when they’re young. I guess I just kept at it a little longer.
TH: How old were you when you started drawing comic strips of your own?
AC: I was probably about nine or ten, maybe younger. One of them was a sequential hobbit story. I had seen the Hobbit by Rankin & Bass, and I was inspired by the art and the story they were based on. And of course I always loved to create my own stories. I did some more serious attempts in high school. I loved creating characters and scenarios.
TH: You say your parents encouraged your artistic endeavours -how supportive were they and what did they think of your interest in drawing comics?
AC: They were always proud of my artistic efforts, always encouraged me to keep at it. I wish all parents were like that, but it seems like their attitude was an exception to the rule. Honestly they didn’t care if I created comics or painted in oils, they just wanted me to be happy and pursue my dreams.
TH: Now, you claim to have wasted countless class hours at school drawing "monsters and robots and comic book heroes" - were these your own characters and, importantly, did you ever get into trouble in class for drawing [I did!]?
AC: They were almost always my own characters, mostly created the moment I drew them. And yes, I got in some trouble in school. I remember once in third grade I was telling a classmate about this huge battle scene I had illustrated, when I noticed that the class had gone dead silent. I looked up and everyone was staring at me and the teacher’s eyes were smoldering at me, and that’s when I realized we were in the middle of a multiplication test. Fortunately I got better at hiding my illicit sketching over the years.
TH: Have you always been a big comic book collector or do you buy selectively?
AC: I don’t collect them. I guess I don’t have the patience for it. I just read them. I buy them almost at random sometimes. Whatever catches my eye or my imagination.
TH: May be a silly question, but what are your current favorite comics?
AC: BPRD can do no wrong—I’m amazed by every single issue. I’ve been enjoying Shaolin Cowboy. I hadn’t read V for Vendetta since it first came out, but I just re-read it and I am once again in awe of Alan Moore.
TH: The 1977 Star Wars movie has been cited by none other than yourself as having been a huge influence on you ---did it effect your comic work?
AC: We could do a whole other article on that topic. I’m sure it did influence me. I know it helped me develop my imagination in general and everything that I’ve done with it so far.
TH: Art School, for some comic book artists this time of their lives was either the worst or best --which was it for you?
AC: I went to the Kubert School my first year, but I never felt like I fit in very well. I was pretty miserable. I was really struggling to find my direction, and ultimately chose to leave and pursue illustration and fine arts. And that didn’t turn out to be quite right either.
TH: So, from Art School you went into the video games industry. How did that come about and are the memories good or bad?
AC: It started when I answered an ad for a game tester at a multimedia company in New York City. From there the work eventually mutated into a digital artist position at a few different companies, and then on to game design.
TH: Not having been into video games I asked around about a game you were involved in -- ROBOTECH BATTLE CRY. I was surprised to find it was near legendary! Can you tell us what your involvement in this game was?
AC: Whoa, legendary is a VERY strong word! I’m glad the people you talked to enjoyed it. I was the game designer on that project, which meant taking the Robotech license, adapting it into a game design, and then working with the team to bring it to life. I also wrote the story and dialogue and even did some of the sound effects. I’m very proud of what our team at Vicious Cycle accomplished.
TH: Is it fair to say that your experiences in the video game industry affected your future career view -i.e. you wanted to get out and do more creative things?
AC: Yes. I realized after some years in the industry that if I wanted to tell my own stories (or own my own stories), I would have to do it in another medium. It was unlikely I would get a chance in the games industry, because most publishers refuse to do anything but licensed material. It’s a very short-sighted business practice, but it shows no sign of waning just yet. But the truth is I’m not really out of the industry anymore. I’m currently the designer of an original PSP game slated to be unveiled next month at E3.
TH: Stan Lee once pointed out [in the intro to the 2 volume Kree-Skrull War from Marvel] that comics were the only place where you could get whole alien fleets, intergalactic wars, many aliens, super heroes - at that time it would have been impossible for Hollywood to budget such a film [all pre CGI of course];he went on to say that the only limit in comics was the CREATOR'S mind. I know that I've certainly found that to be true -have you?
AC: That’s a great point, it really sums up one of the most beautiful things about the medium, and it’s just as true if you compared video games to comics. You don’t need a huge team and a few million dollars to put out a comic, all you need is imagination and determination.
TH: Since leaving the gaming industry I know you have been involved in putting projects together, mainly as a writer, such as Necropolis Now, Spellbound, One Way Ticket, Villains and, of course, The Black Coat. No artwork chores or do you see writing as your best creative outlet?
AC: Writing is my primary focus. Ryan Cody and I have agreed to switch roles in a future Villains back story and have me do the art chores while he does the writing. But for the most part, I prefer to write them.
TH: Can you tell us about some of these projects?
