Taking the Battle to the Spectre : An Interview with Eric Battle
Eric Battle has illustrated many of the Marvel and DC universes’ biggest characters, including Spider-Man, Batman, Aquaman, Green Arrow, and Green Lantern. Now he’s tackling the Spirit of Vengeance himself, the Spectre, in a brand new 8-issue mini-series spinning off of Infinite Crisis. I had a chance to chat with Eric about the series, in which he touched on being a line freak, funny cigarettes, and Jonathan Livingston Seagull (no joke!).
Interior Pages from Tales of the Unexpected #1
RM: How did you become involved with Tales of the Unexpected?
EB: I got involved in Tales of the Unexpected through DC Comics editor Bob Schreck. I’d been pestering him for a good amount of time and we were in constant discussion about possible projects to work on. I was doing illustrations for author L.A. Banks’ Vampire Huntress novel series and website. Anyways, I was showing Bob the vampire work and I guess he liked what he saw and told me that he was looking for an artist on a new horror series at DC. He asked me to work up some sketches of the new Spectre/Crispus Allen. I suppose he showed the drawings all around to all parties involved and luckily I was picked and we were off and running.
RM: Have the art chores for TOTU been easier or more difficult than you expected?
EB: In regards to the artwork in TOTU, I think my work has matured over the years and I’d been rabid to show that to the readers. Over the past 3 years, I’d gotten back to painting and other forms of “fine arts” because I was getting a bit frustrated with some things that were happening or not happening in comic books for me. It was about reminding myself that I was an artist before I wanted to draw comic books and bringing that experience to the table. I’d started exhibiting artwork in New York and Philadelphia galleries to really thrilling responses, and I was excited again to pull everything together and have it show in ALL of my work. Working in comics has been an ongoing learning experience for me, and I had to learn to work through some of my own fears, doubts and second-guessing. And criticisms of others. I’ve learned to trust myself with certain things and know that I’ve sharpened my vision of what I can do and be fearless with my artwork. All that said, I’m having a blast with the artwork and I hope it shows!
RM: What can fans expect from TOTU?
EB: The fans can expect some GREAT character-driven stories written by David Lapham that gives them a comprehensive look into Crispus Allen’s “Insider” view of being the Spectre. Visually, they can expect all kinds of mayhem and weirdness that the Spectre will rain down on those who catch his wrath. It’s gonna be brutal! Yum.
RM: Have you followed the various events spawned from Infinite Crisis and 52 closely, since you are working with Crispus Allen/The Spectre?
EB: I’d read Infinite Crisis and LOVED Issue #4 especially. The scene with Crispus and the Spectre was one of the best scenes in a comic that had a lot of memorable scenes in it already. It got me excited to begin working on TOTU because I thought it set the bar on what kind of visuals to set for the series.
RM: Cameo alert! How many DCU heroes show up in this mini? Are there any plans to continue elements of this series in an on-going series?
EB: We’ve got two guest cameos popping up in the mini. Batman is in issue #4, which I’m working on now. YAY! It is absolutely too much fun drawing him, and although I’d drawn two issues of Batman, I’m looking forward to honing my rendition of the character and making him a formidable force in relation to the Spectre. There are a few other mystical guest cameos coming too. In regards to continuing TOTU beyond the scheduled eight issues, I’ve heard talks of doing so, but I’m just focused on completing a strong eight issue run first.
RM: You’ve worked with various Marvel and DC characters. Who is your favorite to illustrate?
EB: Of the DC characters that I’ve drawn, Batman is really fun to draw. The shadows, power, cape and cowl, that’s such a great combination of visual strengths to start with! I’m having a ball putting together my rendition of the Spectre. He is such a bad-ass character and unlimited in what he can do. I really hope to create a memorable version of him that readers will take to.
RM: Did you use any former interpretations of Crispus Allen or the Spectre to adapt your illustrations, such as work by Cliff Chiang, Jim Aparo, or Tom Mandrake?
EB: I’m not using anyone else’s interpretations of Crispus Allen or the Spectre right now because I’m trying to go with the vision that I have for him.
RM: Tell us about your experience working with David Lapham. Did you have much story input, or was this definitely David’s baby regarding the script?
EB: I haven’t had much, if any, interaction with David Lapham while working on the series so far. It’s been exciting and easy working from his scripts. Given that he’s a visual artist himself, I think he writes to that strength, which makes my part fairly easy. After reading the overview of what he’s got in mind for the mini, I was easily excited by reading such inspired work. I work best when I feel that all parties involved in a project are excited and giving it all they’ve got. David’s written a set of exciting and fun stories that I can’t wait to take on the challenge of illustrating.
RM: What particular scenes or panels in TOTU will blow readers away?
EB: I’ve challenged myself with putting together scenes and panels in each issue that I hope will blow readers away. In the first issue, I’d scrapped a bunch of initial sketches because, having looked over the first round of scenes, I knew I wanted readers to remember this issue. Besides, it’s my first time drawing a first issue of anything and it was time to pull out all the stops! There’s a string of scenes that I knew HAD to be BRUTAL! As I was reworking the scenes, it was like everything fell into place. I was able to visualize it in my head and just let my hand go to work. Luckily, I don’t have nightmares drawing this kind of stuff. I’d shown the final pages to my mom and had to reassure her that I don’t have nightmares, smoke funny cigarettes, drink or take drugs to come up with the visuals.
