Drew Geraci on Thor: Exclusive Q&A

Posted: Thursday, January 22, 2004
Posted By: Tim O'Shea

Inker Drew Geraci is one of the many former CrossGen employees who had an established career well before their work with the Florida-based company—in his case, having had successful runs inking Greg Land on DC’s Nightwing and Birds of Prey. As with other former CrossGen-ers, fans of Geraci’s work are curious to see where his next assignment will be. SBC recently learned from Geraci himself that starting with Thor 75, he will inking Scot Eaton’s pencils. To find out more about his new assignment and life after CrossGen, we decided to interview him. Be sure to enjoy the pages from Thor that Geraci shared with SBC for this exclusive interview on his new Thor assignment.

Tim O’Shea: How did the new assignment on Thor come about?

Drew Geraci: Scot and I had talked about working together forever. I started buying Thor again when Scot started drawing it because I thought he was an ideal artist for Thor, and sure enough, he is! The new story arc, starting with # 75 seemed a logical time for me to jump on board as well as new readers, so come on, everybody!!

TO: While you and Scot Eaton worked in the same offices at CrossGen, did you actually end up collaborating with him much while there?

DG: Not at all. We wanted to, but we were hired specifically for our respective titles, and we had a lot of peer pressure to do some very detailed work. This left almost no time for side projects. We always talked about doing a pinup together, but never seemed to make time. Before you know it, two years passed and Scot left for greener pastures. It was a regret we shared...until now!

TO: It's an interesting time to be working on Thor, as Jurgens is taking the book into some uncharted territory. What about the story itself made you want to come onboard?

DG: I picked up the trade paperback which had the Alan Davis stories in it (Gods on Earth), and I was genuinely impressed with the way Dan Jurgens built up the development of Thor's benevolent dictatorship in such a natural way. By the time I got to the Davis issues at the end of the trade, it was icing on the cake. Jurgen's dialogue really makes a compelling case for Thor's rationale. He peppered the story with little touches I enjoyed. For example, there's a scene in a Catholic hospital where a woman's son dies. She's distraught and angry at God in her grief. Then an Asgardian healer appears with magic elixirs that save other terminal patients, but too late for her boy. All the mortals react differently. Some have their belief system uprooted, some are angry at this effrontery at God by false gods. Heavy stuff, but not heavy-handed.

TO: Upon reflection what would you say were the upsides and downsides to the CrossGen experience for you, both personally and professionally?

DG: Upside: Making relationships with some immensely talented people whom I only knew previously as names in the credit boxes of comics. Also, having a unique peer group was helpful in my understanding of my abilities and value as an artist.

Downside: Lots of editorial interference, despite the claim we had no editors. I actually wished we had real editors so the story quality was tighter. We had the most beautiful-looking comics, but there was this audacious seven-year sigil backstory that had to be adhered to. That's why the individual issues moved at a glacial pace. Every month it was like "let's hold hands and take one tiny step forward" in a contrived manner. At $2.95 a pop, that's asking a lot. What's ridiculous is that being under one roof was the perfect opportunity to let the creativity fly , but we were hamstrung by bureaucracy.

Also, story suspense was a casualty of this bureaucracy. Let's face it: was anybody ever worried that the first four sigil-bearers, Ethan, Sephie, Sam and Giselle would be seriously hurt? They were always too invincible and perfect. There were stories begun where a main character would be trapped or "wounded" but it would be resolved the next issue or two without testing the character's fortitude in a disadvantaged situation, which is the true definition of a hero.

We had the greatest amount of talent under one roof at our peak, and it was squandered by Management-related dictates. Having hung myself, I must say I think CG is finally the publisher they should've been all along. The current line, El Cazador, Kiss Kiss Bang Bang, Way of the Rat, etc. are examples of the finest comic books available. However, the sigil concept that management was so enamored with was an albatross that's cost the company greatly. The CG brand name can be rehabilitated given time for fans to forget there ever was a sigil. I hope for the artists and writers' sake they succeed.

TO: What prompted you to provide such educational material at your site, such as the pencil-to-ink studies?

DG: I've gotten lots of positive feedback from other countries that've enjoyed the tutorials on my site.

Since Malibu and Image Comics pioneered the new coloring process a decade ago, inking has become almost an afterthought. When I was growing up, I really gravitated to the concept as inkers as contributing artists. Inking is a lost art that a new generation of fans is unaware of. You look at Wally Wood's inks over anybody, and you'll see brilliant craftsmanship there. I have no intention to overpower any penciller like Wood did (nor could I ever come close to matching his excellence), but that's the example that sticks out in my mind. The art should stand on it's own in black and white before the colorist completes the imagery.

TO: On a related note, how often will you be writing for Sketch magazine?

DG: I'd like to contribute every issue, as long as they'll have me. There's no other publication like it in the market currently. The closest thing that comes to mind was Bob Greenberger's Comics Scene in the early 1980s. It would have lots of insightful articles and roundtable discussions with creators discussing their craft. If you have ambitions to break in the biz, Sketch is very informative.

TO: Prior to your time at CrossGen, the majority of your work was at DC. Are you hoping to explore a lot of both universes (DC and Marvel) and are there any other creators in particular that you hope to work with in 2004?

DG: Only through occasional private commission work offered on my website. Right now, I'm 100 percent focused on Thor. Scot and I really want to amp up the art and get the book noticed.

For more on Thor check out SBC’s recent interview with writer Dan Jurgens: www.silverbulletcomicbooks.com/features/106795499335928.htm

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