Superman Comic Books

Welcome to the Comic Book Work Force! (Sucker!)

Part 3 - Tom Nguyen Interview

Neal: Hello, Tom, and thanks for offering to take this interview... we really appreciate it. Now, for some questions...

Neal: How did you start drawing, and who influenced you most in the beginning?

Tom: The first drawing I remember doing was at age 3, and it was of Spider-Man on the cover of a phone book. I also recall doing it with a blue ball-point pen. At that time "Spider-Man and His Amazing Friends" was on every Saturday morning, but I was upset that it wasn't on all the time. So the next best way to see my favorite superhero was to try and draw him. That's how I learned to draw other characters as well -- from cartoons. So cartoons were the most influential at first.

Neal: How long did it take you to go from being an amateur to a professional (The line is blurry, I know, but you can draw it yourself, so why not?)? What sparked your success?

Tom: It is a little blurry, because I started doing a little freelance already while in high school. Not huge jobs, but stuff like drawing logos and illustrating a catalog for companies, and being one of those caricature artists you see at amusement parks and festivals. I also did airbrush caricatures at our Mall of America (here in Bloomingion, MN). So I was doing a lot of commissioned caricatures and even portraits during high school. I also illustrated a few cd covers for a local radio station for their morning show. As far as comics, I broke in at age 19 right after my first year in college. My first gig was the ill-fated "Major Bummer" for DC Comics. But I guess they liked my work enough at that time to keep me busy. It's now 7 years later, and I'm still with DC for "JLA." So I guess that's "success" enough if you want to call it that. :)

Neal: Here's a question that many find controversial...how much of getting a job in the comic book industry is who you know, how much of it is body of work, and how much of it is potential for sales?

Tom: I think that unfortunately these days it's mostly who you know. Sad, I know, but with the industry being the way it is (too much talent, not enough work available) pure talent with no connections is a tough road. Heck, look at some of the crap work you see in comics---don't tell me that that's from creative talent! 10-15 years ago it'd be easy to find work. Rich (who you've interviewed) has written a nice Supes story, and would've probably broken in as a fresh writer at that time with no initial name recognition. Nowadays, not only is competition tough but you have to know the right people.

Neal: Have you ever had creative differences with a writer or a managerial staff that you're willing to go into? Even general accounts would be of interest...

Tom: Not really...everybody's been easygoing. There were suggestions from time to time on my linework early on in my career when I was heavily learning, but nothing I couldn't handle.

Neal: Were you ever blatantly censored, or did you have things rejected you didn' t believe should have been?

Tom: Nope... at least nothing that I was against.

Neal: In your opinion, what's more important in the comics industry...story, or sales? I think I know the answer to that one, but I have to ask...

Tom: I think a good story will of course reflect sales. But looking at the industry from a pure business standpoint, then it would be sales. Because I don't think the companies care whether the story is good if the sales are great, and there are also great stories that don't sell well for some reason whether it be lack of promotions or what have you.

Neal: What's your take on the DC Universe today, as opposed to the Marvel Universe, even further, as opposed to the Independent and Image scene?

Tom: I think it's all great because each publisher is doing what comic fans want: great fiction and art. There are cool characters from each company who each have their fan base.

Neal: Who is your personal favorite artist/artists in the comics industry, and what does a man who makes comics read when he goes to the comic book store?

Tom: I have many favorites who aren't necessarily considered comic industy artists, but more illustration and pinup. But as far as the comic book stuff goes, I'd say Doug Mahnke, Adam Hughes, Frank Cho, Art Adams, Ed McGuinness, they're all good stuff. Outside of comics there's Hajime Sorayama, Olivia, Steve Driscoll, Dru Blair, Drew Struzan among others. As for what I read? Nothing, I have no time! Deadlines suck, and I have a stack of "to read" comics collecting dust over the last few years!

Neal: What do you think of the unsolicited policy that DC and other companies have... is it beneficial, overall, or more detrimental to story... avoiding lawsuits is good, but in your opinion, does the benefit outweigh the costs?

Tom: Avoiding lawsuits is a safe reason. But with the industry being the way it is as far as work to talent ratio, I don't blame them. As I mentioned earlier, it's who you know these days! It's hard to say if this is more or less beneficial overall because you have no way of knowing what you're missing or not missing by cutting off some potential talent submissions.

Neal: Here's a difficult one... is there a specific artist or type of artist you don't like in the industry... a kind of art that makes you cringe?

Tom: Nothing's difficult for me :) Most artists I've met have been very nice. The type of artists I don't like are the cocky, arrogant ones. Or ones who are overly PC. But there are no artists that I outright dislike, at least not for their personality. And I know I speak for a lot when I say Rob Liefeld's art makes many people cringe LOL But I'm sure he's a nice guy. Pinup artist Jennifer Janesko makes me cringe... and she's a big name in the pinup industry! She's cute though... so I'll cut her just a tiny bit of slack.

Neal: Many applauded your work on Steel and the Metropolis tech on your Man of Steel run... what were your main influences, and how did you feel about the body of work you produced, by and large?

