US writer tells us how he got into the genre ahead of new tale
Most people who pursue comics as a vocation notched up some serious geek time during their school days. But Brian Azzarello has a confession. ‘I wasn’t really a collector or anything like that. I didn’t really like superheroes,’ explains the A-list graphic-novel author. ‘I liked monsters and war comics.’
This explains why he became an ace at crime fiction instead of the flashier tights-and-capes genre. It also makes him a surprising choice to shepherd the new adventures of Wonder Woman, forging a 21st-century path for the iconic Amazon. Azzarello, along with artists Cliff Chiang and Tony Akins, has been crafting her exploits (and earning significantly increased sales) since DC Comics’ ‘New 52’ reboot of all its superhero titles, which started last autumn. It’s part of the biggest year yet in Azzarello’s already acclaimed career: the hard cover of his hard-boiled sci-fi tale, Spaceman, is now available on Amazon.com. Meanwhile, he’s also writing Before Watchmen: Rorschach and Before Watchmen: Comedian, new mini-series featuring the two most twisted characters from Watchmen.
An Ohio native, Azzarello moved to Chicago in 1989 after studying painting and printmaking at the Cleveland Institute of Art. He took odd jobs, restoring antique furniture and the like, until two fateful events in the ’90s. He married artist Jill Thompson (who’d already drawn two high-profile DC titles: Wonder Woman and Neil Gaiman’s career-launching Sandman), and was introduced to an editor who worked for the company’s mature-readers imprint, Vertigo.
Azzarello ended up writing a few short stories for anthology comics before teaming up with the man who has become his most noted collaborator: Argentine artist Eduardo Risso. They hit it big in 1999 with an original monthly series, 100 Bullets.
As the pulpy title suggests, the Eisner-winning saga is a crime drama, about a mysterious agent who offers people a gun with 100 untraceable bullets, essentially giving them the option to exact consequence-free revenge.
In the naughties, Azzarello began two other career-defining collaborations: the first with artist Lee Bermejo, who illustrated Luthor and Joker (and is now drawing Rorschach); the other with Chiang. But he always intended to continue working with Risso. Their latest long-form work, Spaceman, pushes Azzarello’s knack for dialogue to new realms, given the book’s future setting: a dystopian Earth, half underwater, with a populace still smitten by celebrity and addicted to TV.
So how did a guy known for down-to-earth tales of murder, kidnapping and the like come to write about the world’s most famous bustier-clad hero? He went out to dinner with Dan DiDio, one of DC Comics’ top executives, who was plotting new approaches for the New 52 era. Azzarello was ‘appalled’ when he heard about the plans for Wonder Woman. ‘I came up with something different right there at dinner. I thought the direction was going to be a mistake for that character, right at her core. And I knew nothing about her!’ By the end of dinner, he had the gig. Spaceman is out now, from Dhs52, available at www.amazon.com.