AC: I’d be very happy to!
Villains is being published through Viper Comics and the first issue should be on shelves next month, with art by Ryan Cody. The main character Nick Corrigan finds out that his upstairs neighbor is in actuality a famous supervillain (in hiding and presumed dead). But instead of turning him in, the guy decides to blackmail him into teaching him how to be a supervillain.
Spellbound is being put out through Alias Comics and should be out some time in mid-fall. This book is a modern tale of fantasy, also set in New York City. For the last few hundred years, a powerful wizard has acted as the “Visionary” of Earth, a magical champion dedicated to protecting the planet from occult threats. But he’s getting older, and realizes it’s time to pass his knowledge on to an apprentice. Unfortunately, the young man who is destined to take his place doesn’t want the job.
TH: I'm presuming you are always on the look out for good artists to work with?
AC: Yes, thank you for mentioning it. Artists with a serious commitment to comics should contact me through my website: MonsterMenace.com and send me links to their portfolios.
TH: Now we come to The Black Coat. How did you get involved with this -from original concept or later?
AC: I was around pretty early on, back when Ben Lichius started drawing the first few concept sketches. He and I work together at Vicious Cycle, so that’s the connection. As he was writing the first issue, I was always ready to brainstorm with him and offer feedback. When Ben asked me to come on as the full writer, I restructured our long-term story arc and I made some adjustments to his script to make that work, and I wrote issues 2-4, with Ben working in an editorial capacity.
TH: What's it like working as part of a creative team; do you all have the same train of thought on a story or is there a lot of discussion----is it easier working as part of a team or a solo writer?
AC: There was always some discussion and feedback during production. Ben and I have argued back and forth a few times about various plot points and scenes, but I wouldn’t have had it any other way. In every case it made that scene a much stronger one than it was before. I think feedback and collaboration are incredibly important. When you’re working with a team, you share in the responsibility of making a great book, and everyone should be able to express their opinions and contribute their ideas.
TH: What is it that you like about The Black Coat as a character and a series that makes you want to keep involved?
AC: The Black Coat is a genuine swashbuckler, and it’s been incredibly fun and refreshing to tell some of his story. Many elements in the book draw from some of the genres I love, like classic pulp stories and old swashbuckling pirate movies. And then there’s the main character himself—The Black Coat.
He’s not just a man of action; he has a brilliant mind, so even though the book is filled with wall to wall action, BC always uses his brains to solve problems. Even when he’s in the middle of a pitched battle, it’s always his quick wits and creative solutions that allow him to survive. And I have to mention the time period of the story. The American Revolution is an incredibly rich and fascinating setting. It’s such romantic material—an impossible struggle for independence, new concepts of freedom, a mysterious, untamed continent. Yet somehow it’s been largely ignored both by comics and by Hollywood, even though it was THE most important, defining moment in American history. An American Zorro. It’s a concept that makes you slap your head and say “of course”! It’s hard to believe it’s taken so long to tell his story, but his time has finally arrived.
TH: Although, initially, a 4 issue series, if The Black Coat went on to become an ongoing series would you still be involved?
AC: That’s really up to Francesco Francavilla and Ben Lichius, but I would be excited to write more of The Black Coat. We have eight more issues planned out and they could lead to many more, plus there are a number of side story ideas we’d all like to pursue as well.
TH: I've asked Ben this so it's only fair I ask you: when Speakeasy Comics accepted The Black Coat it must have been a real high. Then the company folded just as The Black Coat #1 was due -how did this affect you personally and the team in general?
AC: It took us nearly two years to get to this point. When the book was ready to be pitched around to publishers, we knew we had a great book on our hands. None of us had the slightest doubt we’d find a home for the book. And when Speakeasy closed, we knew we’d find another one in short order. But as much as I believe in the book, I was still astonished by how quickly we were able to find a publisher and get back on schedule. Ape Entertainment really swooped in and saved the day, and they really believe in the book. Their attitude is really refreshing. I just wish we had chosen to go with them from the start.
TH: Has Ape Entertainment optioned any of your own series ideas and if so which ones?
AC: Nope, but I’ve also never pitched anything to them. Yet!
TH: Okay, final question. Obviously, as a writer you will have new projects as well as older ones to work on/develop so: which ones do you really WANT to get into print and any final words for comic buyers out there?
AC: Hey, I want all of them to see print! I’m working on three other book pitches at the moment with artist involvement, and several more that are ready for the right artist.
The first issue of The Black Coat is in stores right now, so please pick it up. And look out for Villains issue #1 and Black Coat #2 next month!
TH: Adam, once again, thank you for giving up your valuable time and best of luck with The Black Coat and future projects!
AC: Thanks very much Terry, I enjoyed it.
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