Tom: Doug Mahnke, the penciller, deserves the credit here for his design of Steel's new costume. I just traced him pretty. Er, actually not. My body of work on Man of Steel was forgettable most of the time. I had some spurts of goodness (like the Nekton issue) where I though my work was decent. But I was in school for most of my "Man of Steel" run, and was a lot of rushing, fill-ins, and assistant work during that time period. A shame, really, since editor Eddie Berganza is such a laid-back, easygoing guy. I often wish I could re-do that run without the school and the rushing, and do him proud.

Neal: What's in the near future for Tom Nguyen as an artist, and where do you see yourself in ten years?

Tom: In the near future I'll be wrapping up my "JLA" run with issue #100, and that will spin-off into a new series called "JLA Elite." I will be attending cons and promoting my own art. I'm looking to do a Tom Nguyen pinup calendar for 2005 (airbrushed chicks in various stages of undress). Hopefully I'll pick up some more pencilling gigs from DC. I've done 2 pencilled and inked pinups for them so far ("Aquaman: Secret Files & Origins" and "JLA-Z"). I'll have a table at next year's Wizard World Chicago and at the Glamourcon, which is a show with adult models/centerfolds signing autographs & selling merchandise and a showcase for pinup illustrators. In 10 years? Hopefully NOT inking LOL

Neal: What is your dream project, even if it's already been done and you think you could do better?

Tom: I've already started one of my dream projects, which is the pinup calendar. The other would be Spider-Man---ANYTHING with Spidey! :)

Neal: What is your favorite piece that you've done?

Tom: I don't really have a favorite piece since I don't like most things I do. If an artist starts admiring his or her own work, they stop learning and growing. I'm always looking to improve on every piece I've done. As far as which work I dislike the least (LOL), I'd say some of the airbrushed illustrations. Comic-book-wise, maybe a few covers I have done on "JLA" or "Man of Steel," since I tend to put more effort into them. Also maybe the Firestorm pinup I did for "JLA-Z." Just maybe, though.

Neal: What work do you like the least that you've done?

Tom: Most everything else.

Neal: Okay, here's an open ended question that you can take advantage of in any way you want...what do you think of the industry in general? How can it be improved and where does it work?

Tom: The industry and its fans can be wacko. Now, I love all my 13 or so fans worldwide, but often find it weird how they complain about the oddest things, and yet at the same time praise the oddest things. But that's what makes our fans interesting. The industry itself is in for some tough competition these days for youngsters. Back in the good ol' days money was thrown around in the comics industry like nothing. Now kids have more than just comics to spend their limited money on: movies with better special effects, card games, and especially video games. So hopefully the industry will be able to sustain itself for many years to come. Otherwise, I know McDonald's has decent benefits for night manager if the need arises LOL

Neal: All right...now for the lightning round.

Neal: Favorite movie?

Tom: Spider-Man

Neal: Favorite book?

Tom: Hyper-Illustrations 2 by Sorayama

Neal: Favorite musical group/music?

Tom: It WAS Metallica before they softened up. At the moment I'm in a Type O Negative funk.

Neal: Here's a question I always ask myself... if you had it to do all over again, what would you do... do you think you'd be an artist? I think I'd have been better off a plumber than a writer, but hey, sometimes you can't stop the muse, huh? What do you think?

Tom: At least plumbers get steady work! :) I'd have gone into medical school to become something useful, perhaps a gynecologist or something. Or nursing is always something that interested me. Or maybe opening up my own gym. Who knows? All I know is I would never try to break in as an inker. It's not a life I'd wish upon anyone. That's the fast-food of comics, I always say. But I'd always be doing some kind of art.

Neal: Do you know of any websites where people can display their work and potentially get noticed?

Tom: Not really other than message boards where they allow file attachments. And I doubt you'd see too many people in high places seeing your work there. Yahoo! Groups is a great option. I have one myself with my work called Tom Nguyen Crazies. Come join the fun, plug-plug :) Tons of artists do this because it's free and easy!

Neal: How do you get solicited by major comic companies? I know they gave a comic to a sitcom guy recently... that really burned me, trying my best to get in, and this guy writes comedy so they give him a 64 page special... name selling... what do you think of that?

Tom: It's all business, so if a recognizable name sells, why not bank on it? It may not necessarily be for the right reasons, but that's business. Remember, it's who you know! :)

Neal: All right... that's all I have in terms of general questions, so I'll leave you the rest of the space to say anything you think important that I might have neglected... feel free to talk about anything... we want to hear what you have to say, and I for one am interested in what you might say that I have missed in my many inane questions, which I will now thank you for answering finally while ceding the floor... thanks for granting an interview, Tom. We appreciate it, and don't be a stranger.

Tom: Nothing else to say here, partly because I've got to pack and get ready to leave for Chicago tonight LOL. But it was fun, Neal, thank you very much for the interest and best of luck to you. And whoever reads this, I love you all!

Best,
TOM

Click here to continue on to Part 4 of our "Welcome to the Comic Book Work Force" article, to read Neal Bailey's personal thoughts on how to write a comic book.