GKO: MADHOUSE
Here you will find our rambalings on all area's of Batman, interviews and speical features!
Newsarama: Yanick, we spoke a little about how, with Return of Bruce Wayne, you weren't getting to draw Batman in his costume very much. I guess you're getting to do that now. Was this an exciting project for you?
Yanick Paquette: Oh yeah. Batman is one of those books that is a great opportunity to do it. So if I only did one book, that's the one.
Nrama: Was the new look of Batman given to you, or were you involved with the idea behind how Bruce Wayne looks now? And have you put your own stamp on it?
Paquette: I'm not responsible for anything in the design. I think what we have now is [Batman: The Return artist] David [Finch] and Grant talking and creating the basic structure and design. So that's what I'm using. I'm not inventing anything. As far as drawing him, I'm just following my instinct.
Nrama: Have you talked with Grant about the overall theme of the comic, or are you just going by each of the scripts you receive?
Paquette: I haven't talked to Grant. I'm looking at scripts, and I'm learning the story as much as, I guess, a reader would. I get a few pages at a time and discover what's going on. So far, I haven't managed to paint myself in a corner.
But the great thing about working with Grant is that everything is such a creative maelstrom that, if you do interpret something which is out of his original intention, he'll just play with it and roll with it and make it part of his story.
So I'm starting to draw Issue #2 now. And I'm not sure what it's about. It makes things interesting though.
Nrama: Grant told us Batman was traveling to Japan in the first couple issues. Does that influence the style you're using?
Paquette: Yes. It might not always work, but my intention is to be influenced by every region or country's art and culture and visual element as Batman travels. First by Japan, and next we're going to Argentina.
If you look at the cover of the second issue, it's almost a manga cover, with high contrast and a lot of high design element. I just use it to feed me some new, kind of, fun visual input.
For instance, I used speed lines at some point in the book. Of course, a lot of people in America use speed lines, but I never do it. But I did it in this book at a particular very dramatic moment, like the Japanese would probably do.
Actually, it's more letting the feel of it influence me. In the background also. And when I'm talking about manga, I'm not talking about Dragonball. I'm talking about manga, which are for adults with very complex backgrounds and stuff like that. There is a lot of background in the first story arc. I'm always enforcing these elements.
Check out the entire interview here,
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