RM: Describe your view of Crispus Allen and his new role as the Spectre.
EB: I can empathize with the Crispus Allen character. Here’s this honest, morally strong, family loving guy thrust into a crazy situation! What’s he gonna do? It’ll be interesting to see how he settles into his role as a “Spirit of Vengeance” and whether that changes him and his way of thinking. It’s fun to illustrate the contrasts between him and the Spectre.
RM: Did you conduct any research to bone up for illustrating this Spectre tale? Is this mini-series related to the 50s-60s TOTU series?
EB: In regards to research for the Spectre stories, as with any other illustration project that I work on, I do whatever research is necessary to tell the story as clearly as I can and making it as visually intriguing as possible. Sometimes I use photographic reference from my picture files to put together the details that make a scene solid and believable, or I’ll go to a museum exhibit for research purposes if necessary. Whatever it takes.
RM: What overall impression or style are you seeking to utilize in TOTU? Will it be an even mixture of supernatural and reality?
EB: Some of the scenes that I get to draw are pretty frightening and creepy. As far as a style to depict those scenes, I concentrate on finding the main focus of the scene and build up details around it, adding shadows and hoping that people get the shivers when it’s done. The series will have a good mixture of the supernatural crossed with reality and human drama.
RM: What do you think of Prentis Rollins’ inking?
EB: The inked pages that I’ve seen from Prentis Rollins are beautiful! Sometimes it takes awhile for the penciler and inker’s collaboration to gel. Prentis knows his tools and how to use them. I’m a bit of a “line freak,” meaning there are certain types of lines that just “sing” to me and others that are “dead.” It all depends on the application of the line. Prentis has a fine eye for detail and he doesn’t slack off when faced with a lot of detail. Being trained artistically to take a project from start to finish, sometimes it’s hard to turn your work over to another person to finish it. I’ve learned to pencil as tightly as I can and draw everything exactly the way I want to see it. I also keep good copies of my pencils just to be on the safe side.
RM: Besides TOTU, which you’re obviously excited about, what do you think is your favorite work?
EB: I AM excited about TOTU, and I think readers will be able to see the excitement in the visuals. The work that I’m doing for L.A. Banks also has me “geeked out” because she’s trusted me with her stories to put compelling visuals to. That’s a huge responsibility, and I take it very seriously not to betray her trust and make this work. I’ve also gotten back to painting, which puts me in a different, looser frame of mind than penciling. Just exploring color and various techniques and incorporating figure work on canvas is sooo freeing.
RM: Any plans to work with Marvel or another publisher in the near future?
EB: In regards to doing work for other publishers, the L.A. Banks work has brought me work with St. Martins Press, working on chapter heading illustrations for her latest novels and a possible bigger and more ambitious project later on down the line. I’m penciling and inking a Vampirella story for Harris Publishing written by Christopher Priest. I’d like to do some Marvel work at some point. Drawing the Hulk just wrecking everything in sight and throwing down with whoever’s foolish enough to step in front of him gets my gears spinning.
RM: Who are your biggest influences as an artist?
EB: Some of my biggest influences as an artist spans pretty wide. Neal Adams has always been an influence: how could he not? I can get lost in a Barry Windsor Smith painting. Leo and Diane Dillon (children’s book illustrators) do some amazingly beautiful work. Aubrey Beardsly, Dore, Simon Bisley, and the list goes on...
RM: Your facial expressions on characters are always very appropriate and passionate. What kinds of exercises or models do you use to get those appropriate expressions?
EB: When I’m working on facial expressions for a scene, I read through the dialogue and visualize how I’d react to whatever is happening, then I picture the characters acting the scene out. I keep a mirror close by if I need to get the curl of a lip just right or shadow under the brow effectively. Photographic reference is always useful too.
RM: What comics are you reading right now?
EB: The books I’m reading now are: The Ultimates (just so perfect), Daredevil, whatever Ivan Reis and Lee Bermejo are drawing, Desolation Jones, Pacheco on Superman and Batman. I just read a neat little inspirational book called Jonathan Livingston Seagull by Richard Bach. I’m also trying to keep up with L.A. Banks’ vampire novels. She writes so much in so many genres (Scarface novels for Dark Horse, for example), and it’s ALL GOOD!
RM: Do you have a favorite Spectre story?
EB: My favorite Spectre story is the story I’m working on right now, and the ones that I’ll be drawing in the future. I’ve got some ideas on some things I’d like to see him do and characters I’d like to see challenge him. Hopefully I’ll get to explore those ideas.
RM: We know you’re a native of Philadelphia, so I have to ask: who is your favorite Philadelphia-based super-hero (or comic artist. I’ll go easy on ya!)?
EB: Being a native of Philadelphia, I liked the Ray series that Priest and Howard Porter did that was based here. I have too many artist friends here to have a favorite because the talent pool is so large. I’m trying to become my favorite Philadelphia artist. So much to do!
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